Blender Motion Graphics for Beginners : Part 1 – Modeling & Texturing

1. Introduction : Hello, and welcome to Blender Motion Graphics for Beginners Part one, Modeling and Texture. I am Funky Polygon animation, and I'm really excited to take you through this project. I have over eight years experience teaching motion graphics and animation on a variety of software platforms like Cinema four D, after effects, Houdini and Blender. In this course, you learn how to set up various blender references, navigating the interface, how to work in three D space with three D objects, working with image references, creating complex models from simple objects using modifiers while modeling, working with curves, The standing in using geometry nodes within the project, setting up materials for the projects objects, creating and setting up lights, setting up cameras, and rendering. This course is for complete beginners with no prior experience in blender or working in any three D software, as well as hobbyists and professionals in related fields, such as graphic design. Aim with this course is to break down complex concepts into easy to follow lessons. These lessons aim to build a strong foundation in modeling and texturing before we undertake any animation within the project pipeline. Hope is that you will gain confidence to start creating your own projects and unlock your creative potential in the world of three D animation and motion graphics. The final deliverable for this project is an image such as this. I'm really interested to see how you will be able to use the concepts that I put across in your own work, and encourage you to be as creative as you'd like to be. Further down the line in Part two will animate all the elements that we've created to create the final animation. 2. Blender Version In Use: In this video, I would like to talk about the blender version that we're going to be using for this series. Currently, I'm on Google, and I've searched for the keyword Blender. I'll click on this link blender.org, and that should take us to the Blender website. The current version that is available is Blender 4.1, and that means that this is what I'm going to use for this tutorial series. So if you're using a different version, make sure that you download Blender 4.1. I'll just click on download. And then once the website takes me to the download section, what we can do is make sure that you install the correct package. So that means if you're working on windows, make sure you install the windows package. If you're working on any Linux platform or Mac OS, ensure that you install the correct package. So I'm currently using windows. So the software or rather the website itself has already chosen windows for me. If you're using some other platform, click on this section over here and click on the Dropdown. Once you click on this drop down, you will have the windows installer, different versions of the Windows installer, different versions for the MacOS, and different versions for the Linux platform. So choose whatever platform you're on. And once you've chosen that, just click on download Blender 4.1, and if I click on download the download shoot immediately. Begin. So once the download is done, ensure that you install the package, and then of course, once it's installed, open it. So I'm not going to go through the process of installing. I think that's going to be a bit more straightforward. In the next one, in the next video, we're going to now talk about a few things about the software here and there, as well as set up a few preferences. 3. Zoom to Mouse Positon Preferences: Once you have installed blender, and then you launch it. This is what you should see. We have the splash screen, and the splash screen, depending on if you had other versions of blender already installed, it could have a section where you can import existing settings. Or we can also create new settings. In this instance, I'm not going to change anything under language or shortcuts or select with because I do want us to select with the left mouse button. Then the space by is set to play. Although we will change it in a few, and the theme is blended duck, but you can choose whatever you like from these options that are available. I'll just click on Save new settings, and then now this other section pops up. But of course, if you did not have any other thing available, or if you'd already launched it, it will take you to this section immediately. So I'll just click elsewhere. So that's on the left. And currently, you can see we have the camera. This is the camera, we have a cube, and we have a light. So we'll get through the software in a minute. What I want us to do is to set up a few preferences. So, these preferences are things that we'll use throughout the project. So the top left of the interface, we have file, and then we have edit. So if you click on edit at the bottom, there's an option called preferences. So click on preferences and one of the first if I click on it. You will see that the window will pop up and one of the first things that the software will allow you to change in terms of preferences is your interface, and the last one is file parts. The first thing I want us to change in terms of the preferences is zooming in. What I want to do is I want to be able moving this is the side so that I can show you what I mean. I want to be able to zoom where the mouse is or the casa is for the mouse. If the casa is somewhere here and then I zoom in, I want As to zoom in there instead of zooming into the three D casa over here. For that to be possible, we need to go to navigation. Under navigation, we're going to look for Zoom method under Zoom. We have Zoom method, we have zoom axis, and then we have invert zoom direction. What I want to use is Zoom to mouse position. If I place my mouse here, and then I zoom in, so I'm using the scroll wheel. Can be able to zoom in where the casa is instead of where the center or rather the three D casa is. So I'll turn this on. And on this preferences window, we have this button on the bottom left. And if I click on that, currently, my preferences are set on how to save, but you can come in here and click on safe preferences, or you can choose to revert to safe preferences. Load factory preferences. So I just want to click on self preferences, and if I move this, so if I where I want to zoom in with my Casa, that's exactly where we're going to zoom in. So this is why I want to change that fast option. This is going to be essential, especially if you have a lot of things in your scene. You don't necessarily always want to zoom in to the three D casa, which we'll actually talk about. Right now, I'm just saying it is the three D cs, but I'll talk about what it is. I just want us to first of all focus on the preferences first. That's how we ensure that where we hover our cas that's where we can be able to zoom in. That is the first preference that we've changed. 4. Spacebar Search Preference: While we're still other preferences. The next preference that I would want us to change is what the space bar actually does when we hit it. By default, when we hit the space bar, the playing of the animation should begin. So what that means is If I just hit the space pad as it is, you can see at this bottom part where we have the timeline, we can see that the animation is playing, although we don't have anything, but the playhead is moving. So that is what the space pad does, play and pause. I'd also would like you to note that I have some of the screen cast keys available. So if you want to see sometimes what I've clicked, And maybe if it moves too quick, you can be able to pause and see what exactly is the keyboard shortcut that I have clicked. So I want us to change what the Space Bar does. I want anytime I click on the Space bar, I can be able to such instead of it being the shortcut for playing and posing any animation that we might have. So for that to be available, I'm still under preferences. We were under navigation. So now click on Kemp. If I click on Kemp, I'm looking for something called Space bar action. So in this window, we have preferences, select with mouse button, so we're selecting with the left. Then we have space bar action. Spacebar action, we're going to make it such. I'll click on the Sch option. And then if I just hit the space bar, notice now, there's no playing that happens on this bottom part, rather, what we have is the option to such for tools. So I think this is an easier way to find what we need. Real quick as we create our project, so that's one of the other preferences that we are going to be using. 5. Extra Shading Pie Menu: The next reference that I would like to change is in regard to how we see our object in the view. If I move this to the side, if you look at this cube, we can see its surface, and we can see the surface color, which is this gray color. Sometimes you might not want to see this gray color, you might want to see, for example, outlines of this without seeing the gray, or you might want to see an x ray view of this, or you might want to see a view that has or other object having materials. For that to be possible, we'll need to have more than the defaults. So for us to be able to see our objects in various ways. We have or you can hit Z on your keyboard, and if you hit Z, you can be able to toggle between these four options. You can choose to see your object in rendered view. So how will it look like when it's rendered? Then you can look at it now in solid. Solid is the default, and then you can have the material preview. So if you've set up material, material could be just a simple color. If this cube was, let's say, it had a material that was purple or blue or yellow, that's what you would see if you went to material preview, and then we also have wireframe. If for example, click on wireframe. Notice, I just hit Z ones and this particular pie menu popped up. A I'm doing is I'm just hovering my casser over the options as I move my mouse. If I choose wireframe, I can just see the wires of this, the outlines of the cube. If I hit that again and I choose solid, we go back to where we are at. If I choose that again and I choose rendered, we can go to the rendered mode. But again, when it comes to the rendered mode, you need to have a bunch of lighting and all of that for it to look pretty good. But if you don't have that, it's not going to look any different from let's say the solid view or rather the solid option. So, I want us to have other extra options, like for example, x ray and the ability to be able to toggle overlays. The overlays are things like maybe we don't want to see this boxed area. This is the grid. Maybe we don't want to see the grid. We don't want to see these lines that are red, this one that is green, such stuff. So Still in this preferences window, still under key. Under key, there is all we did here was change the Spice bar action. To such. The next thing that I want you to turn on is if you continue reading through, there is this option called extra shading Pi menu items. If I turn this on, and I move this to the side. Remember, my preferences are set to auto save preferences, so I don't have to save it all the time. If I turn something on, I can immediately test it. So if I hit again, notice that instead of just having the four, which we wire frame material preview rendered and solid. I now have tog x ray and togal overlays. So for example, if I click on togle overlays, notice that that grade that I had is gone. Then if I hit again and I go and again hover over togal overlays, and I click on that, it's back. Notice that if I hit, each particular shortcut has its numer each particular Pi menu has its numerical shortcut. So we have the total x ray, which is two, the solid six, the rendered nine until previous seven, the ia frame four. So if you would like to use those shortcuts, you're free to do so. But as far as this course is concerned, anything that I want to use from this particular Pi menu, I'll just hit Z, and I'll select it from the pie. So this is how you add extra options. To the menu, the shading pi menu, which controls how we're seeing the object. Do you want to see it in its solid mode, in its rendered mode with its materials? How do you want this object to be shown to you by the software? This is the key extra shading Pi menu items. 6. Extra Mesh Add Ons: To finish up with the preferences. The last things that we need to activate are just two things, and these are add ons. So the options that if you look through this preferences window, there is an option called add ons. Add ons, these are extra things that we might want to add in terms of cves, or meshes, new objects, whatever it might be. So in our case, these are tools that we're going to use in the modeling stage of production. And they're going to come really handy. So if you click on the add ons, you should jump to this particular window. And all you're going to do is search and activate these add ons. To do that, there's this such option. So if I click on that, I could just type in. The first thing is loop Loop LP, then there is this add on called mesh Loop tools. For this, I'll just turn it on. I'll click on this checkbox to turn on the loop tools. And you can click on this Delta, this triangle, and it could give you a description of what this particular add does. So mesh modeling two kit several tools to aid modeling. So these are just extra tools that we might need when we're modeling. Then we have if I just deactivate this or rather not even deactivate, but click on this x so that it kind of removes what I had typed in. What we can type in next is mesh. And under mesh, we can look for mesh extra objects. So if I look at this, and if I actually minimize this, We have all of these, and what we're looking for is mesh, extra objects. There's this option called Ad mesh extra objects. I think we could have just written extra mesh. No, it doesn't show up. I think mesh will show up. So mesh ad mesh, extra objects. This is what I want us to use. Again, you can open this up and just read the description, so it just says add extra mesh object types. So these are just extra meshes that we might need. I'll just turn it on. I'll click on the checkbox. And I think it's on edit preferences. Yeah. I think I clicked on it so many times that it closed itself. So just click on it once so that it doesn't do what Min did. So if I just click on it, it should turn itself on, and that's it. After that point, we have set up all the preferences that we might need from the Zoom to mouse position. If I just close. If I ho my he, that's where I'm going to Zoom in to the space bar being a such option. So if I hit the space bar instead of the animation playing, we get the option to such to how we are able to have the extra shedding pi menu. So if I just hit on the keyboard, instead of having material preview wire frame solid and rendered only, we can now have togle overlays as well as togal x rays. And now we've added extra extra meshes to be available for us in the modeling stage. So To that point, we have every single thing that we need. 7. Blender Editors: Now let's talk about bits within the software. The software has various small windows, as you can see. We have this large window, which is the only three D view that we have, which is the perspective. As you can see here on the top left, it says user perspective. This is the perspective. And it's one of the or rather it is the only three D view that you have. The other views that we have are usually very flat views. This is one of the small windows that we have, it's quite large. Then below this perspective, we have this timeline. This is where you come to animate, set your key frames, move them, adjust them. If you're adjusting your motion cubs, which you're going to do down the line, this is where you come and do it. Then on the right hand side over here, we have two, so we have this fast one. So this is the outliner, so it lists the objects that we have. And then below that, we have the settings for the objects that we might have. Notice that in each of these editors, we have this icon on the top left, there's an icon. So as you can see here as well, we have this icon. This icon, and we have this icon. And if you hove over e, it just tells you editor type, current editor type for this area in this instance, it says properties. And then if I hove over here, current editor type for this area, outliner. And if I go and hover over the perspective view one, says three D viewport is the current editor. Down here, if I hover, it says that this is the timeline. Depending on where you're at, what you're doing, the particular editor that you're in might change, and you can change it to be whatever you like. For example, if I just move this timeline up. For me to be able to move it up a bit, I can just hover over the boundary. We have the perspective, we have the timeline. This is boundary if you hover your CA. You get this line with two arrows and if I click can hold and drag, then I release, then I can click on this option over here. You can see that we have other editors. Depending on what you choose, the window will change. For example, right now on the timeline, if I choose the graph editor, I'll get something different. If I choose the drivers, I'll get something different, as well as if I choose things like three D viewport, we could have two of them. If I click again and choose things like the image editor, have something different. This is something that could change based on what it is you're doing or maybe you want to have an extra window. You're free to do that. So in this instance, I'll take this back to timeline. It's important that you note that there are different editors that are available within the software and that you can change them in any given moment in time, based on whatever it is that you're trying to achieve. It will never be the same. Remember, it's also user based based on you, what you're choosing to do at any given moment. 8. Navigation: So now let's talk about navigation. So how do you move around? So theses way you can move around is if you click and hold on the middle mouse button, and then you drag your mouse, you can be able to rotate, look around your object. That's one way. Then there's another way where if I release my left my middle mouse, sorry, and then I hold down the shift key, then I click on the middle mouse and I can move left and right up and down. So this is another way you can be able to navigate. Remember also, you can be able to hover your casa wherever you like. Wherever you hover your casa, you can now adjust your middle mouse and you're zooming in and out based on or rather the zooming in and out is going to be dependent on where the casa is placed because if I place it here in zooming, that's where we're going to be zooming in. So keep that in mind. So you can click and hold down shift, and then the middle mouse to move left and right up and down. You can also just hold down the middle mouse and then move your mouse around. As you hold down the shift and you're rotating ad. Then you can also use the scroll wheel to zoom in and out. But keep in mind to check where the cast is because that's where the zooming in is going to be occurring, or the zooming out is going to be occurring as well. So that's how you navigate around the particular views of your choice. 9. Moving Objects: Now that we've talked about how you move around the perspective view, let's talk about how you can be able to move the object in terms of position, scale, and rotation. Since we're working with the three D software, we're going to be working with three different axis, so we have the X, the y, and the Z. In this particular software, the x is this red line. The y is the green one, and then the z is the blue one. So the Z is always a vertical one. If you ever forget what which axis is which, what you can do is this icon on the top right and you can look at x, x is the red, y is green, Z is blue. Then if you just hover and then you just click and hold and then you drag, you can be able to rotate around your object through this, which is similar to just hovering your case in the perspective, then holding down the middle mouse pattern, and then dragging your mouse, similar to that. When it comes to moving your object, if you want to move it, the shortcut for moving your object is the key G on the keyboard. If you G on the keyboard, and then drag. You can be able to move this cube wherever you like. If you want it to move to this particular point, you can hit the left most button to accept, and that means that's where the object will be. If you do not like this result, you can undo by hitting Control Z. If I hit control, that undoes that particular change that I had made. Sometimes you can move an object I hit G and maybe I do not want to make that change. If you want to deactivate this active move option, you can click on the right mouse button. If I take it, let's say here, and then I hit the right mouse button, it takes it back to where it was previously. If you want to cancel something that you're doing, just click on the right mouse button and that will be canceled. That is how you move your object by hitting the G key, which stands for grab. Hit G and then move. But again, sometimes you might want to move your object in a particular direction. For example, if I wanted to move it along this red line or along this green line or along the z, Um, how can I be able to do that? So we can hit G on the keyboard, and then we can specify x x is the red line. If I hit x, then I drag, I can be able to move it specifically on the x. If I cancel this by clicking on the right most button, it's going to go back to the defaults. But again, I can hit G. X and then take it to where I want it to be. Maybe I want it to be here and click and click on the left most button to accept. It's going to go where exactly where I wanted it to be at. Then what I want you to notice is on the properties. With this cube selected, we do have a bunch of options here, a bunch of icons here. This is the properties window if features over this editor type. In the properties, and right now, we're in this it's a small square with right angles around it. If you hove over this, it says object properties, and here you have transform. So we have location X Y Z. So when you move an object, when you grab it and make it move on the x or the y or the z, what we're doing is we're changing the location. Notice that because I only chose the x, the location is the X Y Z, the only axis that has value is the x because I didn't move it on the y. Or on the Z. But if I chose to do to move it on the Z or on the y, it would actually show up and notice that these values are in meters. If I select this cube, so if I hit G again and then Z, and then I move it up and then click on the left mouse button to accept, then you notice that now I have a new value on the z instead of the value being zero. So Sometimes you do pick whichever direction you want to move your object in. Sometimes you just move it in all directions. That is dependent on what you're trying to achieve. Now I can undo all of this, and the object should go back to the defaults. Notice that now the location is zero, zero, zero on all the locations x y and z. 10. Global and Local Transforms: Now that we've talked about moving the objects. I want to talk about something called the global and the local. So there are two ways you can be able to move your object, either in the global or in the local, and it's important for you to understand what that means. So in this instance, I We'll talk about two things. I will talk about how do you duplicate in the software and how do you parent? And then finally, we'll talk about the difference between the global and the local. So I have this cube. I want to duplicate it. So for you to duplicate, the shortcut is shift D on the keyboard. So if I hit shift and D, I have duplicated, but I'm still here to hit the left mouse button. But before I do that, I will hit x so that I can now move the duplicate. Then now I can click on the left mouse button to accept that. Then I will want to maybe make this a bit longer. So I'll need to change its length. So for that to be possible, I will need to scale this. So if I want to change the size of an object, can also do it in the x in the y or in Z axis. I'll hit S, and I want it to be longer horizontally, so then I'll hit x. Now if I click and drag, I can be able to elongate this on the x. Then for me to accept this, left mouse button. Then I can move this, so I can hit g x, move it a bit. Now I have two cubes. I have the first one and then I have the second one. What I want to do is I want to use one of them to control the other. I want to use this one to control the duplicated one, the duplicate. For this to be possible, I'll need to select the duplicate, then hold down shift, select the original one. Once I select the original one, then I can hit control and P on the keyable. So Control P. Control P is for parenting. Parenting means that I want to create a hierarchy, whereby I have a child and a parent. Usually in a hierarchy where you have a parent and a child, that means whatever you do to the parent, the child will do the same. But the child is also independent of the parent, so you can still select the child and move it and make all the adjustments you'd like to make. Um, even though whatever you do to the parent, the child will receive. Now that I have hit Control P, I have this small menu here which says said parent two, and I just want to parent this to the object. We'll just use the first one for now. I'll click on object. If I click on object, now If I select this cube, and I it G, and I move this. Notice that the child, which is this one, follows this. Whenever you want to create a hierarchy, you need to select all the objects that you want to be children. Then finally, select the object that you want to be the parent, then you hit control P. You cannot do it any other way. If you try and do it any other way, it's not going to parent in the correct way. You want to parent, you select the children, and then select hold down shift, select the parent, then hit control P and choose to parent to object. Now notice if I choose to move this, if I hit G, move it let's say on the Z axis, move it up, the the child still follows. But if I do this, what I actually want to talk about is, what if I chose to rotate? Because I've talked about scaling slightly the way that I made this a bit thicker. But what if I wanted to rotate this? We can rotate the parent, I can hit R on the keyboard and then z. If I hit r in Z, then I drag this. Notice that I am rotating and the child follows. Then if I move, And look at it from this particular angle. What if I wanted to move this object? If I wanted to move it, but in a straight line, how would I do it? And if I wanted to move it in a straight line, it would be x. But if I do like G x, it's not moving the way I want it to move. Let me cancel this by hitting the right mouse button. What I want is I want to move this cube based on its own origin. So if you look at this cube, there is this particular dot. That is the origin as well as if you look at this other one, it has this dot over here, which is its origin. So what I want is I want to move this, but in this particular line, I don't want it to veer off this particular path that has been set. So for me to be able to do that, I would need to move it locally because right now it's moving globally. So when you say an object is moving in a global way, that means that it's moving in the axis that governs the direction in the overall model. So the general axis that governs the direction. But I want it to look at itself and its current um, orientation, be it the rotation that is and the position and the scale. The best way to look at this is if with this selected at the top here, top right, we have the options. If I click on this and turn on origins, notice that now the x for this is vastly different from this x and the y for e is vastly different from this y as well as the z. So I want to make sure that I'm moving in its local it's local axis so that I can move it in the direction that I want instead of the global, in its own origin direction position and scale. If I go back to options and I turn off origins. For us to be able to do that, at the top here, we have this option called Global, and I can click on this Delta, and here we have global, local, normal gimbal view, all of this. I want to choose local. Now with this selected and I hit G x. Notice that now it does move in its local. Of course, I can cancel this mouse button. So I'll take this back to global. But of course, sometimes you don't want to switch from this manually. So what you can do you can hit G, then x x twice, then move in its own local. Similar to G, y y, then move it in its local. If you hit a particular axis twice, that means you're moving in the local direction. G x x notice that this is actually moving in the local, so keep that in mind. I've talked about parenting. Remember in your parenting, you select the child. Then you hold down shift, select the parent, then you hit control P, and then select or other choose set parent to object. When you move the parent, the child will follow. But of course, you can move the child independent of the parent to make it do whatever you like. Be even if I continued to move this, let's say even if I didn't move it in its local, let's move it there. But then if I select the cube and hit R and rotate it on the Z. Notice that this will still work because they are parented. Rather this cube is parented to this. Let me just do that. That's something that is important to keep in mind when should you use the global, when should you use the local. Sometimes when you're parenting and you move the parent, of course, the children, the axis is going to be a bit of, sometimes you need to move scale and rotate in the local axis so that things can move in a way that maybe makes a bit more sense. 11. Rotation and Scale: Now that we talked about parenting and the global and local transforms, I would like to talk about the scaling. If you hit S and drug, and of course, the rotation. When it comes to rotation, you can again choose to rotate on x, y, z. Similar to scale, you can hit S, and then scale on the x. You can hit S again, scale on the y, and then you can hit S again, scale on the z. Then of course, remember to at the left button in order to accept the change. With the rotation, you can rotate at r, rotate on the x. And then of course, I can cancel this right mouse button. Rotate it on the hit the Y. Then I can cancel that with the right mouse button, rotate Z. Then you can also hit R twice like R R, and when you do that, you're going to have a track ball results. So double r will allow you to have that track ball result that you've seen currently. So I'll cancel this as well. So that is how you use the shortcuts for moving, which is G for grab. Then you have R for rotation as for scale. Remember, you can choose to do all types of movement of your object in all types of direction. Whether it's the x, whether it's the y, whether it's the set, the chase is always yours. But of course, you can still use the icons themselves, or rather the tools themselves without using the shortcuts. So for that to be possible, on the fartherst left, we have this icon that looks like a plus. If you have over it it, says move. We have next to that rotate. Then below the rotate, we have the scale. So we can click on move and you get to see the move tool, and you can now move this manually yourself. We also have the rotate, which you can activate and notice with the rotate, it's like a sphere that you can be able to move around to your heart's content, and then we have the scale where you can also be able to adjust the size of your object. Of course, we can change this to instead of working in the global, we can work in the local. You'll notice that of course, what you'll get will be different because it's going to be considering the X Y Z of the origin itself. Instead of looking at the direction that governs the overall model, it's going to look at the model itself and its own axis. Then of course, if you don't want to use this, you can click on this first icon, which is select box. You can click on it, and now you can no longer um, use the move, the rotate, and the scale as tools, but you can still hit G and move, you can hit S and scale, and you can hit R and rotate. So that is something that you need to keep in mind as well. 12. Creating New Objects & Using Collections: O. Next, I want to talk about how we can add new objects and how we can work with collections. At this point, I want to get rid of everything that we have. To do that, I will hit the letter A on the keyboard, and then I will delete this. To delete, I will hit. A to select e and then to delete. Once you hit X, the software will ask you Iso you want to delete. I can just click on delete and it's come. To add new objects. If I just zoom in, add new objects, we will need to heat shift A. And before we actually add a new object, we have this icon over here. This ring that has the pattern that is red, white, red, white, red, white. This is the three D cursor. The three D cursor, this is where you or rather, this is where the object is placed when you choose to add a new object. By default, the three D cursor is always at the center. That means in regards to x yn Z, it's at 000 on X N Z, This doesn't mean that you cannot change the position of the three D casa. You can change it, and this is something that we're going to do often in our project. But at this point, I'll just like you to know that the three D casa is where the object is going to be placed. To add a new object, we can hit shift and A. And once you hit shifting A, this menu pops up and you can add anything from a mesh, a curve, surface, a meta, a text, anything that you'd like. If I go to mesh, we can add a new cube and I can click on cube. But again, you can see you have other types of options. In our preferences, there's an option that we turned on, things like extra extra mesh objects, and they added some of these options that we have currently from single vat up to extras. So what I want to add actually is just a cube. I'll click on cube, and if I zoom out, we have the cube. Right now, we only have a singular object. Well, previously, we had a cube, we had a light, and we had a camera. If we go to the outliner on the top right, sorry, not the left, the top right, we have the scene collection, we have the collection, and then we have a cube. This collection is something that is used to organize your project. It's kind of like I would call them like folders where you can be able to organize your project and stack things or arrange them based on maybe what you want them to do or what they're doing in the scene, or maybe they're similar objects, could it could be things that you put in a collection based on what you like, basically. So there's no standard in saying that this is where you use a selection. Normally, it's for organization. So if you want to have a collections within collections within collections, it is possible. So we have the default collection that is created by the software when we create or rather open the software. So I'll click on this word, Sen collection, and then to create a new collection. See on the top um in this outliner, the top right. We have this small icon, which if you have overt, it says a new collection, add a new collection, inside selected collection. Inside selected collection is the keyword because notice that I selected this. If I select this and I add a new collection, it's going to be inside this one. So I'll select sin collection, then I will click on this and then I'll have collection two. If I click on it again, I have three, and four and five and six, and so on and so forth. So I can select all of these. I'll select the last one who down shift, then I'll delete. I've just hit the delete key. So you can also have collections within collections, so I can select this. Then click on the collection icon. And now notice I have collection one, but it is inside collection. I'll select it and I'll delete. Collections are usually used for organization normally, and the use of collections is usually up to you. You can choose to just use one general one, or you can have several ones. That's your choice, but it's important to know that that option is available. Then of course, still in here, you can be able to rename things, so I can double click on the word collection, and I will call this maybe cube, and then I hit enter to accept. Then I can add a new collection. So if I select scene collection, then click on that collection icon. I can select collection two. Then in my perspective, I hit shift A. Then I can go to let's say mesh, and I can add, let's say a plane or something. Then I can hit G y, then I can move this. Notice that now since I selected collection two, the plane itself, this plane is in collection two. But if I had created this collection two, but I selected this cube collection, then this plate would be moved in this cube collection. Keep in mind, if you want to put things in a collection in a particular way, you need to make sure that things are selected as they should be selected. But sometimes you might forget. And if you want to make that change, you can still do that. So for example, I can select this plane, and on my key where I can hit M. M is to move to a collection, sorry. So if I wanted this plane to be in the cube selection, I can select the plane, M. And when I hit M, I get move to collection. I have new collection, I have scene collection, cube collection two. If I want it to be placed in the cube collection, I can just click on cube. If you look at this, you can see under cube collection, I have the cube and I have the plane, and then collection two has nothing because I moved the plane from collection two to the cube collection just by selecting the plane and hitting M. I can also do the opposite of this cube. I can select the cube, heat, and then select collection two, and that does the same. Actually does the opposite, it moves the cube into collection two. That's something you should keep in mind. So, remember, you can rename your objects. You just need to double click on the name and then call it wherever you like. Similar to your collection, you can double click, call it whatever you like. Also in your collection, you can minimize, you can click on this Delta, you can minimize if you like, because sometimes you can have a lot of collections, and you don't want everything in all your collections to be exposed, you can be able to minimize as you see fit. So that is how you create new objects and then add them to a collection. Another thing that you should keep in mind, if I select all of this and I hit delete. If I select this cube cube collection, and then I hit shift A, Let me go to Mesh cube. You'll notice when I create a cube, there's an option on this perspective window on the bottom left, there's an option over here. It says add cube. If I click on this Delta, it opens up the settings for the cube. Anytime you create an object, you're going to get this option. But this is an option that pops up once. So you can come in and increase the size, you can change the location. The X Z, you can choose to rotate, you can choose to do lots of things. And these settings, they change depending on the object. Because for example, if I chose another object, if I select this cube, at x delete, and if I hit shift A and use something else, instead of like a cube, maybe I could use cylinder, maybe. Notice under Add cylinder, the settings have changed. Now you're dealing with things like partices, and radius and depths and cp fiel, and alignment is it aligned on the world, the view three DCs, the location, the rotation, the settings will always change, and this is something that you should keep in mind. Be Remember, if there's anything you want to change, you need to change it when you add the object because you cannot go back a step. So I I choose to move this, if I hit G and I move it, and then I click. Notice that those options are gone. You cannot recover those options. So when you want to change anything within your object, make sure that once you add it, the object settings that will pop up, make sure you change them immediately if that is your intention. 13. Object and Edit Mode: Now, I would like for us to talk about the difference between the object mode and the edit mode. So we'll hit A to select everything, but it's just the cylinder second, select the cylinder. Hit x, choose to delete. Then I can hit shift A, mesh, and I'll use a cube. So when you're working, there are always two different modes that you work in? You have the object mode and you have the edit mode. So currently, if we look at what we have in the meantime, this is the object mode. So we can hit G, move the object, scale it up, rotate it, and all that. Still works fine. But what if I wanted to start modeling this, how would I be able to do it? In the object mode, what you usually do is you choose things like the type of smoothing you want. If I select this cube and click, we have object. This is the object mode setting. We have things like Shade Smooth, shed smooth per angle, shed flat, convert two. You can convert this to a curve or mesh or use gspencil or curves. Then we have things like set origin. The origin is this dot that I talked about. That is the origin. If I write click, Sometimes the origin could be a bit off it could be really far away from the object and you want it to be maybe at the center of the object or place super close to your object, depending on what you want to do. You can come and it click. You can come and make the changes, which is something you're going to do a lot in our own project. You can choose to copy, to paste to duplicate, and all that. There are many things you can do in the object mode in this instance. But then we do have the T mode. For you to get into the edit mode on the top left here, we have object mode. You can click on this option, and then you get Edit mode, scalt mode, vertex paint weight, paint, texture paint. If you choose Edit mode, now we are mode. In edit mode, you can be able to access three things, your points, which are the vertices, your edges, and the faces of the polygons. At the top here where you have edit mode, you have these three icons. The first one is the vertices. The second one is the edge, and the third one is the faces. Currently, we are on vertices and you can select a vertice, and you can move it so you can hit g, and you can move this Then once you're happy, you click on the left mouse button. You can select this as well. Hit G move it, you can choose to also rotate points if that's what you'd like. But in the edit mode, you come in and you are able to move the components that make up the object. Those are the points, the edges, and the faces. You can also select the edge, select this edge, move it up, maybe G, select a face, this one, maybe move it G Y, so this is the edit mode. Of course, we're going to get into this when we start our project, but on a surface level, this is what the edit mode is. It allows you to make adjustments. So instead of going to the top left all the time to toggle between the edit and the object, what we can do is we can use the tab key. If you hit the tab, we can toggle between edit and objects. Now that I've hit the tab, I'm no longer in edit mode, but I am in object mode, and then if I hit tub again, I'm now in edit mode. You can tub in and tub tubing and tub out two pgal within those two modes. If I tub into the edit mode, remember we activated the space bar action. If I hit the space bar, can be able to such. For example, if I select this edge, sorry this face is not an edge, space, then I hit the space bar, can choose to extrude. We can search for extrude. And notice you have a lot of options. Because this is a face, we can choose extrude faces. Usually because we've activated at the such, you can see the shortcut control F. If I click on extrude faces, and then now I drag, we can see that we have an ext. And once you drag and then click, you can accept and you can see that you now have a new thickness. You come to the edit mode to model usually, then of course, in object mode, that's where you move your objects, choose things like the origins, You want to move them in different collections and and the like. So I'll just tub out. So this is the model mode. Another thing that we should mention if we go to not actually the model mode, but the object mode. Another thing I should mention about the edit mode, if I hit tub, you don't always need to come and click at the top here, the points, the edges, and the faces. What you can do, you can hit the key one on your keyboard. One for vertices, two, for edges and three for faces. One, two, three. I think that's easy to remember, and of course, the numerical order is in sequence, one for vertices, two for edges, three for faces. Then of, we do have the other views because primarily we've been focused on this perspective view, but we do have the other views. The other views, there is the key on top of the tab, which is called the Tilda key, which if I click on it, we can see that we have this Pi menu, but this is for the views. So we have the left view, the front view, the top, the back, the right. Notice that there are numerical shortcuts for this, if you'd like to use that. But I do prefer using Pi menu a lot. So this is what I'm going to be using most of the time, that is the Tilda key. That is the key on top of the tab. So Tilda, then you can go to the front. This is what we have. Again, if I hit the tilda, you can go to the top. If I hit the tilder again, we can go to the back. If I hit the tilder key again, we have the right, I I hit the tilder key again, we can look at the bottom. We can choose view camera, but of course, we don't have a camera, so it's a bit ilgical to choose that. But this is what we have, the back, the right, the top, the front. If you click on and hold on the middle most button, you go back to your perspective. So this is what I'm going to be using the Tilda key, which is the key above the tub to be going through the other views. Like I said, the perspective view is the only three D view that you have because notice these other ones, they're very flat. They lack that three Ds that maybe you might like from the perspective. So that's something that you should keep in mind. But these are very useful views, especially when it comes to modeling. Help you be able to ensure that you are modeling things in the correct dimensions in all views, instead of focusing on one. Let's say people who like focusing too much on the perspective view, but then they may find that maybe the object that they've been modeling is a bit skewed if they look at the other views that they might have. It's important to make use of the other views. 14. Setting Up the Project References: When creating the project, we're going to start loading up the reference images. In this instance, we're going to have just two images. If I go to my folder, that is called reference images, I have two specific images. I have this one that has the words Ma, and then I have the second one, which has the robotic arm. We're going to first of all start by modeling the robotic arm. Then after we create the robotic arm, we'll create this first image that has the text. So each section is going to rely on the other when we come to the animation part. So when we're setting up the model, you have to keep in mind that these are things that later down the line are going to be animated, so there's some considerations that we'll have to make. So if I jump into blender, This is what we have. I'm actually going to delete it, so I'll hit A to select everything and then x to delete. So once you hit x, choose the delete option. Now, if I just ho over over here and just move this, we have a collection that basically has nothing. What you're going to do is I'll select this collection, not the s collection, but collection. Then I will switch my view, so I'm going to use the right view. So I will click on the key just above the tab. So that's the tilder key. Then I'll go to the right view. In this view, I want to load up the image. So what I'm going to do is I'll hit shift A and under shift A, we're going to look for image. Under image, we look for reference, and I'll click on that. Then I'll go to where I have save my image. It's under three D objects, reference images, and I want mechanical arm. Then I'll click on load. There is the image. Then one thing that we'll need to do, we'll need to place it flat on the y axis. I'll need to bring it up. I'll hit G on the keyboard and then to bring it up, I'll hit said, then I'll drag this up. Somewhere there. Because this is an image, that means we have the ability to change a few things here and there. But notice under the collection, it says empty. So I'll rename it, doable click on it, and I'll call it robotic. Then over here where we have the properties. We're currently on object. I want you to jump into the data option. In the data option, we have the option to change a few things about this image. The first thing we can change is the opacity, we have the display size offset side show in and then we have the opacity. So show in autographic, this is the autographic, and then the perspective is the three D view that we usually get. I'll turn on opacity and then I will lower it. The reason I'm lowering the opacity is because I want to be able to place it exactly where I need this to be. I need this base to lie flat on this y axis. I can't be able to do that if the opacity is set to one. Of course, yes, I can do it, but just to be super super sure, I'll just lower this. Then I can click on the move to, then I can bring it down. To that point. Now we have our image set up, and then what we can do. I can just click and hold on the middle mouse button and drag. Then in here, we're now back to the perspective, Al hoova over this x, or you can just hit G x. I'll move this back a bit. The reason I'm moving it is so that the model can be here. Um instead of everything being at one place, the model will be here, and the image is somewhere a bit off. But of course, if I go back to the right view, this is still well aligned. Then, we have things like the size, I the size to the default 5 meters. And that's because this is it's a robot that we assume is in a warehouse and warehouses are quite large. So I think this is fine because I'm not creating anything to scale, if I could say so. But of course, if you're creating something to scale, we need to adjust this, but in this instance, we don't need to. This is fine. Now if I go back to the perspective by clicking and holding on the middle mouse button, what we can do is we can lock this particular image and to do that. Over here in the outliner, on the top right. We have the collection icon and then below that. O next to that, we have this other icon, which if you click, we have restriction toggles. Restriction togles allow you to choose what you want to see on the farest end of whatever object you have, so this particular area. What I want to add is actually the second one, which if I hover over it, it says selectable. What I want to do is I want to turn this on so that I can choose to have this image not to be selectable, so I cannot move it. I can't scale it, I can't rotate it. It's just locked. I'll click on this. What happens is this icon for selectable will be added. Now I have it over here, which if I turn it off. Notice that it's no longer there, but if I turn it on, we can be able to have it available to us. I will click this icon. And once I click on it, that means that I cannot select this. Although the collection itself, the selectable option is on, that means I can be able to select other things in the collection. But this particular object, this particular image, I cannot be able to select it. What I'm going to do is I'll rename this collection. I'll double click on it, and I'll call it reference. Reference images. Then I also turn off the selectable option. Now that we have this particular image setup, we can start our modeling process. 15. Setting Up the Robotic Base: A. Before we model, I would like to save this file. So I'll go to file, save S. And I'm going to go to this area call system, and I'll just scroll down and look for three D objects because that's where I'm saving my stuff. Here I have the reference images folder. I'll click on this icon with a folder icon with a plus. And then a new folder will be created, and I'll call this blender files. Then I'll get into this blender files folder. Then I'll get into O rather I'll create a new folder. I could call it mega flash sale. Then in here, I can come at this bottom part of this window, and I could just call this 01. I usually like using a numerical naming system. I call it 01 something. Here I would call it 01 mega flash sell. 01 under score mega flash steel. And then I can click on savers. Throughout the project, I'm going to be using numerical system of saving just to store my progress over time. I click on save. Then what we can do, we can switch to the right view. So again, click on the Tilda key right, and I'll zoom in, and I want to create this particular base. So this is going to be a super simple cylinder. What I'm going to do before actually created, I'll click on scene collection in the outliner. Then I'll create a new collection. I'll click on the new collection icon. Then it's going to create a new collection, so collection two. Then I'll double click on that collection, and I'll just call this models. Then make sure that you're selected within the collection that you want the object to be placed in. Because of course, if I selected reference images, that's where the object will be placed. So I have to make sure that that's something that I mentioned. So select the collection that you want the object to be in. So that is models. Then a shift A. Then I'll go to mesh cylinder. Then the cylinder will be added, and if I zoom out, that's the cylinder. Remember any time you add an object, this is a small menu that kind of appears on the bottom left. So here we have the added cylinder option. And we need to change a few things. First of all, things like the Vatices, the radius, maybe, and the depth. So what we can do is reduce the vertices. The vertices are the number of points, which 32 is a bit much. I could use maybe half of this, half of 32 is 16. You could double click and type the value, or you could just click and drag until you're satisfied. Then, of course, for just seeing like this particular surface, so I want to be able to sit through it, so I can hit Z to toggle this pi menu, and then I can choose wire frame or x ray. Let's toggle x ray. The object is still there, but we can sit through it. Then we can reduce the depth. I could make it a bit smaller. Then we can also reduce the radius. If I zoom in. Let me reduce the depth once more. So if you click and drag on any value and then hold on shift, you can be able to make small increments of the particular value you're changing. So say something like that. I'm holding down shift, and then clicking on the left mouse button, and I'm satisfied with this, so I can move it and move it somewhere here. So because I've moved it, that means I've deactivated the add cylinder option. So for me to make any sort of change, I would need to now scale things manually. So the cylinder is quite large, it goes beyond the reference. So what I can do, I can it tab so that we can go to the points. Mode, then hit A to select everything. Then I can hit S to scale. And then remember you can hold down shift. And this time, I'm not specifying the X, the y or the z. So I'll just click and hold then once I'm satisfied, you just click on the left most button to accept. And if I rotate this, you can see we have our cylinder. Now I can tab out to get out of the edit mode, then I can hit z and click on Tgle x ray just to turn it off, and we have our base. So what we can do, this, we can add a bit of definition to it, so we can make it make this area a bit rounded. To do that, we can use a few modifiers. The first modifier we can use is the bevel. With the bevel, it's going to add a bit of thickness at this area over here. And make it a bit more smoother than it is currently. So in the properties window here, we're currently in this particular area, which is data. So I want us to jump to this icon. So the modifiers, then click on Ad Modifier and under Add modifier, go to generate. Under Generate, you can choose Bevel. If you choose Bevel, of course, you do get this strange results. One thing that I would like for us to enable. If I just get rid of the Bevel for minute. When you add the modifier, you have the name of the modifier, and then you have these three icons, then you have this x, which is to get rid of this modifier. I can remove it so I can click on this. What I want is I want us to go to the top here where we have the icons so selectability and visibility, then we have the Showgizmo, and then we have overlays. If we go to overlays and click on this Delta, I want to turn on wireframe, There is section called geometry wire frame turnton, so that if I select, we can be able to see the edges of this particular mesh. Then if I select this cylinder, click on add modifier, generate, and choose Bevel, then we can be able to see the changes that we are making. So in the bevel, we want to bevel edges, not vatices. By default, the software will take you to edges. What we need to change is the amount. So the amount is 0.1. So I can click and drag on this and hold down shift. So if I just use the shift key, and then I click and drug. So somewhere here maybe 0.001 meters. Then I can add another segment. There are two segments. Then what I've done is I've added an extra rounding on the edge. This makes it look a bit more better, less flat than it was looking before. Then if I go back to overlays and turn off wire frame, you can see this is what we have. Then I can select this object, then I can click and say I want to shade smooth. So it doesn't look that appealing at this point. What I can do, I can add another modifier. So I can go to add modifier, generate subdivision surface. Once the subdivision surface is added, as you can see, there's a slight delay there. Sorry about that. Once the subdivision surface is added, it actually smoothens the result that we have, and this looks a bit better. So that's why I've added it so that it smoothens everything that we had because it was looking a bit a bit strange, not that appealing. So in the subdivision modifier, we have the Of course, it takes you to the cat pool clock. We have levels viewpot, and then we have renders render sorry. So in the levels viewpot, that means the quality or how many subdivisions it does in the perspective view, and then in the render, how many subdivisions will it do when we render? So when we render the subdivision value is always higher. But you can make them match if you'd like, but I think this is fine. The reason I shaded smooth is just to see how it would look like if I choose it to be really smooth end by default by the software itself before adding the subdivision surface. But adding the subdivision surface makes this look a bit more appealing than it was. Notice I did not add the subdivision fast. I added the bevel fast. One thing about modifiers, how you add them is essential. If you add them in a strange way, sometimes things could become very baggy, and of course, you'll have a few freeze ups here and there. So it's important to look at the order. So I bevel first, then I add the subdivision. I don't subdivide, then add the bevel. So now we have that base. So what I can do, I can call it robot base robotic base. So you can just double click on the word cylinder, call it robotic. Base. Okay. Of course, I can go to file Save as and change the numerical value and then click on save so 902. And that's how we create this robotic base. 16. Creating the Rounded Robot Base: Now we need to create this particular area. If I switch to the right, this part over here. Notice because we've used the subdivision surface, our fast cylinder seems to be a bit off if you look at it from the reference. I can select it tb. Then I can scale it up. I can hit S, then scale it up. Remember to hold down shift. X, then tub out. Now it matches a bit better. If I move it a bit, tub in again, it has shift, then tub out. Now I want to create another cylinder that should form this particular area over here. This particular area. For that to be possible. Anytime I add an object is going to be placed where the three D casa is. The three decasa is this circle that alternates between red and white. I want the three D cassa to be placed at the origin of this particular cylinder that I have selected. For that to be possible, you can hold down shift and S. Keyboard, then you'll get the options for the A. So you can take the s to the grid to the world origin to selected to active to the selection to grid, selection to active, selection to A. So selection to A means I can take whatever I have selected to the s, selection to active, selection to grid, can also do the same. So there are many options that you have available here. What I want is Asa to selected. The Asa is going to be taken to the origin, which is this particular dot, as you can see. Any object that I add is going to be placed where the casa is. I'll hit shift A. Then I'll go to cylinder once more. Then the software remember the settings that we had before, so I can just change things like the depth, and then I can switch to the right view. But of course, if I choose to move this, this will disappear. But there's nothing I need to change here rather than maybe the radius. If I just soll down shift, I think that's fine. Then I can click on the Seelect box over here. Then I can hit G, Z because I want to move this up. Remember, you can hit the Z key and Tgal x ray. Then I need to scale this so I can scale it on the Z. Tabin hit A to make sure everything is selected. Then I can hit S, then Z so that I can scale this down. Remember to hold on shift. If you want the increments to be a bit smaller, if you want to control the increments. Then I can hit G Z, Then I can scale this a bit. I I hit S, then G to move it. Then have these points at the top, I'll select them. Be I'm on select box, and if you click on select box and hold, you can choose to tweak, select box, select sac, select las I select box. Click and drag, and then we can move this down. G Z so that it aligns with the reference. We need to find a way to get this curvature over here. For that to be possible, if I just rotate, we'll need to switch to the edges. We have points, we have edges, then we have the faces. I'll switch to edges. Then I'll hold down Alt, then double click on the edge, one edge, and it should select the whole loop. If you hold down Alt and then double click on an edge, it should select the whole loop. Then I can go to the right view. Then if I zoom in, I can hit the space bar to such. For us to get this curvature, we'll need to be vel this edge. I'll click on bevel. This time, we're not going to use the bevel modifier because we want a specific part to be beveled and not the whole mesh. I'll choose bevel edges. The shortcut as you can see is control B. Then I'll drag. And as a drag, you can see that we are getting close to the shape that we want. But we're not yet getting the curvature. So the bevel is still active, so I've just dragged it down up to that point. Then I'll drag my middle mouse up to add an edge and then drag it up again to add another edge. And as you can see, we get that curvature. So that is how you can be able to attain the curvature. Now that I'm satisfied with this, I can click on the left mouse button and This is set up. And as you can see, you do have the bevel settings, but I'm not going to change anything here because what I have is satisfactory. So then I can tab out, then I can hit Z togal of x ray. Then I can select this, right click and choose to shade smooth, and it looks a bit strange. We need to add a few reinforcements to this. To do that, I can hit tab. Then I can add another loop. I want to add a loop just to reinforce the shape because when it's smoothed, it does not look really good. So I need some edges that are going to reinforce the shape or rather maintain the shape that I want. Before I do that, let's look at the reference once more. So I will click on the Tilder key, we'll go to the right view. I'll hit Z tub x ray. So I'll add a loop here because this is where I now want to add the screws. I need to define that area where I should have a small indentation of this particular mesh. Then I need to add a support loop here at the bottom. So let's do just that. With the cylinder, still under the edges. For me to add a loop, I can hit Control R. With control r, notice that now if I hover anywhere, we do get this yellow line, and that is the loop. All you have to do is click and then drag. I've clicked and I've dragged and I'm making sure that I'm aligning it where the reference shows that I should have that indentation. So I've added my first loop. So the shortcut is Control R. So there is the loop. Then I want to add another loop at the base here just to reinforce the shape. So again, control r, I'll click, then I'll drag it down. Then once I am satisfied, I can click on that. Then I can tab out, so I can hit tab, then hit the Z key, turn off togal x ray. Now if I select it and click, Shade Smooth. Notice that now that black kind of result that we're getting is now gone. So now, I can tab in again, then this edge will need to bevel it so that we have that indentation. So again, to select the whole loop, hold on alt, then double click on one of the edges, the whole loop will be selected. Then I can hit the space bar, then choose to bevel edges. Then I can click and drag and notice that this is very hue. So So it's a slight clicking and dragging. Then use the middle mouse. Let me just exaggerate it. So use the middle mouse, the scroll wheel to add to the number of edges that you need. I only need that. Then I can just move my mouse slightly. Up to that point. Then now I can select this middle edge. I can hold on, double click. Then I can scale, so I can hit S. But I don't want to scale on the z. So L et me zoom out. If I activate the scale, I only want to scale on the x and the y. I don't want to scale upwards. So when you're using the shortcut for scaling, so we can hit S, and then because I don't want to scale upwards or downwards, we can hit shift Z to remove Z from the scaling. Then I can adjust this and I can now scale it on X. Ad the X, Y. Instead of outwards, it has to be inwards like so then just has to be a bit. Then I can click on that. Then if I tub out and look at it, it isn't as pleasing as you might imagine. So we need to add more edge reinforcements, so I can hit tab. Then I need to add an edge here and an edge here. So select that edge, so I've clicked elsewhere. Then Control R. Then I'll click, and I'll drag that edge down. So here, then Control R, click and drag this here. Then if I tub out, this is what we have, and if I add a subdivision modifier, this should look really good. This cylinder is selected, can go to the modifier, add modifier, generate, subdivision surface, and this is what we have. But notice the base here it's very soft, as you can see. If I add the levels in the viewport to two, fixes that just a bit, but it still isn't to the level that I want. What I can do is I can just tab in. And when you're in the modifiers, we do have these icons. We have the first one on cage. I'm going from left to right. Then we have edit mode. We have real time display, modify in viewpot, right now in the viewpot, you can turn it off and it's going to not display the effect the modifier has on your mesh. Then of course, you can also choose to che. You can also choose to have the modifier B in or be in the render or not. That's something that you could play around with. I just want to add an edge over here. Control R, just want one. I'll click and then I'll drag at this point. Then I'll type out and see what I have, then I'll turn this back on because I turn them off. Now it's a bit better to look at. I can also select this, open the subdivision, and increase the levels to two so that it also looks super sharp. That's how we create that part. If we go to the right view, notice it's a bit, not super aligned to the reference. So we can tab in at A, then we can scale this. But remember to hold down shift so that it's in small increments. Then click on that, and I'll tab out. We're done with that particular section of the model. 17. Creation of the Robot Arm Stand: The next thing we need to create, if I go to the right view is this stand over here. For this, we're going to use a plane. But before we create it, I would like to rename this cylinder. I'll double click on it in the outliner. Then I'll call it grounded robot base. So now we can create the plane shift A, mesh plane. And we do have the plane settings. If I protate, we do have the plane settings, and the size is quite large. At this point, it's fine. We can scale it down or you can just reduce it if you'd like, but at this point, I would like to see it. So we do have the plane, and I would like for it to be aligned vertically. So for this to be possible, I'll at r, and then y, on the keyboard, and then I want it to be vertical, so I'll type in 90. So R y 90, then of course, it's aligned vertically. Now I can click on the left mouse button to accept that change. Then I'll switch to the right view. Then I'll hit togal x ray. Then I will now tab into the plane to go to the it mode. Then of course, choose between points, edges, faces, the chose is s. Then I can hit S. Make sure everything is selected by heating A. Then I can hit S. Then I can hit G and move this up, and of course, you can specify on the Z axis. Then I'll move it somewhere here, like so. Then I can select the points at the top, then G, s, we can do that. Let me select the points. G sad move this up. Select this G y. If you ever forget, always look at this gizmo, so it's going to tell you which which x is which. G x G Y again. We need to create this particular shape. But of course, we can select this point only and then just move it like so. We need an edge loop over here or just a singular edge. I'll just select that point, then we can hit to control r, then we can be able to create a new edge. If I hove somewhere here, I do get that yellow line, then I can click, then drag it where I want it to be, then I can select these points. Then g y, move this a bit. Then I can select the singular point and then hit G and move it where I needed to be at. Some are there. We have defined this shape. If I just move this down, G said, We have defined this shape, to the reference. At this point, it's just a flat flat surface because it's a plane. It doesn't have much going on. It's just a flat surface, and if I go to the perspective, that's essentially what we have. What I'm going to do, I'm going to hit A, then I'll hit G x. To move it on the x. Let's t to that point. Then I'll switch over to the faces, or you can it three on the keypad. Then we can hit E. E is for extrude. Then if I start moving this, you can see that it creates a thickness. So by selecting the faces and heating E, I'm able to extrude. But of course, if I just click to accept, you can hit the space bar, type in ex, and then you can choose faces. So if I hit that and total of x ray, this is what we have, which is quite satisfactory. But of course, if you are not satisfied with this, you can hit A, and then you can scale, and you can scale this on the x, as you can see. So if you wanted it to be thicker, thinner, as is here. I'll just cancel this operation by clicking on the right mouse button. Because I don't have any other reference, I'll just have to just visually see what works and what doesn't. But I think this is fine. I could make it thick a bit. S X a bit and I can hold on shift so that the increments are very slight. There we have that robotic stand. Then of course, we can bevel. These edges so that we have a nice rounded shape, we can tub out. Then we can select this plane. We can go to modifier. Add modifier, generate, we can generate a bevel. Then we can go to overlay and turn on wire frame. Then once you turn on wire frame, I can now come in, and under amount, I can hold down shift, then click and drag to that point. Very small value. Then I can add one segment just to reinforce that particular beveling. Then I can go back to overlays, turn it off, and there we have our shape. This is the stand for the robot. I didn't use any complicated method, which is good. We're just going to be using the same methods, the same techniques throughout the creation of this project. 18. Checking the Mesh Normals: Before we create any other object, I would like for us to look at the normals of our current measures. The normals of an object refers to an object that is perpendicular to a given object. In three D, it's used to determine a surfaces orientation towards the light source. In our case, which is in Blender, it refers to the side of the face that gets textures and describes what is inside or outside the mesh. So for us to be able to see these normals, what we need to do? We need to go to the overlays. So We've gone to the overlays before, and that is just to turn on wire frame. But now I want us to turn on face orientation. So I click on face orientation, and now, what we're seeing are the normals. O normals should always be the blue color. But for this plane that I'm yet to rename, it's a red. So we need to make sure that it is also a blue. What we can do, we can tab in, then we can go two phases. I'll at three. Then I will hit A. Then I can hit Alt N on the keyboard, Alt n, and then you'll get the settings for the normals. Once you get the settings, we'll choose to flip and that will reverse the normals. Instead of them being red, there no blue, then I can at tab to get out of edit mode. Then I can rename this plane, so I'll call it robot stand. I'll just a book click and call it robot stand. But it's important to consider the normals anytime you're modeling so that when you start applying materials or textures or shaders, things do not misbehave and start looking strange. 19. Creating the Screw: A. Now that we've ensured that the normals are facing the right direction. We can go back to the overlays and tunnel phase orientation. One thing we need to create the screws. If I go to the right view, and Tg x ray. This screws that so be organized around this base. For the screws, we're just going to create a simple one. It's not going to be too details because they're not going to be too much in focus. So I'll just hit and I ton of tuple x ray. So what I can do is, um, I can shift A. Let me go to mesh mesh, I'll use a cylinder. With the cylinder, I'll change the vertices. I'll reduce the value to something lower than 16, maybe 12. The radius is quite large, but that doesn't matter for now. We don't need to reduce it at this point. We can reduce it once we move the the cylinder. I can actually move it on the y or location, so I can move it. Then I can reduce the size. Then of course, notice that I also need to reduce the depth. The radius once more, maybe hold on shift. Then the depth again. Yeah. I think this is fine. Select this tab. That be in the edit mode. Then I'll at three and select this face. Then I'll extrude it E to extrude. Then I've not hit, I just hit E, then I'll just raise it up, maybe up to that point. Then I can scale, so I can hit S to that point. Then I can look at the base of this so I can select this. Then this time, I'll not extrude. I'll hit the space bar, and we'll look for an option called inset faces, which the shortcut is Control F. I'll click on inset faces. Then I'll click and drag down. Not even down but to the left up to that point. If I shift and use the middle mouse just to be able to see this quite well. Then I'll heat the space bar again in set faces and drag once more. Once you accept, we need to extrude this face, so I'll at E, then drag this down. After that point, then I'll hit again, drop down, then accept, then hit S, scale this in just a bit. Then I can tap out, and there we have a simple screw. For this screw, what we can do, we can add a bevel modifier. So selected, we can go to add modifier, generate Bevel. It looks strange. I'll reduce the amount. To something really small. 0.002 doesn't work, so let's try 0.0 005. There we can increase a segment. Then I can click, Shade Smooth. Doesn't look as appealing. What about 0.0 004. It's still not as appealing. Let's try and add a subdivision surface. Again, add modifier generate subdivision surface. Then in the render, can reduce this to one. Then I can come in and what I can do is maybe play around with this value, maybe 0.35. Okay. Let me tub. Let me add a few more edge loops, so Control R. Once I have over the edge, I can drag the middle mouse. Then I can tub out. At t again. Let me get rid of the subs. Let me also get rid of the bevel. L et me tab in Control R. Let me do that. Let me do that. Control R, drag this here. Control R, click and drag this here. I'm just adding the edges myself. Control R. To that point, Control r, add one there. Then we can go to pass. I'll hit three. Then I will hit the space bar and I'll choose to inset, then again space bar, inset, and tub out Admdifier subdivision surface. I think it looks better without the level. Then I'll tubing, disable this in edit mode by clicking on this icon, Control R, and I'll reinforce the edge. So the reason I'm reinforcing it myself. It's something that the Bevel should have done, but it's kind of damaging the result that I have. So me adding or rather placing these edges closer to already existing edges means that I'm trying to sharpen them a bit more than they are by default, as you can see it. It has become a bit sharper, less softer. Then F three, can select this in set or rather let me hit tab. No tub space bar. Then set space bar again in set, then tub out. Then we can reinforce this area over here. So Tubing Control R, click and drag this. I'm pretty satisfied with this. I'll just reduce its resolution in the render, then what I'm going to do is I will apply the modifier. I don't want it to be constantly there, and because I need them to be several of them. So it's not only one that I have, I need several of them. For these to be easier on processing, it's better if I apply the subdivision. To apply the subdivision, you always start from the first one to the last one. If I had five of them, I'd apply from the first one, the second one, the third one, the fourth one and the fifth one. It's important that you apply them in the order that you place them in. So first, second, third, fourth, fifth. If you have five, if you disregard that, then the application is going to be a bit strange, and you might start seeing weird stuff happening with your mesh. So to apply this, we have this drop down or rather this Delta, which if I can click on it, we have the option to apply. And once I apply, that means that the modifier is now baked within the object itself. And there we have our screw. So I will double click on the cylinder, call it screw. And this is going to be the screw that we're going to organize or rather distribute around this and as well as on the arm stand. So this arm stand. 20. Distribiuting the Screws Around the Robot Base: A. Now I want us to place this screw around this particular object, this rounded robot base. What I'm going to do first of all, is I'm going to move this. I'm going to move it on the y, so G Y here. Then if I rotate the view, I need to rotate the screw as well, so I'll hit r, then type in x n -90. If you've tateen 90, this a minus and it should do the opposite. Then accept this. Then I will switch to the front. Actually the front, the right, sorry. Then I will hit said Tubal x ray, the screw is already here, I'll g, and move it. Then I can scale it a bit. So Let me hold on shift. What I'm looking for is that it enters inside the rounded base, just a bit. So. Then if I hit the t of togal x ray, the other thing I need to do is I need to apply these objects scale and rotation so that they can be reset. So we can go to The screen selected, we can go to the object properties. Here you can see, we have the scale, which is 0.885. We have rotational values, so I want to reset them. So at Control A, and then you'll get the apply menu. In the apply, we choose rotation and scale. So everything is reset, but do not reset the location. Because if you do that, it's going to be taken to where the three DCA is, which is not what we want. So I could also move this down, so GZ, just down a bit, like so. Now that I have reset the rotation and the scale. What we can do, we can select this base, and then I can hit Shift S. What I want is I want the three D CASA. I I let me The three D casa was here at the center of this robot base. Remember, we did tell the three D casa to move to the center of this. Next, I want to do the same with the rounded robot base. W this selected, I can hit shift S, then I'll say cs to active. It's going to be placed at the center of this particular base. Then I want to add something called an empty. This empty is going to allow me to duplicate the screw around, and it's the one that's going to allow the distribution of the screws. So let me show you what I mean. So with this selected, I can hit shift A, and here we can go to empty and choose empty plane axis. So there it is. Then what I need to do as well is to ensure that the This particular screw. Its origin. See this dot. Its origin is set to the same origin as the plain axis. Or even this, but I'd rather use the plain axis. I'll select this then right click. That is selecting the screw right click. Then go set origin origin to three D casa, and the origin moves to where the three D casa is at. So now, because of course, this is going to be a bit ological, because this is a bit too high. What I can do, I can switch. So let's go to the right view, and I can hit the Z to x ray, then we can select the empty, and we can move it down so that it gets to this part over here. G z, and I move it down. Then with this empty selected, I can hit shift S, then say CA to active. Then I can select this screw. Then I can click and say set origin, origin 23d CA. Then with this screw selected, we can go to the modifier. The modifier that I want to use is the array. I'll place the array modifier on the screw and then we will use the empty to control the distribution of the screws. So, let me hit Z, turn off x ray. So I'll click on ad modifier, then I'll go to generate array. Then under the array, I'll turn off relative offset. Then I will go to object offset, turn it on because you want to use an object. The object that we want to use is this empty. Click on this icon on the farthest end, the eye dropper, then select the empty. Then we can increase the count. Let's say to eight. Then we can select this empty. With the empty selected, go to the object properties, and then we need to rotate this. So it's going to be on the Z. If I distribute this, we can do maybe 45. If I rotate through, you can see that we have our screws. Then one thing I can do is if I select the screw and go to the modifier. I can turn it off just a bit so that I look for the original one. This one. Now I think I should move it just a bit. G, y, move it in just a bit. We won't need to apply anything because I've just changed the position, the location. I can turn this back on. And what we have is we distributed the this particular. Let's see. Let me G Y. We've distributed the screws around this base. The controller is this empty, and it's quite helpful using the empty because we can add as many screws as we'd like. If I select the screw, I can continue adding to the cot, and then I can just select the ET and continue the degree and I can have various distributions based on my liking. So maybe I could use that. And there we have our screws. That is how we distribute the screws around this particular base. At this point, I could apply the array, but I won't apply just yet because I want to duplicate this screw and place it on this base. I think we'll do that next. 21. Placing Screws Around the Robot Arm Stand: Thank you. The next thing is we need to place the screws around them, the robotic arm stand. I'll select the screw that we had. Then I'll hit shift D to duplicate. I'll just click to accept. Then in the collection, you'll see we have screw.001. This is. What I'm going to do with this screw 001 selected, I can get rid of the array. Then what I can do is hit Control A, and then say I want to reset or rather apply all transforms. Then I will click because the origin is a bit off. I'll select screw a 00. Click, set origin origin to geometry. That's going to center the origin to the geometry. Then I can switch to the top view so that I can move this. We can actually just click on this move and just move it. Then I can move it on the x, move it up. But you can use the shortcuts if you'd like. Then I need to rotate this so I can activate the rotation. That's going to be on the Z, and I can hit n on the keyboard and we can get these items on the right hand side. So come in here and type in -90. Then I'll click on the select. Then I'll switch to the right view. I'll hit, togal x ray, then I'll shift and hit G and move this should be. There. Then I can rotate and see if there's anything else I need to do. If I hit Z, togal x ray of, and I can move this. Let's see, GX move it in a bit. Then I can go back to the right view, the z tubal x ray, and then we can continue duplicating. I'll just hit shift D, then y, it moves in a straight line. Come over here, shift D here, and Shift D again. D, and we've handled the front side. If I hit that again, turn off double x ray, we have our screws. We could repeat for the other side. We just need to do a shift D. Then I click so I can accept, then I can move it to the other side. Then I can rotate. But this time it's going to be 90 on the z. Then I can look at the side view. Then I can go to the right, a total x ray, and all you have to do is just duplicate and move. Shift D move this here. Shift D, move this here. Co I'll zoom in and move this. Shift D once more, move and then shift D this here. Now if we check at ten of double x ray, we have our screws distributed around this base, which is okay. We have so many screws currently, it's fine, but we'll fix this down the line because this is a bit ological, but this works quite well. Now that we have this, what we can do, we can get rid of the MT, but we need first of all to apply the array. So I'll select the screw, the one that is distributed around this base. Then we'll go to the modifier. Go to the ray. Then we need to apply. So click on this drop down. Select Apply. Then now we can select this empty, then we can delete it. Now if you look at this screw, it's only one mesh, which is what we want. But we have distributed these screws around this base, which is which is actually okay for now. So I can double click the original screws, the ones around the base. So I can write it maybe screw. Around base, just to know which ones they are for. But I think this is coming along quite well. But yeah, that's how you create the screws, distribute them around something that is radial, which is a circle, and then how you also use the same screw, but you duplicate and get rid of the body fire and distribute it around other areas where you require the screw. 22. Creating the Cable Inlets: O. The next thing I want us to do is to create if I go to the right view, to create the inlets for the cables. Before we do that, there's something I would like to do. We have this screws, screw 00 up to screw 010. I'll select the first one, hold down shift. Select the last one, all of them are selected. Then I can hit the spp, then I can type join, and then I can click on Join. Then the screws are for the arm stand. So I'll call it screws. So let me click, call it screw. Screws robot stand. That's so therefore. Okay. Then another adjustment I'll make is on the screws that are around the base. I just want to scale them in just a bit because I don't like seeing this. So this kind of section, I want them to be flush with the rounded part. So I will hit S. I cannot scale immediately because I don't want them to be scaled upwards or downwards, so that's on the Z. So I'll heat shift. Then hold on shift, and then just scale inwards. And then click on the right mouse part on satisfied. Now they're a bit better. I feel like, which is great. Now to create the inlets, if I switch to the right view. It's a simple cylinder actually. We can just go to shift A mesh cylinder. Then this cylinder, we can just move it from the settings of the cylinder. I'll move it on the y that I can see the size. I can increase the depth, which is the height. 12 tses is fine. I'm going to make any changes to that, but this is okay. I think this is satisfactory. I'm just using the settings from before. I've only moved it on the y, and I have increased the depth. That's it. Now I can switch to the right view and then I'll move it up. Then we can activate the rotate or we can just use r x 90. The Chases use which method you want to use, but all of them get to the same results. I'll go back to the right, make sure it's well aligned so I can hit z and do a to x ray and g move it like so. My the S then g, move it here maybe. Then I can hit Z, total x ray, then I can select this cylinder, heat tab. Then we can go to edge. Actually, the edge. I'll hit two. H dot, double click on the edge. Then I will hit the space per, and I'll choose two b. Based on the same technique is to create this this cylinder. Now if I hold on Alt again the book click Bevel. Oh, wow. That's kind of misbehaving. So let me see what the issue is. Bevel edges. S. That was the issue. Let me actually hit a scap to cancel that operation. Then let's hit Z togal x ray. Then what we can do is again, hit the space bar, Bevel edges. I'll click on one of the edges to select the loop. Then remember, you want to create more loops. Use the scroll wheel. Up to this point, maybe. Then I can move this, G Y. Something like that. Then I can select this edge. I'll do click. I can choose to scale it. I'll do click on this and then I can also scale it. So. So Z Tg x ray. This is okay. Then I'll select it, right click Shade Smooth. It does look quite okay. We can select this. We can go to Add modifier. So click on this icon, Ad modifier, generate subdivision surface, and I can lower the render subdivision. Then I can apply. So click on this drop down and apply. There we have that. Then I can go to the right view. And maybe move this up like J. Actually, I noticed there's something I didn't do because this looks weird. Let me do just a few steps. Before I get rid of the subdivision, so here. What I want is I want to add an edge, a support edge so that it solves looking this strange. So here I have a problem. Let me see. With this screws, let me fix this first. So I can hit S, then shift, then push it out a bit like so. Then with this, we can isolate. With isolation, we can click on the back slash, and then we can just see that singular object. Then I can tab in, and we just need to add support edge loops. Control R, click and drug, as you can see. The subdivision surface is still on, so any change that I make, you can see that it's being updated in real time. Then I can hit three, select this face, then I can hit the space, and I can choose to insert these faces, just a bit. Then again face ba in set faces to that point, then I can tub out. Then I can click on the B slash again. Then now we can get rid of the subdivision, so we can apply it. I'll click on the drop down. Apply. So now it's not a strange if I look inside. Now I'll go to the right. Then we can duplicate. This is the cable inlet. So double click on this cylinder in the outliner. I call it Cable Inlet one. Then I'll shift D, move it here. Then we can again, duplicate it for the other side, so shift D. Then we can choose to only move on the y, so heat y so that we're only moving on the y. If I rotate the view, rotate this, I'll activate the rotation and rotate this input on transform, I input one. Then we can go check on the right. G, y, then shift D, and move this here. We have our inlets. So we can select them. Select the first one, hold on shift, select the last one, then we can hit the spacea and we can choose to join. Then it's just going to be called cable inlets. That's it. We are making quite good progress on this. All that is left is to create the cables. We think we'll now be done with the base once you've created the cables. 23. Creating the Cable: Before we draw the cable, I would like to check the normals so we can go to the overlay. Click on that drop down and we can turn on face orientation. I'm just checking to make sure everything is blue as it should be. Then I can go back to overlays and turn off face orientation. Now I think we can track able. For that, we can hit shift A. First of all, I'll hit n so that I can hide these items, n. I'll hit shift A and go to C and a calve, I'll choose path. So this is the path, as you can see. So I'm going to rotate it, so I'll do a r y nine. Let me do that. It's R. Yeah. I don't know if I choose the y, but it's R. Then I'll hit tab. Once you hit tab, you get points, one, two, three, four, five, there are five points. I'll click tub just to get out of that. Then I will go to the top view, and then I'll move this on the y. G Y, move this. Then I'll go to the right. Hold on shift and just zoom out. Then I will hit tab and start moving the points. For example, I have this one, I'll just move it to here because I wanted to originate from here. You could have used the other side. Then I can use this here. The curve itself is a bit strange. If I rotate. If I tub out and select, you can sit straight line. I need for it to curve, so I'll hit tab again to Tubin. Then I'll select these points. The second one and the third one, then I will choose to click. Then I'll choose to subdivide. Of course, you can hit the space per look for subdivide, the same thing. Then I can choose the number of cuts. Maybe two, three, I think three is enough. Then I'll switch to the right. Then I'll move this g. Then I'll move this as well. Select this and move it. You can subdivide this between the two, so select those two, subdivide, then I can move this freely. I move. I'm looking to make this life flat, and I'm looking at this axis the y. I can select this in this, right click, subdivide, then I can move this. And then select this. You can see this one, then I can move. I subdividing based on my needs. So some are there. Then G again to move. So I think I need as some points between this too. So subdivide. Then I'll bring this up, like so. Then I'll bring this up. So. So again, here and here, I'll need to subdivide. Then I'll bring this up. Then for these parts, I can move them individually. I bring this here. Bring this here. This as well. And this too. After that point. The length of this is going to be determined by the length of the warehouse that we're going to have. At this point, we're just creating the basic shape. I fight about. The length should not bother you too much because we can still extend the length at any given moment in time. But as you can see, we do have the path for this. It's just a simple and that's it. The next thing would be to add a surface for this, which is something that I think we're going to do next. 24. Finishing Up the Cables: A. To create the thickness of the cable that we've drawn. We can select the path. Then we can go to the data icon. The object properties for this. Then in here, we have a lot of options, but for us to be able to create the thickness, we need to go to the geometry. N geometry, we have the geometry itself, we have Bevel, we have start and mapping. We can choose to extrude which gives us a really flat results, which is not what I want. I need to reset this value. Sometimes if you adjust something and you don't remember the default value, we can just hover over the value and then hit the backspace. The software should reset it for you. This is not what I want. What we're going to do, we're going to use another calve that is going to act as our source of thickness. So I will hit the shift A and we'll go to calve and think we'll use theabsco. The Nab saco is what we use. It's really huge. With the Nab sacle selected, it's going to be added. Then we're not going to change the radius or anything. But here we'll go to the Nabs path. Be careful about what you select because the Na circle and the nabs path. If you go to the objects data properties, they're similar. The path is the one that we drew. But if you feel like you're going to confuse the selection, you can just rename the Nabs path, so we can double click it, call it cable one. With this one, we can go to Bevel instead of using geometry. Then we can go to object. We're going to use this nab sale to determine how the thickness of the B. Here we have an object, we have object, we can pick the object we want to use, which is the nab sacle. I'll click on this hydroper then select the nab sale, and whatever result we get is humongous. Then we have the option to turn on field caps. Field caps means you're filling in this hole, so we can turn that on. We can select the Nb circle, then we can hit tab, then A. If all your points are not selected, just hit A to select all the points, then we can scale this down, and then the small eight becomes. We now start holding down shift, and then click until we are satisfied. I can hit tab again, A, sorry, I can select the Nb circle, it tab, then A to select everything, then S for scaling up, scaling down. But of course, this is okay. The thickness for this is okay. So I'm satisfied with that. Then I can select I can get out of the tab. I can tap out of the cackle, select the cable, it tub. Then we can switch this to right. Then I can hit, togal x ray, then I can select this and I'll start moving this. I can still make my adjustments, and I can hit turn off to x ray, and I think that's okay. Then I can stat bringing these points up, so that the life flat on the y. My main concern is the y. Then I can select all of these points Zoom, then G, then raise it up so that cling on the y. We have our first calve and it's being driven the first cable rather, and the s thickness is being driven by this nab saco. And that is being defined in able one under object. Under B object, then we define the nab saco. Remember to turn on fill cups so that the ends are closed of close instead of being open. That's a bit essential. What you can do is we can now duplicate the able. We can do like a shift D. Shift D. Then we have able 1001, I'll just replace it with able two. Then we can now start making adjustments. I can select this Cable two at tab, so if we can go to the points. Then I will click on the Tilda key. Then we can go to the right. Then I can start moving some of these points up. Okay. Then we can switch. I can again, click on the Tilda, go to top. Then now start moving these points to the side. This one. This just to have some variation. This can go that way, because cables are not always super uniform, so I can move this to my hearts content, I guess. You can adjust them as much as you like. So I can now tab out, then a cable one, you can hit tab. Then now start moving this. A bit. Then here where we have intersections. I example here, we can switch to the right and then can bring this up. Just a bit. If you feel like you need extra points, you can select this, right click, subdivide, then this middle one, we can move it down a bit down a bit. Then we can move up, so. Then this one we can move it down. We can select this right click, subdivide and make the changes as need be. So that the cables themselves, they look a bit more appealing. And natural when they are criss crossing. We'll do the same thing here. I'll select this point, hold down shift, select this other one. Right click, subdivide. G, move this up. You can define the Z axis. G. Then here and here, I can select this two, right click, subdivide, then subdivide some more. Then I can now move the points down. Actually, let me cancel that by clicking on the right mouse button. Then switch to the right view. Then we can hit double x rays. What we can do, we can hide the collection with the images just a minute by clicking on this, which is the visibility icon so that we can work just by seeing what we need to move. Okay. So again, right. So I'm just making sure that they're actually lying on the y. Okay? I'll toggle x ray of then I'll tub out and see what we have. We do have cables that look a bit natural because of the intersections. For the other cables on the other side, how you can create them is really simple. You just need to duplicate from what we have. How we can easily do that. If you select, for example, cable one, look at the origin, it's a bit off. What we can do, we can select this click and say set set origin and say origin to three D casa. The origin will move to the three D casa. Then we can do a shift D to duplicate. Then I call this cable three. Then I can activate the rotate and we can rotate. If I hit n, just to see the items and to be able to see the transform and continue adjusting this up to to 70. Then I'll click on this. It's not going to be perfect, so you'll need to come in, make your adjustments as you deem fit, so I'll hit the tub, then I'll go to the right. Then I'll make my adjustments I'll start moving this so on and so forth. But I think I should leave this to you because it would be pointless for me to repeat the same thing that we've been doing. In the next one, I'll have my cables created for both sides. The technique is the same as before. Once I'm done with this, I'll just duplicate it, then make a few changes here and there just like I did for this other side. This is how you create your cables. 25. Creating the Face for Robot Arm 1: A I have created my cables for the other side, as you can see. The process was the same. So I mean that I spend more time making adjustments here in there and making sure that the cables, if I go to the right view, they're lying on the y axis. So they're not going beyond the y, they're not dipping to go to values that are lower than this green line. So I will bring back the reference image. So I'll go to the icon and bring back the reference image. Make sure that you're clicked into the models collection because sometimes you might make that mistake and add things to the reference images collection. What I want to do in this instance, now that we're done with the base elements of the robot. I'd like to come and create this robotic arm. This first one. So for this, we're going to use a simple shape, and we're going to start by creating a saco. So I'll hit shift A, go to mesh, and I'll choose saco. When the cackle is added, I'll reduce the vertices to a number that makes sense. In this instance, I'll use eight as the number. The radius itself, I can rotate through this. You can see the radius is very large, but it doesn't matter for now. We can reduce it, but it truly doesn't matter for now. Now that I've reduced the number of tses 32-8, we can rotate this. So I can select this circle. Then I can hit R y 90. Then I can go to the right view. Then I can tub in, go two points, so hit one, or click on this icon on the top left. Then I can hit S to scale this down. Then g to move it up, then I'll zoom in, and I'll move this to this section. Then I'll hit S to scale it up. The bit. Now that we have this, I will duplicate the setup. What we can do, we can hit shift D, we're duplicating within the mesh. Shift D, and then I'll hit S, and I can scale the duplicate. Then I can also move it, so I can hit G, Then I can switch to edge, so I can go to the edge option at the top here, or so that is the top left or you can just hit two on the keyboard. Then I'll hit A, and I've selected all my edges, and that's because I want to create new faces from this. So I'll hit the space er and I'll look for bridge. There's an option called Bridge edge loops. I'll click on that and we now have some edge loops, as you can see. Then I'll go back to the right. These edge loops that we have hit A to select all of them, then shift d to duplicate. Then of course, if I drag, I'm going to be moving this, but I want to move it on the y, so I'll at y. Then I'll move this and take it to the other side. Once we do that, then we need to figure out how to create this shape. We're still in the edges, so I'll select this edge. One, two, three, four. These are four. I'll go to the other side. This is on the right. Hold on shift one, two, three, four. Then I'll click on the space bar and then I'll look for bridge edge loops. This list I've used recently, Bridge edge loops was what I used a moment ago. I'll click on that and we have our edge loops. Then once we do that, what we can do actually, I don't like the results that this has, these two faces. So what we can do, I can go to faces, select this face, select this face. I'll select this face. Hold down control. Actually, no, select this one. Select this control click. Wow. I'll select this. Let me just select them individually, and I'll hit S X, sorry, not S X. Then I will choose to delete faces. Then I'll select this phase, it X, and choose to delete faces. Then the reason I deleted those is because I don't like how they've been set up by the bridge to. I'll just have to build it myself. What I'm going to do is go back to edge. We can hit two, and I'll select this this. I'm holding down shift select this. Then I'll hit E, to extrude, then S to scale. Then this is what we have. I'll just scale it just a bit after that point. Then we'll go to Vatics, I'll hit one on the keyboard. Then I will move this. I'll start moving them by heating G. And we can activate the wire frame. We can also go to isolation. If this is what you want to see only, you can click on the Backslash and you should be able to isolate this. So I'll just make adjustments here and there. I'll move that. C in move that as well. Then I can hit set total x ray, then select this point G, move it and G move it. Make sure that you don't have really huge faces or you don't stretch the faces too much like this. That's what I'm looking at. Then we repeat the process for the other side. I'll jump two edges. I'll click on this icon on the top left, or you can just hit two, then I'll select this edge, shift, and select all of these edges. Then we can extrude E tot, then S to scale. Then we can go to atices, so at one, then start moving using the G key. Look at the floor and make your adjustments based on that. Okay. Now we can jump two edges. I'll hit two. I'll select this edge. Hold on shift, select this other one. Hit the spacepa, and bridge edge loops. Then I'll do the same for the other side, select this edge. Hold on shift, select this edge. Space bridge edge loops. Then I'll hit one for the vertices, and I'll just agg this one. I hit G. Make the adjustment. Up to that point, we have the face that should form if I just tub out and hit and turn off togal x ray, we do have the face that's going to form the robotic arm. So That's how we create that particular area. Notice that we began with a simple circle and then we built from that and we duplicated within the mesh itself. That is something that is possible, and that we should take note of because sometimes or rather what we've been doing, we've been duplicating entire objects, but we've not been duplicating things like faces within the edit mode. So We're going to continue from here, we'll create the thickness and add onto this. Keep in mind, I've been saving my work. Currently, I'm on the sixth iteration of this file or this project. So make sure that you're saving so that you don't lose your progress in case maybe the software crashes or in case of any other situation that may arise. 26. Extruding the Robot Arm Faces: Now we'll need to add a bit more detail to this. I will select it and heat tab. I'll need to add several edge loops that are more vertical. So I'll heat control r, and the software will show me where it's guessing the first loop should be at, but I will use the wheel and add four. Edges like so. Just go up using the middle mouse, scroll wheel, then click. Then of course, click again to accept. So you're clicking twice. Now, I need to make these lines straight. I'll go to the front. Actually not the right, sorry. I'll select these points. Then I'll hit S. That's going to be y zero. Then I'll do the same for the rest. S y zero, then click to accept S Y zero, then enter to accept. S y zero and time to accept. I just want them to be straight lines that it's a bit more orderly than what the software itself set up. Then I want to select all the points. I'll at A. Then I'll move to actually not the points. Let's switch and go to faces and at three. Then I will go to the top view. In the top view, I'll move this on the x. G x. I'll move it somewhere here. And click. Then we can zoom in, then G x again. I just want to move it just a bit off. What I want to do is I want to extrude, I want to create the thickness. That's where it's not exactly where this stand is. After that point, then I can hit the E because I have selected the faces, so I can hit E for extruion, and then extrude this to the other side. Then click to accept, then I can hit Z, then I'll togal x ray and actually check. S it meet my standard on what I want, similar to the other side. I can move this inner bit, just a tiny bit. G x, just a bit like so. Then if I check in the perspective, if I hit Z and turn off total x y, we do have the thickness that we need. Then I will di select those faces. Then I'll hit Control R so that I can add edge loops on this other side, so I will add four of them. These are three, so I'll scroll up again using the middle most scroll wel. Then I'll click on that and click again. So Control R, we'll do that. Now that we have this, we can easily smooth this out using the subdivision surface, make it look a bit better. If I tub out, we can go to the settings for this. We can go to the modifier. Then we can go to generate subdivision surface, and this is what we have. It is coming along quite well, although it's not that perfect, but this is essentially how this is created. We need to add a bit more detailing in terms of this being too smoothed out, as well as we need a section here where we have the er cavity, where the second arm should originate from. But after this point, this is pleasant, I should say. I'll remove this subdivision, so I will just click on this close, and I'll remove that subdivision modifier. In the next one, we'll continue adding details to this particular model. 27. Refining the Robot Arm 1: We need to start refining the robot m. The first thing we'll do is This area where we have the stand. We should have an intrusion on the robot arm so that it looks more realistic. So I will go to the right. Then I will tab in it to togo wire frame. Then I'll hit one to go to the points, select these points at the top. Then I will hit Z and I'll just bring this up a bit. Then I'll select these points and just move them a bit like so. Then G, up to that point. The tub out. Now if I hit that and go back to solid. This area should have an intrusion like an actual intrusion on the inside. What I mean is, if I isolate this and we go to overlays and we look at quire frame. The faces here. If I hit three or four faces, so the faces here should be extruded on the inside. That's what I mean. For that to be possible, we're going to need to if I get out of isolation mode, We'll need to create a loop here, like an edge loop. Control R, and I'll zoom in here. Actually, let me escape and choose a better positioning, so things is fine. Control R, then I'll come here, click and then drag this to this point. There. Then I'll switch to the right. Then I'll hit said wire frame. I'll hit one, then I'll select these points, and I just want to make them straight. S y zero, and I'll hit enter. Then what I'm going to do is if I hit z, go back to solid, I'll go to pass, I'll hit three. Then these phases from here to if I hold on shift here. I'll need to inset them. I will go to isolation mode. I'll hit the back space the back space, but the back slash. Then I'll hold shift and select these. Then I will bring back or get out of isolation mode. Then I will inset, I'll type in inset paces. Space bar inset. Then I'll track down, hold on shift so that you can control the increments. Then I will scale this down. So this is S y. S y, then something like that. So if I hold down shift, something like that. Okay. On this other side, I'll need to find that edge. Let me go to isolation. Hit two for edges, select this, this and this and this and this. Then I'll go back. Then I'll hit g, y. Then I'll move this to this point. So I'm just making sure that I have the proper in the proper faces before I make the intruion, before extrude on the inside. Now I can p space. Then I can select the faces and select these faces here once more. Hold on shift and select. Then I will go to the right view. Then I will exit isolation mode, and actually, let me go back to right. I'll hit the z togal x ray. Go two faces. The faces are selected ensure that that is what you have in my case, they are selected. So again, the tilda key right view, then I will hit E, then drag this outwards like so I'm trying to match the distance that the robot stand is kind of inside this particular. Then I'll isolate. If I look at this, I'll isolate the robot, then I'll do a quick inset. So Space bar inset. Just a tiny bit, hold down shift. Just a tiny bit. Then I will hit Z. We go back to rather turn of togal x ray. Then I'll hit tab to get out of edit mode. Then on this mesh, can change or rather we can add a modifier, go to generate subdivision surface. If we look at it, it's not much, we'll need to add more resolution to this. What we can do, I'll disable this just a bit. Then I will tab I'll create an edge loop. So on the inside of the faces, this inside. Control R. Then I'll click. Then I'll turn this back on. Not much of a difference. Then I can change the levels in the viewport. I can increase this 22. Okay. Then what I'm going to do next. Let me disable Under overlays, let me disable wire frame so that now I can add new loops. I'll add a loop here and a loop on the other side. Control R, click, then drug and do the same on the other side. Control R, click. And truck, then accept that. Then if I tub out, select this right click, Shade Smooth. If I bring back everything, how does it look like? If you look at the shape, it has actually come out really well. Now we need to refine this even further, so heat tab, turn off this a bit. Then we need to add edge loops around really close to this edge. If I add double click, we need to add an edge loop here and on the other side as well. To do that. Let's do control. Then click, then drag this here. Do the same on the other side, Control R. Control R. Need one. Click then drug. Then we need to do the same for these holes over here. This opening. Control R, click and do the same on the inside. Control R, click drug. Okay. Control R, click and drag. Control R, click and drag. Then we can turn this back on and see what we have. It's very defined. So what we're doing is defining the shape of this. Okay. Then we'll do the same for this other side. I'll tab into the edit mode, Control R, let me turn this off, then hit Control R again. So click and drag. And then Control R once more, click and drag this. But to hold down shift, then rotate. Control R, click and drug Control R, click and drug. Then click to accept. Now if I tub out, and then I smoothen this out. This is what we have. If we compare this with the reference, if I jump to the right view, you'll notice that this doesn't fit the reference, but we can make adjustments for that. So I think we'll do that on the next one, just fixing ensuring that this meets the expectations of the reference, because it's a bit off in a way. But so far so good, our shape has come along really well if I select it and isolate. It has come along superbly. And this is great if I exit isolation. So I'll save this once more so I'll save. This is my eighth pile now, so I'll click on Saver s. So ensure that you're saving just to have good progress of your work. And of course, it's going to show you where you began and all the things that we've been adding up to this point. 28. Editing the Robot Arm using Proportional Editing: Y. Next, we need to make sure that this robotic arm fits the reference or rather matches the reference. So I will go to the right view, and I will hit the tab and I will hit Z and go to wire frame. Then I'll go to point mode because I'm ready in edit mode, I just need to select the vatices, which are the points, and then I will need to turn off the subdivision surface. The mesh is selected, so I can just turn off the subdivision in edit mode. And then we need to make a few adjustments. For these adjustments to be uniform, we'll need to use something called proportional editing. Proportional editing is found at the top here where we have this icon that is like a circle and then it has a small dot at the center. If you have over 18 ss, proportional editing, proportional edit mode, shortcut zero. So I'll just click on that icon to turn it on. Once I turn it on, we can have a look at the various options. If I click on the drop down, the proportional editing allows you to have the available options, smooth sphere root, inverse square sharp, linear constant random. And what this does is whichever points are selected in this instance. So for example, if I select these points, and then I want to move them. So if I hit G, I actually have this really, really huge suckle, and sometimes it might be so huge that you can't see. Sometimes it could be really tiny. So to adjust the size of that cackle, we can use the middle mouse scroll wheel. If I scroll up and down, you can see we have this suckle. Proportional editing means that anything that is going to come into contact with this suckle will be moved. So if I move this, notice that anything that is outside is not going to be moved. So if I cancel this motion by hitting the right mouse button, You can change the various types of proportional editing you might need. The first one is smooth, the second on is sphere, and if I hit G, then this is going to be moving this using a sphere of fall off. Then I will cancel this by clicking on the right mouse button. And you can test out the root. So these are things that you can test out yourself, see what they do. But in general, I mostly use smooth for most things, and that's what we're going to use in this particular section. So we need to use proportional editing so that we're not moving the points ourselves manually. So if I select this particular points, or you can even select this three. So if I just click in drug, and then I activate the subdivision modifier. So if I click on that icon that I had turned off on the modifier, Then the smoothing will occur. Then now if I hit G and adjust that proportional edit sphere, then I can constrain this to the Y axis. Then I can move this, and as you can see, I don't have to do the editing myself. Up to that point. I just need it to be quite small. Then I can come here, select these points, and again, hit G and move this, select the ones, hit G, and move. Then I can come over here at G, move this as well. Select this and at G and make your adjustment. It has to be super subtle. If I tub out of the edit mode for a minute, you can see that the shape actually is in line with the reference. We'll go do the same for this other side. I'll click on the tab, then select this points. I'll start with this three, G y, then move this. Then I can come and select the individual ones and hit G. Is hit G, this hit G, not that I leave that as it is. So this hit G like so what I'm looking at is the curvature itself, the curvature of the smooth mesh, not actually the cage, if I could call it, so the the cage that we can be able to select our points. That's not what I'm looking at. So sometimes it might be confusing. What I'm looking at is the result that I'm getting because remember, the visibility of this modifier in the edit mode is active, so I can actually see the end result. If I tub out, you can see that I have made this actually fit the reference just by using the proportional editing. What we can do next is to rename this, so it can't be called SCO. I'll double click on it and I'll call it robot one. This nabsacle is the one that is being used by these cables. I could call it sub click on it and call it cable profile. And it enter, and I'm sure if I select the cable and we go to the object data for the cable, that is this particular nabs, we can see that the name has changed. We don't need to tell the software again to refer to it or to reference it. So once we have this, this is somewhat done, not completely, but somewhat done. And if I hit the solid, Notice that we didn't in anything when you were using the proportional editing. We're just refining what we had. So make sure that you turn off the proportional editing because if I click on tab again, the proportional editing is on. Keep in mind that if I tab out and I'm in object mode, the proportional editing is not active. So I'll need to go back to the edit mode and then turn off proportional editing and then tab out to go back to object mode. 29. Creating the Base for the Second Robot Arm: The next thing we're going to do is to create the second um. If I go back to the right view, this particular um is what we need to create, and for that to be possible, we'll need to actually derive that base from the first. We need to extract a few phases so that can be our starting point for the second m. Then once we create the second arm, we'll need to delete a few phases here so that we have space for where the second arm will be because there cannot be any sort of intersection between the two arms. So with this robotic arm selected, I'll go to modifiers, and under modifier, I'll turn off the subdivision, both in the editing, in the render and in the display. So currently. So I'll hit tab, to get into edit mode. Then I'll hit three, or you can click on this icon. What I want to do is I want to select these faces and extract them. To do that, Al Hova over one of these edges, hold on at and then click. Then Al Hva over the next edge loop or rather face loop because these are not edges that I'm trying to extract, but faces. All Hova over one of these edges over here. Then hold on out and hold on shift, and then click so that I also extract this loop as well. Then I can hit shift D to duplicate, so shift B to duplicate. Then I can hit the spacepa, and then I can choose to separate. So just type in separate and you'll get this option, separate a selection. So I'll click on this. And now, if you look at the outliner, I have Robot m one, I have Robot m 1.001. This is what I have extracted. I will get out of it mode. I'll click on the tab. Then I can select this duplicate, and I can isolate by clicking on the Backslash. As you can see, we have extracted these cases. Then I again get out of isolation mode. Then what I want to do is switch to the right view. I'll go to the right view. Then I will hit the Z key. Then I'll choose wire frame. Then This m, I will scale it up. So if I hit S and tran scale it up, it's a bit strange, as you can see, because the origin is a bit off. It's over here. What we'll do first, with this robot mesh selected, I click. Then we'll go to set origin. Then we say origin to geometry. So that now the origin is at the center. So then I can click on the Tilda key go to the right view and it S. Then I can scale this up slightly. So I just want it to be slightly bigger than the m that this section that's already here. So I'll heat shift just to have very small increments. And then I'll click on this move icon. Then I'll move this slightly inside. And of course, we can use the top view. I'll click on the Tilda key or to the top view, and then I can zoom in and start moving, so maybe up to this point. Once we have that, Then I can start creating the shape for the robotic m, the second one. What I can do instead of this being called robot m 1.001, I can double click on it and just replace that 1.0 012. Then I can switch to the right view. Then I can hit the tab key. Then I can hit A because I'm in the pass mode. Hit shift d to duplicate, and then I can move this here. Then because we have a reference here, if I just move it down a bit, I can scale this down, so I can hit S, then g to move this. So Okay, that's fine. Then we can select some of these edges, so I can isolate. I can it on isolation mode. Then we can go to edge mode, or you can it two on the keyboard, and then I can select this edge in this edge. Hold down shift, select this edge in this edge, this edge, and this edge. So when I'm selecting, I will hold down shift. Then I'll hit the space. Then I'll type in bridge. Edge loops. Then I'll click on that and I've bridge those edge loops. Then we need to select these edges over here. So from here, here as well as from here to here, and then we can be able to ext, then finish creating this shape. I'll select this, hold on shift and select the ones that follow. Then I will exit isolation mode so that I can see how much I should extrude this. I'll hit E, and then I will heat S so that I scale the extrusion. E to extrude S to scale. So Let's have to that point. Then I can hit one to go to my vertices, then I can start moving these vertices to my desire. I'm just looking at this line. I'm just eyeballing where this should be, and then I can move this in because I'm looking at this line, as you can see, then I'm taking care that this does not go beyond the robotic arm that's the first one. I also need to just move this a bit. Let's say here. Then this one, this one is fine. Then I can hit two to go back to edges, select these edges, sorry. These edges should be selected, then I'll hit E S to scale. Hit those keys successively. Then I'll click to accept, then I'll hit one to go to atices, then I'll start now shaping this. I'll select this G. Select this point, G. G in this as well. It. Then now I can hit the number two on the keyboard. And I can select this edge. Hold on shift, select this other one, then hit the Space bar, Bridge edge loops. Then select this, and then select the second one shift, click. Space bar Bridge edge loops. Then we can hit one and make a few adjustments where adjustments need to be made. Make those adjustments. I think it's fine. Now I can tab out, so I can click on tab, then I'll click on select box. Then if I rotate, as you can see, we have this shape and it's quite flat. But if I hit the Z key and we go to solid, this is actually the basis for the first robot m. So we've just extracted a few face loops from the previous m, and then we've used those face loops to build this shape for the second robot m. 30. Creating the Cavity in Robot Arm 1: Now we can create the thickness for this second robot arm, so we can tab into the second robot arm. Then we can go to the faces, so I can hit three. Then I'll hit a to select all the faces. Then I can Stop using the perspective and we can use the top. So I hit on the tiler key right right top. Then I will hit the key. Then I will move this to somewhere here. I'm just eyeballing how thick I want this to be. I'm looking at how thick it is on this side and the distance I should move it on this other side so that they kind of match. Now that we've done that, we have the base for the robot, the second one that is So let me talk about, but we do have the issue of this intersection. So we need to start creating this particular hole where we're going to have this second robot be able to move within. Because if we left it as it is right now, this is not going to be the most appealing results out there. So I will first of all, I'll go to the overlays and I'll choose wire frame. The reason I'm choosing wireframe is I want to see what areas should be deleted. To begin with, we need to add an edge loop here so that we can be able to delete the faces because this face is quite large, so we can't delete the whole face. So I'll tab, that is to the first arm. Then I'll hit control r. Then I'll click and I'll drag it somewhat here. Then of course, we're going to have this jagged kind of edge. So I'll hit one. And because I had that edge loop selected, the points for that edge loop are the ones that are going to be selected. Then what I'm going to do is I'm going to hit S, then on the y, and then zero so that I can flatten out those points in a way that is much more appealing visually to me because that's what I prefer to look like. Now that we have this, we do have a basis on what we should delete. But just to be sure we can switch views, go to the right view. It, go to wire frame. Then you see this edge loop, we need to move it a bit back because as you can see, if I just delete at this point, it's going to be a bit cumbersome, there's going to be steel intersections. I'm going to hit G y on the keyboard, then I'll move this. The points are not yet di selected, so I'll move it somewhat there. Then now that I've confirmed what I or which area should have the faces deleted. Then I can hit Z, solid, then I can isolate. Let me first of all, hit three, to go to faces. I'll select that. Then I'll hold down shift and select that so that I can have some sort of knowledge as to no knowledge, but rather reference to know that to this is what should be deleted, this whole area, in this, if I hold down shift, including this, this area. Keep in mind, I'm not selecting this particular faces here because I want this to be part of the thickness. I'm not selecting this, so don't select it because you'll have to manually create it. Now I can isolate this by clicking on the Backslash, and I can start selecting these faces. I'm just holding down shift and selecting these as well as the O. Of course, I could just click and drag and select, but I don't want to do that because I want to be really, really sure about what I'm deleting. So once those phases are selected, I can hit S, and then under delete, I can choose delete phases. Then that's what we have. Then we have this area over here, which we also need to delete. So what I can do is I'll hold down out. Then I'll click on one of the edges. Then I so select the loop. Then I'll hit X, then I'll choose to delete phases, and that is gone. But keep in mind, I'm not going to be deleting this at all. I did this thickness, or rather this extrusion. So I'm not going to delete it in any way. Now we can start forming the shape, but before we do, I will need to exit isolation mode. Then I will need to click on the Tilda key and can go to the top view. I want this to curve just a bit so I can hit the said wire frame. Then I can hit one. Then I can select these points. Then I can, it G, and this is going to be G Y. M this slightly, then these two points in the middle. G y. I just wanted to have a slight deep. That's all I want. Now I can hit Z, solid. Then again, back to isolation mode, the B slash. Then now I will hit two to go two edges. Then I will start bridging some of the edges together. So I will select this I'm holding down shift as I select all of these. Then I can hit the spacepa and just typing bridge. I choose bridge edge loops. Then once we have done that, what we can do. Remember, we did maintain this thickness, and we do have the thickness here. We're going to start bridging each edge to its coinciding edge. I'll select this edge and hold on shift, select this one. Hit the space bar bridge edge loops. Of course, sometimes you'll get some strange results. Sometimes you could be from selection of the wrong edge. So in this instance, that's the case, so I'll do. I need this edge, and then hold on shift. Click on that. Hit space bar bridge edge loops. Sometimes you might select the wrong edge or an edge that is a bit on the inside, not the one that we want. So that could be a bit problematic. So you have to make sure that you check you cross check what you're doing. I'll click on this. And then hold on shift, select this, then space bar bridge edge loops. Then I'll do the same for this other one. Select this. Hold on shift, select that. Hit the space bar, Bridge edge loops. This is a very repetitive process. Of course, if you look at this, it's a bit strange in its presentation. But this is due to the normals, so we'll fix that issue with the normals. But I can also select this edge over here, select this one. Space bar Bridge edge loops, select this one. Select this one. Shift bridge edge loops. I've remained with one, two, three, four edges that need to be bridged. Then we can repeat the same on this other side. Select this edge, shift, select on this. Let me do that. I selected the romance, so control. H enter bridge edge loops or spacepasory, Spacep bridge edge loops. Space by bridge edge loops. We're bringing a bunch of bridging. We're filling this space because it cannot be open a cities by default. Bridging is going to help us quite a lot. Now I have one, two, three, four, four edges. To finish this, we're going to need to create, We're going to need to create a few edge loops here. Control R and Al Hova over these faces. This is where I need to create the edge loops. Then I will increase the number of edge loops, two, three. Then I'll click to accept, then click again. You need to click twice. The first click is to accept, the second click is to choose the positioning. Then I can bridge between this and this. If I select this, hold on shift, select this bridge. Look at this other one. This one. And this one, bridge, and this bridge. Then finally, this and this and we can bridge. Some of these look weird, and I'm sure it's because of the normals because if I go to points and I select this point and I move it, you can see, I'm moving the face. But it's a bit straight, so let me cancel this operation. If I go to the overlays and face orientation, this is what we have, and this should be blue. That's why we're getting weird results. So we're going to change this later. Once I finish fixing the other side. I'll go back to edges, so I'll hit two. Select this edge. Select this edge. Shift, click bridge and bridge this as well. So I think we can select this together bridge. Then finally, we can bridge this. Now we've created the cavity where we should have the part particular area where the robot m should be rotating from. In the next one, we'll fix this area over here and then continue refining this shape. 31. Finishing Up the Robot Arm One Cavity: For this area over here. Think I might have bridged things wrongly. So I just need to select these three faces, and I can hit X to delete, and I'll choose faces. Then I'll bridge afresh, so I'll hit two for the edges, and make sure I select the correct edge. Then I'll hit the space bar and choose the bridge. Same with this, the space bar bridge. Then this and this hit the space bar and bridge. And the strangeness stops because I think I selected an edge that is on the inside. So now that we have this, um We can actually get out of isolation node, and this is what we have and notice that it fits perfectly just like desired, which is okay. What I need to do next is to actually fix facate. Isolate this, I need to fix the normals. We'll go to the overlays at the top here. Click on the drop down and alter non face orientation. Then I'll hit three. Then I'll hit A to select everything. Then I will hit Alt n, and then I will choose to recalculate outside. So that now, all my faces that are on the outside are this blue shade, which is what we want. Then The other thing we need to do is turn this off. I'll turn off the phase orientation. Then we can actually smooth this, so we can go to the modifier and turn on this three icons, and then I can tub out, and of course, go back to the overlay tunnel fire frame and see the results that I have. If you like this smooth kind of results, you can maintain it, but again, you can still refine it to your satisfaction. So you can add edge loops, so you can tab in, turn this off in edit mode. Then I can hit control r, and then I can add an edge loop here, and then click and drug to choose where I want it to be. Okay. She's okay. Then I can add an p, so control R. Once more, click and drag if that's what you want. Then I'll click to accept. Then you can see that reinforces what we have, makes the edge a bit harder, less smoother. So if that's what you want, that's fine. Then another thing we could do, I would like to have a holow result. So I would need to breach these edges. So this edge. If I hold on out, let's see. This edge over here. If I hold on lt, notice it doesn't select the whole loop. With this one, we'll need to hold down shift to select this, this edge, and if I go to this other side, hold down Alt and shift, double click, then hold down shift, now to select the edges that we need added. Then I can hit the space bar. Then I can choose to bridge. And there we have the hollow section. Then we can check the normals. I'll go to the overlays face orientation. This is causing an issue. I can go to three for the faces. I click on one of the edges. Then I can hit Alt n and choose to flip. I'd prefer if this inside looked better than this. I've fixed that particular issue. Then I'll go back to the or overlay, internal face orientation. Then I can add more edge loops here, so Control R, and I can add edge loops and accept, so click twice once to add the edge loop and the other to accept the position replaced the edge loop. So this is fine. If I activate the subdivision surface and tub out, this is what we have. So I'm just looking around seeing if we have any puny things happening, so far so good. This is great, actually. If I exit isolation node, This is what we have. It's pretty cool. We did take a lot of steps to get here, but we did create that cavity that is needed to accommodate the robotic. So make sure that you save. Currently, I'm on the tenth iteration of my file, so I'll go file save as, and I'll save this as the 11th. And frequence s. So that's how we create that particular cavity for the robot m one that is supposed to accommodate robot m two. In the next one, we're going to refine the second robot m so that we can move to other elements of the model. 32. Refining Robot Arm 2: Let's now refine this second m. So I will isolate it. I'll click on the backslash. Then I will hit n to get rid of these options over here. Then I will go to the tab option and de select whatever we might have selected. I'll add four edge loops on this thickness. Control R CA over one of these, then of course, drag your middle mouse. And then click once, click again to accept. Then I'll need to do the same on the vertical. The diagonal in this instance. Control R, then four of these. And then I'll now start coming in and adding edge loops around here. Control R, and I'll click, then I'll drag this. Click on that. To accept, go to this other side. I shift Control R. Click and drag. I'll add more edge loops on the inside of this, Control R or maybe not. Let me leave that as it is, but maybe change the one on the bottom, so Control R, I'll add three, and I'll accept that. Then of course, if I go to the modifier, we did have the subdivision modify that I turned off the options, so I'll bring back these three options. Then I can tap out and see what we have. And if I exit isolation mode by clicking on the B slash, this is exactly what we have. Then we can swap to the right view. And again, we can use proportional editing to ensure that this particular arm kind of aligns with the reference, so I will hit tab again. Then I'll hit one for the vertices. And then I will activate proportional editing, and I will choose smooth. Then I will select this point. Hold down. Actually, before I select the points, let me just hit set, and I'll use wireframe. I'm using wireframe so that all the points are selected. If I do this in solid mode, that would mean that some points are not going to be selected, so that's why I keep on using wireframe every time I want to do this. Shift and select on this on the other side. I hit G. Then I'll just move this to that point. Then I'll select this. Hit G. Move that, select the G and move that as well. Then I can now tub out and this actually fits the reference quite well. Then I can hit the Z and choose the solid option. So we now have our robotic arm, the first one, the second one. And the technique for creating both of these has been the same. We just started with simple shapes, circles. And these are techniques that used to model anything. You just start with a basic shape and then you build upon it using the modeling tools that are available in blender. So this is quite nice results. So in the next one, what we're going to do if I go to the right view is we're going to create this particular section. 33. Creating the Robot Arm 2 Cavity: Now, I want us to create this section here. For this to be possible, I would like for us to have a placeholder for that particular area so that we have a guide as to how the shape should turn out. I'll click on the select box. Then I'll select this robotic arm. And then I'll hit tub. And what I want to do is I want this cas, this three D casa to move from weights at to somewhere here. So I'll hit three on the keyboard so that I can go to faces. Then I'll select this face. Then I'll do a shift S to get the settings for the casa or rather the Pi menu for the cas. In this Pi menu, I want to select Cs to active. That means I want to move the casa from where it is to what I've selected, which is active. I'll click on that. Then I'll tap out. Then I'll hit shift A. Then I want to add a mesh and that mesh is going to be a cube. Then in the settings for the cube, I can scale this down or rather reduce the size. Something like that. Then with the cube, notice that I can't be able to select it. I think I've placed it in the reference images collection by mistake, so that's the issue. So I'll make the selectable option to be on. Then I'll just select the cube from here, it M and then choose which collection I want this cube to be in, which is models. Then I can now turn off selectable. So everything on the reference images cannot be selected. Then with this cube selected, I can switch to the right view. Then I can hit set, to go to y a frame. Then I can tab to go to the edit mode, then I'll hit 14 points. Then I'll select these points and just move them down, so G. So the G and the s. Then this is G y. And then select this g y as well. There we have the placeholder. Then I'll tap out. For this placeholder, if you look at it now, it's quite thick, so I'll scale it down, but on the x, so I'll hit S x and just make it up slightly thinner. Then I will hit Z and turn off or rather, go back to solid. Then I will select the robot two, and then I will turn off the subdivision, all the buttons for the subdivision. Then we go to overlays, and then I will turn on wire frame. The reason I'm turning on wireframe is because I want to define the area where the faces should be deleted. Because for this to be here, we don't point an intersection, we actually want an area where the faces can be deleted and we have a cavity. For that to be possible. We'll first of all add a loop like an edge loop that goes from here because this is such a huge face at this point, so we'll need to split it. I'll select this it tub control r. Then I'll go over somewhere here, click, strike down, somewhere there. Then the faces that I'm going to delete are if I hit three, We might think that these faces are quite large, but it's important that we delete from here because what I want to achieve is this. If I select this cube, and let me right click and say set origin, origin to geometry. If I rotate, activate the rotation, and then I hove over this, if I start rotating this, I want this to be able to move to this point. That means I need to have a space here. But the backward motion, I don't want it to be too aggressive. Having it be after that point maximum is enough. If I just hit n and under rotation, take this back to zero, I know that I need to delete the faces from here from this part up to this section here. I'll select the robot arm it tub. Then I will hit 34 faces. Then I'll select the three faces one, two, three. I'll go to this other side, and then I'll select the three faces one, two, three. One thing you'll note is that I'm looking at this new edge that I created a moment ago. I'm not deleting faces randomly. I am considering the edge that I'm deleting from. Then I can add to selection so I can hold down shift and continue selecting this as well as thee. Okay. Then I can hit X on the keyboard and choose faces, and now the faces are gone. Then I can go to isolation mode by clicking on the back slash. Then I need to delete this so I can hold down at and click. This whole loop is going to be selected X pieces. And now we have an open section. So we're going to create this just like we created the cavity for the robot one. So the technique is going to be the same like before. Nothing will be dd off way too much. So I think we'll do that next. But this is good progress at this point. 34. Filling in the Robot Arm 2 Cavity: Now it's time to fill up this cavity. We'll start by extracting these faces. I'll hold down Alt, hover over one of the edges and click. Then I'll hold down shift and then click on the next one. Then I will hit shift D, and then I will hit the X. So that it moves on the x. Shift, then x. Then of course, in your case, it could be a bit different. Just make sure that you look at both axis, your case could be z x, y, so it depends. I'll click on this move, then I'll switch to top. Then on the top, I'll hit Z and we'll switch to wire frame, and I want to align it exactly where this edge is. I'll move this to that point. Then I'll duplicate and place it on the other side, so I'll hit shift d x, and I'll move the duplicate to the other side. Then if I now wrote it. You can see we have two of this. Then I can hit Z, solid, and now we can start creating or feeling this particular cavity. I can select this edge. If I hit two to go to edges, select this edge, hold down shift, select this one. Select this edge. Shift click, shift click. I'm just holding down shift and clicking. Then I'll hit this space. Then I'll type in a bridge. Bridge edge loops. It does look a bit strange. Let me do this for a minute. I, select the correct edges. Again, bridge edge loops. Then we can go under overlays and look for pase orientation. So this is the issue of the orientation. Fix that in a minute. I'll turn this off. Then I'll select this edge and select this one and let me click on Select box. Then just bridge and do the same for this and this bridge Then once we get to that point, I need to select this edges. This this and this and this. Then I'll hit the space bar and I'll bridge. Then on the other side, we repeat the process. I'll select this edge. Hold on ship, select this one, space bar bridge, select this and this. I s into that. This space bar bridge. Select this edge and this edge, space bar bridge, this and this space bridge and then this, and that space bridge edge loops. We do have edge loops. So now what we can do. We can look at how we are going to fill this section. So currently, we have an availability of edges. So we have one, two, three, five. What we could do, we could actually try something. I could add an edge loop. I could hit Control R. Come over here, add an edge loop, click and click to accept. Then I'll select this edge and shift click to this one. Make sure you select the right one. Space ba bridge. Then I'll select this and this Spacebar bridge. Then now we have one, two, three edge loops that need to be fixed. I'll come to this other side and I'll create an edge loop just like I did. Control R, come here, click and then drug this up, then click to accept. I'll select this and this space bar bridge, this and this space bridge. Now I need to add edge loops here, so I need one, two, three, so I need two edge loops. Control R, then drag to add another edge loop, then click, click to accept. Then I can bridge this to this, this to this, this to this. Then I can hit the space bar and choose bridge. Let me I don't know what happened there, but this and this bridge, this and this bridge, this and this bridge. Let will do the same for the other side. And this bridge and this bridge this and this bridge. Then I can t out and I can click on select box and I can turn on the subdivision. Icons, and then I can go to overlays and turn off wire frame and see what we have. I do have things that are wrong here. If I go to overlays and choose face orientation, this is the issue. What we can do, I can tab in heat three for faces, heat A, and then I will do an alt n and I'll choose recalculate outside. And I'll tub out and that issue is now gone. Whenever you get issues with your mesh, always check the orientation of your normals because that is always going to be the culprit. Now I can start refining this. First of all, let me turn of the phase orientation. Let me turn of the subdivision icons. Then what I can come and do, I can start bridging, creating a hollow surface on this area. So I'll hit two. Zooming. I'll click on that and then on the other side, I'll hold on I'll shift, and I'll click on this edge Spacebar bridge. Then on the other side, I can do the same. I'll click. Then I shift, click on the other one. Then space bar bridge. Then now I need to bridge this to this. I'll select this loop. I'll click on that. It shift, click on that space bar Bridge. And that's what we have. I can add more loops to this Control R, and I'll add three, and I'll click to accept. Then we can change or check the phase orientation. It's okay. In this instance, this doesn't matter so much. But we can actually change this by going to pass three. I'll click on that, add shift, and I'll click. Then I can hit Alt n and I can choose to flip you can do that as well. Now I can go back to the overlay, turn off pace orientation. Turn on the subdivision icons, tub out, see what we have. You can add more resolution, so if I tub, we can do a control r and I can add an edge loop. That goes around here so that this is a more sharper edge because it's really soft. I can click and then drag and then click to accept. Then I can tap out and see what I have, and now it's no longer a soft edge. Now that we have this, I can exit isolation mode, and this is what we have. She is actually great. The next thing would be to define this, which at this point, we're going to need to modify from what we have. 35. Creating the Logo Face Arm: The next thing I want us to do is to define this m, and we're not going to use this one. We're going to extract one from our current model for the robot arm. What I'm going to do is I'm going to first of all, into the the robot two, then ensure that edit on the modifier is off, that is the subdivision modifier. And what I'm looking for is I want to make sure that if I hit Z wire frame, I added three edges, and I want two of those edges. For example, this one, and if I hold down shift this one, these two edges, I want them to be a bit on the outside. If I hit that, I want them to be not hidden by this cube. So check your own mesh and if for example, example, if I just select this and I click on move. If for example, this is hidden on the inside, what you can do, you can of course hit Z wire frame. Then hold on out, click on that loop. Then hit the space ber, then look for edge slide. Click on edge slide and then click and drug and you can be able to move that loop. You can slide that edge, and you can do the same for the other one. The reason I'm doing this is because I want to extract these faces from this section, I'm not going to use the cube, the cubes a place holder. So I'll hit that solid. Then for this cube, I'll just hide it, and then I'll select at two, and then I'll go to faces, hold down Alt and select that face loop, hold down shift and lt, and then select the next one. Then I'll hit shift d to duplicate. I'll accept. Then I'll hit the spper, then I'll choose to separate and I'll look for me separate selection. Then I do have another mesh that has been created, and this is what is going to form the arm. Now I can tab out of the robot arm, and then we have this robot m2001. So I'll just call this I'll call it robot arm or L et me call it logo face because this is what is going to be moving the logo pace. Then I can tab in, and then now we can start extruding. So I'll select a few faces. So let's select this, this, this, and this. Remember to hold down shift. Then I'll switch this view from perspective to right. Then this time, I'm not going to just hit E, I'll at E, and then I will choose to extrude pass along normals. I'll click on that and then I can drag. Actually, let me at skip. Then let's hit the total x ray so we can see. So L et me go back to meter of togal x ray. Then I'll e extrude faces along normals. This is what I want just a bit. Then I'll accept this. I'll click. I'll click on this move. Then I'll switch to the right view. I hit Z, Tgal x ray, and I can move this. Actually, there's something funny happening and that's because my proportional editing is on. If I try and move, I get some crazy stuff happening. Turn off proportional editing if it's on, and then I can move this. Then what I'll need to do is I'll need to flatten this. What I'll do is I'll hit S, y and zero because it's on the y axis. Then I'll move this down slightly. Then I'll scale it down just a bit so I'll activate the scale and scale it down just a bit. Then I will go to the right view. Then I'll click on the move and move this. When it comes to this section, I'm not following the reference to the letter. I want to create something slightly different for this section. I'm not going to be following it to the letter. Although for most things, I've been following them to the letter. Now I can hit Z, turn off togal x ray. Then we'll need to do the same for the front side. If I go to the right for the front side, we need to do the same. I'll select these faces, and this time, they're just going to be two. Then we go to the right view. Hat, double x ray, and then I can hit E. Then I can move this. Actually let me at skip. I can actually select this as well. Let me go to z, tog x ray of, I can select this as well. Then this time, I'll hit E and choose extrude faces along normals. So that came out a bit strange. But let's see. Let me do this. I'll select this and it G, try to move it, so there's nothing wrong with it. I'm just confirming that I hadn't done like a double extrusion because it happens sometimes. So I can I'm just trying something, then I cancel it using the right mouse button. I'll select this. Then I'll hit E. Extrude phases along normals. Yeah, this is what I want. Then I just click. Then I activate the scale and I'll scale this down. Le so. Then I'll go to the right, and then I'll activate the move, I'll move this. Then I will hit the S y, zero. Then I will activate the scale and scale this again once more. Then I can click on the move and I'll move this up to that point. I took some liberty with this particular section of the model. Now I can come in and start adding edge loops. Control R. I'll add two here. Then I'll hit one. Then If you want the edges to be straight, we can hit S zero. But this misses up. If I do this, we'll have to select this individually, so I'll do click. Then S y zero. I'll double click on this S y zero. S he skip, I think I heat shift, so S y zero. Then for this, I'll hat x and then I will dissolve, let me make them edges and dissolve x dissolve edges. If I dissolve tices, it deletes the whole thing, so dissolve edges. Then control r into the same here. Then if I activate or if I activate the object mode, this is what we have. No that appealing. It's quite boring to be honest. There's no definition. As you can see here. What we can do is we can add a bevel. I'll go to add modifier, generate bevel, and the stacking order is super important when it comes to modifiers. If I minimize this by clicking on this Delta and minimize that as well. This is button on the fast end. If you click on it and drag, you can be able to swap the order. I just wanted to level that fast, then subdivide. Then of course, I have some strange things happening here. I need to select this tab, then a control r, add an edge loop, move it. Maybe select this and move them down. So I'm using the move, and then let me tap out and see what I have. So it hasn't solved a thing, so let me undo. Let me actually isolate this. This is the issue. So I can bridge this. So I can select this loop. Click on shift and select this other loop. Then I can hit the space b and choose bridge. He deselect something. Let's see. So Bridge. Okay. This is not working like I expected. Let me just undo it. I think we'll need to find another technique to solve this issue. Because if I add the subdivision and I tub out, we do have an issue with the mesh. We need to find a way to solve this issue. I think we'll do that in the next one. I'll just save this, I'll go to file Save 12. Click on saves. Y 36. Creating the Logo Face Holder: Now let's fix the issue that we are having. First of all, I'll select this logo fis and I'll get rid of the bevel. Then I'll tub in, and I'll turn off the subdivision. In the edit mode that is. Then I'll select this edge. I'll Notice if I hold on out and I click, it doesn't select the edge loop for. That is sacular. It actually selects the inside one, which is ilgical, so that tells me that I have an issue somewhere. So I'll hit one. No select this point, and let me click on Select box. I hit on G and move this. It seems like I have duplicates. So I'll select this point, and then I'll hold down shift. What I want to do is when I hold on shift and select the second point, I want to march them. I want to combine them. So I'll hit M to get the march menu, and I want to march them at last. So the one that I selected last. So if I select this, then hold down shift and select this, and I hit M, and then I say I want to march at last, that means the last one is the one that's going to be the marching position. Then I can also select this and check. Then I can cancel that operation. I can hit G and check. If I have an issue here, that definitely means I have an issue on this other side, so I can just hit G and move this and click to accept. Then I'll hold on shift, select this and hit M and choose at last. Then here, of course, if I hit G, and move this, I also have the same issue. Click on that to at last. And I think now we're good. So if I hit two for the edge, and I hold on alt and click on one edge. Io select the whole loop. Once it selects the whole loop, then I know that I solve my issue in terms of bridging. So what I'm going to do is I'll hold on Alt again and shift, then click on this other edge loop. Then I will, I'll hit E, then S, and then I'll scale inwards. A bit. Like so. Then I'll activate the scale, and then I'll use the X and push this out just a bit. Not too much, just a bit. Now I can hit the space bar. I can type in bridge. I can get bridge edge loops, and now the bridging will occur. If I turn on the subdivision, this is what we have. And if I click on select box and tub out. I can select this right click and say I want to Shade Smooth, and it does look a bit better than it did before. So that was the issue that was occurring because I kind of duplicated faces without knowing that I duplicated them. So that's why I was having an issue. Another problem I have is this, see this line, have this extra edge, that if I tab and I hit three for the faces. Notice that I'm selecting such a huge face, and this edge is seemingly not there. So what I can do, I can just disable the subdivision forming it. Then I can hit two for edges. I can select this edge, hold on out. Then I'm going to delete so heat x, and then choose delete edges. And if I activate the subdivision in edit mode, I can be able to see the result that I have. So you can refine this shape further. So to do that, I can hit Control R, and I can come and click and just refine it. So I'll add an edge loop there. So Control R again, add an edge loop here as well. I can hit tab and see what I have. And if I exit isolation mode, m can look at what we have, and this is actually usable. I do want this to be super hard edged. But of course, you can continue refining this if that's what you like. You're free to do whatever you might want to experiment with. But at this point, I'm happy with this. I solve my issue that I had with it. But I did get rid of the bevel because I realized it wasn't causing a problem, but I didn't need it. Is what I want to say. We're done with this logo face arm, and next would be to create this if I go to the right, this particular shape, which is just a cube. I think we can do that real quick. I can hit shift A, mesh. Let me first of all, make sure I'm selected in the collection for the models. Then shift A mesh, cube, and then I can reduce the size of the cube. Then I can move it forward. G, then I can hit Z activate wire frame. With this cube selected, I can hit one. Once I hit one, actually, let me I've hit one, and it has hidden everything. Let me unhide everything. That that was a mistake on my part. So let's go back to the right. Tab, then I hit one. Then I can be able to move this points up, G Z. Then this as well, G, then this as well. But this is going to be G Y. Then I need to determine the size of this. I can actually scale it, but on the X, S, something like that. Okay. Then I can hit Z, solid and there we have it. This is our lobo fase. So this is the m, and this should be the holder. So base Holder. U I can add a lo for this so Control R just because I wanted to be a bit more harder than it is. Similar to the sits tab, Control R. Then tub out. For this, we can add a simple bevel, so we can select it to modifier, add modifier, generate bevel, and we can go to phase orientation, so that is under overlays and you can reduce the amount. And then I can also activate the wire frame. So I'll add a few segments and lower this further. Then I can click and say I want to shade smooth. Let's see how it looks like it looks okay. The faces are facing the correct direction, but for this, we'll have to fix it. So tab, go to faces, at three, at A, Alt n and choose to recalculate outside. Then I can out. Making sure that the normals are working in our favor so that when we're setting up our materials, we do not encounter any issues. So after this point, we have actually completed creating the fn of the wireframe and the face orientation. We've actually finished creating this model, this robotic arm. Um The next thing would be to start creating the cylinder that would fit inside these holes, instead of them just being empty. But he could have them be empty. It could be a stylistic choice, but I'm going to create a cylinder that's going to fill in these holes. 37. Finishing up the Robotic Arm: Let's create the cylinder that's going to fill in these holes. I'll click on shift A. We'll go to mesh, and we'll create a cylinder. That cylinder has been taken to the top part, which is. I'll reduce the tes to let's say 12. The radius as well, and the depth, which is the height. And so make the radius more. So holding down shift to get a smaller size. Okay. Then I'll hit. I'll select the cylinder, and I think it's under the reference images. So this time, instead of hitting M, you can just select the cylinder, click on it, hold, and then drag it to the models collection. Then I can select it. Then I can do an r. So let me activate the rotation. That's going to be on the Y. I'll come over here where we have the options and input -90. Then I'll click on that on select box. I'll just move it a bit, so I'll go to the top, and then I will hit z wireframe, actually not wireframe, but solid z togal x ray. I'll hit g y. And then I will scale it just a bit. Hold on shift. Then gy, then S shift. Then I want to scale it on the x, so I want to be it longer. S X I took it here because I want to use this S A base. Then I'll hit, I'll turn off x ray, then I will hit G Z to bring this down like Then I can scale it down so as shift a bit. Then I can isolate this. I'll at the back space. I'll go to tab, at 34 faces. And what I'm going to do. Actually, I'm not going to use the faces. I can use the edges. So I'll hit two for edges. Hold on. It, click on that. Shift out, click on that. Then I can hit the space bar, then I can choose perf edges. Then I can drag this and drug or adjust the middle mouse. Once add the segments, you need let's say two. Then click on that, tub out. Then I can select this. It's already selected, right click, Shade Smooth. Doesn't look as appealing, so we can add modifier. So click on add modifier, subdivision surface, and levels in viewport, make it two. Then I can tab and I I Exit isolation mode. Let me see how this looks like. I can scale it up a bit, S then shift to scale it up a bit. Let me do this because I want to scale it up, but I want to do it I I activate this scale, I only want to do it on the y and z. This, I don't want to do it on any other axis but those two. I don't want to do it on the x because the x will make it longer. So now I have that. And it has filled that, so it looks a bit more better to me, so I'll leave it. So I'll rename it. So I'll call it Robot. Um two hole mesh. I'm just specifying what it's for. Then I'll go to the right click on select box, H shift D to duplicate. I'm not in edit mode. Shift D, then I'll move this here. Then I'll zoom in. Then I can activate the move and now move it to my designs. Then I can of course, use the scale. Again, on the y and the D, Iino the x. Then this is for robot 1:00 P.M. One. Then again, shift d to duplicate, and then move this on the y. Then I'll zoom in and now I'll specify myself. Now we can check on the top view. Z wire frame. Make sure things are not funny. So I call this Robert Arm Holmes two. Then I'll hit, solid, and there we have our complete robotic. One thing we could do, select this, activate the scale and adjust it a bit on the X. Let's look at this as well. Sd bit on the son is fine. Make sure that you look at your model from all angles, just to see if there's anything else that you need to add, if you'd like, you're free to do so. After this point, we're actually done with the robot arm. The next thing will be to create the text elements. The text elements that have the face of the logo that's going to be placed somewhere here. So that's that for the robotic 38. Creating the Screws For the Logo Arm Stand: Before we start creating the logo phase. That is the section that has the names of what this logopas is going to say together with any elements that that logopas might have. Before we do that, we need to create some screws for this particular logopas, with this selected, we'll need to look through our objects to see where we can extract the screws from. Keep in mind our screws are one huge mesh, if I select this, as well as this. So we'll need to extract one screw from one of these meshes that we have. So to do that, I would select this particular mesh hit tab to go to edit mode, and I can hit three, to go to faces, and I can zoom into this, select one face. And because I want to select the whole screw, just this singular screw, I can hit L on the keyboard. Once I hit L, it's going to select all the faces that are within this particular mesh. Then what I can do is I can hit shift D to duplicate, then click to accept. Then I'll click on the space bar, then I'll type in separate and two separate selection. Click on that. If I scroll down in the outliner, you can see that I do have a duplicate, so I'll just hit tub to get out of the edit mode for screw robot stand. Then we have this duplicate. One thing we'll do, we'll fix the origin because it's a bit off. I'll select the mesh, right click, set origin, and say origin to geometry. Then I will switch to the right view. Then I'll select the screw and hit G and move this way it should be. I'll hit g again and move this somewhat here. If you find this to be a bit too large, we can scale, so we can hit scale this. Then G. Then we can now rotate. If I just move out of this just to see that it's in the correct position, so it, it needs to be here. We're going to hit G x on the keyboard and move. And then G x again, I just move it in slightly. So that point. Then I can switch to the right view, then duplicate. I just need to have three more. Shift D. And I'll heat so that it's duplicated in the vertical, shift D, and I'll heat y so that I can clock this on the horizontal. Then I'll move this down, so G, G. I've hidden that. Let me unhide it. I've clicked on this feasibility econ. G y, and then shift D, then I'll heat Z to move this up. And then g z again to move this up. We have the screws for one side. We need the screws for the other, this other side. I could select this and I hit shift D. Click to accept. Then I can activate this rotation icon and rotate it on the z. Here I'll go to the transform, so you can hit n if you do not see this panel. Then if I just don't do this, can I just this maybe two minus 270. And I can click on select Box, then g x, and move this there. Then I'll switch to the right view once more. Go to Z, choose y frame. Then all I'm going to do is just duplicate and match positions. Shift D, and then I'll move this here. I'll contra on the Z. Shift D once more to duplicate, then this I'll constrain on the Y. Move up to this point. Then I'll move this down, G, then shift D, move this up on the Z. And if I wrote it through, we do have our screws. If I hit Z, solid, we have our screws. For this, I don't like how they too much on the outside, so I can select them, then hit G x and just move them in. Then I can select this screws. Screw robot arm stand 001. Hold on shift, select the last one. Then I can hit the space but, then I can type in join. Now we have one mesh. This is for this logo face m. Screws go face. There we have a screws. So this is one of the last steps before we create the front reference. So I think we can create the front reference that is for the logo in the next one. So I'll just as the iter. 39. Loading Up the Logo Face Reference Image: So now let's bring up the reference for the face of the logo. So the face of the logo should be created somewhere here. The first thing I'll do is with this selected, I can hit shift S, and I want to bring up the A pi menu, and I want to move the CA to whatever I have selected actively. So I'll say A to active. So whatever I've selected, the c should come to its origin. So as you can see, the ca has moved to that particular objects origin. Then I need to go to the view that I can be able to place that reference. So I'll click on the Tilda key. Then I'll go to the front. But don't start with the front. What I'm actually seeing is the back side of the robotic arm. So I will switch this and we'll use the back. Instead of using the front, choose the back. This shows us what we need to see. Then I will go to my outliner, select this collection called reference images and then turn on selectable for both. Actually, yeah, for both. Let's so for both and alternative. Select this collection. Then we can hit Shift A. Under Shift A, we can choose to load an image and we want that image to be the reference. I'll click on reference. Then I'll just browse up and find that full of that if called reference images, and then there is that image called Black Friday, select it, and I'll click on Lod reference Images. Then this is quite large, so we'll need to scale it down just a pinch. What I'm going to do is I'll heat S on the keyboard, then I'll type in 0.8 so that the image is scaled by 0.8 on all axis x z, then I'll heat enter. Since I still have this active, if you look at the scale, you can see x 0.8, y 0.8 z 0.8. Then in the collection, Currently, the image is called empty. So I just a book click on it and call it Mega flash. Sale. Then we can go to the settings of this particular reference. So we'll go to the properties and go to data. Under data, we can turn on opacity, just like we did before with the other reference images. I will click on this value, which is set to 1.0 T 0.5. Then I'm going to turn off the selectable option. For all of this. I don't want this to be selectable. Then for this robotic arm, I will turn off the reference. I'll hide in viewpot, and I'll also hide in renderer. Everything in these three icons is turned off. It's not selectable, it cannot be seen in the viewport and it cannot be seen in the renderer. Now, if I rotate, we can see that our image is well placed. So now we can start on creating some of these elements that are required. 40. Creating the Logo Face Ouline using Curves: Y. We can now start creating some of these elements. We'll start by creating this outline that goes around. If I go to the back view, we have this outline that goes around this particular face. To create that, we'll need super simple. Make sure that you're not in the collection for reference images, select the collection for models. Then I'll a shift A. When I a shift A, I'll go to mesh, and what I'm looking for is actually single vat. A single vat is a single point. Remember when we were setting up preferences. There is an add on that we turned on, which was extra objects, and this is where now that comes into play. I'll click on a single vat and a single v is added, as you can see, here it is. And the software actually takes us directly to edit mode, so I'll hit one so that I can go to the aties mode. Then I'll now start extruding this point around this outline. First of all, I'll if I just at A. Then I'll hit G, and I'll move this here, as you can see, this dot. Then on I move it here, then I can start extruding. With this point selected, you can hit E. Then I'll take this here. And click to accept E again and take this here. E, but the same I'll hit Z as well so that it's constrained on the Z axis. Take this summer here, and then E take this here. Then E and plate this here. Then notice we have this open gap. So we can select the two points and then we can hit F F to create this particular edge. Then we can now come in and start making adjustments. What I'm going to do is I'll tub out to get out of edit mode and because I want to have control over the curvature, because for example, this is a really long edge. Be I want to have control over the curvature, I'll need to convert this from being a mesh to a curve. Since I'm in object mode, and that vats mesh is selected. We can click and go to convert two, and I'll choose convert to curve. Then I can tab in and nothing drastic has happened, but I can hit A to select all the points. Then I can click, and then I can go to set handle type. Actually, set spline type. Set spline type, and I'll choose Bs. Reason I'm choosing Bezier is because I want to have handles. If I select this point, notice there's no way that I can be able to make this calve. But if I choose Bezier, I can get Bezier handles that are going to allow me to be able to make this particular calve because a calve to calve actually. I hit A, right click Set spline type Bs. Now If I zoom in here I notice I have handles and they do have points on either side. That's what we're going to be adjusting. I'll just hold on shift and move up using the middle mouse as well. Then I'll start making adjustments. For example, here, this is point, I'll select this handle. Make sure you hover over the handle, click and drag and then hit G, and I'll move the point up like so, as you can see. Then you can push it in, you can push it out. The choice is yours, depending on what you're trying to achieve. I'll move it up to that point. Then I'll select this point. F over that handle, hit G, then I'll push this in. Be it can't be this long, so I need to push it in. Then once you're satisfied, accept that. Then I'll come to this other side, select that handle, hit G, move this up, and then select this, select that handle. G, move it up and push it in. I can adjust this further. Let me click and drag and just move this by heating G. We can go into isolation mode and see exactly what we have and as you can see, because we have access to those Bezier handles, we're able to make this curve. So I'll exit isolation mode. Then I'm going to go do the same here. I'll select that point. Hop over this handle, click and drug. Now hit G. One thing about this bottom part is it won't be enough. Let me cancel this by clicking on the right mouse button. The one point here and another one here won't be enough, so we need to add another point in the middle. I'll click on this and drug. Hold on shift, click and drag on the second. Then I can right click and choose subdivide, and I'll only subdivide one. You have the subdivide settings, number of cuts one. Now I can select this point, it G and move it down. Then come over here, select this point, hove over its handle. Then I can adjust it, push it in and up up to that point. Then I can now come here, select this point, hove over this handle. Hit G, move this down, so Then I'll select this point and hold on shift, select this other one. Then right click and we'll choose subdivide. So let me do that, select this point and this point. Make sure these handles are not selected because if you subdivide, sometimes they can subdivide the handle as well, and that's not what I want you to do. So I'll right click and subdivide. Now we have this point, which you can move down so you can hit G. Then I can come over here, ho over this handle and hit G as well. Select this, move this. That was fine. With this, G, push it in up, so I have this select this handle, it G. Let me go to isolation and see what I have. This is not as pleasing as I'd like it to be. Let me make an adjustment. Let me go back to is, I rather exit isolation. Select this, select this. It's kind of getting there. So you can tinker here and there until you get your desired results. So Then I can select this. Select that handle, G, move this down. Then hold over this handle. Let's get out of let's go to isolation mode and then I'll hit G. So then I can adjust this. Let's look at our reference again, this down a bit. Select this, G, move it in. Then select this. Oh. And let's go to isolation mode and see what we have. This is actually pleasant enough. Then I can tub out and exit isolation mode. See what we have. We've created the outline that we need. So I'll double click on this. I don't want it to be called fat. So I just call it logo outline. It's not yet done, of course. I will just keep on adding to this as we progress. 41. Finishing the Logo Face Outline: Now we can refine the outline that we've created. What I'm going to do first is I'm going to convert it to a mesh. Right now I'm in object mode. I can just click, convert two mesh. Once I convert it to A mesh, that means if I tub in, now I can have access to points to the edges and the faces. I'm going to hit two for the edges. Then I'll hit A to select everything. Then I will hit shift D to duplicate. Then I will hit S, and then I will scale down. If I A, you should have two outlines, one for the outside, one for the inside. Once I hit A, I need to create a face from this. What I can do is I can hit the spacebar and I can type in bridge. If I click on bridge, I should have my faces created. That we have this, you can come in and compare with your reference. But I think this is going to be fine. Of course, if I rotate, this is lying plot on that reference. What I'm going to do is I'll at three, four phases, then I'll it E for extrusion, and then y for the y axis, and then click and drug. Then I can click to accept once I'm satisfied with the thickness. I can still click on the move with this face is still selected, and I can still continue moving this to my heart's content if that's what I want to do. I'll go back to select box. I'm just trying to see if this is thick enough. Maybe if I increase the thickness a bit, maybe something like that. Then I can tap out. If I go to the back, we have our outline. Now what I want us to do is I want us to refine this shape. I'll go to the edit mode, and I'll go to edges. Of course, there's something funny with your mesh. For example, this part, if I hit one, this part over here, I can go to the back and make the adjustment. I'll hit Z wireframe, go to select box, select this, G, move it, just a bit. Sometimes things won't be perfect. You'll need to move a few things here and there. And we can also select these points and turn on proportional editing, and I'm still going to be using smooth, and I can hit G. Then I can use the scroll wheel. Then I can move this up a bit. Then turn off proportional editing. Heat, solid, and I'll tb out. So this is quite fine. Then I'll go back to edit mode. Heat two for edges. Then I'll start adding edge loops. So heat control R. Then I'll add an edge loop right at this edge. I could bevel, to be honest, but I just want to have full control over where I'm placing things. I'm just going to do it manually. I'll click and drag somewhere here. Then I'll do it on the other side, so control r, click and drag here. Remember if you're not happy, you can just hold on I, double click. Hit the space bar, then type in slide, choose e slide, then we can slide this edge. Again, so let me just isolate this. Control R, click and drag to this point. Control R, click and drug. Again, I feel like the distance is too large. I'll do an edge slide. Similar to this. I'll double click, type in slide, edge slide. Then I'll do the same for this edge loop. Right here, this one. Control R. We can drug. Control as well for this other side. And do the same for this other side, so Control R. It's quite repetitive, what it is that we're doing for this particular section. Then I can add an edge loop that goes round. The thickness, so Control R, and this same I'll scroll up to add two segments or two edges and click and click again to accept, and on the inside, do the same. Control R, scroll up, click to accept as well. Then we can go to the modifier in the properties and add modifier, generate subdivision surface. Then I can tap out and notice that we do have some nice rounding over here, but this is messed up. For this part, let me turn off the subdivision in the edit and hit. We're going to bevel this. I'll hold on, double click, and then I'll hold down shift, then then double click on this other side. Then I'll hit the space per and choose to bevel. I should have defined bevel edges. I'll I'll shift do click. Bevel. Bele edges. Then I can click and drop, then scroll up to add a segment. It's just a tiny change. You can still come in the settings and make your adjustment. Because you've clicked to accept, doesn't mean you can't make changes. You can still come here. Hold on, shift and make your change. Then I can tap out and turn this back on. And as you can see, this is more appealing. If we select this and right click and choose Shade Smooth, this is what we have, which looks pretty nice. You can still do the same here if you wanted this to be over a sharper edge. You can bevel that, but I don't want that, so this is fine with me. And the reason I manually added the edge loose myself is because I didn't want this to be um to be like an edge similar to this. I didn't want it to be rounded or founded it to be super smooth, so that's one of the reasons why. Now we have our logo outline finished. Now we can create the logo face. 42. Creating the Logo Face: Now we need to create the logo phase. Exit isolation mode. For the logo face, we'll need to extract the face itself from an edge. We're going to use this logo outline that we just created to extract an edge and create the face. So I'll just hit tab. Then of course, the software remembers the previous selection. I will just want to select one loop and I'll choose this one, so I'll hold on, click, then I'll hit shift D. Then accept that change by clicking on the left most button, hit the space bar and then choose to separate and choose separate by selection. Now if you look at the collection, you can see, we have logo outline 001. So I'll just deactivate the edit mode for the logo outline. I'll just click on this icon just to the left of it to get out of Edit mode. Then with this, I'll just double click and call it logo face. Then I can disable the subdivision surface. I've disabled all the icons, then I can switch to the right. Can hit wire frame. Then I can move this. I just want to move it up to here. This is G. Then it said again solid. Then we can tab to go to edit mode, go to two to select edges, heat A, then heat F to feel that face. Then I can go to three, four fases, heat A. Then I can do a or rather in. I just want to Inset this a bit. So it this spacebar, type in inset, and choose inset faces, and then I'll just drag this a bit and click to accept. Then I'll hit A to select everything. Then I'll switch to the right. Then I hit Z, to go to wire frame. Then I'll hit E on the keyboard. Actually, I'll just hit Let me do that. Hit E. Let me make sure that m I don't have anything extruded yet. So let me just hit G. Yeah, it's fine. I go back to right Z wireframe, then we'll go to E and y. Bring this forward up to that point. I'm using these lines. I'm using this and this as the basis for how I how thick this should be. Now if I hit that solid, we do have the face, we can come in and add a few things here in there. The first being, let's go to isolation mode and let me turn back on the subdivision, all the icons for the subdivision, all three of these. Once I turn this back on, the result that I get is not that pleasing. If I tub out, so we'll need to do a few extra things. I can Control R, then we can start adding edge loops, we can add an edge loop there. Another one here, so Control R. And then control arr again add some here at the center. Two. Then I can tub out, turn this back on and look at what we have. Now this is super pleasing, can select it, right click Shad Smooth, and we have a replica of the previous model. It's only that now this one has a thickness. Then I can now exit isolation mode. Once we do that, That's how we have finished creating the logo face. The other thing I want to do is if I just go to the collections, I want to hide the reference image collections for a minute, and then I need to align this too, and this, I need to move them back. This time, I'll go to the top, and then I will hit Z wireframe. I need to make sure that this thickness is the one that touches this particular mesh over here. I can hit G, y, and then I'll move this up to that point. Because I did check that the thickness should go from here and move all the way to here. This is what I'm using as a basis. Then I can hit Z solid, and that's exactly what we have. I can move it a bit more again, so that's G y. That's it. Now that we have that, we have created our logo face. We can just go to file save. 43. Creating the Flash Outline: Now let's enable the reference images. So I'll enable the collection visibility. Then I'll select the models collection. Then I'll switch to Actually, I'll switch to the back view, hit Z and choose wire frame. What I want to create is this outline for this flash section. For this, we're going to use simply a plane. What I'm going to do is I'll hit shift A, go to mesh and choose to add a plane. The plane has been added where the CA is, so I'll heat r, and I'll choose the x axis, and I'll choose 90. If I rotate, you can see that it did actually rotate it on the x and the 90 degree angle. Then I'll go back to the front. Sorry the back. I remember you can still use the rotation to if you'd like. Then I'll tab in go to one, select my points. Then I'll heat z. T Then I'll hit G, move this up, and I'll select these points at the bottom. Then G, move it down. Then select these points. G x, move this here, as well as this other side, G x. Then we need to create this rounding it cs. For that, we'll need to bevel, but we're going to bevel Vatices. I'll select everything by hitting A, it this space bar, then we'll choose bevel. This time we will say Bevel vertices, and then I'll click and drug, and you can add more points by using the scroll wheel. I think this is enough. I don't want to overdo it. And then once you're satisfied, you can click to accept. If there's something you need to adjust, especially the width, you can come to the Bevel settings and make your adjustments. Then I can tab out, and then I can go to isolation, hit Z, solid, remember, it's a plane. Then I'll exit isolation. Then I'll move this forward. That is going to be G Y. I can actually use the top view to make sure that I'm moving this as I should. This is G Y. I can't actually see it. Let's hit Z wire frame. Then we do a G y movement, some other that. Then I can hit Z solid. We've moved it to eight should be. Then now I can hit the tab key. You can go to three, to go to faces, select this face. Then we can go to the back view, it Z, and then we can go to wire frame. Then I can choose to inset, so Space inset faces. Click on that, then drag. And once you're satisfied, click on the left most button to accept. Then we'll remain with if I go back to solid. We'll remain with this phase, which I'm actually going to delete, so I'll hit x, and I'll choose to delete phases. Now I can hit A, and I can go to the top view, right click top. Actually not right click, but rather go to the Tilda key top, then we can hit E Z. Actually know y. So something like that. And there we have our outline. Then if I tub out, I can right click and say, she'd smooth, but this looks pretty horrible. What we can do, can tub in Control R and add a few lops at the middle. Also on the inside, so Control R, the inside as well. Then we can come in and Bevel this, so I can hold on I shift click shift. Then I can isolate so that I can select the ones at the back as well, so I'll shift click. It shift click. Then I can hit the space, choose Bev, but I'll choose Bevel edges. Then I can adjust hold on shift. Once I'm satisfied, I can click to accept tub out. Now as you can see, this is what we have. Then we can add a modifier. I I select this, we can add a modifier. Generate subdivision surface. This is what we have and we can increase the levels in the viewport. Then we can exit isolation, and then I can call this the book click on it, call it flash outline. If we go to the back view, it wire frame, we can see that's exactly what we have. The next thing would be to create this mesh kind of surface where we have, if I could call them dots, but they're like small holes distributed just within this outline. 44. Creating the Dotted Mesh: To create these holes that are in this particular area that look like a mesh. We'll need to start with a really simple object, which is going to be a plane. Make sure you're selected in the models collection. Shift A, mesh plane. With this plane, I'm going to reduce its size, let's say 2.2. Then I'll rotate it. That's going to be rotation on x r x 90. Then I'll isolate it. Then we can hit z, solid. Then I'll go to the tub mode. I can hit A. Actually, let me hit three, then A. Then I can click and choose to subdivide. For subdivide, the number of cuts, I'll increase them to four. Then I want to create the whole, so I'll need to select these faces. These nine faces. And when I click, we have this option called Loop tools. Back again to the first few things that we ever did in the software. Again, the add ons, this is the add on called loop tools. So In loopholes, we can be able to choose to do lots of things to whatever we've selected. But what I want us to choose to create is a saco. So I click on Sackle and it actually creates a saco. Then I can click on the rotation and actually try and fix this, just a tiny bit. X so. Then I'll click on the select box, then I can hit X. Then I can choose to delete faces, and that's what we have. That's how you create the hole. I I tab out, that's exactly what we have. I can now exit isolation. Hit said, go to wire frame. And this plane. I can move it, so I'll hit G, and I'll move it somewhere here, and then I can tab in it A to select everything and scale. Notice this time, I'm not scaling on on the object mode. F about, and that's because I want the scale to remain to be one. Because right now in object mode, if you look at the top left, and if you look at these transform options, we have the scale set to one. If you're scaling objects in edit mode, it will never register in the object mode as a change that you've made. Now what I can do to distribute this, we'll need to use an array. For this plane, can go to add modifier, and then I can go to generate and choose array. The array modifier. We can now use the relative offset. Before we use the object offset, and that was for distributing the screws around this space, if you remember, this. But in this instance, we don't need to reference any sort of shape that we need to distribute this on, relative offset will be just fine. I'll move this to the other side because I don't want it to be on this side. I'll use negative one. Then we can increase the count. I Zoom out, can increase the count. Up to that point, maybe after that point. Then I can add another array. I'll minimize this by clicking on this drop down, and you're going to add modifier and add another array, so generate array. This new array is supposed to now distribute this vertically. In the second array, what we need is to change first of all, the relative offset, the value is not going to be x again. It's actually going to be Z. If I'm not wrong, a just this. F is going to be it's the Y s not the z, the Y. So I'll input minus one. Then A is minus one on the y. Then on the x, are input zero. Notice that this is now arranged as it should. Get rid of the x value and then on the y input minus one. Then we can increase the count. And I'll let this exceed just a bit. Then I can minimize this. Then if I isolate this and hit Z solid. It's kind of flat. So it is a mesh. It's kind of flat. So we can give it a bit of thickness. To do that, we can add another modifier. So I'll go to add modifier, generate solidify. Solidify will give it a bit more thickness. Then as you can see, this is the thickness we have, and it's a bit much. In the solidify, we just need to reduce the thickness. So I'll hold on shift and then reduce this. Value. Maybe up to that point, this is fine. Then minimize this. We can select this, re click, say you want to shade smooth. But notice this doesn't look that appealing, so I'll re click and say I want to shade flat. Now, can do, we can apply these modifiers. When you're applying modifiers, that means you want to store whatever we've set into the mesh without having to go back and forth within the modifier. We want to get rid of these modifiers, but maintain the results. That's what I mean when I say I want to sopply. I'll start with the first one, so we'll apply the first one, second one, third one. It needs to be sequential. I'll click on this dropdown for the fast array and click on Apply. Click on the Drop Down for the second one. Apply. Click on the Drop Down for solidify and Apply. There we have it. Then I can exit isolation mode. And then we can go to the top to the top view. I'll go to the top, it iframe. Then I'll move this, so G, y. I'll move this to that point. And then we can go to the back, sorry. Then there are these areas that are quite they exceed whatever it is that we have, so we can delete them. We can just hit one, actually not one because of it and everything by hitting one. Tab, then we can go to points, edges, faces, whatever you like. I'll choose points ates. Then I'll click on this part and track just the bottom part. X, then I can heat x, then I choose to delete partices. Now if I tub out and hit that solid, This looks like it should. Even if you have the same thing happening on the sides, you can still delate. This is how you create the mesh. This is like an a dotted mesh. Another thing we could add is a plane. Just behind this. So what I can do, shift S and then say c to active. And the active one is here, so let me right click and say set origin origin to geometry so that the origin is centered, then I can hit shift S.'s say cs to active. Then we can do like a shift A mesh plane, with this plane, make it slightly larger than this. Let's say the two. Then we can rotate the plane. Notice that this plane is in the reference images collection, so I can select it, click and hold, and then drag it to the models folder, rather than under folder the collection. Then I can select it now. Then we can rotate. R. Then A and scale down on the Z. S. And hold down shift. Then we can switch to the back, wire frame so that we can be able to see the reference as well. Then I move this G x and select this other side. G X. We can choose to bevel, so I can select all the points. Then hit the space bar bevel edges. Sorry, atices, just a bit, and then accept. Then I can tap out. So we have two planes al plane and then plane.001. This is the dotted line background. Dotted M line. Dotted mesh background. And then this is the dotted mesh. Okay. Then we need to look at the placement so I can select this, hold down shift and select this. I'm selecting them from the outliner. Then I can isolate. Then I can move them. Just a bit. Let me hit solid. Yes, just to make sure it looks like it. This is fine. Then I can exit isolation. And that's how we create the doted mesh and its background. 45. Creating the MEGA Text: H L et's now create the text that will be the word mega. For that, we're going to create a simple text. I need to ensure that I'm selected in the collections for models and I hit Shift A, and I'll choose text. This text will need to be rotated of course. We can activate the rotation and click in drug and I'll show if I hit N. Item. Then I can rotate this. It's going to be 180 on the Z, and then I'm going to do an rotation on x by 490. -90. I just type 90 and added a minus at the end. Then we'll switch to the back. I'll hit for wire frame. Then I'll hit G to move this text to where I want it to be. G again to move it. Then I need to click on select box, then I'll t in. And once you hit Tub, you can be able to edit the text, change what it says. So I'll just type in mega and then tub out. I need to use a specific font and If I select the text, we can go to the font settings in the properties window. That is the data properties for the font. We'll start with scroll down. There's an option for the font. With my fonts, I'm not going to load them directly from the fonts folder within windows. I'll just load it up from a folder that already has the font. So you have the option to choose regular bold italic bold and italic. I'll click on this folder icon for the regular. Then of course, the blender, the software takes me to the phones folder. You can use your phones folder if you like. You're free to use whichever font you like at this point. I'm going to go to where I've been saving. M blender files are here, my reference image, and then I have the font. In the font, I have this regular engine regular font. So select it and click on Open font. And there we have our font. Then I can do, we can change the size of the phone, so I can hit S, and then just make it smaller like so then we can hit G and I'll try match it. So I'm looking at the M and trying to match the M with the M in the reference. But then the E, the G, and the A, they are bit off. So still in the settings for the text, we'll look for the spacing. Of course, I scale to adjust the size, but you can go to transform and you can play around with the size still if that's something you'd like. So the size by default is one. I won't change anything, but we'll go to spacing. That isn't a paragraph. Open paragraph and then go to spacing, and then we have character spacing. I need to space out the letter. I I adjust this, you can see the text is being moved left and right. So I'll just need to hold down shift and then move this slowly and try to align and it is aligned. Then if I go back to solid, notice that this text is really, really flat, and I want it to be as thick as this flash outline. I've noticed that some of these dots are picking out from here. Let me select this. L et me hide it for a minute and find what is speaking. So it's this. Let me unhide the flash. Then I can hit tub and these two points. I can select them. X and delete fats. It's not going to affect anything that much. Then I can tub out. For this mega texts, it needs to be thick. We can go to modifiers. Modifiers. I'll click on add modifiers, then we go to generate and we'll use solidify. We've used solidify before with those dots. This term using solidify with the text. I'll click on solidify, and then in solidify, I'm just going to change the thickness. I'll make it like a negative negative one negative 0.17. I'll change the view to write. Then actually come and see what we have. I'll hit Z wire frame. Then I can hit G Y, just to move it back a bit. Then I can adjust this value for solidify. There we have our text. I also need to bring it down. Let me go to the back. G, bring it down up to that point. Actually, let me not bring it down just yet, because if I do, the G will intersect. So I think we'll do this manually when we get to the animation part, but this actually looks pretty good. But there are some things I want us to adjust within this text because if I go to the overlays and turn on wire frame, the distribution of the faces isn't as appealing as I'd like for it to be. Want it to be more quad like because of animation later down the line. I want them to be quads, for example, this, these are quads. I would like for this surface to also have that same pattern for easier animation. We'll need to fix that, but I think we can do that in the next one. But other than that, this is how you create the texts in a simple way. 46. Fixing the MEGA Text Mesh: We now need to make sure that this particular text has topology that is more quad, more like squares. With the text selected, if we go to the modifiers, we've only added solidify. For us to fix the mesh, we can go to add modifier, generate, and we can choose mesh. So mesh allows for us to create new mesh topology. And for this to work, if you look at the remesh, we have several tabs or several options. We have block, smooth, sharp voxel. The one that I need to use or we need to use is sharp. And if you hove over eight notice, it tells you output a surface that reproduces sharp edges and corners from the input mesh. So the sharp is similar to the smooth, only that the difference is, it ensures that it maintains or preserves sharp edges and corners. So I click on Sharp. And as you can see, we really see like one letter, which is the E, and in this sharp option, there are things that we can change. So we sat with things like the xtr depth. So xtr depth you said 24. So this determines the resolution. So I'll increase this to six and now the E is gone, we have the M. But if you look at this, you can see that now we do have the cords that I was looking for, because if we actually turn this off in real time, you can see these are mostly triangles, which are going to be undesirable for our animation. So if I turn this back on by turning on the display, you can see we have more cords. Then we need to turn off, remove disconnected. Remove disconnected, helps to filter out disconnected pieces of the output. So if I turn this off, then I can be able to see the other aspects of the text. Because if this is on, we're only going to see one letter. So that's all I've changed in the remesh. We're using the sharp mode so that we can maintain the edges and the corners. We've adjusted the octree depth to allow us to have or rather increase the resolution, and we've turned off remove disconnected so that we can see the whole text. So the next thing would be to minimize that remesh. And if I look at this edge, I would like to have a small rounding at this particular area, so we could add a bevel. Again, I go to add modifier, generate bevel. And now we have a really small bevel. And if I go to overlays and turn off wire frame, we can see we have a subtle rounding. And with this, if I go back to overlays and turn on wire frame, we can be able to add a segment. We can be able to reduce the amount. If you don't like this amount, so I'm using the shift key to reduce this, maybe something like that. Now if I turn off the overlays, this is what we have. Then one thing about text, if I click on this drop down because I'm done and I don't want to have um, any access to these modifiers. I want to collapse them within the mesh that we have. If I click on the drop down for apply. Notice that it refuses. It says, cannot apply modifier for this object type. When you try and apply a modifier for the text, usually it's going to be a bit problematic. So I want this to be like an actual mesh, where I can be able to access the points, the edges, and the faces. For that to be possible, I'll just select the text in the perspective. Then I'll click, then I'll say convert to. Convert to what e mesh. Once I convert it to mesh, notice that the modifiers are gone. Now if I tub in, I can be able to select the points, the edges, and the faces. So let me tab out. And this is going to be helpful for our animation because you're going to be animating these letters individually, it's going to be of good use. We can also choose to Shade Smooth on this, so you can select it right, click, Shade Smooth, see the result that you get. I isn't too bad. This is okay, and that's how we create that mega text. But of course, this is dependent on your phone. Some phones can be quite cumbersome compared to others. So be wary of that as well. If I go to the overlay and we look at face orientation, notice that some of these normals are bit off. For the outline, for example, I can heat tub. I can at three to go to faces, select everything, and then at A n, and then choose to flip. Then tub out, select this as well. I notice there's something funny here, so I'll select this tub heat one, select these points, at x, delete Vatices. Then tub out. Then I can select this. Tubing, go to three, A to select all the faces, A n, then you can choose to flip and then tub out. Ensure that nothing is red. Here we have the plane. If I could isolate it. This backside is red, it doesn't matter if the back side is red because it's super flat. I think with this, it's fine. This is really, really good progress. I'll turn off face orientation, and of course, I'll go to file and I'll save. Then I need to rename these texts. I'll click on it and I'll call it Mega text. So I'm well aware that some of these texts are floating, but that is due to this G. So we'll fix it down the line. But for now, this is k. 47. Creating the SALE Text: A. For the next thing, we need to create the text for sale. This text for sale doesn't have a lot of steps. It's actually quite simple. I'll hit shift A, and I'll add a text. Then of course, we'll rotate it on the z axis. So I put 180 on the z. Then I rotated it on the x so R x -90. Then we'll switch to I hit the this particular collection. So let me unhide it. Then I'll switch to the back. Then I'll hit Z wireframe. Here's the text at the bottom. I hit G, and I'll move it should be. I hit S to scale it down, G again. Then I'll tub in. And I'll type in the text sale, and once I'm satisfied, I'll tap out. Then in the properties option for the text, we'll go to the object data, and then we'll look for the font option. And I'm going to load the same phones that we use, which was engine. I'll click on this folder. What we I'm saving my work. Find that folder whole font, and I'll select the font engine regular. But like I said, you can still use the phones that are available in your own windows fonts folder. Then phons Iloaded it up. I'll train line up the text, and I'll scale it up a bit and move it Hit S again. Then I can move the text, offset some of the letters. In the text options still, we have the spacing option, which is under paragraph. Under spacing, we can increase that distance to that point. Then I can also reduce things like the size from here. But I think this is fine, I'll just move it down a bit. If I said so. We have our text. We can choose to solidify, so we can make it thick, so we can go to modifiers, add modifier, generate, solidify, and this has to be a negative value so on the thickness, and put negative something. This text doesn't need to be super thick like the mega one. Now that we have this, we can minimize that. Then we can go to add modifier and go under generate Bevel. I can isolate this by clicking on the back slash. Then we can go to overlays and choose wire frame. And then we can increase the amount for the Bevel. Notice it isn't as perfect. Doesn't give me what I want. I could leave it out actually. Okay. So let me just get rid of the bevel. We could still use the remesh option because I want to bevel the edges and because these triangles, it doesn't bode well with that. So we could choose to remesh. And under remesh, we can go to sharp just like before. Then the octree depth, we can make it six. Then we can turn off, remove, disconnected. Minimize that. Then we can now add the bevel. Then I can increase the segment to two. Then I can go to the overlays and turn this off for a minute. Then look at this text. It actually looks pretty good. Can reduce the amount of the bevel if you'd like. That's great. I exit isolation mode, and we have our mega text, we have our sale text. Of course, remember, for the text, you cannot be able to apply this. So I just need to select the text itself, right click. Convert two and say I want to convert this to a mesh. And that is going to apply those modifiers. Then I'll rename this text, so I'll call it sale. Text. Of course, I'll go to file save. This is coming along well. What is left is if I go to the front or rather the back. What is left is the flash text and the neon signs are going to be like neon signs. That's what is left in terms of this logo section, the section that has the name that is. So we'll do that next. 48. Creating the FLASH Text: E. Now let's create the flash text. For that, we'll just ensure that we're in the models collection. Then we can hit shift A. Then we can go to text. We'll need to make sure that our text is well aligned in regard to the rotation. If I go to the item section here where we have the transform, and if you don't have it active, just hit n, sho bring it up. Can manually activate the rotation tool or you can come over here on rotation X N Z and make your adjustments. So I'll just use some values that I already know that we work. So I'll first of all make this rotate anticlockwise. That's going to be R Z 180. Then I'm going to make it stand upright, so that's going to be x minus actually it's going to be r x -90, and the text is now upright. Then I will switch to the back view. I'll hit for the wire frame, and then I will click on this select box and just hit G and move this manually. For this text, I will change its font. I'll go to the text settings and I'll just go to the font option, and I'll load up the regular font. I'm still using the same phone that I used before. The software actually remembers the windows fonts. I place my phones in three D objects font, but you can use the windows one. Engine regular is what I'm using. Then once it changes. If I just hit Z solid, it has changed. What we need to change, if I go back to the back view and hit Z wire frame, what I need to change is the spacing. If I scroll down, we have a paragraph, we have alignment, then we have spacing. Character spacing is what I want to. Just. So if I reset the default value by hovering over the value that was then hitting back space, if you go back to one. Then I can hold on shift and then click and drag slowly. Of course, I need to make the text say what it should, which is the word flash. So just tab in. It the back space and then type in the word flush, then tub out. Then I can come back to the spacing and make my adjustment. Try to match this. Then I can also move this G x. That is the F, is what I'm moving. Then I can actually reduce the size by heating S. Also, if we can come here under transform, and that is in the settings of the text, and we can reduce the size, just hold down shift, and then drag down slowly. To that point. Then we can go back to character spacing, and I'll just move this back a bit and there we have it. We have our text. Then we can hit and then we can go to solid. Our text is quite flat. If we go back up to the settings of the text, where we have geometry, we have things like offset and extrude. We can adjust the extrude like so. And I'll just switch the view to the right view. Then I'll hit Z and go to wire frame. And I'm using wire frame so that I can determine the thickness. So shift, click and drag, and then I'll move it. G Y to that point. Keep in mind, we have the dot this dotted mesh. We have to make sure that the text is in front of the dotted mesh. If you look closely, if I select the text here, you can see the dotted mesh is here and here is the text. So once we have this, This is quite usable. What we can do, we can change the fil mode. The fil mode refers to if I just go to isolation mode, can we have open faces where we can see the inside of the text. Right now, both the front and the back of the text is filled. But if you click on Bad says both for the fil mode, we can see you have none, which if you select none, the whole text has the back in the front open. If you choose back, it only has the back section open. If you or it only has the front section. And then if you choose front, that's where you only have the back section open. Then we have both where you have both kind of closed. So we're going to use back where we have the back closed so that the front is open. And once you have that, change, that is the fill mode. We now have our text. Creating this text wasn't super complicated. And we're not going to look at changing things like if I go to overlays and turn on wireframe. I'm not going to be super concerned about the triangles that we have. This doesn't need to be an actual mesh. It's okay being a text because we're not going to move it a. So it's going to be quite fine. I'll just turn off my wireframe, and that's how you create this particular text. 49. Creating the Flash Neon Outlines: We'll start by renaming the text for the flash. I'll just double click on the text and type in flash text. Just for better organization, then we need to create the neon outline. To do that, we'll use a simple object or mesh in this instance, which is the single vat. So I'll at shift A. Then we go to mesh, single vat, add single vat. The single vats has been added, and if you scroll down in your outliner, you'll see the vat and to the left of that object, this is icon, and that shows you that we are in edit mode. First of all, the switch to point mode, so I'll at one on the keyboard so that we switch to Vatss mode. Then I can switch to the back view. Then I can hit sd wire frame. Then I can hit A. That means I've selected the point, then g to move the point here where the F is. So here. Then I'll zoom in and again, I'll move it. G Then what I'm going to do is I'm going to hat E to extrude just a bit, and then I'll at x to constrain. I've done a really small extrusion because this first point is going to go inside like a small knob so that we can have a point of origin for the neon sine or the tubing. That's why I've done that. Then I'll select this second one. Then I'll heat E, and x to constrain it on the x. Then I'll at E. Again, this time to constrain it on the z. Then I'll get to this point here. Then I'm going to date directly down. Alex std first to form this section of the F, so I'll at E and x. Then just like I did before here, I'll do another small extion, E x. Then I'll come back here. Then I will hit E, D. We have our if I hit A. I think this is too cluttered. What I can do, I can just tap out of that vat, and then I can turn on selectable, then turn on selectable for the Mega flash sale. For the mega flash sale, I'll hold down control for the vt, then I'll hit back slash to isolate so that we have an easier time working. Now I can select the vat and then turbine. So that we don't see all the other measures. I can select one of these points. It doesn't matter reach on, it could be this one, it could be this one, does't matter reach one. Then I can hit shift d to duplicate, and then I can move that point here. Here's the point. Just hit g to move it, but make sure that you've duplicated by hitting shift D. Then I'll zoom in, I'll hit E again, constrain it on the x, move this a bit, and then now E x. Then E z to the bottom here, then x. Then I'll zoom in, make a small extrusion, so E x once more. Then we'll duplicate again, so shift D. I'll have this point already selected, so shift D. Now place this here, and then I'll use g to move it, and then E again, then this area over here. And zoom in. Let me move it once more. Then E x. Notice when I'm on the diagonal type of motion, I don't constrain on x y or z. E, and here I can just click once. Then again, click again. Then I can move this G. Actually, I can just the G twice, or not. So to that point, is okay. Then select any point, I'll just select, let's say this one, shift d to duplicate to create this area over here. I'll hit E again, then e x, ex. Then g x. And then we have the A. Then I can select any point. I already have unselected, so I can just hit shift D to duplicate, and place it on this area of the S. With the S, since it's a curved path. We'll just create the basic outline. Then once we convert this to a curve, then we can be able to make this actually curve. For now, I'll just add points. All over where I feel like we'll need points in that particular section. I, move this g, then E move this a bit, then E, somewhere here, E here, E here. Then let's say E here, and here, and I'll zoom in and it g to move this, then hit E and move that. Just a bit. Then of course, shifty to duplicate. Then g to move, Then E x, then again on the x again. Then if I zoom out, I can move this by heating E, then then again, then g. Then I have a point selected already, so shift D, place this here. Then I can move it just a bit. Then E x, then E x to constrain it. Then I'll move it to the top so E sad. To that point. Then I'll zoom in E, and I can move this g z. Then I'll select this point E Z. Then again. Now we have our outlines for the neon sign. All that is left is for us to make a few adjustments here in there, then create some thickness. 50. Fine tuning the letter S: A Now let's continue fine tuning this shape. So for this flash extruded points, we need to fix the S because it can't stay like this. So for that to be possible, I'll have to exit edit mode. So I hit the tab key with the tab key hit. I will re click. And when I read click, we'll go to convert two. I want to convert this. It is a mesh, as you can see, from this icon, the inverted triangle. So if I re click once more, It is a mesh. So I want to convert it to a calve. So I'll click on calve, and the icon will change, as you can see, it's no longer an inverted triangle. So now I'll hit the tab key, and I'll select the points. I'll just click and drag and select the points that make up the S. Then of course, since been the calve mode or rather been the edit option, we can click. And in here, we have the curve settings. And what we can do, we can change the spline type. There's an option called set spline type, and we have poly Bezier and nabs. The one I want us to use is Bezier because I would like for us to have Bezier handles. They are going to allow us to adjust the curvature of this S. There's no other shape or rather no other letter that we're going to make the sort of adjustments. So I'll just re click Set spline type, and I will choose Bezier. And I I zoom in, to this by just scrolling the middle mouse. Notice that we do have handles, and you can click and drag on some of these handles. If I select the point, I get a handle on, for example, this point that I have selected, I have a handle at the top, another handle at the bottom. If I select this point at the top, I have a handle on the left, another one on the right, so it depends. So I'll select this particular point. Um in the handle, then I'll hit G, and I'll start making adjustments. And I'll click and drag, hit G. Make adjustments. I'll select this point as well. Then click and drag to select the point for the handle, hit G. So this is going to be very repetitive process. So I hold on shifts that I can be able to move down, drag on the point, drag on the point that makes up the handle, hit G. Move this. And it's kind of like a back and forth adjustment that you'll need to make, as you can see. It's not something that is set in stone. So you change as you go. Then I will select this point, select that point for the handle, and I will hit G, and I'll select this point here. It does have its own handle. Then I'll drag this and make further adjustments with this. You can still move your points if you'd like, you can select your point, hit G, move it. Then I can zoom in at the top here and click and drug, select that point, click and drag to select that handle, hit G and make the adjustment. And then we have our S, which kind comes out really well, right? So we have tuned this particular shape for the S. The next thing would be for us to give this some thickness so that we have the neon sine. I think we'll do that in the next one. 51. Creating An Extrusion for the Flash Neon Outlines: Now that we're done, adjusting the shape, we need to give it some sort of thickness, and since it is a curve, we'll need to get into the curve settings and make a few adjustments. So I'll just hit the tab key to get out of edit mode. And then in the window, that is the window, we can select the ora, Have you selected, we can go to the calve setting. So if I hover over this icon, that looks like a line with two dots. And if you just hove over it, it says data. So that's what I want us to adjust and notice that it does match the icon for the curve. So if you look at the icon for data for the calf and you look at the icon for the calve in the outliner, that kind of similar. And that is the same thing, I guess, with the meshes. So the icons will match. So this is kind of like a visual cue to tell you where you should go to if you would like to change whatever it is you might like to change within your calf or your mesh. So I'll select my calve again. We'll go to the data option. Then Um, I'm not going to change anything with the shape yet. So I can just minimize that. What I want to do is I want us to go to geometry. And under geometry, we have an option called Bevel. So if the options are kind of closed up like so, just click on the Delta, this kind of triangle that is before each of these settings. And let's go to the object tab. So what I want to do actually is to use another object that is going to help define the thickness of this particular shape this particular curve. So I'll hit the tilda key, and I'll go to actually, I don't need to hit the tilder, so let me hit Escape. And just click and drag on the middle mouse. And I get out of the uh back view. That was the back view. So what I need to do. What I'm looking at is, I want to determine how thick I want the thickness for this to be. So we're going to use another calve as an object. So I'll just heat shift A, and we can go to calve and I will choose Saco the circle will be added at the top, so Basco. And one thing that I should mention sometimes because we are working with both calves. So we have the Bezier circle, which is a calve, and if I scroll down at the bottom, I have this curve, it's just called vat. And that's because when we're creating this flash outline, this path, we did use the single vat. So it's still maintaining that name. I'm still um, to change it, which I think we should. But sometimes if you don't change the name, it might be a bit confusing because this basi cacle has the same settings as the vat. So you have to be super careful about the assignment of the shape that you want to determine the thickness. So, I could rename this vat, so I'll just double click on it. And I'll call this flash neon outline. Okay. Now when I do that, of course, things are alphabetically arranged, so this is going to be in the F section. And that makes it easier for me to select this saco. I'll select this flash outline. Of course, I'll go to the data option and in the geometry, look for object. Again, the o t. So if you have over this option, it does tell you what it does. So it says, determine how to build the calves bevel geometry. So that is what we're going to use to determine the thickness. And whatever we're going to define as the object is the Basie circle. Under the object, we have this eye dropper icon. I'll click on the eye dropper and then I'll pick on Basco. If I do, this gets really messy. And because I'm in the wire frame, mode. All I'm just seeing are a bunch of lines. I can just hit Z on the keyboard and we can go to solid, and this is an a mess. So because we're using the Bezier circle to create our thickness for us for the outline of this flash neon sign, what is happening is because the Bezier circle is really huge, whatever we're getting is also quite huge. So what we need to do, we need to select the Bezier ccle. And then we hit the tab key to go to edit mode and we can see the circle is in the edit mode, and I can hit wireframe and we can actually see the points that are selected. So if I hit that again and we can go to solid, what I'm going to do is I hit S, and I'm going to scale this down like so and notice that now we're getting a more appealing shape. So I can hold down shift if I wanted to make this a bit better, but I don't think I will, so I'll just scale until I'm satisfied, so then I stop. Then I'll zoom in and I'll hit S again and drag this in just to scale it out in, sorry, not out, but scale it in because I want to make it tiny. As you can see, we do have the good object. We do have So like I mentioned before, we do make that mistake of jumping around here. These are not the same settings that we set up before. This is for the Besser saco. So please don't make the mistake of assigning because in my mind at the back of my mind, I was about to assign, but I didn't, so keep that in mind. It's an issue that I feel that I've been experiencing, and I feel like I should mention it as well that I keep on forgetting that I should be more concerned with the settings for the flash on the flash neon outline rather than with the Besser saco. I do like this thickness, I'll get out of the edit model, just hit tab, and if I select the flash neon outline, if I go to object. I have this option called field caps. If you look at the thickness that has been created, it's quite good, but this top or this ends. They open on all of these outlines. If I turn on field caps, that would mean that these are going to be closed. I'll turn this on and it's going to close those particular caps, which is what I want. Um, so now that we have our thickness, I want us to get rid of this base circle and because I don't want to kind of use it or have it there. So what I'm going to do, I'll go to the overlays, and the overlay I want to turn on is wireframe. So I'll turn on wireframe, because I want to see the way that the edges and the faces are distributed on the surface. So I want to make a few changes on this. So I need to select the the flash neon outline. So this one, and I'll open the shape. And we have things like the resolution preview U, render U, and all of this. What I want to do is I want to reduce the resolution and see what happens. So if I reduce the resolution preview U to something lower because it's 12, like so, I I reduce it to something like ten or nine. I'm just reducing it to something that is more palatable. I don't have a lot of edges or a lot of faces. And we can also select the Bs circle. And try to do the same, reduce the resolution, and notice that we also affect the number of faces and edges that we have. So I've made sure that I've adjusted for both the flash new and outline. But notice for this, I didn't make it go too low because if I do that, then we're going to lose that nice definition that we had. So this controls the distribution of edges and faces on your curve. And sometimes if you feel like it's too much, you need to reduce the resolution. If you feel like it's too little, you need to increase. And this basio cycle also helps in managing the same, same thing, the edges and the pace distribution on the curve. So the reason I'm kind of reducing this is because I want to convert this flash neon outline to to a mesh. But before I do that, I need to make a few adjustments or further adjustments because I want it to look like there is a place it's originating from. Although it's not something that we're going to be zooming in with our camera or anything like that. I just want it to be well done. For the next video or in the next session, we're going to continue working on this, add a few more extra things. Then once we do that, then we can get rid of the Bezier circle, and I'll show you how to do that. 52. Creating The NEON INLETS: Now we need to exit the isolation mode that we're in. So I will hit on the backslash. Icon, not the icon, sorry, but the back slash key. And we're going to look at what we have, and I noticed that this A is a bit off. So I'm going to move it a bit. And this is why I said that before I kind of convert this to an actual mesh, I need to make a few adjustments. So I'll heat on the tilder key will go to the back view. I'll hit the tab for the flash neon outline. I'll select all the points that make up the A, and I'll move it in the G x. Some of that. Then what we need to do next is if I go to one of the side views. If I use the right view and I hit Z and I go to x. The neon sign is a bit too back. If we look at weights being placed or weights placed by default. What we're going to do, we can hit A to select everything, and all the points in our curve is going to be selected. Then we can hit G y, and I'll move this forward. Just a tad. Let's say some of that. Then I will go to the overlays, the top here, and I will turn off wire frame. Right now we're in x ray, so we're just seeing the points, so hit, and I'll turn off to go x ray. Now that we have that, what I want to create next inlets for this outline. The inlet is going to be quite simple. This is going to be a simple cylinder. What I need to do, the easiest way for me to set this up is to select this point, just this one on the F. Notice that I did have two or make strolling. I had two points. This one is the one that I'm going to push on the inside. So with this selected, I'll a shift S so that we get these settings for the Csa. In the CAs settings, we have cast origin to selected cs to active. We can choose to say Csa to selected. If I choose Csa to selected, that means that the cs is going to be taken to where the point is at, and this makes it easier for placement of the cylinder that I want us to create. I Zuma, you can see the casa is placed exactly where that point is. Can hit shift A and then actually, I need to exit this, so I'll hit tab first. Then I hit shift A. If I hit shift A while I'm still in the curve mode, it's going to allow me to only add calves, but I need to exit the edit mode so that I can be able to add a cylinder, which is a mesh. I'll head shift a mesh, and I will add a cylinder. The cylinder is going to be quite large. In the settings for the cylinder, I'll reduce the tices to something manageable because this is not something that we see from a distance, four is fine or let's say six, then I'll reduce the radius. To maybe something like that, and I'll reduce the depth, which is the height to something like that. Actually the depth. Okay. Then I'll hold down shift and hove over over the radius and reduce it further. Something that makes a bit more sense, if I zoom in. Something like that, and I can also reduce the depth, something like that. Then I need to rotate this so I can hit R x 90. Then I can scale it up just a bit, so I can just hit S and scale it up just a bit. Then I can go to the side view, so I'll hit the tilda key and go maybe to the right view. I'll hit Z, go to wire frame, and then I'll move this back. I'll just hit G, y. And then I need to make it a bit more shorter in terms of the height, so I can hit S y to only scale the S or the object in the Y direction. Then g y. So some of the Then again, S Y. It's a back and forth kind of process, so I keep on making bits of adjustment. So it, we'll go to solid. I still feel like this is a bit much, so I will go to again, the right view, hit, wire frame. Then I'll hit the tab key. I'll select these points on the front cup and I'll just hit G GY. Let me go to that point. And I can tub out, right? So if I hit, solid, now what I can do, I can select the flash neon outline. Then I can hit the tab key. Then I can select this point. And with this point selected, I can hit G y and just move this back, like so. And then I can tap out, then select that cylinder. We just created, then I can scale it up slightly so that it aligns. That's what I want us to do. Then I can move this as well. So I'll use the move icon. To move this myself. Something like so. Now we have areas where we can say, this is where the neon outline is originating from, which is fine with me. What I'm going to do, I will just create duplicates of this cylinder throughout where it's needed, and it's just going to be within one mesh. What we're going to do, I can select the cylinder. I can hold down shift, select the outline, and then I can isolate so we can hit back slash. Of course, it is a bit of an intersection, so I can hit the tab, select this point, move it. Just a bit, then tub out. With this, I need to place it where I see that we will need to have that point of origin. I will go to the back view. That is the tilder key, then hold on shift to move around. Then I'll tab in. I'll hit tab, and then in the edit mode of the cylinder that is, I will click on three on the keyboard or you can just click on this icon on the top left, that is the faces icon. Then once that is selected, I can hit A, and what I want is I want to select all the faces. Then I can hit shift D to duplicate. So I'm going to have this cylinder here here. Here, here. It's going to be like super repetitive. I'll hit shift D, and I have a duplicate and I'll move it where I want this to be at next, so some are there. The first time you move it, it doesn't have to be perfect, I'll just hit G to move this down a bit. It doesn't have to be perfect, which just placing them we feel like this will be. Again, shift D. Duplicate to that point, Shift D. I'll move this here, and I'll zoom in, it's in the right position. Shift D once more. Then zooming, and I'll use the G key to move this and make sure you're not moving it in the perspective so that it's placed where it should be instead of it being a bit off once you move to your perspective view. I'll go back to the back view. Again, shift D. Shift D once more. Okay. So I'll do it for the S as well. We'll don shift middle most to zoom out and pan around. So shift D. Finally, we are at the, so shift D once more. Shift D. Now we're done placing the cylinders. We can exit a tu out of the edit mode. The next thing would be for us to now go to all the individual cylinders and c that result that we did at the beginning here with the F. 53. Converting the Flash Neon Outlines to a Mesh: We now need to complete in creating the same result that we have here on all our other areas. You can select each point on the end where we have two and you can individually move them in. And as I look at result. I have two points here. That means that I have a curve that ends here and another one that begins from this second area of the F. That was a mistake on my part that I hadn't realized that I had made. But it doesn't mean that I have to redo anything. I just have to move this a bit forward. Then this point that I have selected because at the bottom here realized I didn't have another point because we do have two points on each end. For this, I can select that come over here, select this, so hold on shift, select this as well. And if I move it, you can see it moves this whole section. I'll undo that. That was just to show you that it's it's being moved. Then I will right click and I will go to the calve options, and I'll choose subdivide. So I'll have an extra point. Then this extra point, I'll select that point and move it down. And Once I move this down, then I can select this point at the end and now move that one in and up and then select this and move it down. That was an error on my part that I hadn't realized, but we can still make do with what we have. Then I'll select this and move this as well. Go to the other side, select the last point, move it in. Or you can use GY if you'd like. How you work is or I think it should be a matter of your preference, you can select this and move it down a bit. I prefer to mix it up, sometimes. You can see sometimes I use shortcut, sometimes I don't. Sometimes I prefer to just do things manually myself. Okay. So I'd say it's your choice, how you'd like to do this. Because the result is still the same. The results won't change. Because another way I would have done this, I would have selected all the points and then move them myself manually instead of doing it one by one by one. Moving all of them at once instead of moving them one by one, like, I'm doing right now, so I could select this. Hold on ship, select that. Then I can move them in at the same time. So this is what I mean. So instead of these two, I would have selected all of them, which would have made my work easier. But at this point, I feel like it's just better if I just do it, manually. There we have it. I can hit the tab key. We get out of the edit mode for the curve, and then I need to get rid of this passco. F that to be possible, I'll select the flash neon outline, then I'll right click. And then we'll go to the object or we'll get the ob panel, and we'll go to convert two and I'll choose convert to mesh. Remember, we reduce resolution of this curve, as well as the resolution of the Bezier circle. So if we convert this, nothing match will change. So I'll just right click, Convert two mesh. Then I can select this Bezier circle, and I can hit delete, and it's gone. And notice that nothing changes, right? And then I can exit isolation mode by clicking on the back space. So what I need to do next is to rename the cylinders, because we did create them in one singular mesh. I'll just doo click, and I'll call this flash neon inlets. So flash cable. Let me just say cable. Inlets because this is the outline, and this is where the outline itself, which is, I assume, I would say a cable gets into, right? And now we're done. So we've done a lot of work for something so miniscule that we're not going to see, but it is good practice in a way for you. So that is the end of creating this neon outline. Oh. 54. Creating the Warehouse: Now that we're done with this, what we can do we can hide the reference. We have the collection that is called reference images. I can actually just hide it. And this looks pretty pretty good to be honest. And what I want to do is I want to create like a warehouse. For the warehouse, we'll start by creating a huge cube. And then we'll create a bunch of shelves. We'll populate those shelves with boxes. And then once we populate those shelves with boxes, then we'll finish up with some flash icon, like those lightning icons, we'll create one of those. So I'll click on the models collection. Then I'll hit shift S. And what I want to do is I want to take the Custer back to the world origin. So the Csa to word origin. I'll select that. Once I select that, What we can do. I can hit shift A and you can go to mesh cube. This cube needs to be quite large. The size is at this point, it's 2 meters. I'm going to eyeball the size that I would like, maybe seven. Let's just work with seven for now. If I hit wire frame. Yes, I'm still going to make this larger. Let me make it let's say 12. If I feel like it's too large, I'm going to make it smaller. Then I'll switch to the right view. Then I'll just click on the select box. Then I'll hit G Z. Move this up. So are there. Again, I'll G Z. So I want it to be lying on the y axis. So it's really I made it really tall, and I don't think I need it to be this tall, so I can tab in it one, to select the points or go to the point selection option. Then I'll select these points at the top, and then I'll hit g Z, bring them down a bit. Right? Then I'll just look around and again, I'll hit, go to solid, and I want to o in, and I'll get into the box if I 00 in so that I can see what I have. I'm just trying to see is this too large for what I want? Or is it too small? I think it's fine. What I'm going to do I'll heat three on the numerical numbers at the top. Then I'll select this pace at the top and I will delete it. I'll select it heat x, then choose to delete faces. This is what we have now, you can make any further adjustments that you would like, but this is how I create the warehouse. So for this, we'll need to kind of populate it with the shelves now. So the shelves will originate from a simple box that we will modify and then create copies of in the warehouse, which is this box, right? So let me tab out, so I'll hit the tab key, and I'll rename this, so I'll call it warehouse. And of course, because everything is alphabetically arranged, it's going to be at the bottom. But this is essentially how we create the warehouse, right. So In the next stone, we'll create the shelves. 55. Creating the Shelves: Now we can create the shelves. The shelves will originate from a singular cube. I heat shift A. Of course, make sure I'm selected in the models collection. Shift A, mesh cube. With this cube, the software still remembers the previous size that I had input. I'll just set it back to 2 meters. And then I will now start making my own adjustment. So I'll switch to the right view. I'll hit the Z key, we'll go to wire frame. Then I'll tab in. I'll hit tab, and then I'll hit A. Actually, I should hit one because I prefer to select points. I'll hit A to select all the points, and then I will scale. So that is going to be S, but on the Z because I want it to be super Super thin, like so, something like that, something like that. Then I'll switch to This perspective view. And then I need to scale this up, so I'll go to the top. I'll scale it up on the y. We'll scale up on the y in this direction, and then we'll start creating the shelf. So I'll do like an S Y, and then I'll scale this up up to that point. And you can hold down shift if you'd like. But I prefer not to, so I'll just choose some there, which is fine. If I zoom in, I'm a bit off because I wasn't snapping values, so I just need to check. This, I can move it on the y, so G Y, something like that. Okay. Then I need to add an edge loop, one here, one here. I'm going to do a control r, and if I hover over the shape, the cube, I do get a o. So it's not moving until I move elsewhere, but it's not moving. I just need to click and then drag it where I want it to be, so some there. Then control again, click, and then I'll drag this to this other side. I'm just eyeballing this settings, or rather I'm placing the I'm just eyeballing it. Then I'll hit A to select everything, and then I want to move it here, so that's going to be G x. Some are there. Then what I want. I want to select this face and this other face. So I hit three on the keyboard. And then I'll select this face. Pull down shift, select this face. The three that I've hit is not the numerical keypard, but rather the numbers above the quatre keyboard. Then I'll go to the top. I'll hit the tilda key top. Then I'll hit E to extrude, so E, and then I'll hit x so that it's constrained to the x, and I'll take this to the end somewhere here. Then I need to create new loops. What I can do is control r again. I'll hov over each of the sides, I want to create the loop. I'll start with this side, is on the top side. Then I'll click and then I'll drag this somewhere here. Then again, control R, click and drag this here. Then I want to join these two together. These faces. So I'll hit three, to go to faces polygons. I'll select this face. Then I'll rotate hold on shift, select the other face. Then I'll just hit the space bar and then I'll click on bridge. I'll say bridge ops. If I click on that, it should bridge. I've created any extion from this. If I isolate, if I hit the back space, and then I hit Z solid, I do have something that looks like a shelf. I feel like this is a bit off, especially this loop, so I could go to the top view. And then I can hit Z wire frame. Then I tab in hit one to go two points. Thin I've isolated something. Let me hit rather I'm not isolated. I've hidden everything in this. So sorry about that. I'll select this again. That is this shelf. Go to the top view. I feel like this is a bit off over here. So I'll hit tab, then I'll hit one. I'll select these points, and so this ones. Can flatten them using the scale so that they can be on the same line. So we can activate the scale and we'll use the x, or you can just hit S X zero and hit enter, and it should stop looking weird. If I tap out doesn't look weird anymore. Again, I've selected these points, and I'm choosing to scale them, ensuring that all the points on the x are zero. Now if I move this slightly, they do move together and they are in line. I just wanted to make this a bit thicker like that. Something like that. So if this was off a bit, maybe like this, I'll just hit S x zero. Actually, let me activate it. So S X. I think it doesn't have a point of reference. Let me select this other one as well. So S x zero. Yeah, that works. If you just select one, look weird. Again, this also looks weird because you only selected this to. So S x zero, and it's in a straight line. That's I'm not too bothered with having them be in a specific way as I create them because I can still fix them. But that's intentional on my part so that you can know how to do certain things, I'll tap out of the points mode, and we have our shelf. So I'll rename this. I'll double click on it and call it shelves. Because they're going to be many. So these shelves, we're going to make them many by using the array modifier. So with the shelf selected, we can go to the modifiers option, and then we can go to add modifier, and then we can choose to generate. What are we generating an array? We need copies or instances. So I'll click on array. And if I hit Z and go back to solid. Notice that it does create a copy, but on the x, and that is not what I want. I want it to be on the Z. So in the array settings, the fit type is fine. The count will change it in a minute. What I want to change is the relative offset. The relative offset needs to be on the Z. So I'll make the relative offset on the x to be zero and the one on the Z to be one. If I move this further, we have our shelf. But I need to decide on a value, let's say eight. Then I can increase the count. Maybe let's say I want five shelves, and then I can try and play around with this value, something like that. But the good thing about this is we can be able to go backwards and forwards with it. Let me hide this. We can be able to go back and forth with it. Here's our hold shift. Here's our our text and all the textural elements, and then we have the shelves and the floor of the warehouse. If you feel like this is tiny, we can always adjust, but adjusting would require a few things to be done, but it's possible. This is how we've created the warehouse and the shelves. I'll just save this and then in the next one, we'll build on from this. 56. Adjusting the Size of the Warehouse and Shelves: In a situation where you would like to change the size of your warehouse and the shells, what you'd need to do is to adjust the scale, but you would need to isolate one of the axis and tell the software you do not want any scaling on that particular axis. So I'll start by doing it on the warehouse. So if I select this mesh for the warehouse, and then I hit S to scale. If I scale it as it is by night, going to scale on all axis x y and z. Only want to scale it up on the x and the y. I don't want to scale it up on the Z. So because I don't want to do it on the Z, that would mean that I need to have the software. Isolate, remove the Z from the scaling operation. So to do that, you hit Shift Z. So if I hit shift and Z, and then look at my software, you can see that I now have prominent red line and green line that tells me that that is the only axis that I'm scaling in. So I'll scale this up, maybe to, let's say, 1.3. So I could type in the value actually, so 1.3, then I can hit enter so that is recognized. I can do the same for the shelves, so I can just select the mesh for the shelves. Then I can hit S and do the same thing, shift Z to remove the Z from this operation, the Z axis studies. Then because I use the value of 1.3 for the warehouse, I need to use the value of 1.3 for this. Then I can hit Enter, and I do have that change. So that is how you can be able to adjust the size because I felt like mine was a bit too small and with this, I can be able to solve that. But now I have another issue whereby, if I just zoom in to the warehouse, and then I start rotating, I can see the peaks or the top or the roof of the warehouse. And what I can do, I can switch the view, so I can hit the tilda key. We can go to let's say the right view, and I can hit Z, and I'll change this to wire frame. Then I can select the warehouse, tubing, at one, to go to points, and I'll select these points at the top. What I want to do is I just want to move them up, so G, z, like so. Then tub out of this. Then I can select the shelves, and then I can increase the count under the array modifier, like so. Now, if I hit that and go back to solid, and I get into this, and now I start zooming in to this, and I start rotating. I can't see unless I rotate way too much, but I essentially can't see the roof because I want the roof to be open, so I don't want it to be seen. So just to be on the safe side, I just create more shelves and I make the warehouse more taller. So this is what you would do if you wanted to make adjustments to the size of your warehouse, and also to change the number of shelves that you have. So it's very procedural somewhat, I would say. Very it's less destructive. I don't need to do many things to have access to those few things that I might want to change. 57. Modifying the Robot Cables and Creating Cable Inlets: Now we need to fix these cables that are coming from either side of this robotic base. So they need to be directed to some sort of inlet on either side, on the left and on the right. So I'll select this one. I move up, so that's cable one and two. This two, and I'll move them further back. U So I can select both of them, it tub, and then I can zoom in and select these points. Right? Then I can hit the tilda key go to the top view and I zoom out, the points and I can move them up to this point. I hope I've moved for both. I have. Then we can do the same for the other side. That's Cable three and four. I can to tub out of Cable one and two. Then I can selate Cable three and Cable four and then it tub. Then I can select these two points. In this instance, maybe I could hit E. In the other two cables, I did not extrude, so I could hit E to extrude. Then just accept it just for a short distance. Then I can bring this to this side. Maybe up to that point. I think I've made it go way to inside and on the other side. In this side, the cables are quite close together. That is the Cable one and two. What I can do, I can tap out of Cable three and four. Then I can select Cable two, for example, sad, go to a frame, then it tab. That point is still selected and I can move it like so. Then I can select this and maybe move it a bit. And then I can tap out. And then we can go and see what we have. If I hit that again, go to solid. Let me de select that, can see what we have. But the thing is is they're all going to a particular area, we can try and refine this a bit further. What I can do, I could select cable four tabin that point is still selected. Then we can go to view, and then we can go to frame selected, and it should in completely to where we want to be, which is this point. Then if I just zoom in a bit, What I want to do is I want to select that point at that point. Then I want to right click and choose subdivide. Then click again and choose subdivide. So what I want are just extra points. Then with this point, I want to bring it up a bit. Then I'll do the same for able three. So F cable four, I'll select it, tab out, I'll select Cable three, tab in. That point is selected, I'll zoom out to select the other one. This one. Hold on shift. Right click, subdivide, right click, subdivide. I know we could increase that, but I would just prefer to have control, I guess. So then I'll select this point and I'll move it up. L so Then I'll repeat the same for this other side. That is for able one and two, I'll tub out. I'll select table one tubing. With that point selected, we'll go to view frame selected. Should take me where I want to be. Then I can move around. I'm using the middle mouse. Then I can out. Select that point. Hold on shift, select the second one, right click, subdivide, right click, subdivide. Then for this one, I'll move it up. Then I'll do the same for C able two. I'll tub of Cable one. Select Cable two tubing, select the point on the farthest end. Zoom out, select this other point on the other side. Click, subdivide, right click subdivide. Then you can select this point and just move it up there have it, right? So what now I can do, I can create a small inlet. To do that, we can use a cube. I'll tub out of this. Make sure you're not tubing to any of the cables because they're just, The curves. What I'll do, I'll just tub in, select that point, then I'll heat shift S, and then I'll say CA to selected, then I'll tub out. Then I'll heat shift A. Once I shift A, I want to add cube, so I'll select cube. And I zoom out, the cube is there just that it's very huge. I could make it smaller. Something like that. This is too small. Let maybe something like that. Then I can move it. That is I'll move it on the y, so Gy, move it forward, like so. Then I will tab in. And then I'll heat A to select everything. That is all my points. Then I'll move this G, x, move this here. Then I will scale it on the x, S x. That's on the x axis. Then I'll heat three and then I'll select this face. Then what I can do is I can heat the space bar. Then I can select inset faces or rather type in insets, then select inset faces, then I'll drag this in. So, then I'll extrude this on the inside, so I can just hit E and then just move it on the Z. E, then hit, and there we have some sort of inlet. It's not super details because it's going to be super far away from the camera, but it's good that it's there. Then what I can do is we can level the edges for this to make it look a bit better. What we can do, we can select it, then we can go to the modifier. And then Click on add modifier. Then go to generate and choose Bevel. This is a bit much. What we can do, we can reduce the amount. We want to bevel edges, of course, not atices. The default edges is fine. Then I'll reduce this amount, so I'll hold down shift and then click and drag so that the amount is very small, really tiny, like that. It should be 0.0 0.001 or two. Let me put into and see what I get. It's one. Like that. Then I can increase the segment. Instead of one, I have two. Then I can make this 0.05. 0.0 005. This looks a bit better than what was there before. I'll rename this. I'll double click on this and I'll call it cable inlet one. And then this is placed where we have Cable two and one, right? So we need the same on the other side. So what we can do is Cable three. So I can select Cable three. Then I can hit tub. Then I still have this point selected, I can hit Shift S. Then I can say CA to selected. Then I can tub out. Then I can find the cable inlet one. Then I can duplicate it. What I can do is I can do like a shift D. Before I do that with the cable inlet one selected, I can go to V, then say frame selected, so that I see it in, Then I can do like a shift D to duplicate and just click. When I hit Shift D, I didn't move it, I just hit shift d, then I click to accept with the left mouse button. Then here I can rename it, I can call it Cable inlet two. Then I enter. Then for Cable three, I select it and the, the three D Cs is, of course, it's there. What I can do, we can do like Shift S. Let me select the cable inlet two. Then I can do a shift S. Then what I can say is, selection to CASA, because they have selection to active selection to CASA. I want whatever I've selected to go to the C, which is this one. If I click on selection to CASA, look at what happens. The cable inlet two, which is on the other side, it has been placed on where the three D CA is, which is what I want, which is an easier way of essentially moving this because of course, you will assume that you need to select the object then move it, that is not necessary. So that's why I did that. If I just can do this, I've selected the cable inlet two, Then my CASA is on the other side of where the duplicate is. Then I hit shift S, and then I say selection to CAA. Whatever I've selected, it should move to A. That's what has happened. Then we need to rotate this so that it faces the front so I can activate the rotation and rotate, or I can hit n and look at the item auction. Then on the Z, I can type in 180. Then I click. I can click on the select box. Then I can go to view Frame selected Zoom outta bit, and select this move to just move this to satisfaction, as simple as that, and we have our inlet. With this one, I can push it out just a bit. Let me do that. Let me bring it out just a bit like that. So it looks like it has some sort of thickness. Yeah, so. Although it's not going to be seen that much, it's going to be important for elements to be well made. I prefer it that way. I don't prefer to leave some things unmade because I don't know what the camera will be looking at, and I want things to be good for every angle that I that I may choose. So this is how we create the cable inlets, as well as modify the cables. 58. Creating the Left Flash Icon: The next thing I want us to do is to create a flash icon. So that flash icon, I want it to appear on the left and the right of this text. So we're going to create that icon using a single vertex. What I can do is I want to change the position of my three D cs. It's here. I'll select this mega text, and then I'll hit Shift S. Once I hit shift S, then I'll say A to active, and this is the CSA. Then what I can do. Now I can hit shift A, but of course, I'll make sure I'm selected in the models collection. Then I'll hit shift A. Then I'll go to mesh single vat, single vat. Once you add a single vat, I'll hit one on the numerical keypad, so that we go to the V Vatex. If you cannot actually it one, two, three, just manually find it on the top left. Then I can move it, so I can move it on the x, so I'll do like a G x, and I'll move this. I can see, so that is. Then I will isolate. So I'll first of all go to the back view because I drew my text using the back view. Then I will isolate, so I'll click on B space. I doesn't matter what the axis is. I just want to see this. Then I'll click on the select box. With this vertex selected, I can start extruding, so I can hit E, and of course, now I get an extrusion. I hit E again. With this, I'm not using a reference or anything. Then again. E. Of course, he might be like, we should hit, but we shouldn't actually. Let me show you something. If I select the two points and move them up, I'll just hit G, move it up, and then I'll select this. G. If I want to fill this, I can just select this point. Hold on shift, select this point. Then I can just hit control to join. Control and J. Seems like he's not doing the thing. So we'll just hit F and it's going to feel. Sorry it's going to feel this particular gap that we had. I thought it was join. Sorry about that. Then I'll just make a few adjustments. This is the icon that I want. Then I can hit the back slash, then we're out of isolation mode. This is what I have, and we can go to view frame selected so that I can see what we have. Then I can it A. Then I need to move this G, x Then what I'm going to do I'm going to hide the warehouse and the shelves. So I'll just click on this icon in the outliner. We have this icon for the warehouse and icon for the shelves. It's a bit obstructing. Then I can make a few adjustments like I could train scale this up, which is okay, I could. But because the pivot is all the way on the other side, that won't work. I just about 1 minute. Um, know that it won't work, but essentially it's going to be a bit strange. So I will select this, then I'll re click. Then I will click on set origin or rather Hva of a set origin. In this software, it's called set origin. I think I said pivot, but it is the origin. So under this set origin, that means I want to change this point here. I want it to be at the center. So if I click, say set origin, then I can choose origin to geometry. Once I choose that, the origin should move from the three DCs and move to the geometry. Now if I scale up, the scaling will occur, I'm using the origin as the center. So it's going to be the point of scaling. Soll heat S, then I will scale this up like so so Sh. Then I can move this the side again. Okay. So I also want to duplicate this Soll heat shift D. Okay. I've just hit shifty and I've just clicked to accept using the left mouse button. So now if I look at my atico at 0:01 and at.002, so I'll hide the second one. Then with this first one, I want to give it some sort of extrusion. So I'm going to call it icon one. I'll double click on it, and I'll call it icon one. Then I will tab into it, at A to select everything, then I'll heat F. Once I at F, it's going to fill in the shape and create a whole new face. Then I can hit three, and three will move me to the polygon mode, then I can extrude the phase. Again, if the faces are not selected, heat A, then. I, but I'm extruding on the y, so I'll hit E, y. Then I'll just move this so like that. Then I can tab out. So I feel like this is fine. Then can bring back the other one. This 002. I can make it visible, and then I can move it forward. I I just pull it forward like this. Then what I'm going to do is I'll select this vat. I'll hold on shift, select this thicker icon, then I'll isolate. Then I'll switch to the back view. Then I'll just select 002. Then I will tab in go to points, that is the vertices, and then I'll start just moving them just a bit. I don't need them to be the same, but I just want to move them. Okay. So I'm using the G key. Right. For this, I want to give it like a thickness, but I want to bevel the points so that they're a bit more curved. I can go back to the edit mode at A. Then I can hit the space bar, and then I can choose to bevel. But what are beveling atices. This is one way we can do it. I also know I t, we can go to modifier, add modifier. Then we can go to generate and I can choose to bevel. But this time when I'm going to bevel edges, I'll bevel atices, and this is what we have. Then we can play around the amount, so I can reduce the amount. And then I can add the segments. And this is fine, actually, right? Then I want to convert this to a calve, so I need to get rid of this bevel. I need to bake the bevel into the shape that we have or the mesh that we have. On the bevel. After these three icons, we have this Delta that faces down. So if you click on that, choose to apply. I choose apply and there we have it, right? Then we can also choose to bevel this icon. Of course, I need to rename it, so it's not going to be called flash icon one. I could call it flash icon. Flash icon. This is the left side, I'll give it like a capital L. And then I can select this. And then I can call it Flash icon. Flash icon one neon. It's going to be the neon light. No icon one, but icon, the left neon. After this point, we have all we need. All that's left is just to add a bit more detail. We'll do that in the next one. Or. 59. Refining the Left Flash Icon: Now we can refine the flash icons, both the neon and the extruded one. For the extruded one, we can go to the modifiers, and then we can chose to add a modifier, and we're going to generate, and we're going to choose Bevel, and this is a bit, we'll lower the amount. I'll hold on shift. Then I'll just click and drag to this value. I'm satisfied, and I'll add an extra segment and looks a bit more appealing. The reason I choose to bevel is because these areas are going to capture specular highlights. They're going to be very shiny when we add some of our materials or rather some color in our instance and some lighting. Then for the left on this one, I want to first of all, convert it to a curve. It is a mesh, so I select it, right click, convert to, and I'll choose calve. Then I'll go to the calve settings. And I want an object or another calve to control its thickness. So I will add a circle. So I'll hit shift A and go to calve Saco. The circle is way off because of course, the three D casa is way off. So if I just scroll down in my outliner and select this neon, Then if I go to the calve data settings, and let's scroll down, go to the geometry, look for bevel and go to object. Then we'll pick the Bezier cacle as the object. Use the eye dropper, pick the eye dropper. Pick the saco. Since the cycle is very huge, the result we have is going to be really weird. We'll select the Bezier scle tab a to select all the points if they're not already selected and scale. I'll scale up to that point. Then I can zoom in and scale even further, so something like that. Okay. Then what we can do. Here we have some strange results. Since this is a curve, that is not this one actually. Let me tab out. I think I'm still in it, so I'll heat tab. It goes back to Basic what I can do is I can turn ons, that is for the wire frame. So we can see how dense the mesh is. This is a *****. So what I can do, I don't like this to be honest. There are many ways to go about this. First of all, you could select the BZ circle, and under the set, the data settings for the BZ ccle, we could try and reduce the resolution, something like that. So we can see or we can have a much more palatable result. Then I can select the carve itself, the flash icon left neon, and we can reduce the resolution, see where we'll get. Okay. Let me hove over eight and just go back to 12. It doesn't change much, as you can see. So I'll just hover over this setting and just hat back space so that it resets. What we can do. If I go back to turning off the wire frame overlays, we can see what we have. Which is, I think it's fine, because it is going to be glowing, the mesh doesn't matter that much. But what we can do is I can select this flash icon left neon. Then I can click and I can convert to mesh and it to be a mesh. And if you try to add a modifier that's supposed to smoothen this out, let's see what happens. If I go to modifiers, and go to add modifier, generate subdivision surface, this is what we get. So I'm avoiding my option, we need to subdivide this, definitely not. I think my call me this at the intersections, but then this is going to be glowing, so that's not going to be a huge issue. But if I could tab in and select some of this loop. If I hove over this, hold on Out and click, then I can switch to the back view. Then I can move this. I can hit G, and then I can now start moving, and then I can select this, hold on Out and click. I should select the whole loop. No, I start moving. So I feel like if it bothers me, I need to come in here and just select the loop and move it. But I don't think this work is kind of worth it to be honest because this is going to be glowing. So what we have is actually fine. I would say so, right? What we can do, we can create for the other side. We just duplicate from this, but I'll need to exit isolation mode, and I'll select this. Hold on, shift, select the other one. Then I'll do a shift D. Shift D s not control D. Then once I duplicate here there, I'm not going to select, I'll just move them to the other side, like so. Then I'll now start renaming. This is going to be flash icon r because that's the right side. This is going to be flash icon r neon. Okay. So just move them a bit. Yeah. So I can bring back my shelves and my warehouse, and this is what we have. So it's coming together quite well. It looks good. So at this point, I could say we're done with creating the icons, this one and this one as well. So I'll just save this. And in the next session, we're going to now create some boxes. 60. Creating the First Box: At. Now we can create the boxes. For the boxes, I would like to create them in their own collection. And this is because down the line, I want to populate these shelves with boxes. They can't be empty. So due to that, I'm going to create a variety of boxes and then use those boxes together with geometry notes to populate these shelves. So In my outliner, where I have the collection called models. I want to create another collection inside this collection called models. So with this collection selected, on the top right of the interface, we have the button for creating a new collection, so click on that, and a new collection will be created, and it's going to be called Models one. That's not what I want it to be called. So double click, and I'll collect boxes. So all our boxes are going to be here. So if your three DCA is elsewhere, you can just hit shift S, and then say CA to what origin, where mine is at, because I think mine was here, so I moved it. So that's one thing. I'll select the collection called boxes. Then I'll hat shift A, then I'll go to mesh. To create, the boxes, we'll need a cube, so I'll go to cube. By default, the size of the cube is 2 meters, so you can adjust it as you see fit, but I will start with 1.5. Then I will isolate this cube, then I'll hit the tilda key, then I'll go to the right view. Then I'll move this up to this point. Then I hit set, go to frame. I'll tab in, so I'll click on tab, then I'll hit set again, and then I will toggle x ray. Then I will select these points at the top, G, to move them down because I feel like the box was too tall. I'll select those points. Then I want to create a loop that goes around the cube. For that is going to be control r on your keyboard. Then if you hover over the the cube, whichever position you place, you will see that you get a loop. So I just click to accept and click again to place it where the loop should be. I just need one. I don't need many. Then I'll hit, I'll go back to solid. What I want is I want to separate if I hit three. I want to separate these faces from these two. I want to separate this from this and from this. How we can do that is I'll hit one to go to vertex mode. Then I'll select this vertex, and I want to split it into parts. For that, I'll hit V on the keyboard. I'll hit V, move this. Then what I can do is I can use the move tool and just move it to the left. Then I can select this one, at V. Move it. I'll just move it a bit so I can see this one, and move it just a tiny bit. Then here, if I move this, this is a singular vertex if I do. If I hit V, then it's going to be split. Let me right click to accept. And then now we have these points that are independent. I have this one in this one. Let me this one and this one that are facing each other, the opposite each other. I want to march them because I don't want to separate this. I hit M on my keyboard. For the marge settings, then I'll choose to merge at center. And this is going to be matched, and now we've separated this. Now what I can do I can select this, move it slightly, select this, move it slightly. Then I can select this and move it up, and it's not going to be noticed that these are split, right? If I tab out, do you notice, no you don't. That's what I want. Then we go to the other side and do the same thing. I'll select this. Hat V two split. Then click on the right mouse button to kind of di select. Then I'll move this to the left. Then I'll select this at V two split. Then I'll just move this down just a bit. So I can see if we do have a gap and this faces a split. Then I'll select this at V. And then I'll move this down. Maybe up because that one needs to be moved up. Then I'll select this vertex. Hold on ship, select this one. Hit M for merging and then choose at center. The sofa should marge. Then I'll select this move it to the left move it down. I'm trying to march myself. Okay. So something like that. I can tub out. It doesn't look like much, really. So what I can do, I can tub in again. Then I can at three for the faces, and I can select all the faces by heating A, then we need to extrude. If I extrude this, what I need to do, I need to hold down or to heat Al E. I hit Alt E, instead of just hitting the usual E, I get other options for extrusion. So we have the option to extrude faces, which is the usual E. Then we have extrude faces along normals, extrude individual faces, and extrude manifold. Extrude repeat and spin. What I want is for the faces to be extruded along their normals, because their normals are facing different directions, right? So Alt, extrude faces along normals. I'll click on that, and then I'll just drag out just a bit so. Then if I tub out, this does look like a box now. So then it can come in and start making adjustments. So if I wanted to have a gap, I could go to the edge mode, so I could hit two. Start moving this and select this other one and move it, like so. So this is dependent on what you like. Like I said, this isn't like a super accurate creation of a box, but it does look like a box. I I t out. I just created a gap by just selecting some of this edges. So this edge over here, if I just top in to show you this edge and this edge, that's what I've moved to the left, and we have this first box, which is a simple box. I can double click on this and call it box one. So this box is going to be the point of origin for most of our boxes, but this is the base, So I'll save this, I'll go to file save. And then what I need to do next is I'll need to go to the right view. For whatever it is, we're going to do to work, the origin has to be here instead of at the center. For that to be possible. In this window, On the top. This is the top right. We have this option called options. We have this option called options. If I click on that, we do get three things. The transform, we have origins, we have locations, we have parents. What I want, I want this origin to be moved here. So I'll click on options and I'll choose locations. Actually, no, not locations, origins, because I want to change the origin. So now that I've chosen origin, I can hover over the Z axis, and you can see that now we have the extended axis, so that means that we now are moving our origin and not the object. So I need to make sure that my origin is here at the base. And of course, it should be like at zero. Right? Then we can go back to options and turn off origins. We can select this cube and actually move it down. And as you can see, I actually didn't place it exactly on the y. Then I can go back to options origins, and then because it's on on the Z here and items, which you can get by heating n, typing zero. Let me start moving it first. I can type in zero. So I can turn of origins, and my box axis or the origin of the box is at the bottom. This is important. If it's at the center, whatever we're trying to do will be it will work, yes, but it will not be as we desire. It's going to give us a different type of results. Changing this origin is going to allow us to be able to adjust the size of our box in terms of x and y, adjust the height as well. That's why we need to do this. But this is our first box. Like I said, it is the basis of all the other boxes that we have. 61. Creating More Boxes: Here. Our other boxes will just create iterations from this. So we could have one that has some tape that goes from the top and drops to the sides. We could have one that's really flat. We could have ones that are stacked on top of each other. So we have this box one, right? So this is the default one. So what I can do can hit like a shift D, and then we have box one.001. So what I'm going to do is box one, I will hide it. Then the duplicates, I will call it box two. Books tw, but books two. Then I'm going to scale it down, make it flat. What I can do is I can activate the scale and on the y axis, I can scale it or I can just hit S z and scale it. Maybe by too much, maybe something like that. Then I could make it maybe slightly down the X. I could do like an S X. Right? I have a different iteration. This one is thinner, wider. Then I will hide it. Then I'll unhide box one. This one. Then I'll hit shift D again, and I'll call this box three. Then I'll hide box one. When I hide box one, this one, I'm going to give it like like I said, some tape. What I'm going to do is tab in select. Then I can hit shift A, and I'll add a plane. This plane, I'll move it up so it's already selected. I'll move it up, so G z. Maybe some of that. We can use the right view to help us place this. G, Z, some of the. Then I need to scale this on the x. S x, What I'm looking for is a strip. Then I also need to scale it on the y, S y. Then I need to select the edge. This one, for example, I can hit E and then choose Z and it's going to be moved down. It's a bit off. What I can do, I can go to the faces, I can select the face or it three, and then I can move this so. Then I can repeat it on this other side. See this edge, so I'll hit two, select this edge for the plane and move it out and I can hit E and Z, so I move this down. Then what I can do, I can extrude it again, so I can hit E again, move it down, but this time, I'm not going to I'm going to say Z. But then I'll move it now to the left. So that it seems a bit not too perfect, and I'll do the same for this one, so I'll at E Z. Then I will go two points. The attics I'll hit one. I'll select this one and I'll move it down. So something like that. Then I hit tab. Tub, sorry, but I'll select. Then I hit three. I want to select the faces for this. I'll select one face, and then I'll hit L. When you hit L, that means that you're selecting all faces that are connected to the face that you've selected. If I'll selecting the box and I hit L, it will select all the faces apart from the plane. If I select the plane and I hit L, it selects the plane, but not the box. This is a good thing to know how to use the selecting connected faces. So again, I will extrude and I'll hit E. And this time it's going to be extrude along normals. And then I'll do like a small extrusion. Like I hold on ship, something really tiny, then I can tub out. So once I tub out, if I go to wireframe or rather the overlays and I turn on a wireframe. We see we do have a cube box. That is a bit different than the others, right? So that's something that could be nice to have. Yeah. Then we can create some other boxes. You can create as many iterations as you like. Another thing I could do, I could, turn this off. W box two. This one. I could duplicate it, so I could do like a shift D, and I call it box three. Sorry, box four. I already have three. Then I can hide box two. Then I can hide this one with the tape. Then I can scale the one with the tape, I can scale it down. Rather let me go to the right view. I don't want to move it up, so I can just scale it down. I can hit S Z. Sc it down. Then S shifts because I don't want to do it on the. Then ops. Let me do this. I think I made a mistake. I wanted to have let's see. I wanted to have some I have first one. The second one. The third one. The fourth one. The third. Okay. The fourth one. This one, box three, I want to duplicate it. That's where I realized I made a mistake. That's where I did. Shift D. Then I can call this box five. And I can hide box three. Then this two boxes box four and five. I can select box five and move it up. G Z, then I can select this two, and I can heat Control J to join. So that's what I wanted to do. So Control J to join. So I joined box four and five, and I need to check where that axis is at, so it is or the origin. It's where it should be. So that's important. So I can tab in, and I can select this heat L. And I can hold down shift. Hold on shift, select this face. I'm still holding down shift and I'll heat L. A release shift, then heat L. Let me repeat that. Select this. Hat L. I going to select all the connected faces. Hold down shift, select this phase, Hat L. You release shift, then heat L, should select the faces. Then I can scale this I'll use the scale too. I'll scale this on the sd side as well, maybe. I'm just trying to create some variation. Then I can change to the right. Select the move, move this down. Then this is too perfect. I'll activate the rotate, rotate this. Then I can duplicate this, so shift D, then I will heat Z to move it up, so the Z axis. Then I can rotate this as well. Then for this to make it a bit different, I can select this s, heat, heat X, delete phases. So it looks a bit different. Then I can select this, at L. Then I can hold on shift, select this, then heat L. So it has selected everything. Then I do a shift D. Then I a z so that it moves it up or I move it up. Then I can play around with the scale. This is a bit strange. I can change this from global to local. So the top here, where we have the global ocean, change it to local. Actually, no. Let's take it back to global. Then I can select this phase, at L, hold on hip, select this phase, at L. Selected. Yeah. Then I can just scale it up. S. Then I can move it up, so G, like that. So let me use the right view. So, so. So now we have a box a setup where we have so many boxes stacked on top of each other, and you can be playful as you'd like. Um The choice is definitely yours. So I have my boxes, and of course, if I activate all of them to be seen, they're going to be overlapping. Let me go get out of isolation so I can see my boxes. Let me isolate this once more and let's go to the right view so that I can make sure that the origin is where it should be. I'll hide all of this and then I'll start with the first one. So box one. Sorry, Box four. That is fine. Then box three. That is fine as well. So I'm just getting in and out of isolation Box two. That's fine. Then get out, select box one. Yeah, that's fine. It's important that we consider where the origin is. Now that we have this, well, I do have an intersection with this. Let me isolate. And hit G z. Okay. I think it's fine. That's okay. Let me exit isolation. So these boxes. I think some of them, I will use them for populating. Some of them, I won't. But that's how you create the boxes. 62. Boxes Clean Up: Now it's time to populate the shelves with the boxes. But we have to make sure that the size of the boxes is enough. Or rather it isn't too much. Because for example, if my boxes are tall, they're not going to fit within the size of these shelves, so I need to make sure that whatever I have set up fits within the size of the shelves. So I will select all my boxes. I'll hold down shift. And then finally, I'll hold down shift and select the shelves, then I will isolate. Then I will switch to. Let me isolate. Then I will switch to the right view. Then I'll manually hide what I want to hide. So I have my first box box one, right? This one I think this will fit if I move it, it will. Let me do that. I'm just checking to see, it's going to fit, so I'll hide it, then bring in box two, this one is fine as well. Then you have box three, the one is fine as well. Then you have box four. This is the issue that we'll have. With box, what I can do, I can select it and drag it two models. If I click and hold and drag it to models, that means I've removed it from the a collection that is called boxes. There we have Box four. In this box, I'm going to place it on some other side. Let's see here. If I move it. So maybe some here. So this is going to be like the box that's going to be not on the shelf, just on the floor. Then the other three are going to be sufficient for populating. But of course, you can add as many as you like. I'm just going to use this three to make things a bit more palatable, right? So I'll exit isolation mode. K? But these are still like hidden, so let me unhide them. This is what we have so far. What I would like is for us to set this up. Let me turn of wireframe. Of course, let me s because I've made a few changes. We're going to be using something called geometry notes. And these geometry notes are the ones that we're going to use to populate the boxes. These three boxes, they're going to be populated randomly using a path that's going to have points. Each point is going to have a random box placed on it. So before before we talk about geometry notes, I would like for us to draw the path. I will select the models collection. My three decs is at the origin. I'll heat shift A, and then we'll go to mesh single vat, add single vat. Then I will switch to the top few. And then I'll hit and I would choose wire frame. Then if I scroll to the bottom of my outliner, there is the vat, which is at 0:04. I'm already in edit mode. I just have to click one just to get to the vertex. Then I need to click on set on this select box. Then now I can hit A and G to move that point, as you can see, here is the point. I just need to have one point here, another one here another one here another one here. I just need four. So I will hit E, to extrude and place this one here. Hit E, and I can hit y as well to constrain it on the y axis. Then I can hit E x. Then for this and this, I can select this one, ll down shift, select the second one, and then at F to fill it in. Of course, I want this to be on the same axis. Or rather straight line, that's going to be S x zero, and it's straight line. So what I want to do is right now I have four points, and I want to use the geometnals to help me place the boxes on these points. I'm not going to do that manually. The software, the geometals will do it for me. So you just have to understand what we need to do for these two work, right? So let me tap out. First of all, then let me rename this vat. So I'll double click on it, and I'll call it boxes. Boxes one. It's going to be at the top here. These are going to be the many boxes that are going to be populated around this curve or it's not actually a cave mesh around this mesh. Before we proceed, I would like for us to talk about the geometry nodes. Although this is not like a geometry nodes course, I would like for you to understand what you're doing instead of just clicking buttons because you're following editorial, it's better if you understood what was happening. Um, so I'll talk about geometry nodes, things that you should know, and then MGet started on this. 63. Geometry Nodes Introduction: Before we set up our boxes, I'd like to talk about geometry notes forming it, and then we will chug along with our project. When it comes to geometry notes, it's important to understand what it is, understand how it works, like things like data types. Then I'll talk about the nodes that we're going to use, why we're using them, and then we'll get started. So Geometry nodes are basically for creating a procedural workflow. Something that is procedural means that it allows you to change things at any point in time and the whole system will update with your new settings. So this is something that in some instances, in your projects, you might desire, especially if you're looking for randomness, if you're looking to do things or automate things that are very tedious. In our case, it's the creation of boxes, right? There are several data types that you can find when working with geometry nodes. The first one is the float, floats are decimal point numbers. These are numbers that have, let's say, if it's 10.567 or whatever it might be. If it has a decimal point number, it is a float value. We have integers. Integers are whole numbers, like six, seven, eight. Those are integers. Then we have bulions, Bulions are data types that are either true or false. If a value is one, it's true. If a value is zero, it's false. Then we have vectors, and these are the ones that we mostly use. Not that we don't use the other ones, but we do use this a lot in three D. If you look at things like position, scale and rotation, we have x y z, those values, those vector values, they always are float values. Again, this calls back to the first data type, which is the float. Then we have the color value. The color value works with the RGB. The RGB, for example, could be zero, zero, zero, which is black or 255 to 55 to 55, which is white. The total value of the RGB is 256 to 56 to 56, but we can't say 2256 because zero is also accounted for, so zero is the 256 that is within the black 256, 255 to 55 to 55. Then we have strings. These are alphanumeric values like like text text values, those are strings. Then we have geometries. So these are meshes or curves, points, or clouds volumes and instances. So it's important to know what data type you're working with, what you need to extract from that data type, and what you need to kind of bring along or rather multiply or add or copy or whatever you might want to do. Uh, it's important to know these data types because they're going to help you to be able to achieve your desired results. So in our case, the geometry nodes are used in populating boxes on the warehouse shelves. So we'll populate the boxes and we're going to use points. So these points, we're going to place copies of these boxes. But other than placing boxes on points, we're going to ensure that each box has a random rotation. So going to ensure that we can be able to adjust the height of the boxes. Then we can also be able to see how we can create sockets that will allow us to control the rotation on the scale of the boxes without necessarily going into the geometry nodes. So we've already drawn this path. In our case, we only have four points, so one here, one here, one here, one here. But here we could say we have one, two, three, four, five, six, seven. On those seven points, we have a box that has been randomly placed on on the points that is So Using geometry notes is going to allow us to have a flexible setup. If you don't like something, we can tell the software, give me a new result without having to manually do it ourselves. The software can just go through the values we give it, or rather the geometric notes, we'll go through the values that we adjust and make the adjustment, and then we might find something that we actually like. So like I say, this is what we're going to do, we're just going to have points and each point is going to have a box on it. There are several nodes that we're going to use. We have a node called collection infra node. Remember, when you're modeling the boxes, I created a new collection and I put the boxes in there. And that is because I knew I would want that information down the line. So I want the geometry nodes to read from a specific area and I wanted to read from the collection that only has boxes. We're going to use another node called instance on points. We've drawn that path, and in our case, it has four points. An instance is a copy of in our case, a mesh, and we want those meses, those boxes to be copied on those points. Instance on points basically means, create a copy of these boxes on points. Then we have random value. Random value allows us to randomize any value that we feed it. In our case, it's going to be the scale and the rotation. So we will want some boxes to be taller than others. Then we also want some boxes to be rotated differently than the others. Then we have a node called rotate instances and another one called scale instances. So rotate and scale instances. They allow us to rotate instances, which are copies, and they also allow us to scale instances. So each one of those copies is going to have one singular rotation. One singular scale value, and they're going to be the same all through. But what is going to allow us to have different rotation values or different scale values is this random value. How we are going to extract those values and then randomize them. How we're able to extract the rotation value and randomize it, or the scale value and domize it is by using a node called combined X Y Z. The combined X y z will allow us to choose what value, is it x, is it y, is it Z of the rotation that we need to randomize? If it's the scale, is it x? Is it y, is it Z value of the scale that we need to randomize? That's something that we need to consider. So we're going to use six nodes, the collection info, the instance on points, the random value, rotate instances, the scale instances and combined Xy Z, as well as the default group input and group output nodes that come with geometry nodes. So I think now we can get started on populating our shelves with boxes. 64. Box Population Starting Point: Now that I've gone through the Geometri nons, I think we can now be able to create the boxes and populate the shelves with those sad boxes. I created this path, if you remember, me actually with a single. And it only has if I hit A, it only has four points. So this point, if we try to populate the shelves with any sort of boxes, we'd only have four because we have four points. So we need to add more points to this. So what we can do I'm in the edit mode. I've selected the points, I can right click and then I can choose to subdivide. R click again, subdivide. I think I'll work with this for now because you can always add, we can always remove. That's the good thing with geometry notes. Then I will tap out. Then if I it the ZD key, and we go to solid. I want to hide the warehouse. I'm just going to click on its hide in view pot icon, the icon. I just want to hide that. Then the boxes that path that we drew. That's the one that's going to have the geometry nodes modifier. With that boxes path selected, we can go to modifier, and then we can say a modifier, not generate actually, but geometry notes. The first one. I'll click on geometry notes, and it has been added, right? If I bring this playback section just a bit up. This is the timeline. I want the geometry notes to be visible here. But first of all, ready to click on new. I'll click on new. And the geometry nodes have been selected, they've been created, sorry, not selected. They've been created, but you can see them, so we need to go to the editor. Here in this playback window, on the top left here, click on this and you'll see other options. What we're looking for is the Geometry node it. I'll click on Geometry Node editor, and this is what we have. To move around, just use the middle mouse, click and hole and then you can drag. We have two nodes already, group input and group output. Group output gives us the results. Group input. This is where we'll put in some of the controls that you might want to have here instead of needing to go here. So So why did we place the geomedes on this path? That's because we want the geomedes to already have this point information. We don't want to now start bringing in the path in some other geometde setup. We just want it to be within what we already have, which is a bit easier. So what we can do is first of all, we need to use the collection info node, and we need to create an instance on points node. The instance on points is going to create copies on points. The collection info node is the one that's going to read this collection. I want to hide the shelves, this one, I need to hide it. We can see the path. Just like with your perspective, if you want to look for nodes in the geometry nodes editor, you need to hit sft A, and then you can hit S and start searching. You can just hit shift start typing. It's the same. It's just going to allow you to search. I'll a shift A, and what we're looking for is instance instance on points. There is a node called instance on points, and I'll click on it. There it is. Then we'll heat shift A again, and then this time I'll look for collection. Even before I finished typing collection, I already see it, so collection info, click on it and here are the two nodes. The collection info node is going to allow us to read this collection and bring it into this setup, and then we'll feed that set up to instance on points, and the points are found here in the geometry input because remember, the geometry node or has been placed in this particular path. What we can do is we can feed it. We can select this instance on points and just place it here in the middle, and it should connect and notice our path is gone cm sit. Then we need to give this instance on point node instances. What are those instances these boxes? In the collection info node, we have the option for instances, in the instance on point, we have instance. Notice this are the same color, so that means that they do share the same data type or the same values. So The collection info, we need to tell the software which collection. There is that option here, so you can just come and click and it's going to allow you to pick your collection. We don't have many, we have the reference images, the models, the boxes. What we want is the boxes. I'll click on boxes, and then this instances node output. I'll feed it on this input for the instance on points. What you do, you click on this node output, so I just clicked and then I released, but you click you hold and then you drag to instance. Notice that now each point, but here we do have a confusion because I can see my boxes at the origin. What you need to do, you need to hide this like so. So we need to hide them, the collection, we don't need to see at the origin. But if you look at this, can see each point has an instance, but they're all the same. What we can do, we can turn on separate children. Then once we turn on separate children, we can turn on reset children. Here, there's still a question mark like, you we have separated children. We've made each of these boxes in here to be separate objects. What is being read is one of these. We don't know each one specifically. If I could check, let's see. T. It is box one. Box one is being prioritized, as you can see. That's all we're seeing, but I would like for us to. I'd like for us to be able to randomize and see the many boxes that we have. In our case, we just have three. Even if you have ten or hover many you have, you could tell the softare. You know what? I want to see each one of them, but I want them to be randomized. In our case, it's just reading the first one. Again, if I select boxes one to see the geometry notes. Here, So far, it's working somehow, not exactly to the level that we needed to be at, but it is working somehow. We do have or we are feeding the instance on points, the points that we have on the path that we drew. And then we have the collection info that feeds the instance on points, the boxes, which are the actual instances. In the collection info, we have defined the collection. We've also separated the children. But now that we've separated the children, it's only recognizing the fast on that the ones are not being seen. Um, so that's something that we need to fix, but this is a good starting point, right? So we'll continue in the next one. 65. Randomizing Box Instance Placement: So our setup is very basic like I said. Seems like we just have the fast box, and that's it. The other two are basically being ignored by the geometry nodes. So what we can do, The first thing that we can do is have an instance index that we are randomizing. Here on instance as one points, we have this option called instance index. If I hop over this value, it says index of the instance used for each point. This is only used when peak instances is on. By default, the point index is used. This one says this is an integer. That means it has to be a whole number. Again, the data types that I discussed before, this is now where they come into play. If this says it is an integer, you cannot give it a float, you cannot give it a blem because they don't mesh well, so the data types have to much. So here, what I'm going to do, I'll introduce a node. If I hit shift A, it's called random random value. This random value is going to be fed to the instance index, and then we will turn on peak instance. Peak instance, if you have over it, it says, choose instances from the instance input at each point instead of instancing the entire geometry. At each point, an instance will be picked. In that instance, we want it to be picked based on this random value. In our case, we have three boxes. What we want is we want this geometry node within those three boxes, if we have ten points, on the first point, it's going to pick randomly from from this collection that we have of three boxes. We have zero, one, two, because we can't say 123 because it's code, we start with zero, zero, 12. If at 0.0. If we have ten points, 5.0, you tell the soft turkey pick or the geometer nodes, pick one random box. It could be the second box, it could be the fast one. It could be because there are one, two, three. It could be the first one or the third one or the second one. Whatever it picks, you choose. Here, this it needs to have an integer. This is the instance index. It needs to have an integer value. So this random value is something that we're considering that comes from what we already have. We have three boxes. And those three boxes. This is 123, It's not 1.00, something, two point whatever. So this value, this data type needs to be changed. If I hop over float, it says type of data stored in attribute float. We don't want this to store afloat, we want this to store an integer. If you click on this, drop down that says float, choose integer. Then we have to choose the minimum and the maximum and the minimum value is zero. The maximum, how many boxes do we have three? It's zero, one, two. The maximum here instead of 100, we'll type in two. Then the seed, this is the value that's going to give us a a random box in this instance. Notice that now these two, the colors are matching, this is an integer, and this is an integer. Now I can click on this output and drag it to instance index. But still, nothing has changed. What I need to do is turn on pick instance. Now at each point, the software is randomly picking an instance. I know you're not seeing any difference, but if I go to overlays, and then I turn on wire frame. If you look at these points, boxes are being picked randomly. We don't have just the same first box. We have the first one, the second one and the third one. Now, what you can come and do is you can come play around with the seed. If you adjust this seed, notice you're getting different results. If I introduced, let's say box four. Let's say duplicate it and I introduce it here. If I select it, and I do like a shift D, and then I take it under location to zero, zero, and then I select it and drop it into boxes. Then I select the boxes. In here, I say I have zero, one, two, three. I could change is 22, three. Notice now, we do have other boxes. This is actually working. This is just a showcase, just to show you that this is actually working. It's reading all of them. Although it's a bit strange, it is working. I'll delete that because it's a bit. I'll select boxes. One. That's the one that has the first I the first mesh because I can say path, this no our path. Now that we have this, we need to add now more variation, more variation to our bring this back to two because we no longer have four boxes. We have three, so 012. Whichever set value you like, that's your decision. What I want to talk about next is how can we randomize things like position not position, but rather things like scale and rotation because if we randomize position, it's going to look a bit strange. I want them to stay on the shelves, so we're not going to randomize position. I want to randomize the scale. There's a node called scale instances, and there's another one called rotate instances. If I do shift A and then type in scale, So here we can find instances, scale instances. Here, if you have over eight, it does tell you what it does. Scale geometry instances in local or global space. So it's supposed to change the size of your copies. I'll click on it, and then I'll place it between instance on points and geometry output. So if I click. The software will join. Then I need to find the one for rotation. Again, shift A, rotate, instances, I'll select it, then I will place it here. But so far nothing has changed. But if you come in and start making changes to your scale, starting making changes to your rotation, you'll start seeing changes. For example, for my rotation, if I start playing around with the Z, I I zoom in here, using the scroll wheel. Then I start making changes to the Z, you can see. These instances are rotating. But they're rotating in the same direction, which is not that interesting. If I come in here and I say I want to adjust the height of the boxes, so that's the z. You can see that it is happening, but again, same time, same value, same everything. We do need variation. Variation is going to help create a bit more interest. We'll need to extract the Z for the rotation. And randomize it. We'll also need to extract the ZD for the scale and randomize it. How are we able to do that? For that, we're going to use a node called combined xyz for both of them. And then once we extract what we want, we will use a random value. And this random value is what is going to allow us to get random rotations, random scales for each singular box. So we'll do that next. 66. Randomizing Individual Box Rotation & Size: So let's start by extracting the scale value. So I'll shift A, and I'll look for combine X Y Z. I'll select it. The scale is a vector value and combined X Y Z is used to separate vector values. So this scale input for the scale instances node, click on it and drag it to the output for combined x y z. So anytime you connect combined x Y Z to the scale, by default, the value is zero for the scale on X Y Z, and this is why you can't see a thing. But if I reset this value to one on the x, one on the y, one on the z, the boxes are back. The value that I'm more interested with is the Z, which allows me to scale this up and down. But I want it to be random. With this being set to one, I will add a random node, so I'll heat shift a again and then type in random value. Then this value. This is a vector, and a vector value is a float value most of the time. So that means it has a decimal point. These two they'll match quite well. So I want to use the Z. I'll click on this input for the Z and feed it to the random value. Immediately, you will see the change. If I disconnect, if I just click on this and drag it out or rather, I connected it. If I come and click on it again and just drag it down to disconnect. Notice that this goes back to the Bit W. All the boxes have the same scale, same everything. But if I connect this value for the random value node to the z value of the combined xyz. This is what happens, I start seeing the randomization immediately. Here I've set the minimum to be zero, the maximum to be one. I could set the maximum to be some other value, and then the minimum could be, let's say 0.4. That means the smallest height is 0.4. And the maximum height, the highest height that a box could get to is 1.50. If I don't like this ordering, then I can play around with the seed, the seed will randomize which particular boxes get which value. So between 0.4 and 1.5, which value is going to be assigned. So it could be 0.4, 0.5 0.6 0.7 0.8 and so on and so forth. So if I adjust the seed, You can see now we're getting different results. So this is working quite well. We'll repeat the process again, but for the rotate instances. Again, shift A, combine X Y Z, and of course, the rotation is a vector value, we be extracting a vector value and giving it to another vector value. So I'll click. If I just move this up. So I'll click on this output for combined X Y Z, feed it on the input for rotation. Here, nothing happens. The value one to extract is the Z because the other ones are a bit strange, right? So I'll bring that back to zero. I'll bring this down so that its' obstruct the other ones. Let me just make little organization. We need to extract this and randomize it? That is the z value. For that, shift again, and then I'll choose random value. Node. This is still a float, so a float to a float, so we don't need to change anything in terms of data types. Again, the input or rather the output for the random value, I'll take it to the Z input of the combined xyz, and immediately, you will see a change. Here I need to set what is the minimum value? And what is the maximum value? So this makes it even more interesting than it was before, right? So this is how you're able to randomize values. The combined X Y Z is used to extract vector values from From either X or Y or Z, instead of them being combined, because if you look at the scale instances and rotate instances, the values are combined into one thing scale. But what if I wanted X or Y or Z, I need to use the combined X Z to be able to extract that X Y or Z. And then the random value node is the don that's now going to allow me to randomize that specific value that I need to randomize. If I bring back the shelves. If I bring them back, this is what we have, So boxes are I think they're too tall. In the maximum value for the scale, we can lower this. Then for the minimum value, I could make it even more lower. But notice that the intersections, I I change my view to the right view, there are intersections like it's going inside the shelves. The way you can solve this is if I scroll up, see these boxes, it is the path, so we can move it up and if we move it up, you can be able to change that issue or rather fix that issue. We no longer having intersections. If you want more more boxes on the shelves. What we could do, we could subdivide farther or we could subdivide the mesh from here. You know, we have this geometry input node. This geometry here is this geometry, the path that we drew, that is the mesh. So we could do like a shift A and then look for a subdivide mesh node. This one, subdivide mesh. Click on it and then place it here, the software should connect. Notice now we have more distribution. Issue that we have now is intersections. This is something that you would use maybe if you had fewer points like before, if we had those four from before, but now it's going to just cause an issue for us. But up to this point, we do have the setup complete. The only thing that we don't have maybe a few controls here and there, but this setup is complete. We can come in and make all the changes that we'd like in terms of randomizing the boxes. So if you don't like this ordering, you can just come in and adjust and notice that it randomizes that. Okay. So this is how we use geometry notes to place to place boxes on points on a path, or in this case, the mesh. So I don't need this, so I'll just place that and delete this So I've just redirected this back to points and I've deleted the subdivision node. So this is something that is working and it's working quite well. So in the next one, we'll continue populating this until we're satisfied. 67. Creating Control Sockets: Finally, what we could do is create sockets that will allow for us to be able to control certain things without having to dive into this geometry node layout or rather this particular editor. So What I want is anytime you select this boxes one or two or three or five, many will create, once you select that. If you go to the settings here, you should see what you want to make changes within. Instead of coming here, opening and starting looking for values. To make that thing or that process to be an easy process. What we can do is create a bunch of inputs. This is no geometry input, which of course contains our geometry, which is the mesh that we do. So I just move it down just a bit somewhere here. What I want to do, I want to connect it with the scale so that we can be able to control the height from here, and I also want to connect it with the rotation so that we can be able to control the rotation from here. In the geometry out input, sorry, we can select it, and then here I have the group settings. But if you can see, you need to hit n. Sometimes it could be a clean layout like this. But if I hit n, I can be able to see the group, the node, the tool, the view. What we want to go to is group. In a group, have interface, you have the type. You have description. What we want is we want to create an input, and that input will appear here. If I zoom in, let's see what happens. Here have geometry, input, geometry, output. I'll click on this plus icon and then I'll choose input. Notice now it's a socket, and that socket has actually appeared here, and I don't want it to be here. I want it to be below the geometry. I can select it and drag it. Let me say I can do it. Drag it just below, click and hold and then drag it below. If I click and hold and drag it above, I can take it above. Click and hold, drag it below the geometry because I wanted to follow after the geometry output. So here in the socket, select it. We'll start first of all by changing the data type if there need to be changed. So These are floats. Remember, the vector values and their floats. Here the minimum is 1.3, so that is definitely a float, so the type is fine. Then the description. This is for putds for scaling. So description. They could write here box, and the score size. Then I'll come here to the name socket, I bo click, and then I will call it box height. Box under score height. Then I'll hit enter and notice that here it has updated. Because I've selected boxes one, notice that he says boxes height. If you look at these boxes heights, Nothing happens here. You can see it's zero. If I adjust, nothing happens. That's because we are yet to connect the maximum with this value. Because if I do right now, let's see what happens. I'll click on this input for the maximum value for the scale and connect it to box height. Once we do that, this uses this value that is here as the maximum. Of course, remember here we did set the minimum to be 0.2. So now everything is set to 0.2. If I come in adjust this value, notice, I can change the height, I can vary from here without having to come in here, look for that and make that change. We can do the same for rotation. So group input, selected. Let's come here to the group option. Under interface, again, let's create a new input, so a new so a type float because it's It is a decimal point value, this degrees. It is a decimal point value. It is a float. Description, we call it box rotation. And then I'll double click on the name, and I'll call it box. I don't think I'm going to change it. It's going to be box rotation. Now it enter. Then I'll connect the maximum with this input over here, and now it st 20, but now I can adjust and notice that the boxes do rotate. That is how you can make this process very simple, very Interesting to work with without having to dive into this. If I turn this back to timeline and just write this down, and then I start making my changes. For example, I feel like this has gone overboard, so I can lower the height. The things maybe you could go change in the geometry node it or things maybe like the random value, but you can still create a control for that. If you wanted to do that, I could briefly talk about it. I go back to the geometry node editor. Here, I I wanted to randomize the height, I could select the group input and create a new input. This one, I could call it box height randomization, something like that. Let me give a description. Box height, randomization, I could give it a name. I call it a box. Height random. Here, the key is the type needs to be correct. The type here because the seed is an integer, a whole number. If I hover over the random value, this is an integer, so it can be a float. I need to choose integer. Then what I'm I trying to randomize the scale. This one, because I'm looking at where this is heading to. If I did that one, that would be the rotation. I need to select this seed, drag it here. Then when I'm here in the input option. I can be able to easily randomize. I think you can repeat the same for for the rotation, this one, if you wanted to randomize, to have access to that random value, that's what you do. The data type is very important. So I'll take this back to timeline. Let just bring this down, right? We can create the other boxes and populate the shelves further. But I think we'll do that in the next one. Oh 68. Populating the Warehouse Shelves with Geo Nodes Boxes: So now let's populate the other shelves. For the other shelves, we're just going to duplicate from this boxes one and just make a few changes. So I'll select this heat shift D and just click top. Then we can switch the views to. Then I can move this up. So Then because this are similar, I could rename this, called this Boxes two. What we could do is come in here in the settings for the geometry notes. These new inputs that be added, what we could do. We could just play around with them. I could lower this adjust the box rotation, so that they just look different and randomize the height. Then repeat for the other ones. Again, if I go to the right. For boxes two, I can he shift, bring it up. I can make a few changes. Randomize the height, play around the rotation. Then because all of this is sharing the same geometry node, I could come and play around with the seed, and that is in terms of the box that is being picked. Remember, under the instance on points node, this one, we do have the random value, and this random value is the one that is choosing which box is being placed. If you don't like the arrangement, you can always change. The downside with this is the changes for all of them. It doesn't consider this is the first path or the second path or whatnot, it does it for all of them because this is something that is shared. I just wanted them to be shared so that it's easier for you to make the changes that need to be made. Then again, I'll switch to the right. So let me rename this. So call this boxes three. Rec it shelves. These are the shelves and call that shelves. This boxes four, I could call it that's the box that's just on the floor. I could call it for boxes just to differentiate. So this box is three, again, shift D. I think I've gone overboard this height. I could reduce that. So I could select this shift D, click to accept, and just move this up, change the height randomization. Then again, shift D, click, move this up. Adjust the rotation, randomization as well. And then shift D again and bring this up. Adjust the rotation, randomization of the height, and the minimum height that maybe you should put in actually know the minimum of the maximum rather. Then again, shift D, click to accept, move this up. And then just randomize the rotation, randomize the height, and change that randomization of the height. Actually, let me reduce that as it goes overboard. Yeah. I'm not going to create any at the topmost part. But if I bring back the warehouse, if I make it visible, and if I go in here and rotate, look around, do you actually see that? Let me pick a good angle. I don't actually see it. You're free to. Another way you could do it is For example, if I select, this is box three, so be four. I I just quickly rename. The so be five. Be six and this be seven. Right. So if you wanted to add more points, I wouldn't tell you like to subdivide because you'll get more intersections like subdivide as a whole. But what you could do, if I isolate this, and then I go to the top view. You could subdivide, but you have to be smart about it and leave enough gaps. For example, if I tub in, if I click on tab to get into the editing mode and I hit one, to go to atices. If I click and drag, I'm selecting the vertices, I can select this one, and then I can move it, that is G x, move it somewhere here, select this, G x, If I wanted to have another box I would just select this two, right click, subdivide and I have another one. The software will just create it for me. All I have to do is just move them myself. This is another way you could do it if that's what you want. So that's a choice actually. It's not a must that you do that, that you move these. Then you select this, right click, and then you want to subdivide. But if I do it for points that are too close to each other, there is going to be intersections. So that's why I'm saying you should not do it for all of them. You don't select all of them and say you want to subdivide, that's going to cause a mess. A lot of intersections in your in your setup. So I'll tap out, and of course, exit isolation. And we do have the warehouse, right? So these are all our elements. And if I turn off overlays, if I turn off wireframe. This is pretty good. Personally, I would come back and modify here because I wanted this to be maybe more populated. Or we could add another type of box that may be stacks one on top of the other that makes it look more interesting. The choice is yours, the choice is yours. But this is how you create all of these shelves and populating the boxes on these shelves, using the same setup. Using the same setup as you can see here, where we have the geometries, which is geometries, then the number is seven. It's true, we do have seven of these. They are shared between seven. The same geometride is shared between seven similar. Seven similar meshes. So I think another thing you could do different is maybe if you had other types of boxes in a different collection and instead tell the software to use those ones, then at least you'd get more variation. So there are many ways or many things you can do in your setup. Um, because remember, you're afraid to do whatever you like. Is all procedural as long as the setup is correct, the results is going to be the same throughout. So that is how these shelves have been set up and the boxes populated. 69. Creating and Using an Area Light: Now that we've set up the shelves. The next thing I would like to do is to set up the lighting before we create any sort of colors that we may want to apply to our models. So what I can do is. I'm going to have a light at the top that's going to illuminate the inside of this. We're also going to have an external high dynamic range image. That's an HDRI that is also going to contribute to that lighting as well. The setup is going to be super simple, not as complicated. So what I'm going to do first is I will select this warehouse and just crow down in the outliner, and I'll just hide it for a minute. And then I will hit Shift S on the keyboard and make sure that my CSA is set to word origin. Then I will hit shift A or before we even do that, in the models collection, we can select the model the model collection, and we can add a new collection where we're going to have light. So that is optional. You can choose to do that if you want things to be organized. But in my case, I don't think that's going to matter too much. So I'll just ensure that I'm selected in the models collection. Then I'll hit shift A. And then we'll go to light and a light, I'll choose area because I want a light that covers the whole area of the warehouse. I'll choose area. Once this light is added, I will hit G on the keyboard, Z to move this up, and this is what we have, I just want it to be just above at the top of the warehouse. And that's because I assume that in warehouses, the are lights at the top, and this is what I want to act as the light. So the area selected, we can go to its settings, so we can go to the light icon, and in this light icon, we have the data. This data icon, allows us to be able to see what type of light we have, which is an area light. The t is going to have the power, as well as things like the di fuse, specular, and the volume. So what we want to do first of all, is to change the size. So the shape is a square which is fine, but you can click on the drop down and you can choose a rectangle, if you like or a disc, and you can see the change happens. Immediately or the ellipse, the choice easier. I'm going to use a square. And then in the size, I'll make this super large, for that point. Then I will again, just check to make sure it's the size that I want some there, right? Then I will open up the shadow settings, and I want to have contact shadows. So the shadow option is on, but I do want to have contact shadows. I'll turn that on. Then I can zoom in here. And what we can do can hit Z on the keyboard. Then we can choose rendered. And it's not much. So it looks a bit strange. But I want us to use this to gauge our lighting or the amount of light that we're getting in here. So right now, the power, which is the intensity of this light is set to ten watts. So we can um Double it. Let's do 20. This doesn't change much. Let's do maybe 250, and now we can start seeing the change. So as I'm changing this lighting or the intensity of the light, by default, the software is using the EV renderer in my case, I haven't changed it to use cycles. Blender has two renderers. One is called EV, and the other is called cycles. So EV is a real time engine that is focused on speed and interactivity. That's how whatever we're changing here in terms of the power, we're able to suit quite quickly, which is something that maybe with cycles, it would take a few seconds, I guess. But for EV, this is very straight to the point, very quick and direct. But of course, EV isn't perfect. It has its own range of Limitations, but for us for this type of project, I feel like this is essential for it to be a bit for us to use a bit of a simpler renderer than to use a cycles renderer. So I'll continue adjusting this power. But of course, if you're using cycles in the editor. We can go to this icon that looks like like a camera, and then we have the render engine at the top, so it's set to EV, so this is what I'm referring to. That's what I am using. So I hope that's what you're going to use as well so that we have similar results. But again, we do have the other option which is cycles. So since we're already here, we can change or turn on invent oc. Once we turn on event occlusion, this gets better because if it's off, we're not getting as much detail, so turn on event occlusion. Event occlusion kind of tries to create self shadowing. So in the instance where two objects are touching each other, we're going to have a shadow where we have point of contact. So that's why I've turned it on. Then if we go back to the light settings, we do have the power. Again, the power 250. I could increase it further, maybe 500 and it gets even better to be honest. Let me double it. Let me give it like 1,000 words. This is even better. Okay. So I'll leave it here at this point because we can still go back to change, whatever we need to change, make adjustments to whatever we need to make adjustments. To in terms of the lighting, so it's not something that's permanent. I won't change the color just yet. We'll see how it goes. But I'm not thinking of changing the color. What I have essentially is fine. We can even bring back the warehouse so I can turn on the visibility and we can see what we have. We have even shadows on u the floor of the warehouse. If you look at the shelves themselves, we do have some shadowing as well. Looks very natural, very pleasing to the eye. One final thing that I could do is with these shelves. I feel like the gaps are a bit much, and I don't want to add any more points manually. What I could do is I could select one of the boxes, let's say boxes one. Then I want to look for the group input node. If I zoom out. This one. Of course, make sure that you've changed the editor you're in to geometry node editor. With this group input, I want to place a subdivision node just after it so that it creates more points. Remember, because this duplicates Um, that is the geometry notes. It's being shared by seven of these measures. That is going to be applied to the other geometry notes as well. We just need to make that change on one. So heat shift A, actually in the geometry notes editor, so I'll heat shift A, type in subdivision. Or subdivide. I'll choose subdivide mesh, and they place it just before the sorry, after the group input before instance on points. Now if you look at this, you can see we have more boxes. But there's an intersection happening. So to solve that intersection, we have this combined x y z that is we were extracting the Z. So for us to stop having intersections, we'll need to make changes for the X and Y. Because if something is lying flat, that means it's lying on the x and y, and the height itself is the z. I'll need to make changes to this, so I'll bring this back to one, so not much on that axis. Then for the y, I can click and drag hold on shift. See what I have. Okay. Then I can also change the random value for the rotation. For the rotate instances, we have the random value. The seed is set to zero, so I can change that and notice it changes for all of them. So this is supposed to help us randomize this a bit better so that things are not looking too similar, I guess. But that's something that I thought I should mention that I would like to have. I want this to be populated. I don't want to have gaps in between, like a box, then a gap, then a box. That is undesirable to me. But this is the first light that we've added, the area light. Then we need to add the high dynamic range image, and that is going to be next. So I'll just save this. 70. Using Own HDRI: Next, we need to introduce the high dynamic range image. For the high dynamic range image, we'll need to set up that image itself within the shading editor. So here we have the ometnous editor act. If you click on the section, this icon on the top, left. There is an option just below the geometry editor node, it's called Shader Editor. And if you click on that, it allows you to go to the Shader editor. So with the Shader editor, you choose how you want to set up your materials. So if you wanted, for example, in our case, if you want the text to be red, how do we assign that red? If you want it to be reflective, how do we do that? If you want it to look metallic, how do we do that? But in this instance, we're not concerned with that. We just want to have the hy dynamic range image set up. So At the top here, still in this window. At the top here, click on object, and once you click on object, you have the Shader type option, which says object wild line style. I want us to choose wild. Usually, you're not going to see a thing, so you need to zoom out, and then you will see two nodes. The two nodes are for the background. If I zoom out, the background that we have is the color gray. And at the top here where we have just next to the overlays, we have these icons. So we have the viewport shading icons. We have the first one, which is wireframe, the second one, which is solid mode, the third one, which is shading, and the fourth one, which is rendered, which is what we're in right now. It's basically the same as just hitting Z. If I hit escape, next to that last icon, there's a dropdown. So in that dropdown, we have viewpot shading. Then after that, we have lighting, we have scene lights on, then we have scene word on. And if I zoom out and click on that dropout again, we can turn off scene lights, and that means our scene lights are not working anymore. If I bring it back on, our area light works again, then I can turn off scene word. And once I turn off scene word, if I click on the dropdown, the software itself, loads up its own high dynamic range image. And we can click on this **** wheel on the left hand on the right sorry. And in here, you can choose to install any custom H DRs that you might like. But I would prefer to use my own. You can also click on this sphere and you'll get other different variations, and they will give you different types of high dynamic range images. So this is what I want us to use. But I want to show you how to set one up yourself. Notice it makes this um, even more brighter. If I click on the dropdown and just turn on sen Wal. This is Billy Duck, this dull gray, so this one. It's really dark, very dull. But if you choose to turn off Sen Wald and use a high dynamic range image, you get a lot more capability. So I'll turn on Sen Wald. And what I'm going to do is, I want to use my own high dynamic range image. So in the shedding editor, I can heat shift A. So make sure you clicked in the editor, heat Shift A. Then what I'm looking for is called an environment texture. I just need to type in environment, and I'll see the environment texture, and then I'll just take it to the left, and then I need to assign that environment texture. I could click on pen. And I could go to where I've been saving. So if I just drop down, I've been saving this under three D objects. And here is my hydynamic range image. So I can select it. It's called Rural HDR. And this is a hydnamic range image that I got from a site called HDRI Haven. You can check that out. And you can have a variety of hy dynamic range images available to you there. So this is what I'm going to use or you can use the default one from Blender, the Chase is your s. So then I'll click on Open Image, and of course, nothing happens because I have to connect this color output for the HDR. So that is for the environment to the input for the color for the background. So if I click on this dot here and drag this here, then we can be able to see what we have, right? As you can see, we can see that image in our viewport. So that's okay. Then what we can do, we can come in and start reducing things like the strength. If I just zoom in and just move up, we can reduce the strength of how much power that this high dynamic range image has on the general lighting. So I can reduce the strength to something lower, You can also increase it, but that overflows our results. I could use maybe 0.8. Then that's fine. But we can adjust it as our needs arise, but I feel like that is py. So this is how you use your own high dynamic range image and how you can as well use the one that is provided because if you wanted to use the one that is provided, maybe you don't like one that you've downloaded, you can just disconnect, and then go to the viewport shading at the top and turn off scene wild and use some of the ones that are provided, and of course, they all give you different things. And then you can play around with the strength. This strength of a hay is similar to the strength in the background node. You can adjust that. You can also choose to rotate. The high dynamic range image, the chase is yours. But I would prefer to use mine, so I'll just turn on Senald and reconnect this. So that is how you use a high dynamic range image. 71. Creating Materials For the Boxes: Now that we have our lighting done, we can now set up our shadows. So I'm still in the Sader editor, as you can see, and I mean, the wild shedder type. So I want to go back to object. So let's start with the boxes. Even before we kind of set up the color or the brown color that we get from the packages in boxes. What we can do, we need to bring in a tiny small window. In this Sder editor at the bottom here, I can click and drag, just to get a new tiny window, and I want to change this. I want to have one be the Shader editor and the other one to be doing something else. So I'll move this a bit further. Then the one that is on the left, I'll click on the drop down, and I will choose image editor. In this image editor, I want to bring in my color palette. So if I just move it to the right, can click on Open, and then I can go to three D objects, and I have this image called Color Palette, and I'll click on Open Image. And if I zoom out, this is an image that contains all my colors for the project that I need for the project. So I want to start with the boxes and then we built from there. So I have three box colors. Box one, two, and three. We're not going to assign that to this. We're actually going to assign that to the individual boxes. What I can do I can unhide the boxes. Here they are Then I can select the fast one, hold down shift, select box three, then I can isolate. Then I can hide the second one and the third one, select the fast one. This one. For this one, the setting up of the material or the shader is going to be very simple. Here in the Shader editor. Let me just move this to the side. With the box selected in the settings for this object. We have this icon, it's a sphere. So that's the icon above this checker box icon. If you have over eight, it says material, material properties, which we can click on, and then we can click on new. If you click on new, it's going to create a new material. So Let's give it a second. A new material has been created. When you get this new material, this is a principle BSF. BSDF stands for bidirectional scattering distribution function. What it is it's a node that has multiple layers combined into a single node, and this allows us to create a variety of materials. Our materials are going to be really simple, really basic, but we're going to try to stay true to how the colors would be in real life. In the principle BSDF, we have the base color. For this box, I'll choose this color. On the base color, you have this rectangle that is rounded and it's a whitish grayish one. You can see we have other options like metallic, roughness, IO R, Alpha normal, So we're just going to focus mostly on base color metallic and roughness. If we want to make a material more metallic, we will crank up the metallic value. If we want to control how reflective the surface of the material we've created is, we'll play around with the roughness. So on the base color, I'll click here, and then there's the eye dropper, which I can click on, and then I can pick that color. There we have our first box. Then I will hide the box one and hide box two. So with this box two, if I tab in, It doesn't have a label. So what I was looking for was if it has a label. The other one that also does not have a label. So let me hide the first one, so we remain with this. Again, with this, we'll go to material, click on new, and then base color. I'll click on the base color option. Use the eye drop up. Pick box two. Then hide it, then hide box three, select box three. Box three has a label. So we're going to have a similar approach, but we're going to have two kind of colors in one. So I'll click on new. Then here you can see, once I've clicked on you, it says material 002. Notice with this ones I've not been renaming, which I'll rename in a second. With this one, I will just double click on it, or come here and just highlight. You can double click over here or come over here, highlight, and I will type in this is box three. Okay. Then in the shader editor, I'll pick the color for box three, which is this one. Notice that it covers everything even the label. Then here at the top, where I have this small dialog box on the right, I have a positive and a negative icon. So this allows me to add a new material slot. So if I click on the plus, I have a new material slot and it has nothing, then I can click on new, then I have a new one. Then I can highlight this name, and I'll call it label. Then in the Shader Editor, I can pick the color for the label. So this one here that I called Box label one and Box label two. So whichever one you like, you can use that. So I'll go to the base color, use the eye dropper and pick that, and it has assigned. But of course, you can sit here. What I want to do is I'll select this heat tab, and then I'll select one point or edge or face that is part of this particular label. Once I select that, I can hit L on the keyboard. L will select everything that is linked. Then here where we have the material slot. Once I've selected the label, there's an option for assign for selecting and for deselecting. What I want to do is to assign. Once I click on assign, then I tap out, here we have our label, or it could be like what is it like seal tape, something similar to that. There we have it. Now, we need to exit isolation mode. Notice that all our boxes have a particular material. Then I can hide this. That is the box three, and then I can hide the boxes collection. Now as you can see, the boxes have their own particular material, right? Okay. Right. That's how we set up the materials for the boxes. We do not apply on the exact duplicates of the geometry nodes, but on the boxes themselves. And the geometry nodes, we apply that everywhere. So each box has its own property. So if that box is instant somewhere, the same property will exist. Let me this. The next thing would be to finish up applying colors for the rest of these parts. 72. Creating Materials for the Logo Face and Robot: Let's now continue setting up the materials for other objects. I'll start with the cables. We have the cables themselves, and then we have the inlets. I'll select cable one, and I'll click on new so I'm in the material option. Click on new, and I'll change the name tos. In the base color option in the Shader editor, I'll pick the color from here, so this black color, and I will select Cable two, but I'm not going to go to N again and choose, but rather what we can do, we can click on this dropdown in the Shader Editor, and then we can choose cables. It's going to apply that. Select this. Click on the dropdown cables, select this. Click on the dropdowns. If I zoom in, you can see we do have a material for the ables. Then we can apply a material for the warehouse, so I can select the warehouse. Click on new, change the name, so I'll call it warehouse. In the base color, if I go to the image editor, I do have I don't have a color for the warehouse. So I'll click on the base color. Click on the y dropper. Pick the warehouse color, and this is the color that has been applied, the color is not very reflective, it's very subdued. But if you wanted it to be a bit more reflective, you would need to reduce the roughness. The roughness is at 2.5, so we can reduce it, and you'll notice a difference. It becomes very reflective. If that's what you'd like, just reduce the roughness, but I'll leave it at 0.5. That's good for me. Then we can go to the text, Mega and see. Mega and see, who share the same color, which is this red. I'll click on you. I'll change the name to Mega see. Then in the base color, I'll pick this red color. And then I'll select the see. Click on this drop down and give it the mega see color. I would like for this to be more reflective. I will reduce the roughness. Something like that. Okay. Then we have the flash text. This text that has an open face. I can select it, pte and I'll change the name. So call it flash, text. So this one. Then in the best color, I'll pick the color. So this flash text color. And just like I did with the mega and the sale, I will reduce the roughness. Then I want to have or rather, let me give this this type of color, this purple color. Let me just select the flash text and pick this purple color. Yeah, like that. Sapple bluish. Then for this, this flash outline, this is what I'll give the orangish color. I'll click on you. Then I'll call this flash outline. Then I'll pick this color. Okay. Then the next thing is for the neon sign, this one, what we can do, that is called the Flash neon outline. We'll create a new material. This time, we're not using a principle SDF as a surface, of course, all the settings that we have here, the semons we have in this node, So if you'd prefer to use this, it's still fine. So I have the principle BSDF as the default surface, so I want to change that because I want this to kind of glow. So I'll click on principle BSDF, and then I will choose emission. Once I choose emission, I'll give it a color. Notice that now in the shader editor, we do not have the principal BSDF, we just have an emission. So I click on the color option and then I'll pick the flash neon, and we don't see a thing. That is because there's a setting that we need to turn on. If I go to the render setting, this icon that looks like the back of a camera, there's an option called bloom. If I turn that one on, I should be able to see something, but I don't. That's because the intensity is very low for this, the strength. I could input some crazy value. Let's say if I input 50, and you can see we are getting what we need. So that 50 was a guess. I didn't know that it would work, but of course, if it's a big much, we could use let's say five. If I deselect and look at what we have. So far, so good. Then we have the dotted mesh. This mesh over here, we can create a new material for it. We go to the material new, and I'll change the name. I'll call it dotted mesh. Then in the base color, I will pick this color. Then we do have the background. I also have a color for that. Dotted mesh background, this subtle gray. I'll click on new. Change the name of the material, so dotted mesh background. Then undo the base color again, I will pick this. For this dotted mesh material, I will lower the roughness. Like so. Then for the background, I could also lower some of this. It doesn't make a huge difference. I feel like this is fine. This is okay. Then we have the shelves. I just need to select one shelf. I can create a new and then change these two shelves. Another base color will pick the shelf. That's the color that I would like. T. Right. Then we have to apply colors to this, which is the logo outline and the logo face. I do have a material for the logo face. I'll click on new, and I'll change the name. I'll call it logo face. Pick the base color. It's very subtle. Can reduce the roughness. Something like that. Then I think the last thing you can add within this session is the robotic material for this. I could select one of these parts. Des't matter which one. Then I can click on. Then I'll change the name. I'll just call it robotics. Okay. Then I'll go to the base color and pick the color. So I do have a robot metal color, and then I will lower the roughness, and then I'll increase this value called metallic. As you can see, it's very metallic. Then you can increase the roughness if you want it to look metallic, but you don't want it to reflect too much of the high dynamic range image. Then we can select this and click on the drop down and find the robotic material. So we just need to scroll robotic parts. Se like this, click on the drop down, robotic parts, this as well. Robotic parts, and this. Then click on the drop down and choose robotic parts. Now our robot has this robot has some parts or some material, not even parts. I'll click this as well. Robotic parts. So these sections like this armhole mesh and these screws, they don't have a material. That's something that we need to set up next. But so far so good. This is coming along quite well. For this, this is the logo outline. I'll give it this flash outline color. So. So I will save this and then we'll continue in the next one. 73. Finishing Up Materials For Scene Objects: I'd like to make some adjustments to the logo phase. If I select it and we can see it's material, and I just want to increase the metallicness of that particular material, something like that. Then now we can focus on this. For this, that is the flash icon L. I can click on new, and then I can call it flash icon L R. It could be for the left or the right. I didn't have it here in the color palette. I think I would use the flash text color or the blue one, so let me try and use the blue on for the flash text. Then for this, that is the flash icon neon. I'll click on new. Then I'll call it flash icon r. It could be for the left or the right neon. Then because I wanted to glow, the surface cannot be principled s DF. It will be emission. Then in the emission, I pick the flash neon. And the value is very low, so I can send it to something like let's say 30, and that's something that is very appealing. We can use. Then we can assign this material to both this and this. I'll select this, go to the drop down and choose flash icon left slash. Right. Select this thin path and go to new. I'm sorry, not new. Let me do that. The drop down, then flash icon, um No, that's the neon. I'm looking for the neon. Flush. It should be flush. I didn't realize I typed the S instead of F. And now what we have is pretty good. This is pretty usable. And here can select this and assign the robotic material. So robotic parts. Yeah. Then now we need to create a material for this. This is the scroll down. The robot two. So I can go to new and then I can just call this robot pole mesh, and I'll give the color like a black. Like a black. Let's give it a blackish color, I guess. Then I can increase the metallicness and reduce the roughness. Let's look at it. I could make it black something like that. And I can select, see what we have. I like that. Then I can select this. Hold on, shift, select the other one, go to the drop down and find the robot homes material. I didn't apply to the second one. Again, let me apply a robot homesh. There we have our robot. What's left are the inputs for this or other materials for the screws for the inputs. The screws, and they are on the base here here as well. Let me create a new material, and then we can call this screws. Then we can give them a color like a gray color, reduce the roughness, increase the metallic ness. Be we want it to be metallic. And can make it even more metallic. We can also increase the roughness, something like that. Then I can select the screws, like this ones at the base. Go to this drop down and find the screws material. Select this at the top as well. Drop down screws. Then we have these inlets. These inlets on the left and the right. So we can use the screws material as well. So screws. That's pretty cool. The last thing I think I would like to do is these boxes. I need to isolate. I need to tab in. Then I can select this and it for the connected parts. Then I can go to the drop down and go to boxes like box three. I did apply for all of them. Let me undo. Let me di select. Let me tap out this. I'll get rid of it. I'll click on the minus. Then I'll set them up myself with the types of variation that I want. I'll click on you, and then I'll rename this two box and I score one. It's different from the other one. Then I'll give this a color like box one. Then I'll tab in, I'll select the first one, it L and choose to assign. Then I'll click on a new one, a new slot. Then I'll So let me tap out. Then I'll click on new double click box underscore two. Then I'll tub in. Select this heat L, then I'll pick a color. This is going to be Box two. I'll pick a sign. Then I'll select this heat L and select box one and select a sign. If I tub out, you can see the different shades, that's what I want. This one has a label. I'll create a new slot. Click on new and I'll rename this. I'll call it label. Label under score one. Then I'll pick that color for the label. Is this one a, a lighter shade. So I'll go to the basic color and pick a lighter shade. Then I will tab, select the label. Just one point, heat L, and I'll choose to assign any should have applied, but it didn't pick everything. Let me see if I t. Select that heat L. Assign. Ty So Let me tab in again. Select the faces. I did a sign just that this is quite on the inside. G Z. Yeah, like so. Then we have it. Then I can select this tab. So if it has a label, it does so select it. Hit L, select L label one, select a sign tab out. Then for this last one, I can give it like a different shade of brown. I'll click and create a new material slot, click on new, and I'll call this box under spot three. Then I'll pick the box three color, and then I'll tub in select this at L and select box three, and I will assign and tub out. So there we have our boxes, and then I will exit isolation, and there we have it. So we have created textures for almost everything. Well, apart from these inlets. This one. This I Seems I can't find it. Let me tub in to this. Select this point, go to view. Let's see frame selected so that I can see this. I can tub out. This is what I'm looking for, so Cable inlet one and two. I'll click on new and I'll call this cable inlet. Then I'll change the color to something else. Let's say a gray color. So I already have a gray that I like. So I'll use this and I'll pick the gray for the dotted mesh. And I'll I'll go to the base color and just make it slightly. Lighter. Then I'll reduce its roughness. Then I'll select the second one cable inlet. Go to this drop down, look for cable inlet, and it should have applied. So after that point, we do have materials for essentially everything that we've created, which is pretty cool. Yeah. I'll just save this. 74. Volumetric Lighting Set Up: The next thing I'd like to add is some like volumetric lighting. To do that, we'll need to work with volumes. So far as we've been setting up materials, we've been using if you look at the principle of BSDF, the BSDF input is going to the surface input of the material, but now I want it to go into the volume. But not exactly this particular node, but a different type of node. So we need an object that's going to form that volume. So we're going to start by using a simple cube, we modify its size, and then we'll make some changes. So I'll type or heat shift A. And I'll go to cube. This is my cube. Then I'll hit z solid. Then I will switch to let's say the right view. Then I'll hit the wire frame, and I'll move this up. So I need to scale it up, so I'll hit S y. And then S Z. Then move this up. I think I did it way too much on the Z, so S Z and just reduce it, and then move this down. Then we'll check the front. That is going to be S and I'll just scale it up. I'm just making sure that it's within the areas where we don't have any of the boxes. Next so. This is the one that's going to have the volume. This is the cube. I'll double click on it and call it volumetric light. Then I'll isolate it. Sorry, I selected the wrong thing. I'll isolate it, so here is. Then we'll go to the material and we'll add a new one. And then I'll call this volume. Okay. Then we can get rid of this image texture window. What I can do between these two windows is a gap, which if I hove over it, I get a line that points to the left or has an arrow that points to the left and another one that points to the right. So I I click, I can choose to join areas and an arrow will pop up. I want to join to this, so I'll use the arrow that points to the left. I'll click on that. I can zoom out and see my material well, the nodes that is, but I don't want to use the principal BSDF. On the surface option, I will choose emission. Once I choose emission, and if we hit Z and I choose rendered, this is what we have. It's not that interesting. I'll go back to solid. What I want is I want to have some thick volumetric some thick volume around the warehouse so that it doesn't look dull or empty. So for that to be possible, we need to use this emission, and we need to drive it to the volume and not to the surface. So where there is that line that goes from emission to surface, click on that and just drag it down to volume. The next thing I want us to add is a node called gradient. We've not used any nodes at all. I want a gradient node, and a gradient node is just a node that has two colors, and that is usually or rather it talks with two colors, black and white. But of course, you can work with other colors if you'd like. But in our instance, we are working with black and white. So I head shift A and typing gradient. And I'll get a gradient text, which I'll click on and then I'll click to place it. Then I'll drive the color of the gradient to the color input of the emission. Then if I hit z rendered, let's see what we have. For you to see the volume, you'll have to be in rendered mode. This is what we have, and the whole shape is a volume, and this is a linear gradient. So With the gradient, I would like to add something in between that will allow me to play around with black and white. So the gradient right now is set to linear, but of course, there are many other types of gradients that I'm going to get into, but I just want to have it B in use. So I will shift A again, and I will for something called a color ramp. So a color ramp actually brings out the black and white that we need. Once I click on it, I need to place it between the gradient texture and the emission, and this is what we get. Now, if I start moving this particular sliders for this gradient, can see that this is what we have so if I rotate. This is what we have. The areas that are black, we're not seeing them, the areas that are white, we're seeing that. But I essentially want this to be a bit more vertical, not like a horizontal change. For that to be possible, I'll need to make use of other nodes that will allow me to have access to that. The first node is going to be the texture coordinate, and the second one is the mapping. So I'll heat shift A and type in texture. Coordinate, and then I'll select it and drag it a bit off to the left. Then I'll hit shift air again and this time I'll look for mapping, and then I will click on it and add it. The mapping is what we need essentially, but it cannot work alone. We need the texture coordinate as well. So the generated output of the texture coordinate connected to the input vector of mapping. Then the output vector for mapping, connected to the input vector of the gradient. Thing will change as much. I's just going to update, but I want to rotate this. So we have the rotation values, x, y, and z, and the one that I need is the Y. So I'll type in our value, let's say 90, and then the gradient itself or the white color that is essentially here, is going to be rotated and it's going to be placed at the top, and then the black one will be at the bottom. Now if I come in here and start making my adjustment, you can see this is what we have, right? Now I can exit isolation mode, and now if we get in here, this is a bit too much, to be honest, it's really seems super foggy if I zoom in and start moving around. It's a much, very foggy. But what I can do is on the emission, I can reduce the strength to something a bit less, let's say 0.1. And this makes this look a bit more interesting. Because remember you have those lights at the top of one. We only have one, but I want to I want it to look like it's emitting this huge volumetric light around it. So that's why I have this. Then you can adjust this, make it come down further. Or go up farther if you like. If I move this farther to the black side, or if I make the black side less, I'm going to make this more foggy, and if I make it more black, I make it less foggy or less volumetric. That's how we get that polymetric light or lighting. Another thing you could do to make this more look more interesting, if I just hit to hide this. O thing you could do is if you go to in the Shader editor being the object of the Shader type, if you go to wild, and then I lower the strength of the background, which is the HDRI. You could get a really interesting result if you lower this value. That's something that you'd be interested in. If you're looking for something super super moody, this would still work. But in my case, 0.8, is fine. If you wanted to rotate this image, which is this hy dynamic range image. If I go back to object, if you want to do that, you'll need to use mapping and texture coordinate as well. And that's going to allow you to be able to move around that particular image if that's what you'd like. That's just by the way, because it might come in handy at some point. This is what used to adjust any image that you have or any shader that we have in our case, this particular gradient that we're rotating so that we can be able to to have the transition be a bit more appealing or bit to what we like, or what we want. This is what I'm going to use. And if I rote it up you can see, it's very volumetric. This is how you set up a volumetric vibe or light with shaders and by using the volume input of the material output. 75. Setting Up the Camera View: Let's now set up the camera view for this particular scene. I would like a camera view that's a bit angles, like so, something like this. For that to be possible, first of all, we need a camera. I heat shift A and add a camera. Then with this camera, what I can do is I can hit Alt R. Alt R is going to reset my camera. So if I move it up, using G and Z, it's going to be facing down. Then I need to use the rotation tool and I can now rotate it myself. Like so, and then I rotate it like this. What I'm looking at is for this trammel, I want it to be pointing up so that if I move this, and I place it in front of the object, that is the flash se object. If I go into the softer view, I should be able to see what the camera is. To be able to do that, on the user perspective, this perspective view, we have this bunch of icons on the right. This one that is the camera icon, and if you hop over eight, it says toggle, the camera view numer zero, so I can click on that and it shows me what exactly the camera is seeing. When you add the camera, of course, just like any other object, it does have its settings. One of the things you would like to do in the come of view is maybe adjust what you're seeing because this is very straight line ish. Whatever we're seeing is in a straight line, and that's not what I personally want to angle this as. But if this is what you want to do for your work, that's cool. But personally, I don't want to do that. I will need to I make a few changes to the angle. So the first thing that I need to do before I even start making the angle is I need to get rid of the parts that do not form the size of the image that the camera sees through. So for that to be possible, select the camera, then go to the camera settings. And then, of course, you'll see we have a bunch of settings like lens, dept or field, camera safe areas, background images, viewpoint display, and custom properties. What we want is actually under viewport display, and I I expand it and look for the setting. There is a setting called pass part two. What it does is it's going to darken all these areas that already it's dark, but I want it to be 100% dark so that you can be able to know what parts the camera can see and what parts it cannot see. I will increase this value to one and notice that now, this has become really dark. Then now I can start defining my view according to what I want. So what I'm going to do. We're in the camera perspective, I'm going to hit n on the keyboard so that I get the settings for the camera. Then we'll go to view. So we have item two view. So if I click on view, there's an option that I want to turn on. So if I make this a bit larger, so we have things like the focal length, and then we have the section called view Lock. The view lock, we have lock lock to object, sorry. Then we have lock. You can lock the camera to three D casa or camera to view. So what I want is I want to turn on lock camera to view so that whatever changes I make, I'm making them in the camera view. I'm not getting out of the camera view and doing it in whichever view, be it the perspective or the front or the right or the top or the back, whichever it might be. So I'll turn this on, then I'll hit n to kind of make it disappear. Then we have this icon at the top here, so I'm going to use this to rotate the view. So I'll hover over So if I don't hove over it, I don't get a circle, but if I hove over it, I do get a circle, and it does say drag rotate the view, and I can start rotating the view like that. Then I can use this hand icon, which allows me to move the view. Then I can use this magnification glass, which allows me to zoom in and out. Then I can use the hand icon again to move up. Then I can use the zoom in and out, Magnification tool. So this is still not satisfactory for what I want. What I'm going to do is I'm going to lower the focal length. By default the focal length is 50 millimeters. In the settings for the camera if I just scroll up, we have the length settings. Under the focal length, I will just reduce it, maybe to let's say 40 millimeters, and then I can again continue making my adjustments according to what I want, and then I can rotate this then move this. Like so. Then rotate this again. So this is the angle I'm looking for. Once you're done with your camera view or setting it up, you can hit n again, and then we need to turn off camera to view. If I hit n and then I now start trying to do things. Notice I'm not moving the camera view, the camera view remains. Now I can zoom in using the scroll wheel. Now if I try to click and hold down the middle motto, I'm back to the perspective view. Then I can click on the Tilda key, and then I can go to view camera or I can click on this Pma icon. It's whichever one you kind of like, right? So one thing that I could do is we could add something like depth of field. So after the lens option, we have the option for depth of field. So I want the background objects to not be so sharp. I want them to have some sort of blurriness to them. So I can turn on depth of field. Then I can expand the settings for the depth of field. For the Doctor field, I want to use the focus distance, but you can have an object act as the focus object for your depth of field. For the focus distance, I'll start with zero. By default, it is set to 10 meters. If I input zero, everything is really really blurry. So I can increase this until I see what I need to see, then I'll stop. So somewhere here, 4.8 thereabout. That's what I want. We can turn it off ton, turn it off turn it on. I can lower it even further. Maybe to something like that. Then you can turn it off and on to see if there's any vast difference. It's supposed to be subtle. Then that's all I'm going to change, to be honest. Then the last option I want us to change. If we go to the render settings, there's an option called screen space reflections. This is going to make our reflections look really good. I'll turn this on and notice what happens. This looks really nice compared to what we had before. I can go back to the settings for the camera and still adjust this step of field. Just a bit something like that. That's what I want to use. So what is left is for us to output this as an image, but so far, this looks quite nice. So I'll just go to file and save. 76. Image Output: Now that we've set up the camera. The next thing or the final thing that I would like us to do is to output this particular image. What we can do, we can go to the render setting, and of course, cross check that we set everything right that we do have ment because if emocion is a bit of, it's not going to be noticeable, but you lose a bit of the realism when it comes to self shadowing. Then we have things like bloom which need to be of screen space reflections, which make the reflections a bit better, but if you do not like it, you can turn it off. Um Then we can go to the next option, which is output output, we can define the format. That is the resolution of the image, which is 1920 by 1080. I'm fine with this image size that has been set by default. Other than that, I don't think there's anything else I'm going to look at in this section because we don't have any sort of animation, so it doesn't make sense for me to look at the FPS and the frame range and all of that. I just need one singular frame from this. I need to go to the top of the interface where we have render. If you click on render, can render an image and you can render an animation. We don't have an animation, so image it is, so I will choose to render image. In my case, it takes a bit of time, T like a minute, but it will be output. Here it is, and if I zoom out using the middle mouse, can see that we do have some depth of fields, especially here with the S. Maybe I should have cranked it up a bit more so that I have less over here. But this is a pretty good render. I'd be really interested to see what you guys do and of co what you guys will post down the line. Before we finish, of course, this has been rendered, but we need to save. So we go to image at the top of this blender render window, and under image, we can go to save S. And under save. In my case, I'll just go to have been saving my stuff, which is under three D objects. Notice that on the top right, we do have a bunch of options like the file format, the color, the color depth, the compression, and the color management. Since this is a singular frame, I'm not going to change much. I'll just change this to flash sales. I'll just call it that O mega flash sales. Final. Then I'll click on Savers Image, and it should definitely be saved in that location. So we've come to the end of creating all our models from the beginning, when we began with the robot, and we progressed up to where we are right now, which was the lighting, setting up the cameras, setting up the materials, and all of that. So it's been a journey in itself. So I hope to see you next time. When we embark on animating this whole project. I think that's going to be really interesting down the line. 77. Conclusion: Wow. You've made it to this end of the first part of the cose. Congratulations. Thank you for sticking with me, and I'm deeply honored. We've gone through the basic introduction of the software interface. We've modeled the robot, the robot face. We've created text elements. We've created the warehouse. We've populated that warehouse with shelves and boxes, using the geometry nodes, and we've created lights and cameras or a camera for the final render. I'm really excited to see what you come up with. Please post your final image in the project gallery, or you can tag me on Instagram at Funky Polygon Animation. Once again, thank you. I hope to see you in the next part of the project, where we'll start animating the elements we have created. See you soon.