Blender Start! An Immersive Blender Crash Course!

1. Introduction: If you are interested in learning how to create criticms for animations, games, the special effects and other purposes, and don't know where to start. This course is for you. Welcome to Blender start an immersive Blender crash course. This crash course was developed to give you a first contact with one of the main critic creation tools of today, Bland After learning the basics about the interface, object creation and manipulation, and getting to know some of the main modeling tools. You will create the scene of the animated robot from scratch. Throughout the project, you will see how to model set up basic materials, animate adjust lights and cameras and generate a final video for your animation. You will do all of this with blender. Blender is an open source and free software that can be downloaded at no cost on the. My name is Gustavo az. I am a professional pretty artist with more than 15 years of experience in both teaching and producing professional sings and PD. I'm tried to be your structure in this amazing course. Access the website, download the blender and let's embark on this amazing journey together. 2. Introduction to the Interface: In this lesson, I'm going to give a brief presentation of the interface so that you can start getting familiar with Blender. If this is your first time opening blender, your interface should look similar to this. Immediately after opening blender, it shows us more window-like this. This window is called the splash screen. And if you are opening blender for the first time after the installation, they splash screen will present some initial configuration options. This version of this splash screen that appears right after the installation is called quick setup. These windows offers some options for shortcuts and themes related to the interface and usability of Blender. For this crash course, we will leave all the settings with the default options and click on Next. When we do that, we will encounter the default splash screen. This is the window that appears every time we opened Blender. Here, we can choose to start working with the specific settings and access some links. But if we simply wants to start working, we can click on the General Watson, which starts blender with the default interface. Or we can click anywhere outside this window to close it and see the interface info. The blender interface is completely customizable and can be configured with numerous components. In this course, we will focus only on the components of the default interface that we are seeing here. As we can see, the interface is divided into several large areas through these dividers. And the content within each area is called an editor. The default Blender interface comes with four main editors. The 3D view, where we visualize and interact with the objects in this scene. The timeline, which is a timeline, is similar to the progress bar of any video software. The outliner, which consists of unorganized list of all the objects in this scene. And the properties editor, which allow us to view and edit various properties of the elements. In the top-left top the interface, we find some floating may lose with a series of functions divided into categories. These is the default interface that we will use throughout the course. But although these interface can be used to perform in most tasks, the blender interface can be customized in many different ways. N here at the top we can see a tab system that provides access to different interface arrangements. These interface arrangements are called workspaces. Each workspace is focused on a specific stage of the work process, such as coping or animation. But since it's possible to perform all stages of the synchronization process using just the default interface of Blender. In this crash course, we will only use the Layout tab, which is the initial workspace up Blender. And with that, we conclude this brief presentation of the Blender interface. Thank you for watching and I'll see you next time. 3. Navigating the 3D Environment: In this lesson, we will learn that the main navigation commands in the blender treat the environment. The main navigation commands in the 3D environment, our Zoom, Ben, an orbit. There are many ways to use these commands, but we will go straight to the two most accessible and important ones. One way to use navigation commands is true the navigation icons located here in the top right corner of the 3D view. And the other way is true, mouse and keyboard shortcuts. Let's start with Zoom. The Zoom command is used to zoom in and out of the SR elements. If we want to use the navigation icon, simply click on this magnifying glass icon. Hold the button down and drag up to zoom in and drag down to zoom out. This shortcut for zoom is the mouse group. Just screw forward to zoom in and backward to zoom out. Command is used to move the screen from side to side, up and down. To use this command through the icons. Simple click on the Hand icon here in the corner of the 3D view. Hold the mouse button down and drag in the desired direction. And to use pen through a shortcut, just hold the Shift key and the middle mouse button pressed and drag in the desired direction. And finally, we have the Orbit command. This command is used to rotate the 3D view so that we can see the 3D environment from different angles. To use orbits, Trudy icons, simple click on these colored icons and drag. Or simply leave the cursor over the tradition. Hold the middle mouse button down and dragging the desired direction. In addition to being able to rotate using these navigation icon, we can click on each of these is more colored circles to position their viewpoint exactly on the specific views of each axis, such as top, front, left side, and so on. And now to conclude, let's take a look at this burden here. This button is used to switch the 3D view between Perspective mode and orthographic mode. The autograph commode shows the 3D environment without the natural distortion that we see in the real-world, which makes objects appear smaller as they move away from the observer. How though these viewing mode is not natural, MAC a bit strange, it can be quite useful in certain stages of the work. Now that we have started to see the first blender shortcuts, It's important that you pay close attention to how they work. I'll blender shortcuts. Are editors sensitive? These means that this shortcut will only work if you have the cursor over the editor where you want to use the shortcut. For example, we just saw the navigation shortcuts. We saw that if we have the cursor over the 3D view, we can rotate the mouse scroll to zoom in and out of the same. However, if we place the cursor over the timeline and rotate this group, we will see that this zone will be applied to the timeline itself, not to the 2D view. And if we place the cursor over the properties editor and rotate this grow, we will see that nothing happens because there's nothing to zoom in in this moment. Similarly, if I place the cursor over the outliner and rotate this grow, nothing will happen. So whenever you use a shortcut, make sure the cursor is over the editor where you want the shortcuts to work. In order to work comfortably in a 3D software, it's essential to know how to navigate comfortably in the 2D environment. You can use the navigation icons in their interface if you want. But for agility and productivity, I really recommend that you memorize the navigation shortcuts shown in this lesson. Thank you for watching and until next time 4. Selecting and Transforming Objects: In this lesson, we will learn how to select and transform objects. To do this, we can use the default seen in Blender. By now, you may have noticed that when we opened Blender, the default initial scene are radicals with these three objects. In the center we see a cube, which is a geometry. In addition, we have this point, which is the light, and this pyramid shaped object, which is a camera. Since the default seen already comes with these three initial objects, we can use it to learn how to select and transform objects. If we look here on the left side of the 3D view, we will see these bar with some buttons. These bar is the credit view toolbar. Although the icons are quite intuitive and easy to identify, if you want, you can position the cursor over the right margin of it. When the cursor assumes this shape, you can click and drag to the right. When you do this, at first, you will see that the burdens are organized into columns. And if you drag a little more, you will see that the buttons start displaying the two names next to the icons. As I mentioned before, the icons are easy to identify. But when we are learning to use the software, it can be a good idea to have the names available to facilitate their identification. As you can see, the first button is called the select box. If we keep this button pressed, we can see that there are other options for selection tools. But since the select box will be sufficient for everything we needed to do in this course, I will keep this option active. When these two is active, we can click on any object to select it. Additionally, we can click and drag to create a selection window and select everything inside it. If we click on an empty space in the 3D view, we will deselect anything that is currently selected. If we want to select more than one object, we just need to select the first one. And then click on the other object to wants to add to the selection while holding down the Shift key. Furthermore, a quick way to clear the selection is by using the out a shortcut. A quick way to select everything is simply by pressing D, a. And finally, another quick and efficient way to select objects is by clicking on the object's name here in the outliner. Now, let's take a look at how to transform objects in the scene. And by transform, I mean move, rotate, and scale the objects. To perform these operations, we will use these tools here in the toolbar. Let's start with the move to. When we have one of these tools active, we can also select objects by clicking on them. And when we select one or more objects, we will see a colored icon appear in the credit view. This icon can be called a transform gizmo or manipulator. The manipulator for the move to consists of these three arrows and these three squares. Each of these arrows corresponds to one of the axis of the 3D environment. The red arrow corresponds to the x-axis, the green arrow corresponds to the y-axis, and the blue arrow corresponds to the z axis. If we click on any of these arrows and drag, the object will be moved only along that axis. So if I click and drag on the red arrow, I moved the object only along the x-axis. If I click and drag on the green arrow, I move the object only along the y axis. And if I click on the blue arrow, I move the object only along the z axis. This is squared that exist between the arrows allow us to move the object only on two axes, excluding the axis of the corresponding color. So if I click on this red square, the movement excludes the x-axis and moves the object only along the y and z axis. If I click on this green square, I move the object along with the x and z-axis. And if I click on this blue square, I moved the object along the x and axis. And if I have the Move Tool active and click and drag on, this is more white circle. The object will be moved perpendicular to the screen. Now, let's take a look at the rotation to when the rotation tool is active, we can see these four arcs around the selected object. This is the rotation manipulator. Each colored art corresponds to an excess of the treaty environment If we click and drag on one of them, we rotate the object only around that axis. In other words, if I click and drag on the red axis, I rotate the object only around the x-axis. If I click and drag on the green axis, I rotate the objects only around the y-axis. And if I click and drag on the blue axis, I rotate the object only around the z-axis. And if I click and drag on these white arc, the object will be rotated perpendicular to the screen. And finally, if I click and drag within this arc without clicking on any other arcs, I rotate the object freely as if I were clicking and dragging on a bowl. Now, before using these KO2, I will use the controls this shortcut to go back a few steps until the box returns to its initial position. By default, Blender is configured to say verb to 32 steps in the history. This means that if we use Control Z, we can go back up to 32 commands. Now, let's take a look at the scale to scale manipulation. Icon is very similar to the movie to manipulation icon. We have this edges to scale the object to one x is at a time. We have these squares to scale the object to x is at a time. And if we click on the white circle around the icon, the object will be scaled on all three axes at the same time. And finally, we have the transform to these two is nothing more than all of the orders mixed together. When these two is active, we see all the manipulators at the same time. So we can move, rotate N scale the object using just 12. This can be a bit confusing in some situations, but it can also be quite versatile. And to conclude, I will activate the select box to once again, to show how we can use the transformation commands through some basic shortcuts. These shortcuts can make your work much more productive. So I recommend that you memorize them. So even if you don't have any transformation to active, I can move the selected objects by pressing the G key for grad. And to finalize the transformation, simply click on the mouse button. I can rotate the object using the R key for rotate. And I can scale the object by using the S key for scale. And those were the main selection and transformation commands. Thank you for watching and until next time 5. Creating and Deleting Objects: In this lesson, we will see how to delete existing objects in this scene and how to create new objects. To do this, we can start with the default Blender, same. We can take advantage of the fact that this scene already comes with three objects, a cube, a light, and a camera. And start by learning how to delete objects. Deleting an object in Blender is as simple as deleting an object in any other software. Just select it and press the Delete key. But there is another shortcut that might be interesting to know as well. If I select another object and press the X key on the keyboard, blender also delete the object. But when we use the x key, instead of deleting the object directly, it opens a window asking if we really want to delete the object. If we click Delete or press the Enter key, the object is deleted normally. Finally, another way to delete objects from this scene is true the outliner. We can select the object by clicking its name in the list of objects in this scene. We can press Delete, even with the cursor over the outliner. Now, let's take a look at how we can create new objects in Blender. To create objects, we will access the admin Lu, which we find here at the top of the 3D view. In this menu, we will find several sub menus divided by categories. Within each of these sub menus, we will see all of the objects that are available for each category. In the light sub menu, we will see how the types of lights that can be created. In the curves submit loop. We will see how the types of curves that can be created. In the mesh sub menu, we will see all the types of geometries that can be created and so on. In addition to access and the creation of menu at the top of the 3D view, we can also use the Shift T, a shortcut. Just have the cursor over the 3D view and press the Shift T, a shortcut to display the object creation memo in these floating formats. In this lesson, we will focus on creating geometries and afford that we will use the mesh sub menu. As we can see, there are several options for primitive geometries that can be created. If we click on cube, we will see that a cube will be created in the middle of the 3D view. Actually, the object is not necessarily created in the middle of the treaty view. It's created where the creative cursor of this scene is. The 3D cursor is this icon with three axis and this dashed circle. When we create a new object, it is created where this icon is. To reposition the 3D cursor. We just needed to hold the Shift key and right-click anywhere in the 3D view. And if we want the 3D cursor to return to the center of this scene, we can use the Shift to see shortcuts. So if I press Shift and right-click to reposition the cursor here, for example, open the creation menu with the shifting a shortcut and click on Mesh cube. A new cube will be created in these new position. I'm going to press Shift and right-click to reposition the 3D cursor. Once more. I'm going to open the creation menu with the shift th shortcuts. And in the mesh sub-menu, I'm going to click on UV sphere to create this fear. Now, I'm going to talk about an important aspect of Blender commands. Several blender commands, heavy properties that can be edited. And some of these properties can only be edited immediately after we perform the respective commands. When we create an object, for example, we can add it some initial properties of that object. And these properties can be found in this panel down here, which we can open it by clicking on needs. In the case of object creation, right after we create a specific object, we can add some initial properties of it in this panel. These properties will vary from object to object. In the case of this fear, for example, we can add the number of segments which corresponds to the vertical edges of the object. The number of rings, which corresponds to the horizontal edges, and the radius which corresponds to the size. But pay attention to the following. We can only add it to this parameters immediately after creating the object. If we perform any other commands, these properties disappear and the panel starts showing the properties of the last comment that was performed. So if I activate the rotate to, for example, and rotate this fear We will see that this painter will no longer display the initial properties of this fear. And we'll start showing the properties of the rotation we just did. In other words, this panel shows the properties of the last action performed in Blender. So if you want to configure the initial properties of an object, pay attention to edit these properties immediately after creating the object, even before performing any other action. To practice a bit. Now, I recommend that to reposition the critic cursor in different parts of the 3D view and create each of these initial geometries from the measurement tool. To exemplify, I'm going to reposition the 3D cursor once again with the Shift and right-click. And I'm going to create a cylinder. And I'm going to reposition the 3D cursor once again. And I'm going to create a cone. But I recommend that you continue with testing and create each of the geometries for the menu. Now, let's see another way to create geometries with Blender. If we look at the bottom of the toolbar, we will see a geometry addition button. If we hold down this burden, we will see that it allow us to create different geometries. I'm going to start with the Add Cube option. That the phrase in creating geometry is true. This burden is that we can define the position and dimensions of the object created at the time of creation. To create an object with this tool, we click and drag somewhere on the grid to define the size of the objects base. We release the mouse button and drag to define the height. And we click once more to finish the creation. This way, the object is created based on the horizontal grid of the scene. In addition to being able to create objects by clicking and dragging on the grids, we can also click directly on the surface of other objects. This way, the object is created as if it was resting on the surface in question. These same procedures can be used to create all the other geometries available in the middle of these two. In other words, with this method, we can create cones, cylinders, UV spheres. N equals spheres, which are a type of sphere with a different initial organization of the polygons that make up the object. And those are the main ways to delete and create objects in Blender. Thank you for watching and until next time 6. Modeling Part 1 - Selection: In this lesson, we will begin to see how we can transform the blenders basic geometries into customize the objects through what we call polygonal modeling. We have already seen that when we select an object in Blender, initially, we can move it, rotate it, scale this object freely. We can interact with the object in this direct way, because initially it is in an interaction mode called object mode. If we have a geometry selected and look here in the top left corner of the 3D view, we will see this menu here. This is the interaction mode millieu. In it allow us to choose the objects interaction mode. The default mode is the object mode, which allow us to interact with the object as a whole, selecting and transforming it freely. If we open this menu, we will see order interaction modes. If we have a geometry selected and wants to add it to the object's shape using polygonal modeling tools, we will enable edit mode here. In this lesson, we will learn about the structural components of the object and see how to select n manipulated this components. If we look here next to the interaction mode menu, we will see three buttons. These buttons allow us to choose which structural components of the geometry we will be able to select. There are three structural components of the geometry. Vertices, edges, and faces. If we have the phase components active and the box selection to activity here in the toolbar, we will be able to select the faces of the object. And initially, the way to select these components is the same user to select objects. In object mode. We can click on each face individually to select them. We can click in an empty area of the 3D view to clear the selection. We can add new components to the selection by holding down the Shift key. And we can create selection on Windows to select groups of vertices. Edges are polygons. The next structural components is the edge, which can be activated with this button here. When it's active, we can use the same selection commands to select the edges of the model. In other words, we can click on each edge to make individual selections. We can create selection Windows to select group of edges. We can add edges to the selection by holding down the Shift key. An important aspect of selecting structural components in Blender is that when we select all the edges that make up a face, in practice, it is as if the face itself is selected. This means that some modelling commands that work on faces can be used with a selection like this, even if the active selection component is the Agile mode. And finally, we can activate Vertex Selection Mode API here to select the individual vertices of the model. Once again, we can select independent versus buy click on each one of them. We can add more vertices to a selection. The Shift key pressed. If we have both vertices that make up an edge selected. In practice, it's also as if we have the edge itself selected. And if we have all the vertices that make up our face is selected. The selection also act as if the face itself is selected. Additionally, we can also use the selection window to select multiple versus. When using the selection window, we needed to pay attention to the following. Initially, the selection window doesn't select the components that are in the back, which we can see of the geometries. This means that if I make a selection window like this, the vertices that are at the back you have, the model won't be selected. But if we look in the top right corner of the 3D view, we will find this button called X-ray. When this button is active, objects have these lights transparent appearance. Additionally, any select two when we make, will select the components at the back of the object. Now I'm going to deactivate the X-ray mode. And I'm going to select the vertices corresponding to this top face of the cube When we have any structural components or group of structural components selected, we can use transformation tools to move, rotate, and scale that selection. This way, we can start editing the shape of the initial model. Now, observe an important aspect about the objects editing modes. When we are with an object in edit mode, the selection, move, rotation, and scaling tools will only work for the components of the selected the object. If we try to select another object like the light or the camera, we will see that we simply can't do that. So in order for us to be able to select the other object in the scene, again, we must exit the edit mode by going to the interaction modes menu and clicking on object mode. With these, we will see that we can now select the other objects normally. Now, I'm going to select and delete these initial cube from this scene and create a UV sphere to show a few more selection commands. To do that, I'm going to press Shift T. And in the mesh sub menu, I'm going to click on UV sphere. Now I'm going to enter the edit mode for these objects. But this time I'm going to use a shortcut for it. And the shortcuts to enter the editor mode for the selected geometry is the Tab key. Very well. Now I'm going to show how we can quickly select entire loops of vertices, edges, and faces. I'm going to start with Vertex Selection Mode. To select an entire loop. Simply hold down the Alt key and click on an edge. This shortcut will work for both horizontal loops and vertical loops. And the same shortcut will work for the order components. In other words, I can activate edge selection mode and select loops by holding down the Alt key. And activate the Face Selection Mode. And select the loops with the alt key. In Face Selection Mode, the direction of the selected loop will depend on where on the face you click. If you click with the Alt key held down closer to the vertical edges like here or here. It will select a horizontal loop. And if you click closer to the horizontal edges, like here or here, it will select a vertical loop. Finally, if you want to select multiple loops, simply combining the shortcut to select the loops with the shortcuts to add more components to the selection. In other words, out and shipped. So if I hold down the Alt and Shift keys, I can click and add a new loop to the selection. And those are the main selection commands, blenders, edit mode. Thank you for watching and I'll see you next time. 7. Modeling Part 2 - Creating and Deleting Components: In this lesson, we will see how to create and delete edges and faces on an object. For that, we can use the initial cube from blenders default scene. So we can select it and enter the edit mode by going to the interaction modelling tool and clicking on edit mode. Let's start by learning how to delete phases. To delete a phase, simply select one or more entire faces. As we have already seen in the lesson about components selection. We can select a face with an active selection mode. So if I am in Vertex Selection Mode and select the four vertices that make up a phase. In practice, the face itself is selected. Therefore, faces will be selected both in Vertex Selection Mode, in edge selection mode, and in Face Selection mode itself. When the face is selected, we will press the Delete key. When we do this, we will see a menu with several options to delete the geometry components. Some of these options are more advanced and can be a bit confusing. Furthermore, to the later phase, we will always choose the phases option. So after selecting a face, click on delete faces. If we want to create a new face to close this whole now, we will need to select all the components that make up this boundary. For that, we can be either in Vertex Selection Mode or edge selection mode. In this case, I will use the vertex selection mode. And I will select all the vertices of the hole's boundary. Once all the vertices of the whole are selected, we can go to the vertex menu up here. Here we will find some very specific tools for versus. If I use the new edge faces from versus command, it will fill the hole with a new phase. I will also create another phase to close the hole I created by deleting the face on the other side. This time, I will select the entire loop that corresponds to the boundary of the hole using the shortcut we saw in the component selection lesson. As we have already seen, to select a loop, just keep the Alt key pressed and click on one of the edges of the loop we want to select. Now to effectively close the hole, I will use the shortcut for the new edges faces from versus commands. As we can see here in the menu. The shortcut for this command is the F key. So if I have all the components of a boundary selected and press the F key, a new phase is created, closing the hole. Now let's see how to create an remove edges from the model. When we entered the edits mode, we can observe that the tools displayed in the toolbar here on the left change the toolbar or is displaced to, corresponded to the current interaction mode of the object. As we have also seen, we can bring the cursor closer to the right end of the toolbar and click and drag to the right until we see the names of the buttons. One of the modelling tools we will find here is the loop cut tool. If we activate these two, we will see that when we position the cursor over an edge of the model, it will display a yellow loop perpendicular to the edge. And if we click, that loop of edges will be effectively created on the model. And the if, instead of simply clicking, we click and drag. We can define the starting position of that loop. As we have also seen, if we click on this panel down here, immediately after performing a certain action, we can configure some properties of that command. And in the case of loop cut tool, interesting parameters are the number of codes and the factor parameter which allow us to determine the initial position of the loop. But remember that once you perform any other command, you can no longer edit this loop good properties. So if I activate the scale tool, for example, and the scale, the selection, the properties of this panel will become the properties of the scale command. Nots, they look good. Now I will show this shortcut for the loop cut tool. So I will leave the select box to active. If I hover the cursor over the blender buttons for awhile, sometimes we can see the corresponding shortcut for the two. As we can see, the shortcut for the loop cut is the control our keys. So even if I don't have the loop good, active, if I position the cursor over an edge of the model and use the control our shortcuts. Momentarily, I will be able to insert a loop of edges in this way. In addition, when we are using this shortcut for the loop cutting this way with control are immediately after using the shortcut, we can rotate the mouse scroll wheel to define the number of edges. Before clicking to create the new loop, we can screw up or down to increase or decrease the number of edges. Then we can click and drag to define the loop position as usual. But note that this option to edit the initial edges count with the mouse scroll wheel can only be used when we're using this shortcut. When the two itself is active, this is not possible. Now, let's see how to remove edges from the model. To remove an edge from the model, we will select it with the select box two. Let's click on Delete and click on this soft edges. Do not click on the simple edges option in the menu. If you do that, all the faces around the selected edge will also be deleted. So if we click on this solve edges, only the selected edge will be deleted. A very useful shortcut for this command is control delete. To use the shortcut, it is important that we have the edge selection mode active. If we have the edge loop selected in Vertex Selection Mode acted, this shortcut will not work properly. So if we want to delete an entire loop of edges, just select the loop with the Alt key pressed. Let's make sure we have the edge selection mode active. And let's use the Control Delete shortcut. The shortcut is probably the fastest and easiest way to delete entire loops of edges. So those were the main commands to create and remove is structural components from the geometries. Thank you for watching and I'll see you next time. 8. Modeling Part 3 - Modeling Tools: In this lesson, we will get to know some of blinders main polygonal modeling tools. Blender has various modelling tools that allow you to create practically any type of shape. Although we won't cover all of them in this course, you will see that even with just a few tools, we can create very interesting projects. To showcase these tools, I'm going to delete the initial cube for this scene. And I am going to create a sphere using the shift. The shortcuts go into the mesh sub-menu and clicking on UV sphere. Now I'm going to enter edit mode for the object by going to the interaction mode menu up here. But remember that you can also enter and exit the editor mode using the tab shortcuts. Now, in order for us to start exploring the polygonal modeling tools, let's turn our attention to the toolbar. As we have seen before. If we click on the corner of the toolbar here on the right and drag the 2-bar expense so we can see the names of each button. The two icons have a great design and once you know them, you can easily identify each two just by looking at the icon. But while we are learning, it may be a good idea to keep the names visible until we get used to the icons. In this class, we will focus on the first trip burdens in the polygonal modeling tools group in the toolbar extrude, inset and bevel. So let's start by activating the Extrude two. Although the extrude tool can be used to extrude vertices and edges. It is predominantly used to extrude faces. So I'm going to activate the Face Selection Mode API here to facilitate the selection of polygons. Now, if we select a face, have the extrude region tool active, we will see an additional icon in front of the face. If we click on this icon and drag it inward, we create a negative extrusion. In other words, blender pushes the polygon inward, creating new polygons. Let's connect this selected polygon to the rest of the geometry. If we select a polygon and click on the addition icon and drag it outward, we create a positive extrusion. Right after using the extrude two. We can see that in addition to the additional icon, we can also see a narrow in front of the face. If we click and drag on this arrow, we can reposition the polygon, adjust the size of the extrusion. And if we click on the addition icon once again, we create another extrusion with new polygons. It's also possible to use the extruder to, with multiple polygons selected at the same time. So if we select some polygons while holding the Shift key, we can extrude all of them at once. Now, let's see what happens if we try to extrude an entire loop at once. So I'm going to select an entire loop here on this sphere by holding down the Alt key and clicking near one of the vertical edges of one of these polygons. And now I'm going to click on the extrude addition icon and drag. As we can see, the result looks a bit strange because all of the polygons are extruded in the same direction. So I'm going to undo the command using the controversy shortcuts. And now I'm going to show you some variations of these Trudy to there are useful in these type of extrusion. To access these variations, we are going to click on the extruder Region button in the toolbar and hold the button until this man who appears. As we can see, these may lose, show some variations of texts, true too. For this situation, the interesting options are extruded along with normals and extrude individual. I'm going to start by activating the extruder log normal's. With these two active, we will see that if we click and drag, each of the phases will be extruded in the direction of their own normals. And if we switch to individual extrusion and click and drag, we will see that each polygon will be extruded individually, separate from the adjacent polygons. Now, let's take a look at the shortcuts to use the extrude tool. So I'm going to activate the select box two. And I'm going to select a few more polygons. This shortcuts to use the extrude region, which is the default mode for the Extrude, is the E key. So if we have some polygon selected, press the Escape key and move the cursor. The polygons will be extruded Now let's see the shortcut to activate the order optimus of the extrude tool. For that, I'm going to select a loop using the Alt key. And I'm going to use the e shortcuts. These shortcuts opens the menu with the other options of the Extrude two. So if I have a group of polygon, select it and choose the extrude faces along with normals option, the polygons will be extruded according to this mode. I can also use the shortcut again and choose the extrude individual option to extrude each polygons separately. Now, let's take a look at the inset faces to which we activate just below the extruded tool in the toolbar. When these two is active, we can select one or more polygons and click and drag inward. These will reduce the original polygons and create a group of polygons connecting the original polygons to the rest of the geometry. Initially, when groups of adjacent polygons are selected, they are affected by the inset to as a single block. But if we want the inset to occur individually for each polygon, right after using the command, we can open the properties panel down here and check the individual option. This will make getting set to be performed individually for each selected polygon. Finally, let's take a look at the Bevel tool, which we activated just below the inset to here in the toolbar. To use these two, I'm going to activate edge selection mode up here. And now I'm going to select one of these edges from one of these corners that we created with the extrude. And D, If I have the Bevel tool, active and click and drag, we will see that these two splits, the original edging to creating a chauffeur on the select the edge. We can now select an entire set of edges and use the command. Additionally, we can open the properties panel down here. In configure some parameters, such as the number of segments and the size of the chamfer. Now, let's see how to use the bevel command through a shortcut. For that, I'm going to activate the select box two. I'm going to select a few more edges. And I'm going to use the Control B shortcut. This is the shortcut for the Bevel tool. And that's it. These are basic tools, but they are among the most important ones in polygonal modeling software. Thanks for watching, and I'll see you next time. 9. Copying Objects: In this lesson, we are going to learn how to copy objects. For this demonstration, I'm going to copy the default cube object from the blenders scene. But before showing you how we can copy objects, I will present some new information about objects transformation tools. We have already seen that besides using the tools in the toolbar to transform objects, we can also use this. Some shortcut keys will have seen that to move an object, for example, we can use the G key for grad to initiate the movement. To finish the movement, simply click the mouse button. But something interesting that I haven't shown yet is that we can interrupt the transformation while we are performing it. After pressing the shortcut key. If I right-click the mouse before completing the transformation, the movement is canceled. This shortcut will work for all transformation. That is, move, rotate, and scale. The next thing I'm going to show is how we can transform objects with shortcuts on specific axis. If I press the G key to start moving the object. Before finishing the transformation, I press the X key on the keyboard. The object will be moved only along the x axis of the same. Similarly, if I start moving the object and press the Y key, the object will be moved only along with the y-axis of the scene. If I start moving the object and press the Z key, the object will be moved only along the z axis of this scene. Now, let's see how to effectively copy objects from this thing. One way to copy the selected object is by using the traditional shortcut Control C to copy control V to paste. The problem with this method is that it's based as the corporate objects exactly on the same place as the original object. As a result, they are perfectly overlapped in the credit view. But if we look in this scene as outliner, we can clearly see that now this scene has two distinct cubes. To facilitate selection, we can click on the name of the chosen object here in the outliner. If we don't want the objects to be overlapped, we can move one of them after making the copy. So I will press the G key to start moving and the X key to move the object only along the x axis. Another way to cut objects is by using the Shift D shortcuts. When we use these shortcuts, the copied object starts moving immediately as if we had pressed that the G shortcut key. And if we want the object to be moved on a specific axis, we can also use this since access keys. So if after use the shifted this shortcut, I press the X key. The copied object will move along the x-axis of this scene. I can also use shifted D to copy the object once again. And press the Y key to move the object only along the Y axis of this scene. And use the shifted this shortcut once again and press the Z key to move the object along with the z axis of this scene. Now you know how to cope objects from the scene. Thank you for watching and I'll see you next time. 10. Applying the Scale: In this lesson, I'm going to talk about the type of problem that can occur during the modelling process. If we don't pay attention to an important aspect of blenders operation. For this demonstration, I will need a two cubes. So I will select the default cubing, the blenders sin. And that will copy it using the Shift D shortcuts. That will press the X key to move it only along the x axis of this scene. If we look in the Object tab of the property editor, we will see a panel called transfer. This panel displays the transform values of the selected objects. If we activate one of the transformation tools like the move to, for example, and move the object along a specific axis. We can see the value of the corresponding x is being modified here in the panel. In fact, we can even have no transformation to select it. And we can directly change the transformation of values to this panel. Just click on the value of each axis of each transformation and move it sideways to alter the value. In the case of position and rotation values, there is no problem in freely changing the values. But when it comes to scale values, it's important that the values of the x, y, and z axes are always one. If I activate these KO2 and scale the object along the z axis, for example, we will see that the value of the z axis independent is simultaneously changed. Now, let's see what happens if I try to use polygonal modeling tools with the object in this way. For that, I will enter the edit mode. I will explain the toolbar to see the names of the tools. Now, I will activate the Bevel tool that we'll use the bevel to share for this top edge. For that, I will activate edge selection mode. I will select the respective edge. And that will use the Bevel tool to create the server. The default behavior of the Bevel tool is to create a chauffeur of 45 degrees when the original angle is 90 degrees, as in this case. But as we can see, the chauffeur was made with a highly deformed angle. These type of irregular behavior of the tools is directly related to the fact that the object is scale is not set to one on all axes. So what I'm going to do now is use the controls, these shortcuts to undo the command. We will exit the edit mode. And with the object in object mode, I will go to the Object menu. I will go to the applies, certainly Lou. And click on Scale. Note that when I click on this command, they scale values of the object will return it to one of our axes. But this command doesn't change the object dimensions. So every time you use the scale tool to change the object's dimension in object mode, you should make sure to use this applies scale command. With this scale values properly applied, we can go back to Edit mode and use the bevel to normally. Now, we can see that the tube is functioning properly. The same type of problems can occur with different modelling tools. And the severity of the problem will depend on the specific tool and how much the object was the scaled. But if you apply the scale, as I showed, the problem will not manifest. Now, I will go back to object mode. I will select the other cube in this scene that will enter the editor mode to show one more thing. If I am in the edit mode of an object, select all the components using the shortcut key, and use this Q2. We can observe that this k values of the objects are not outward. They scale values are only changed if we use the scale tool in object mode. And since they scale values are not changing in this way. If I select the top edge and use the bevel to the deformation will not manifest and the two will work properly. So if you use the scale tool in edit mode, you don't need to worry about anything. And if you use the scale tool in object mode, just use the applied scale command to avoid problems doing the modelling process. Thank you for watching and until next time 11. Modeling Exercise: In this class, we are going to do a modeling exercise to see in practice how to use the modeling tools we have learned so far. In for this exercise, we are going to model a simple airplane like this one here. Before we start modelling the airplane, I'm going to delete the light in the camera in the scene since I won't need any of those objects. One other thing I like to do when I'm going to model one object is to move it slightly above the scenes grid, that the object doesn't overlap with these grid lines. Now I can start the modelling process. So I'm going to enter the edit mode for the object. And the first thing I'm going to do is this cubed, the cube to make the object have proportions closer to the airplane we are going to model. An interesting tip is to try to model objects with their sides facing the x axis of this thing. In other words, this side should be directed towards the x is represented by this red line on the scenes grids. So I'm going to activate the scale too. And I'm going to scale the object on the y axis so that it becomes the longitudinal axis of the airplane. Now, I'm going to create the front part of the airplane. To this, I'm going to activate the select box too. I'm going to create a selection box to select the vertices corresponding to the front face of the object. Will activate the extrude region two. And I will make an extrude trying to achieve the proportion I want for the front of the airplane. Now, to make the front pointy, I'm going to activate the scale tool. And I'm going to scale that phase by clicking on the white circle of the tools icon. This way, base scaling happens on all axes at the same time. Now, to make the design more aerodynamic, I'm going to activate the move tool. And I'm going to move that polygon down a bit. Now. I'm going to create the back part of the airplane. So I'm going to activate the select box two. And I'm going to select the back face of the airplane. This time, I'm going to use the shortcuts we already know to perform the commands. So I'm going to extrude that phase by pressing the E key, which is the shortcut for the extrude region tool. I'm going to scale that face by pressing the S key. And I'm going to move that phase by pressing the G key to start the movement. And the Z key so that the face is moved only on the scene as z axis. Now, I'm going to create the vertical stabilizer. For that. I'm going to activate the Face Selection Mode and select that top face. Now, I'm going to activate the inset two. And I'm going to use the tool to create a new polygon. When using the inset. Pay attention not to use a too large value. Otherwise, part of the polygon made a form like this. So using sets until the polygon looks more or less like this. Now, I entailed to extrude this polygon to create the vertical stabilizer of the airplane. But I want to do a stabilizer to be thinner and not have such a large front part. So I'm going to activate the edge selection mode. I'm going to select that front edge. I will activate the scale tool. And I'm going to scale the edge on the x axis to make the front of the polygon narrower. Now, I can activate the Face Selection Mode. Select that stop polygon. An extrude it by pressing the E key, which is the shortcut for Extrude. Now I can activate the scale tool once again. Scale the polygon on the y axis to make the shape more aerodynamic. I can also activate the Move tool and move the polygon backward at bids. Now, I'm going to create the wings of the airplane. For that, I'm going to activate the select box too. I will select one of the side faces. And while holding the Shift key, I will click on the face on the other side to add it to the selection. This way, both phases will be selected. Now I'm going to use the inset to, but this time I'm going to use the shortcut, which is the icky. Now, I'm going to extrude these phases. But since I want to extrude each phase to a different site, I can't use the extrude region, as we have already seen, to extrude the phases in a way that each of them is extruded in the direction of its own normal. We should use the extruder longer normals command. As we have also seen, we can open them a little extra options using the out E shortcut keys. I will choose the extrude faces along with normals option. And I will drag it until the wings are more or less like the size I want. If the size of the extruder didn't turn out the way you want it. You can activate the scale to scale it on the x-axis. If the scale tool isn't working to move the selected polygons are we are closer. Go to the transform and pivot points menu at the top of the Today View. And make sure the median point option is active. This option is scales the elements from the center of the selection. Once the wing is the right size, I'm going to scale the polygons on the z-axis to make the wing tip and narrower. And I will also scale on the y-axis to make the wings and narrower. After that, I'm going to activate the Move tool and move the polygons backward to make the design more aggressive. And with that, we've finished this exercise of modelling as simple airplane. Now I can switch back to object mode and save my file. It is important that you save your file as well because we will use it to cover a few more topics in the upcoming classes. Thank you for watching and until next time 12. Subdivision Surface: In this class, we will see how we can round the three-dimensional models using a feature called subdivision surface. For that, I will use the airplane that AI model in the previous class. So open the firewall off your plane by going to the File menu. Click on Open, and click on your file in the folder where you saved it. For this demonstration, it may be interesting for us to see deconstruction edges of the object. We have already seen that the construction edges of a geometry appear when the object is in edit mode. But if we want to visualize the edges of the model, even with the object in object mode. We can go to this menu, which is called viewport, overlays the neighborhood, their wireframe option. This is not mandatory, but it allow us to see the edges of the object even when we're not working yet, It's mode. Now, let's see how to sub-divide the model. In Blender, we will subdivide the object using a type of feature called modifier. Modifiers are functionalities that can be added or removed it from an object while preserving the original object. To add a modifier to an object, we will click on the Modifiers tab in the Properties editor, which is the one with the blue to white icon. Here we will click on the add mode, firemen Lou. And we will click on the subdivision surface option. When we do these, small interface is added to the Modifier Tab containing the properties of the mode firing question. When we add the subdivision surface modifier, it is already edited with a level of subdivision in the view port. And with that, we can see that the airplanes becomes slightly more rounded than the original model. If I click on this arrow, I can add one more level of subdivision. With that, we can see that the object become even more rounded. To understand what is happening, we can disable these optimal display option. This option does not change anything in the practical functioning of the modifier, only in its visualization. When this function is enabled, we only see the wireframe corresponded to the number of original edges of the model. When this option is disabled, we see the wireframe corresponding to all of the edges that are added by the modifier. If I decrease the subdivision levels to zero, we will see the original model. And as I add new levels of subdivision, we can see that the original polygons are subdivided in both directions. And besides generating new edges, the modifier also round the object, making it more organic. In most situations, it's not necessary to add more than three levels of subdivision. Adding too many subdivision levels can make them all. They're very heavy and start compromising the software's performance. Below the levels viewport parameter where we can configure the amount of subdivision levels we see in the viewport. We find the render parameter. In this parameter, we define the number of subdivisions that we will appear when we generate a final image. We will talk about rendering a future class. But if you want, you can leave the same value in both fields. If we pay attention to the top part of the modifier interface, we will see a button with the icon of a monitor. If we deactivate this burden, we deactivate the visualization of the modifier in the viewport. And the return on the button again, we activate the visualization again. As we can see, when we use subdivision surface on the object, the model becomes quite rounded. Now, let's see how we can control the intensity of this routing in specific parts of the objects. We need to enter the editor mode of the object. As we can see when we're in edit mode, we can visualize the original arrangement of the polymers of the model in the somewhat transparent away. One of the factors that define the thing, things to you after rounding off a part of the object, the concentration of edges. So one way to make the wing tips is less rounded, for example, is to add more edges in that region. To add more edges in this part, I will enable the loop cuts to. I will click on one of these wing edges to insert a new loop. And I will drag it's closer to the tip. As we can see. The closer we'll insert the new loop to the tip, the more controlled the rounding becomes in that part If we want, we can also disable the visualization of the Modifier by clicking on the monitor icon and insert a new loop with the loop cut tool. In this way, if I add a new loop closer to the center of the airplane. When I enable the visualization of the modifier, again, we will see that the rounding in that part is also more controlled. I will also add another loop like this with the look good on the top part of the vertical stabilizer of the airplane. Now, I will show another way to control this subdivision rounding. For debt. I will disable the visualization of the modifier. Can I will activate the select box two. Now, I will select all the edges of the base of the vertical stabilizer while holding the Shift key. So we can visualize the effect of what I am going to show. I will enable the modifier again. Now, I will open the sidebar of the treaty view by clicking on this arrow. When we are in yet It's mode and with edges selected, we can find this parameter called crease here. If we have more than one edge selected, we will see this parameter S mean crease. This parameter ranges 0-1. As we increase this value, this subdivision becomes more tense on the respective V edges. And if we set the value to the maximum, the edges will be completely sharp. To demonstrate once again, I will select this loop around the wing base by click on one of the edges with the Alt key pressed. I will disable the modifier. So you can see the selected group that will enable it again. Now, I will increase, decrease value. With these, this region also becomes completely sharp. So these are two ways to control the rounding of a region of a subdivided model. By adding more edges in curved the areas we control the rounding while maintaining some curvature. And if he wants to make an error completely sharp, we can use decrease parameter. The finished this class, I will show how we can make an object symmetrical in editing mode. Since I made all the changes in just one of the wings, they choose sides, ended up adding difference. To make the model symmetrical, I will select all the components in the editor mode by pressing the shortcut key. I will go to the Mesh menu and click on symmetrized. With these, it will take all the information from one side and a mirror reach to the other side. But as it cannot guess which side we want to mirror, it may mirror in the wrong axis, r direction. If that happens immediately after using the command, we will open the properties panel down here. And we will choose the correct axis and direction. In this case, it's mirrored from the negative side of the x-axis to the positive side. Since I want the mirroring to be done in the opposite direction, I will choose the plus x, two minus x option. With this, we can see that the mirror and becomes correct and the model is now symmetrical again. Now I can exit edit mode and disable the wireframe option in the view port overlays me Lou. And with that, you have learned how to use the subdivision surface modifier. Now save your file because we used to use it once more. Thank you for watching and see you next time. 13. Smoothing: In this class, I will talk about a feature called shaders move. This feature is used to create the illusion there are surface composed of adjacent phases is more rounded than it actually is. To demonstrate, I will start by deleting the initial cube for the same. I will open the object creation and with the shift THE shortcuts, I will go to the Mesh serpent NLU and I will create a UV sphere. Now, I will move these fears likely to this side using the Move tool. And I will create another object using the creation menu. This time, I will create a cylinder. As we can see, even geometry is representing round our curve. The objects are actually composed of a series of flat faces. These objects could appear more rounded if they had more subdivisions. But the more polygons and an object has, the heavier it becomes. So there is a feature that allows the object to appear more rounded without needing as many polygons. To demonstrate, I will select both objects. And I will right-click anywhere in the 3D view. The right-click open as the context menu, which has different options depending on what you selected in the 3D view. When we have geometry selected in object mode, we can see these three options related to faces moving. If I enable the shade smooth option, we can see that the sphere appears much smoother. This happens because this function applies a visual effect to the phases, making their shady appear more continuous in this way and objects and appear more rounded even without having many polygons. In the case of these feared disease affects looks very good. But as we can see, this cylinder looks a bit strange. This happen because this is moving, is also being applied between this side polygons and the end polygons. And in a real cylinder, the edge between these phases would be sharp. If I right-click again and click on the shade flat option, the face of visualization returns to the default mode. And if I right-click and click on auto smooth, it will apply the effect in another way that makes the cylinder look better. If I open the properties menu for the last command down here, we will see a parameter called angle. When we use our toes move, the effect will be applied according to this angle. How the phases that have an angle between them up to this value will have the effect applied. And phases that have an angle greater than the value defined it here, we will not have the effect applied. So as I decrease this value, we can see that the effect gradually disappear even from faces with a similar angle. And if I increase the value too much, we will see that the effect is applied even to face with a large angle. For these objects, the default 30 degrees value works very well. Now, I will demonstrate these effects on the airplane file we created in the previous classes. So I will open the file. As we can see. Although the airplane has some levels of subdivision, we can still see the fasted surface. But if I right-click and click on Shade Smooth, the model will become completely smoothed. And if I want the sharp edge is not to have this effect. I can use the auto smooth option. With this, the model will have is move appearance where needed, and sharp edges in areas with more pronounced the angles. By combining the subdivision surface modifier and this smooth function, we can create organic and rounded models in a highly controlled way. Thank you for watching and I'll see you next time. 14. Robot 1 - Modeling the Head Part 1: Now that you already know the fundamental concepts about the interface, navigation and objects transformation commands, and blenders, modelling tools. We're going to create a project to put all this knowledge into practice. In the next lessons, we will create this scene with an animated robot from scratch. To start, we will model all the parts of the robot. In this lesson, we will begin by modelling the hat. To begin, we'll go to the scenes outliner and click on the icons next to the light and the camera objects in this scene. When we click on this icon, the object is temporarily hidden in the viewport. Since I won't be using these objects for now, I will leave them hidden to keep the 3D view cleaner. To model the head, I will start from the initial cube in this scene. I mentioned in a previous lesson that it's good to model objects with their site facing the x-axis of this scene, represented by this red line on the grid. So I will model the robot's head with a front, align it with the y-axis. If we look at the Icahn, use the two orbits, the report, we will see the representation of the orthographic axis. Notice that for each axis, the corresponding letter appears on only one side. Indicates of the y-axis, the green circle on the side without the letter, corresponds to the front of the scene. Therefore, I will model the robot's head, considering that the front of the object should be facing this direction. I will activate the move tool to move the cube is slightly above the grid plane. If I click on this green circle, often navigation icon, the view port will activate the frontal view of the scene. So I will move the cube is slightly upward, just so it's not in the middle of the Greeks. Now, to make the shape of the cube and more rounded and closer to the shape I aiming for the head, I will add the subdivision surface modifier. For that. I will go to the Modifiers tab in the Properties editor. Will open the Add Modifier, me, Lou. And I will choose the subdivision surface modifier. As we can see, the object already has some subdivisions and is a bit more rounded. But I will increase the effect even more by adding another level of subdivision in the view port levels field. Now, let's see an interesting way to adjust the shape of an object with a subdivision surface. For debt, I will enter edit mode. As we can see, the vertices that appear for editing in yet It's a mold or not, The versus generated by the subdivision surface. The vertices we can add it in edit mode are the original vertices of the object. In other words, when we added the geometry editor mode, we operate on the original components, not altered by the modifier. But if the modifier is active, we can see the original geometry with these more transparent aspect and the modify the geometry with these more conventional solid surface. To start manipulating the shape. I will activate these KO2. I will make sure all the vertices are selected. And I will make the shape a bit wider on the x-axis, a bit taller on the z-axis, and a bit narrower on the y-axis. Now, I will select only the upper vertex of the object. And I, we will slightly reduce this top face to make the top of the head is slightly smaller. Note that it's not important for your robots to be identical to mine. You can use the commands, instructions from these lessons and make modifications to the proportions and design of a Robert. Just try to follow the basic structure of what I am doing so that you can follow the project without any issues. Now, I will show you a new procedure. What I want to do now is be able to use the edit mode tools on these segments and averts is generated by the subdivision surface. To the d's. We'll have to use a command called apply, which we find in these both firemen law. However, this command cannot be used if the object is in editor mode. To use the apply command, we must go back to object mode. And then we can go to the modifier menu and click on Apply. Notice that when we do this, the modifier disappears from the modifier step of the properties editor However, the subdivisions generated by it are still visible on the objects. In other words, when we apply them with fire, the modifications generated by it are incorporated into the geometry of the object. These means that if I entered the editor mode, I will be able to use the modelling tools on these vertices, edges, and faces that were generated by the modifier. Now, I will make one more alteration to the shape. For that, I will select only this bottom vertices of the model. But since I want to select the vertices on the other side as well, I will activate the X-ray mode. And that will make your selection window to select all these bottom vertices. Now, I will use the scale tool to make this bottom part a bit flatter. I will activate the X-ray mode again to select this central loop. And I will move this loop a bit lower. But remember that this shape adjustments can be changed according to your preferences. Now, I will create a screen in front of the head where the robot's face will be. For dead, I will activate the Face Selection Mode. And I will select this phase is called the front part. While holding down the Shift key. I will make a small shape adjustments using these KO2 to make the phases vertically narrower. And now we'll move them a bit downward with the move tool. I will also use these KO2 to make them slightly narrower on the y-axis. And I will use the movie to, to move this group of phases are big backward also on the y-axis. Now, I will activate the inset tool in the toolbar. Now we'll use the set command to create a border for this group of polygons. Now, to create the screen sets, I will activate these through the region two. And then we will extrude these phases slightly backwards. To make the border more visible. I will activate this Q2. And I will decrease the entire selection by clicking and dragging on the white circle of T icon. And that will make these crania bit flatter by scale the polygons on the y-axis. I will also activate the Move tool. And I remove the phases a bit so that the screen is not so far from the border. With that, I achieved the base shape that I planted it for the hat. Now I can go back to object mode. And to create the final rounding of the object, I will once again go to the Modifiers tab of the properties editor. And I will add the subdivision surface modifier. I will set the modifier with two levels of subdivision. Now, to finish, I will configure the quiz parameter on the edge of the screen to make the corners more pronounced. For debt, I will temporarily disabled the modifiers visibility by clicking on the monitor icon. I will enter edit mode of the object. I will activate the edge selection modes. I will select all the edges of the border. You may wonder why when we click on one of these edges with the Alt key pressed, it doesn't select the completely loop of this green area. The answer is that these loops selection command is not able to identify where the selection should continue on these vertices connected to treat edges. So the loop selection is interrupted in those regions. But if we keep the Shift and Alt keys breast, we can add the remaining selections of the border to the selection. With these edges selected, we can open the sidebar by clicking on this arrow. And in the Items tab, we can increase the increase parameter to the value of one. Now, if we enable the modifiers visibility, we will see that these edges will be fully pronounced. So I can go back to object mode. And with that, I finished the modeling of this object. If you want, you can keep your object names organized in the outliner. This is not a mandatory, but it's a recommended practice. So I can double-click on the name. You have the cute object, and I can rename it however I want. I will name this object head. And with that, we finished this part of the project. Save your file as we will continue using it in the next lesson. To do that, simply go to the File menu and click on Save As choose a name. And click on Save. Yes. Thank you for watching and I'll see you next time. 15. Robot 2 - Modeling the Head Part 2: In this lesson, we are going to create the Roberts eye and mouth. To create one of the eyes. We can use this fear. So I'm going to open the creation. We know using the shift, THE shortcuts. And in the mesh sub menu, I'm going to create a UV sphere. I'm going to activate the move to. And that will move this fear up to the height of the head. I will also activate these KO2 and that will greatly reduce the size of the sphere. Now I'm going to activate the move to once again. And that will move this fear a bit forward. Now, I'm going to activate this Q2 to make another adjustment to the object size. And to visualize the eyes in the right place, I'm going to move these fear a bit more to the side. For this Robert, I'm going to make the eye shape more elliptical. So I'm going to use this KO2 to make it slightly larger on the vertical axis. And I'm going to make it very flat on the y-axis. Now, I'm going to make one more adjustments to this size and move it closer to the surface of the screen. Now, since I used the scale to in object mode, I'm going to the Object menu. I will go to the apply submenu. And I will click on Scale to reset the object scale values. The next step will be to add the mirror modifier, which will mirror the eye to the other side. Just so that the mirror modifier mirrors the geometry. It needs a reference point, a central point that will be used to mirror the geometry to the other side. And the point that is used as a mirroring point for the mirroring process is the object's speed vote. In Blender, the objects people can also be called the origin. And the objects origin is, this is more orange point that we usually see somewhere on the object. When it's selected. I'm going to move the eye in object mode again to the center of the scene on the x-axis, which is the rabbits lateral axis. To do this with total precision and go into the sidebar. And in the Items tab, I'm going to change the value of the location x field to zero. This will ensure that the objects before is exactly at the center of the X axis of the Sing. It is very important that the head of your robot is also at the center of the X axis of the scene. So if by chance you have moved it slightly to the side, select the head object and set the location x value to zero as well. Now that the object is at the center of the scene, I'm going to move the geometry of the eye to this side without altering the pivot position. To do this, we just need to move the components in the edits modes. So I'm going to enter edit mode. I will press the a key to make sure all components are selected. And that will move the geometry to the side. Note that when we manipulated the components in editor mode, the objects people remain in the same place. So we can place them wherever you want without worrying about the pupil. Now, I'm going to the Modifiers tab in the Properties editor. Will open the Add Modifier menu. And I will choose the mirror modifier. As we can see, the modifier creates a copy of the object geometry on the opposite side of the people. With the four mirroring x is of the modifier is the x-axis. But if you wanted, you could change the mirroring access modifier options. You might be wondering why I didn't use the symmetrized command that we saw in a previous lesson. We could perfectly use symmetric but tear. The advantage of using the mirror modifier in this case is that if we select all the components of the eye with the a key and make any transformation or shape changes to the object in editing mode. That change is updated in real time on the other side. So we can make some final adjustments. And then we can return to object mode To finish, I'm going to rename this objects in the outliner. I will name it eyes. Now, let's create the robot's mouth. For that, I will open the creation Mendel. And I will create a cylinder. Now, I will click on the x-axis of the Viewport navigation icon. To activate the side view. I will move this cylinder up a bit. And they will activate the rotation tool. With the rotation tool active, I will start rotating the object forward. I could continue to rotate in the cylinder forward until it's completely horizontal. But since I want it to be perfectly horizontal, I needed to rotate it exactly 90 degrees. One way to do this precisely is true the numerical values in the sidebar. So I can set the rotation x parameter in the sidebar to the value of 90. This way this cylinder is completely flat. Now I'm going to activate editor mode. We will enable Face Selection Mode. I will select the front face of the object, and I will activate the inset faces too. Now, I will use the inset to, to create a border with the thickness I want for the robot's mouth. If this size easily to watch you want, you can press the S key to scale the polygon and adjust the size. Now, I will select a narc of faces on the bottom of these created polygons. These arc will be the base of the robot's mouth. Make sure the selection is symmetrical. Now, I'm going to delete all the polygons except the ones I selected. These, I will go to the Select menu. And I will click on the word commands. If you want to use this shortcut for this command, you can use the control keys. This command will invert the selection. Now, simply press the Delete key and click on faces to delete the selected phases. Now I will press the a key to select all the faces. And I will press the E key to extrude these phases, creating some thickness for these objects. Now, I will go to the object mode. And in the Modifiers tab of the properties editor, I can add this subdivision surface modifier. I will leave them with fire with two levels of subdivision. Now, I will activate the Move tool. I will move the mouth closer to the head so that I don't have to use the apply command later. I can enter editing mode and move em SKU the components within editor mode. Then everyone, just the position of the mouth to make it very close to the surface of the heads screen. When I'm satisfied with the position, I can go back to object mode. And I can rename this object as mouth in the outliner. And with that, we finished modeling the elements of the robot's face. Now, save your file so that we can continue the modeling in the next lesson. Thank you for watching and I'll see you next time. 16. Robot 3 - Modeling the Body: In this lesson, I'm going to model the robot's body. But before that, I want to emphasize the importance of objects being not align it in the center of the x axis of this scene. This is a simple and reliable way to ensure that objects are aligned with each other. One way to ensure this is by making sure the 3D cursor is at the center of the scene before creating an object. Remember that we can move the critic cursor by holding down the Shift key and clicking and dragging with the right mouse button pressed. And if we want the 3D cursor to return to the center of this scene, we can use the shortcut Shift C. Using this shortcut before creating an object is a way to ensure that the object will be created in the center of the x-axis of this scene. But if by chance you accidentally move an object to the side, taking it off the center of the x axis. Remember that you can open the sidebar on the right side of the 3D view and set the location x parameter to zero. This way, the object will return it to the center of the x axis up the same. Now, I'm actually going to start creating the robot's body. And to begin modeling the robot's body are we wove in the creation and Lou and I will create a cubed. Now, I will use the navigation icon to activate the frontal view of the scene. And I will move the objects are little higher. Now I'm going to enter the objects edit mode to start modeling the body. I will start by pressing the S key to scale the cube Alito, making it smaller than the head. I can also activate this KO2 and adjust the proportions. I will make it narrower on the y-axis and slightly taller on the z-axis. And that will move it down a bit to leave as no space between the body and the head. Now, I want to taper this shape a bit, making the bottom part of the body is slightly smaller. To do this, I will activate the X-ray mode of the viewport. Will select only the bottom vertices of the model. That we'll use the S key to scale them a bit. Making this part is slightly smaller than the top part. Now, I will use the shortcut for the loop cut tool to create some more edges on the body. This shortcut is Control R. So I will position the cursor over one of these horizontal edges. And I will press the control our keys. After using the shortcut, we can scroll the mouse wheel to increase or decrease the number of segments to be created. I will screw just a bit to create choose segments. When we click, the edges will be created and we can move them from side-to-side. If we don't want to move this edges, we can right-click. This way. The edges are created in the center of the model without lateral displacement. To make the shape a bit more rounded, I will activate the scale tool. And I will scale the central segments a bit on the z-axis and on the y-axis. Now, I will use the control our shortcut for loop cut, once again to create a segment on the side of the model. And I will use this Q2 to make these edges a bit wider on the x-axis and a bit taller on the z-axis. We'll also create some horizontal segments using contra war once again. And that will use this KO2 to scale these segments on the y-axis to make the profile slightly more rounded. Now sees my goal is to make the body more rounded. I will temporarily exit the edit mode. How will go to the Modifiers tab? And I will add the subdivision surface modifier to the object. And to make it more rounded, I will set it to true levels of subdivision in the view port. To finish, I'm going to create one more small detail on the robot's body. I'm going to create a small extruded strip inward just to make the design more interesting. For that, I will enter the edit mode. Once again. I will activate the edge selection mode. And while holding down the Alt key, I will click on one of the horizontal edges of this bottom loop. I will click on the modifiers icon to temporarily disable its visibility. And CSI wants to create a nice trip. I will activate the Bevel tool. And I will click on the tools icon and drag to create a small strip of polygons. And to make this trip go inward, I will keep the Extrude button. After two pressed. I will activate the extruder log-normal two. Now I can click on the tools icon and reggae beat to create a small inward extrusion. To see how it's looking, I will enable the visibility of the modifier. Again. We'll go back to object mode. This trip is almost how I wanted, but I still wants to make this inner part more pronounced. So I will enter edit mode again. I can disable the visibility chapter modifier to make it easier to see the original geometry. I will select the two horizontal loops of the inner edges to the debt. I just need to hold the Alt key and click on one of the edges of the loop. And then while holding down the Alt and Shift keys, click on the other edge M. Now, I will set the mean Chris parameter for these edges to a value of one. Now, I can go back to object mode and enabled the visibility of the subdivision surface modifier again. Now, to remove the faceted appearance of the geometries phases, we can select our objects. Right-click anywhere in the 3D View and click on the shade out with smooth option. And with that, we practically finished the modelling of the robot's body. I would just enter edit mode once again and make some small shape adjustments. But remember that your Robert doesn't need to be exactly the same as mine. In these is more designed details can be slightly different. The important thing is to try to keep them more or less the same structure so that your project as a whole works like mine. After finishing the adjustments, I will name this object S body. And that will save my file. Don't forget to save yours to. Thank you for watching and I'll see you next time. 17. Robot 4 - Modeling the Arms: In this lesson, we will model one of the robot's arms. To begin, I will open the creation menu, and I will create a UV sphere. Now, I will use the navigation icon to set the viewport to the front view. And I will position this fear approximately where the robots showed a Ruby. I can also press the Esc key to decrease the size of this sphere. This way I can adjust its position and size. I want this fear to be small and placed at the upper corner of the robot's body. Now, I will go to the viewport shading and Lou. And I will enable the wireframe option to make this fear edge is more visible. As we can see, blenders, the photosphere has a radial arrangement of edges. It has two main poles where the edges flows converge. To model the arm, I need to dispose to be aligned it laterally. So I will activate the rotate tool. And that will start rotating these fear on the y-axis. If we look at the top-left corner of the credit view, why rotating an object, we can see the rotation value changing simultaneously in that region. This value is in-degrees. Initially, object rotation is quite free. But if we hold down the Control key, why rotating an object, we will see that rotation is done in increments of five degrees. These make it easier to rotate an object with a rounded value. Since I want to rotate this fear exactly 90 degrees, I can hold down the Control key and keep an eye on this value until it reaches 90 degrees, either positive or negative. Now, I will set the 3D view to the frontal view. And CSI scaled this object in object mode. I will go to the Object menu and click on apply scale. This way, the modelling tools we work without deformations. Then I can enter Edit mode. I will activate the Face Selection Mode. I will enable the X-ray mode. And I will select these three loops of faces from the outer pole of this fear. Now, I will press the shortcut key to extrude this polygons and create the main structure of the R. I don't want the arm to be too large. So I can use the move tool to adjust the size by moving these polygons inward. After that, I can switch back to the object mode. I can go to the outliner and rename the object as arm are. I usually use the letter r to refer to the right side of the object. But this is not mandatory for this project. And now to create the 40 arm, I can start with a copy of the arm itself. So with the cursor over decorative view and the ARM selected, I will press control C to copy the object, and Control V to paste the object copy. Before doing anything, I will rename the object as 40 arm are. And now making sure that the Army selected the outliner, I will move it is likely outward on the x-axis using the movie too. Since I want these joints to be slightly smaller than the arm joint, I will scale the object of bits. Since I scared the object in object mode, I will go to the Object menu and apply the scale. Now, I will enter Edit mode. I will make sure that only the end polygons are selected. And I will move them outward a bit so that the forearm is a slightly longer than the arm. Now, my goal is to make the forearm wider and more rounded. So I will start by activating the edge selection mode. I will select only this outer loop of the end. While holding down the Alt key. I will press the S key to increase this part. I will also move this loop all the x axis a bit outward. Now, I will select this loop in the intersection of the cylindrical part with the spherical part. I will scale with using the S key. And that will move it is likely above the joint. Now, I will make some position and scale adjustments to these structures. Remember that these adjustments can be made according to your preference in your model. Now, I want to make this structure more rounded. And I will do that as follows. I will activate the loop, cuts to I will create a new loop of edges curtain they structure vertically. And I will press the S key to make this look larger. Note that I will significantly increase the size of the loop, making it is slightly larger than the original structure. Now, I will activate the Bevel tool. I will use the bathroom this loop, making the result quite open. And right after using the bevel, I will open the properties panel of the left action down here, and that we will increase the number of segments for the bevel. If you have performance, the second sub commands and the shape doesn't look good, the best thing to do is to undo the commence with Control Z a few times and try again. It may require some trial and error to achieve a shape that you like. Now, to finish, I will select this loop on the inner part of the Fourier arm. And I will use the Bevel tool to create a chamfer. And then we repeat the same procedure with this loop on the outer part of the 40 yard. If you feel that any size adjustments are necessary, you can simply select the loops and move them slightly. I will activate the X-ray moving my file. And I will select and move some loops just to make the Fourier arm slightly longer. Now, I can exit the editor mode. And I can disable the display off wireframe in the overlays we loop. To finish, I can select the arm and the forearm. I can right-click. And I can enable this shaded out too smooth option to adjust this move in-between the faces. And with that, we finished the modelling. I won't make the other arm now because I want to mirror the entire arm when it's completely ready. So now you can save your file so that we can continue in the next class. Thank you for watching and I'll see you next time. 18. EN Robot 5 - Modeling the Hands: In this class, we will model the robots hand. This part of the model will actually be very simple. We will use a sphere to create the wrist joint and the modified kube to create the palm of the hand. So I can start by using the Shift T, a shortcut to open the creation menu. And I will create a sphere. Now, I will set the 3D view to the front view. That will move this fear to where the risks should be. I will also need to press the S key to scale this fear and make it much smaller. Then I can position it at the end of the 40 yard. Now, I will open the creation myth once again. And I will create a cube. I will also move the cube closer to the red sphere. And now we will scale with, to ensure the proportions are consistent with the rest of the robot. Note that I will scale with on the z-axis to make it flatter. After adjusting the proportions of the cube and sphere, I can slightly overlap them like this. Since I scaled both objects in object mode, I will select both of them. I will go to the Object menu and click on Apply Scale. Now I can select the poem and enter Edit mode. I want the outer part of the poem to be slightly thinner than the part near the wrist. So I will activate the agent selection mode. I will select these two edges on the outer part of the poem. I will make sure the median point option is active in the transform IPv4 point menu. And I will scale the selection on the z axis to make the tip of the hand thinner. Now, I will press the, a key to select all the edges of the model. I will activate the Bevel tool that we'll use the bevel to share for the edges of the hand. Immediately after using the bevel, I will open the properties panel off the last action. And I will increase the number of bevel segments slightly. If necessary. You can also make some size adjustments to the bevel. Now, I can return to object mode. To simplify the project, I will combine these two geometries into a single object, since they will always move together. To do this, I needed to have both objects selected end-user command that I will show you shortly. When we use the command to join two geometries into a single object, the command will preserve the transformation of one of them. But we don't want the ppois of the hand to be preserved. Since the hand rotation should not occur from there. We want the hand rotation to occur from the wrist pivot. To ensure that the command will understand that this will be the preservative pivot. We will select the poem first. And then with the Shift key pressed, we will select the wrist sphere. When we select more than one object, the last object selected will have a slightly lighter shade of yellow. And that will be the objects with the preserved pivot. So with this electron in this way, we go to the Object menu and click on the join command. This way, the pivot of the murdered object is at the wrist. And when we animated the rabbit, the hand rotation will be done from that point. Now, we can right-click and click on Shade, Smooth. And to finish, I will rename the objects in the outliner S hand are. And I will save my file to continue in the next class. Thank you for watching and see you next time. 19. Robot 6 - Modeling the Fingers: In this class, we are going to model the fingers of the robots hand. Actually, the rabbits fingers will consist of phalanges that will be the same. So we will only model a single phalanx. And then we will copy and arrange this phalanges to form the shape of the fingers. Each phalanx will be made up of a modified cylinder, which will be the joint, and the modified cube, which will be the main volume of the phalanx. So I can open the creation menu and create a cube to start with. Now, I will activate these q2 to make some changes to the proportions. I will flatten it more on the z-axis. In a little flatter on the x-axis. Since I scale the object in object mode, I will go to the Object menu and apply this KU. Now I can enter edit mode. My goal is to round the edges of this volume. For debts, I will make sure that I have the edge selection mode active and that all the edges are selected. Then I will activate the battle to end. Use the command to bevel all the edges. Right after using the command, I will go to the Properties panel off the last action and increase the number of battles segments. With that, we finished the main volume of the phalanx. Now I can go back to object mode. Now, we're going to create the cylinder that will be the finger joint. So I will open the creation menu. Create a cylinder. Now, I want this cylinder to be oriented in the same direction as the volume of the phalanx. So I can activate the rotates to start rotating this cylinder on the x-axis and hold down the Control key. This way, the object will rotate in five degree increments. And I can look at the rotation value and rotate the object exactly 90 degrees. Now, I will use the scale and move tool to adjust the position of this cylinder right next to the main volume of the phalanx. Hi, We were just the size and position of the two objects until the cylinder is just slightly smaller than the fun Links box. Now, I will once again apply the scale to both objects. At entered the editor mode of the cylinder. With the edge selection mode active, I will select the loops at the ends of the senator by pressing the Alt and Shift keys. And now we'll use the bevel commands to bevel these edges. I will go back to object mode. Joining these objects using the joint command. As we saw with the hand example, the order in which we select the objects matters. Since I want the rotation pivot to be the center of the cylinder and not the box. I will select the box first. And then while holding down the Shift key, I will select the cylinder. Now, I will go to the Object menu and click on the join command. Now, I will move this first full length very close to the hands. I will also need to adjust the size of the phalanx. We'll use the front and top reviews to do the positioning. And since I scared the object in object mode, I will once again apply the scale. Looking at the links next to the hands, I think that the box could be a little larger on the z-axis. I will make these adjustments, added some modes. So I will enter edit mode. And since I have two volumes in the object and I only want to select one of them. I can't use DH shortcuts. One way we have to select a whole volume in the editor mode to place the cursor over the volume and press the L shortcuts. These shortcuts will select all components of the volume in question without selecting the order volume. And now I will make this box a little taller on the z-axis. Now, I will go back to object mode. How we rename this object as phalanx. And I will start creating the copies to form the fingers. I will set the viewport display to top view to do the positioning more accurately. The cop, the phalanx, I will use the shifted these shortcuts. These shortcut will copy the object and start moving it. Immediately after. I can press the X key on the keyboard to restrict the movement to this since x axis. So I will position this copy or little to the side of the first phalanx so that the joint cylinder is in the middle of the two boxes. Now, I will repeat the procedure using the shifted this shortcut to copy the forelegs and moving it to the position of the tip. Links. With that, we've finished creating one finger. Now I can activate the selection tool. Select all the phalanges. And using the top view, how you use the Shift D shortcuts to copy the entire finger. And I will move it and scale the selection a bit to create the pinky finger. Now, I will copy the finger once again and adjust the position to the index finger. As you can see, this Robert will have only four fingers. To create the thumb. We will use only two phalanges. So we can select these two phalanges from the middle finger, which are slightly larger. Corpus. Then forward. Now I will activate the rotate tool. And while holding down the control key, are we rotate this finger 90 degrees and position it at the base of the hand. Since I used the scale to several times on these objects, I will select all of them and apply this K wouldn't the Object menu. With that, we've finished creating our hands. So we can already saved the file to continue the project later. Thank you for watching and I'll see you next time. 20. Robot 7 - Materials - Part 1: In this lesson, we will start setting up the materials for our robot. Through materials, we can configure properties like colors and reflections. To configure an object's material, we must have it selected in the treaty V. Then we can click on the material stab in the properties do, which is the one with the sphere greedy icon. At the top of the material tab, we will find a section of slots with the materials that are assigned to the object. Since we created the robots head from the initial cube in the scene, it already has a material applied. This happens because by the foe, the initial cube in the blender sin comes with a material. If we want, we can rename the material. For that, we can click on this field and write a new name. I'm going to call this material main color. Each material has a series of panels. The most important panel is probably the surface panel. Here, we find a parameter called base color, which defines the surface color. If we click on this rectangle next to the name, we can set a color for the material using the color wheel that appears. We can click on drag on the wheel to define the heel and saturation of the color. However, even though we have set a color for the material, we can observe that this color is not visible in the viewport. This is because the viewport, display mode is set to solid. If you want to see the material properties in the viewport, we need to activate the material preview mode. Or the render mode. Keep in mind that the render mode relies on the sinus lights. If the sinus lighting is not ready, the visualization in this mode won't look good. In this case, it's more appropriate to use the material preval mode, which already has lighting specifically designed for visualizing materials during the configuration process. With this mode active, if we try to configure the color of the base color parameter, we can see the changes happening in real time in the tridval. For this example, I'm going to set the material to a shade of blue. And I'm going to adjust the brightness using this vertical bar next to the color wheel. But you can configure the color of your robot however you want. Another interesting parameter that we find here is the roughness parameter. This parameter determines the level of roughness of the material. The higher the value, the rougher the surfaces, and the lower the value, the more reflective the surface becomes. I'm going to make this material slightly more reflective. Now that the men surface of the material is ready, I'm going to create another material for the screen area, which is the robots face. Since the new material will also be used on the same object, I will keep the head selected. With the head selected, I will go to the top of the material step. This top section of the interface is where we can add lots for materials. When the object has only one material, only one slot is needed. But since I want to add a new material to the object, I need to add a new lot here. To do this, I will click on this button with the plus sign. This creates a new lot for the object where we can add another material. To add the new material. Make sure we have the empty slot selected and click on the new button. This will create a new material in the selected lot. I'm going to rename this material to black. I'm going to set the base color parameter to a very dark shade. But as we can see, it's not possible to see the material on any part of the object. This is because when the object has more than one material by the full, only the first material in this lots list is visible. To add the second material, we need to select the polygons where we want it to appear. And for that, we need to enter the dit mode of the object. After entering Addit mode, I will activate the face selection mode, and I will select all the faces that correspond to the robots face screen. Now, I will make sure that the Black materials lot is active in the list. And I will click on this assigned button below the materials name. This will apply the materials to the selected polygons in edit mode. Now I can go back to object mode. And if I continue configuring the material now, I will be able to see the changes in real time in the tridval I'm going to lower the value of the roughness parameter to make the material more reflective. With that, I finish configuring the materials for the robot's head. Now, I'm going to create the materials for the robots eyes and mouth. For that, I will start by selecting the eyes. As we can see, these lots for these objects are empty. One interesting thing we can do is to use a material that has already been configured for another object in the scene. To do this, simply click on this icon next to the new button. This opens a menu where I can see all the materials already in the scene. If I click on one of them, the material will be applied to the object. If I don't want the material to be applied to the object, I can click on this x next to the materials name to delete it from the model. And since I actually want to use a different material for this object, I will click on the new button. I'm going to call this material leads. For the base color parameter, I'm going to use a light shade of yellow. Now, I'm going to scroll the panel interface down a bit to show another parameter. Here at the bottom, we find the emission parameter where we can also set a color. I'm going to set this color to roughly the same shade of yellow. First, I will increase the brightness of the color using this vertical bar. Then I will choose the heel on the color wheel. Below this parameter, I will increase the value of the emission strength field to around six. This value will make this material appear luminous in a configuration we will do later. Now that the material is ready, I can select the mouth object and load this already configured material in the sins material list. With that, the mouth will have the same materials as the eye. And with that, we finish configuring the materials for the head. Thank you for watching and I see you next time. Okay. 21. Robot 8 - Materials - Part 2: In this lesson, we will finish applying materials to the robots objects. All the other objects of the robot will also receive the blue material and the black material that I already configured. I will start by applying these materials to the robots body. So I will select the body. In the material step of the properties editor, I will go to the scenes material menu, and I will start by applying the blue material that I created in the previous lesson. If I wanted only this material to be applied to the object, I wouldn't need to do anything else. But in this case, I want to apply the black material to this strip on the robot's body. To that, I will add another slot by clicking on the Add button. And with this new slot active, I will open the menu and I will choose the black material. Now, I need to select the polygons of this strip where this material will be applied. So I will enter d to modes, I will activate the face selection mode, and with the out key pressed, I will click to select the face loop. Now, I just need to make sure that the black material we selected and click the assign button. Then I can go back to object mode. Now, I will repeat more or less the same procedures for the army. I will select the army. Choose the blue material as the first material. I will create a new slot. I will assign the black material to the second slot, I will enter Ed mode, and I will select the polygons where I want to apply the black material. In this case, I want to apply the black material to the joint to select the polygons of the joint. I will activate the x ray mode. With that, I can make a selection window and select all these polygons and making sure that the black material is active, click the Aside button. Now, I can go back to object mode. Okay. And I can repeat more or less the same procedures for the 40 arm. I will select the 40 arm. Choose the blue material as the main material. I will create the second on the slots. I will choose the black material. I will enter a mode and I will select the polygons where I want to apply the black material. In this case, I also want to apply the black material to the joint. So I will activate the x ray mode again. But in this case, it is a bit more difficult to select just the joint because I have the overlapping polygons here. So I will make a slightly larger selection, and I will reduce the selection by going to the select menu and going to select more or less sub menu. Here, I could increase the selection by clicking on more and decrease the selection by clicking on s. Note that I could also use the shortcut control and the minus key on the numeric keypad. So I can press control and the minus key to decrease the selection until only the joint is selected. Now, I will click on the assigned button, and go back to object modes. Now, I will show a more dynamic way to do this procedure. First, I will use a command to apply these materials that are already in these objects to the hand objects. To do that, we will first select all the objects that will receive this material. In other words, I will select all the hand objects. Now, with the shift key pressed, I will select the farm last. It is important that the selection is made in this order so that the 40 arm is the activity objects in the scene. With the selection done in this way, I will go to the object menu. I will click on the link transfer data sub menu, and I will click on Link materials. This way, the materials that were in the 40 army have been applied to all the selected objects. Now, to define the polygons that will have the black material, we can enter edit mode with all the hand object selected. With the phase selection mode active, we can clear the selection, and to select the joints, we can place the cursor over each one and use the L shortcut key to select the entire volume. If you select something wrong, just use the control shortcut and redo the selection. After having all the joints selected, just activates the black material in these lots and click the assigned button. After that, we can exit editor mode. With that, we finish configuring the materials of the scene. Remember to save your file. Thank you for watching and until next time. 22. Robot 9 - Checking the Joints: In this lesson, we will check the position of the objects transformation pivot. If you have followed along exactly as I have done so far, it is likely that your robot doesn't have any pivot positioning issues. But if you do find any misplaced pivot, I will show you how to correct the problem. As we have seen before, the pivot is the small orange point that usually appears somewhere on the object when it is selected. It is also the transformation point of the object. So if I select the head, and press the R key to rotate the object. We will see that the object rotate around that point. Since I don't want the head to be rotated like that, I will use control Z to undo the command. Now, I will set the view port to the front view. For the rotation of the head, I want the pivot points to be in the region between the head and the body, roughly where the charged neck would be. There are several ways to edit the p v position of an object. One of them is to have the object selected in object mode, go to the options menu in the top right corner of the treaty and enable the affect only origins option. When this option is active, the transformation tools operate only on the objects origin without affecting the actual geometry. So I can activate the movie to and move the pv downward on the z axis until it's between the head and the body. Remember to disable the effect only origins option after you finish adjusting. After adjusting the pivot, it might be a good idea to press the R shortcut key to rotate and test if the rotation point is according to what you want. If we want, we can right click before finishing the rotation. This way, the rotation is canceled and the object returns to its previous position. In the case of the robot torso, the pivot is already in its center. And for this object, the pivot position is already suitable. And for all the other objects, we want the pivot position to be exactly at each joint. As I mentioned before, if you haven't followed along as I did, it is likely that the pivot positions of the objects in your scene are already correct. In the case of the arm object, for example, the pivot is in the center of this black sphere, and if I rotate to the arm, we can see that the rotation occurs as expected. But if I select this fy arm, for example, we will see that I intentionally changed the pivot position to a place outside the object. If I try to rotate this object, we will see that the rotation origin is in an inappropriate place, we won't do the command with control Z to return the objects to its place. As we have seen, one of the ways to adjust the pivot position is to go to the options menu and enable the effect only origins option. This way, we could manually reposition the pivot using the movie to. The problem with this method is that since it's done manually, we cannot achieve a precise positioning. I will intentionally leave the p vote out of place to show another method, and I will disable the effect only origins option in the options menu. Now, I will show another method that is a bit more work, but allow us to position the cursor at a specific point on a well defined geometry. For that, I will enter the object editing mode. I will activate the vertic selection mode, and I will select a set of verses whose centers correspond to the position I want for the pivot. Since in this case, I want the pivot to be at the center of the joint sphere. I will select the central loop of the sphere while holding down the out key. Now, I will right click anywhere in the viewport. Go to the snap versus submenu and click on the cursor to selected option. This will position the predecursor exactly in the middle of the selection. But note that this command is only available when you have the vertic selection mode active. After positioning the Tree Dcursor in this way, I will go back to object mode. I will right click to open the context menu. Go to the set origin sub menu and click on the origin to Tree Dcursor option. This command will position the object pivot exactly where the tree Dcursor is. And this way, we can correct the pivot position of each object that has the origin out of place. I recommend that you test to see if the pivot positions of your objects are correct. To do that, just rotate each object and see if the rotation occurs from the joint as intended. Notice that this phalanx of my character also has the pivot out of place. So I can enter edit mode, and to ensure that only the joint is selected, I will clear the selection, position the cursor over the volume of the joint and press the L shortcut key to select only the verses of that volume. Now I will right click Snap versus cursor to selected. Now I will go back to object mode, Right click to open the context menu, click Set origin, origin to predecursor. This way, the pivot will be positioned exactly at the center of the selected volume. You can use the same method to correct the origin position of any joint that happens to have the pivot out of place. Thank you for watching and until next time. 23. Robot 10 - Parenting Objects: In this lesson, we will talk about a concept called object parenting. This concept refers to a relationship between two or more objects where one object known as the parent influences the position, rotation, or scale of another object known as the child. When an object is set as the child of another, any transformation applied to the parent object will affect the child object. In the case of our robot, we will use a series of such relationships to animate it properly. I will start by discussing the relationship between the head and the body. When I want to rotate the robot's head, I don't want the body to be affected by the transformation. But when I select and move or rotate the robot's body, I want the head to follow those transformations. So in this case, I want the head to be the child object in the parenting relationship with the body, which will be the parent object. To create such a relationship, I will start by selecting the object that I want to be the child in the relationship. In this case, I will start by selecting the head. Then with the shift key held on, I will select the object that I want to be the parent of the relationship. In this case, I will select the body. Then I will go to the object menu, click on the parent sub menu and click on the Object option. This will make the first selected object become the child of the second one. If we now select only the robot's body and move or rotated, We will see that the head will follow the movement. Now, I want the objects for the eyes and mouth to also follow the head whenever we transform it. So I will clear the selection. Start by selecting the eye. Hold down the shift key and click on the mouth. Finally, while holding down the Shift key, I will click on the head. Since the head was the last selected object, it will be set as the parent in this relationship. Then I will go to the object menu, click on the parent sub menu and click on object. Now, if I select only the head and rotate it, we will see that these objects will follow the movement. I I select only the body, we will see that all objects will follow the movement as they are directly or indirectly children of it. Now, we just need to repeat the same procedure for the remaining objects. For this, we will need to consider which object will influence which other object. In this case, the relationship is straightforward. Each limb object should be child of the preceding object. Following this logic, the army should be the child of the body. I will select the army Select the body next with the shift key, go to the object menu. Go to the parent sub menu and click on object. But as we can see, the shortcut for the parent menu is the control P keys. With the selection properly made, if I use the shortcut Control P, we will see a floating menu with the options from the parent menu. If I click on the object option here, the parenting relationship will be set. We can test this by selecting only the body and performing some transformation tests. Just remember to right click before finishing the test transformation or use the Control Z shortcut to undo the test command. Now, we just need to repeat this procedure to finish configuring the parenting for the remaining objects. The fyarm will be set as the child of the arm. So I will select the for arm first. Select the arm with the shift key. Open the menu with the Control P shortcut and click on object. The hand will be set as the child of the 40 arm. And in the case of the fingers, the tip phalanx will be set as the child of each preceding phalanx. And the first phalanx of each finger will be set as the child of the palm of the hand. Now, we just need to repeat the procedure for all the fingers. Each tip phalanx will be the child of the middle phalanx. The middle phalanx will be the child of phalanx, closes to the palm, and the phalanx closes to the palm will be the child of the palm. And then we just need to repeat this procedure for all the fingers. At the end of the configuration, we can perform some tests to see if the relationships are correct. Just remember to cancel these transformations or undo each one using control Z so that the robot remains in its initial position. Thank you for watching, and I see you next time. 24. Robot 11 - Mirroring the Arm: In this lesson, we are going to copy the army that we have already configured and mirror this copy to the other side. So the first thing we are going to do is select all the objects of the arm with a selection box. To copy the arm, I will use the Shift D shortcut. This shortcut, we copy all the objects and start moving them. Since I don't want to move the objects, before finishing the movement, I will click the mouse button. This way, the objects are copied, but the movement is canceled. So the copy the object will be in the exact same place as the original object. Now, we are going to mirror this object to the other side, and to do that, we are going to keep the object selected. Go to the object menu. Go to the mirror sub menu, since we want to mirror the objects on the x axis of the scene, we will click on the x global option. But we will see that when we do this, the object will not be mirrored to the desired position. This happens because initially, they are mirrored according to the original position of the objects themselves. If we go to the transform pivot point menu, we will see that the active option is the median point option. This option determines that the transformation of the objects should be done based on the pivot of the objects themselves. And since the mirroring operation uses the transformation point determined by this option, the mirroring occurs based on the position of the objects. So I will use the control z shortcut to undo this operation. And what I'm going to do is configure blender so that the mirroring occurs based on the tre decursor of the sin. As we have seen, if we use the shift C shortcut, the tre decursor is positioned exactly at the center of the Trev. And if I go to the transforming pivot point menu, we will see that I can choose an option called tree Dcursor. This will make the transformation of the objects be done based on the precursor. Since the mirroring is done using the setting, the mirroring will also be done using the position of the predecursor. If I go to the objects menu, mirror and click on x global, we will see that the army will be mirrored taken into consideration, the position of the predecursor as the mirroring center. With this, the mirroring will be exactly as we want it. After performing the mirroring, it is a good idea to return in the transforming Pvopointnu setting to the median point option. With that, we finish the mirroring of the arm. Thank you for watching and I see you next time. 25. Robot 12 - Introduction to Animation: In this lesson, I will introduce the base animation tools we will use to create the robot animation. To create animations, we will use the time line, which is the editor at the bottom of the interface. If we want to increase the editor's area bit, we can place the cursor over the divider and click and drag it up a little. In the upper central part of the time line, we can see the playback controls. Here, we find a button to play the animation, and when the play is active, the button becomes a pause button for the animation. This button on the far right takes the playhead to the end of the time line. And the first button moves the playhead to the beginning of the time line. The playhead is the icon with a vertical line that marks in which frame the animation is in. We can click on the icon and drag it along the timeline to reposition it in time. I will position the play head at frame 50 to show how we can create key frames. A key frame is a type of marker that record a specific state of a specific object at a specific moment in time. To create a key frame, we need to select the object for which we want to create the key frame. With the cursor over the viewport, let's press the shortcut key. When we press the key, we can see a melou where we can choose the type of keyframe to be created. Since for this project, we will only animate the location and rotation transformations. We will work only with the location and rotation type of keyframe. When we create a keyframe for an object, we can see that keyframe on the time line exactly on the keyframe where the playhead is. If I move the playhead a little to the side, we can see that the keyframe consists of a small diamond shape. Now, note that we can only see the keyframe on the time line. If the object for which we created the key frame is selected. If I clear the selection or select another object, we won't see that keyframe. But if I select the object again, we can see its key frame on the time line. For an object to have an animation. It needs to have at least two different key frames at different moments in time. So to create an example animation for this object, I will move the playhead to frame 120. Now, I will move and rotate the object a bit. When an object already has at least one key frame on the time line, and we make a change in the property that has the key frame. It is important to pay attention to the following. After change the property in question, we need to create a key frame before moving the playhead or using the playback controls. If I move the playhead or use the play back command before generating a keyframe. Blender it ignores the transformations made, and the object returns to its previous state. So I will put the playhead back on frame 120. I will move and rotate the object, and I will press the key to open the keyframe creation menu and I will create a location and rotation type of keyframe. With that, we can see that a new key frame has been created at frame 120. So if I rewind the play back to the beginning of the time line and press the play button, we can see that the object performs an animation, which consists of the interpolation between the position it was in at frame 50 and the position it is in at frame 120. Now, I will position the playhead at frame 200, and I will turn on this button here. The name of this button is automatic key. When this button is turned on, any transformation we make will automatically generate a key frame. So if I move and rotate the object, we can see that blender creates a key frame at the frame where the playhead is, even if I don't manually create a key frame with the menu. So if I rewind the animation to the beginning and press the play button, we can see that the animation is already happening, taking into account the new keyframe. The speed at which an animation progresses is directly related to the time space in between key frames. If I click and drag the key frames along the time line, we will see that we can reposition them in time. If I make the space between them smaller and press play. We will see that the animation becomes faster. If I spread the key frames, increasing the space between them on the time line, we will see that the animation becomes slower. And finally, if we are dissatisfied with a key frame we have created. We can select it on the Ty line, and making sure that the mouse cursor is over the ty line and not over the viewport, we can press the delete key. This way, the keyframe is deleted and the animation will work without it. This lesson was just to test the animation tools. You don't need to save this file, since we will start creating the animation for the robot project without any key frames. Thank you for watching and I see you next time. 26. Robot 13 - Animation 1: In this lesson, we will effectively start creating a small animation for our robot. For our first animation, we will create a very simple sequence of movements. In this sequence, the robot will appear coming from bottom to top. It will make a small gesture waving to the camera, and it will return into a resting position. The entire animation will consist of only six poses. At the beginning, the robot will be in a pose where it's below the frame. In the second pose, the robot will have entered the frame and we'll be looking at the camera. In the third pose, the robot will be slightly lower to give the impression that it's floating. This pose will have a slightly change in the position of the arms to make the floating more natural. In the fourth pose, the robot will start waving, moving slightly up in the frame and placing its hand to one side. In the fifth pose, the robot descends a bit again and move its hand to the other side. And in the sixth and final pose, the robot finishes waving and brings its arm back to the initial position. And when we visualize the motion interpolation between these key frames, we will see this final animation. To start working on the animation, the first thing I will do is enable the scene camera, which I hit at the beginning of the project. To do this, simply go to the outliner and uncheck the icon next to the camera name. With that, if we look in the Treaty view, we will find this object, which is the scene camera. If we want the Treaty view to show the camera view, we can click on this button in the top right corner of the viewport. With that, we see exactly the framing captured by the camera. The problem with setting the viewport to show the camera view is that it becomes difficult to move and rotate the camera itself in the three D environment. To solve this, we can divide the area of the tree D view into two separate viewports. To do this, position the cursor over the divider between the viewport and the time line. Right click and select vertical splits. Then move the cursor somewhere in the middle of the current viewport. When you click, a divider will be created, and the space where there was previously only one tree view now has two viewports. If you want, you can click and drag this divider from side to side. When the tree d view port is split like this, we can use one of the viewports to navigate the in the tri the environment and manipulate the camera and the other viewport to check the framing of the camera's final view. So I'm going to set the display of one of the view ports to the top view. And I will move and rotate the camera so that it's pointing at the robot. For this, I can use the move to or I can open the side bar and enter zero in the location x field. This way, the camera will be positioned exactly at the center of the x axis of the scene. I can also take this opportunity to adjust the rotation values here. I can set the rotation value of the z axis to zero. This way, it's perfectly pointing forward on this axis. Now I can set the tretvi to the side view and move and rotate the camera until it's framing the robot straight on. Since the robot is taking too much space in the frame, I can move the camera further back on the y axis. Finally, I can make a few more small adjustments to the rotation and position of the camera. Once the camera framing is set, I can hide it again in the outliner. Hiding it here only hides its icon in the viewport, but it still works with the framing i sets. Now, before we start creating the first pose of our animation, I'm going to show an optal configuration that I like to do in blender. If I select any object in the tre D view and orbit the viewport using the middle mouse button, you will notice that the viewport rotation occurs from a random point in the middle of the screen. As a result, when we orbit the scene, the selected object can move a lot and even go out of frame. To change this, I'm going to the edit menu, And click Preferences. This will open a setting window. Here, I can click on the navigation section. And I can enable the orbit around selection option. Then I can close the window. When this option is enabled in the preferences, and we orbit the scene with the middle mouse button, the rotation of the tree view starts from the selected object. This way, the selected object remains framed at all times. Now, I can effectively start creating the first pose of the animation. Since in the first pose, the robot will still be below the framing of the scene, I'm going to move the robot's body down until it exits the camera frame. Now, I'm going to give another tip because of a situation that's happening to me right now. Sometimes when we're trying to zoom in on an object in the tre dv by scrolling the mouse, the navigation starts to behave strangely. It seems like the zoom simply doesn't progress anymore. This is something normal that can happen sometimes when we're navigating the perspective view. When this happens, you can go to the V and click on frame selected. Or, as we can see, press the period key on the numericy keypad. This command will not only frame the selected object, but also reset the viewport navigation, and with that, the zone should start working normally again. Now I'm going to start working on the position of the other objects. I will select the head, and I will rotate it slightly upwards so that the robot moves up while looking where it's going. Now I'm going to select one of the arms, and I will rotate it downwards. When we are working with more complex rotations, such as the robot limbs, it can be a good idea to go to the transforming rotation menu and activate the local option. When this option is active, the transformation two icons align according to the selected object itself, instead of aligning them with the scene, and in general, it's easier to work with the object rotation in this way. Now, I'm going to select the 40 arm. In the case of the 40 arm, it's very important to pay attention to only rotate it along the axis corresponding to the natural rotation of the arm. In the case of my object, this is the x axis. If I rotate the object along another axis, the farm animation won't look natural. We can simply try to be careful not to rotate the fore arm along the wrong axis. But if he wants to ensure that this doesn't happen, we can open the side bar and click on the padlock icons next to the rotation axis that we want wants to move. This will lock those axis, and we will only be able to rotate the fore arm along the desired axis. Now I'm going to select the other fore arm and do the same thing. Now, very carefully, I'm going to rotate object by object to create a natural pose for the arm with its slightly relaxed downwards. When it comes to finger animation, there's another setting that we can use to speed up the process. If I select all the phalanges of a finger and try to rotate them. Initially, they will rotate as a single block from the pivot of the first phalange. But if I go to the transforming pivot point and enable the individual oranges option. When I rotate a group of selected phalanges, each one of them will rotate from its own pivot points. And this will allow us to bend the entire finger with a single rotational command. So now I'm going to select the phalanges of each finger and slightly flex each finger to give a more natural look to the pose. When we want to change the direction the finger is pointing, we should only select the first phalange of the respective finger. Now I'm going to repeat the same procedures to get the other arm in a similar position. Take your time and perform these procedures carefully. Creating poses for a character is a laborious process that requires a lot of patience. Once all the objects are in the position I want, I will select all of them in the viewport. I will make sure that the playhead is on framing one I will press the shortcut key with the cursor over the view port, and I will click on location and rotation. This will create a key frame on frame one, saving this position for all the objects of the robot. Now, save your file so that in the next lesson, we can create the remaining poses of the animation. Thank you for watching and until next time. 27. Robot 14 - Animation 2: In this lesson, we are going to create the remaining poses for our robot animation. A procedure we should use when animating characters is to set a frame to create a specific pose. This frame doesn't have to be final since we can move the key frame later in the process. But while we are creating the pose, we should move all the parts of the character in that frame. And once the pose is created, we should select all the characters objects and generate a key frame for all of them. In the end, if you want, you can move the key frame along the timeline to make the animation faster or slower. For this animation, I will create poses with the intervals of 25 key frames. So I will position the playhead on frame 25, and I will start creating the pose. The first thing I will define is the position of the robot's body. Since this will be the pose in which it enters the frame, I will select the body. If you want, you can leave the auto key button on so that key frames are created automatically. This prevents us from losing the pose configuration if we accidentally move the playhead. Now I will move the object up on the z axis. Now, I will rotate the head forward so that the robot is looking at the camera. Now, I will rotate the arms a bit downward, and I will rotate the hands a bit upward so that they look slightly different from the previous pose. Now, I will select all the objects with the selection window. And I will insert a new key frame by pressing the eye shortcut key with the cursor over the tree and clicking on location and rotation. I know that the objects we manually manipulated already had key frames due to the ato king button. But when we create character animation using this pose method, it's important to generate key frames, even for objects we didn't move in this frame. Now, since I want to create all the poses with intervals of 25 frames, I will move the playhead on frame 50, and I will start creating the next pose. The first thing I will do is move the robot down a bit to give the sensation that it is floating. To make the robot appear to have a bit more movement, I will move the head slightly backward, and I will move the arm a bit upward, and the hands a bit downward. And I will repeat the same movements on the arm on the other side. Once again, I will select all the characters objects and create a location and rotation key frame with all of them selected in this frame. To create the next pose, I will move the playhead to frame 75. Now I will start creating the pose where the robot is waving. To do that, I will move the robot's body up a bit. And to add some swing to this part of the movement. I will also rotate the body a bit and I will rotate the head a bit as well. Now, I will rotate the arm, the 40 arm and the hand to characterize the position where the robot is waving at the camera. I can also select all the phalanges of each finger and rotate them a bit to open the hand in this pose. Now, I will make some adjustments to the position of the arm just to make the post more appealing. And to finalize the pose. I will once again select all the characters objects and create a location and rotation key frame for them. To start working on the next pose, I will move the play head to frame 100. And for this pose, I will start by creating a slight variation in the position of the robot torso and head. I will move the body a bit downward, and I will rotate it slightly in the opposite direction to create a slight swing in the movement. I will do the same thing with the head, rotating it a bit to the other side. And to characterize the movement of the waving hands, I will move the arm a bit to the other side in the opposite direction of the previous position. And for the other arm, I will simply rotate each part a bit so that it doesn't stay still compared to the previous position. After making some more adjustments, I will select all the characters objects. I will open the keyframe creation menu, and I will create a location and rotation key frame. If you want, you can test the animation throughout the process. To do that, just move the playhead back to the beginning of the time line and press the play button to see how the animation is turning out. Now, I will create the last pose of the animation. So I will position the playhead on frame 125, and I will start manipulating the character. This final pose will be a neutral pose, very similar to the initial position. So I can rotate the robots body and head to make their posture more upright and neutral. And I will also return the arms to more or less the same position they were at the beginning. And to finish, I will once again select all the objects and generate a final keyframe for all of them. Now we can move the playhead back to the beginning of the time line and press the play button to see how the animation is turning out. As we can see, the animation is already working as planet. However, the acti area of our ting line is a bit larger than the animation I created. If I don't want the final animation to have this extra space, I can adjust the active range of the playback in these fields here at the top right of the time line. Since the last key frame of my animation was that frame 125, I will set the end frame of the animation to 125 as well in this field. And if you want to move the time line sideways, you can press the middle mouse button and drag it to the sides. Just like you can zoom in and out of the time line with the mouse screw. Be careful because if you press the middle mouse button and drag the time line upwards, the keyframes may end up hidden at the top of the timeingline. And if you want to fit all the key frames of the time line within the visible area of the interface, simply over your mouse cursor over the time line and press the home key on your keyboard. And with that, we conclude the animation of the scene. Save your file so that we can finish the production in the next class. Thank you for watching, and I see you next time. 28. Robot 15 - Lights and Render: In this class, we will set up basic lighting for the scene and generate a finalized video through a process called rendering. I will configure the scene lighting to make it specially suitable for the camera framing. To visualize the lighting, while configuring it, I will place the playhead of the time line on any frame where the robot is fully visible within the camera framing. An important note is that whenever we are not actively animating something, we should deactivate the ato key button. Otherwise, we may unintentionally generate key frames and obtain undesired results. Now, to actively start configuring the scenes lighting, we can go to the outer liner. And we can enable the visibility of the light hit at the beginning of the project. By doing this, we can see a black icon in the pretty view, which represents the light object. To visualize the effect of how the light will appear in the final video. We need to activate the der display mode in the viewport that has the camera view. To do this, simply click on the last icon in the top right corner of the viewport. Now, with the light selected, we can begin adjusting its properties. When a light is selected, we can configure it by clicking on this tab with the light icon in the properties editor. In this tab, we can change the light type. Initially, the light functions as a point light, a meeting light in all directions. But for this project, I want to create a slightly more commercial lighting. To achieve that, I will change the light type to area mode. This way, the object emits light from a rectangular or square area that we define. If we look a bit further down, we will see the values for the size of this area. If the light is in rectangular mode, we can adjust the vertical and horizontal size of the light area. But to simplify things, I will change the area mode to square in this manule here. This way, I only need to adjust one value to configure the light size. Note that I like to make this area quite large as if it were a light panel in a photography studio. Now, I will configure the position of the lights. I will work with three lights. This light will come from behind. So I will move and rotate it so that it comes from the back on the side of the robot, and it should be pointing at the robot. Notice that I prefer to use the top view for this type of transformation. Be careful as clicking on one of the corners of the light square in the viewport can also edit its size. Now, to create the second light, I will duplicate this already configured light using the shift D shortcut. This will copy the light and it will immediately start to move. I will also position this other light at the back of the robot, but on the opposite side, and I will have it pointing at the robot as well. If I want to adjust the size, I can click on one of the corners and drag it. And now to finish, I will copy this object once again using the shifted dis shortcut. And this time, I will move this new light to the front of the robot. I will also have it pointing at the robot, and I will adjust its position until the light reflection on the robot looks interesting. If you want, you can also go to the lights panel in the properties editor and edit the power parameter, which defines the light intensity. With that, I think the lighting is already looking good. But remember that you can further experiment and configure the lighting of your scene differently if you want. Now that the scene is fully set, we will save a final video. This process of converting the treat sin into an image or final video is called rendering. So now, we will configure some parameters related to rendering the scene. To do that, we will click on the render tab in the properties editor, which has a camera icon. Here, we will enable two properties. Let's start by enabling the blue option. This option will make materials configured with the emission parameter and meet a globe. Since we configure the emission parameter for the material of the eyes in the mouth, we can see that these objects now have a luminous appearance. If we open the bloom panel by clicking on this arrow, we can configure some properties. The properties I like to adjust are the radius parameter, which defines the size of the glow and the intensity parameter, which defines how strong the glow will be. The other parameter we will enable is the motion blur. This parameter will render moving objects with a slight blur, enhancing the sense of motion and realizing the render. Now that we have configured the rendering effects, let's set up the final file. For that, we will click on the output tab in the properties editor, which has a printer icon. Here we can define the file dimensions in the format panel. But for this video, I will leave the full size, which is full HD to configure the file, we will go to the output panel. Firstly, we will click on this button with a folder icon. Here, we will set the location and naming of the file. I will save my file on the desktop. And rename it to Robot animation. Then I will click Accept. Now, to specify that the saved file will be a video file. We will open the file format menu. Here, we could choose any of this image or video formats. Since I want to create a video, I will choose the FFPE video option. Now to actually render the video, we will go to the render menu and click on Render Animation. This we will start a process where all the frames will be rendered to generate the final video. This may take some time depending on your computer's configuration. When the process is finished, you can close this window. And if I minimize my blender window and open the video file that was created on my desktop, we will see the final animation of our project. And with that, we conclude our project and this brief introduction course to blender. I truly hope that you have enjoyed it, and that this encourages you to further study this amazing tool that is blender. Thank you for watching and until next time. Okay. Yeah. 29. Conclusion: Congratulations on successfully completing the blender Start course. You have shown incredible discipline by dedicating your time and effort to improve your skills. Choosing the path of learning instead of succumbing to easily distractions like watching series are spending hours on social media. Your determination has brought you this far. If you have created your own animated robot, please don't hesitate to share the render off your work in the gallery. We are eager to see the results, to have achieved it and celebrate your accomplishments along with the other students. If you really enjoy the course, consider following my profile here on Skillshare. That way you will be formed when I released the exciting new courses on the platform. And if you can spare a little extra time leaving review, telling me in the community what you thought about the experience, your opinion is valuable to us. Once again, I would like to express my sincere gratitude. It's a pleasure to have you as part of this learning journey. I hope you to see you again in a future course.