Blender Strategies for Modeling and Texturing

1. Introduction: Hi, I'm Daron Lyle and welcome to this course where we will explore strategies for 3D modeling and texturing and Blender version three. And for our project, we will be creating this dual it toaster using reference images, blenders, modeling tools, and it's modifier stack. We will be talking about pivot points and normals and fixing geometry issues. We will use blenders, shader editor to create materials and textures. And we will UV map our objects so that we can apply displacement maps and grunge maps. In the end, we will set up an HDR image in our scene for lighting and reflections, adjust our depth of field and render a final image. Now I've included all of the project files, the blender scene files, the textures, the references, et cetera. So you can follow along and if at any point in time you're having any trouble, you can always just go to the blender scene file that coincides with the video you're on. You can open up the scene file, see what I did, see how something was created and even began at that file and go on from there. And everything is done here in Blender. I've created a couple of textures. I've downloaded a couple of free open-source textures as well to include in the project files. But you won't need any other program except lender. So I hope this course is helpful for you. I've certainly enjoyed creating it and I'm looking forward to getting started here. So if you are ready in the next video, Let's go ahead and take a look at our reference images and begin blocking in the basic shapes of the model. 2. The Bevel and Spin Tools: Well, the first thing let's do is take a look at a reference images. I've got a couple of images here for this dual it to slice toaster here. And I thought this would be a good object to work on because it's got some interesting issues. I think it's got these curves here on either side, as well as the curves on the front. It's got the holes, of course on the top, but also these on the sides. Let's take a look here. On this side as well. It's got the knobs and these pieces here. And we're not going to try and do it exactly like an engineering replica of the object. I don't so much want to use Blender to make an exact copy as I want this object to be used so that we can explore tools and blender. So it isn't going to be exact, but really for games and animation, the trick is to provide just enough detail to make it feel real, like it has weight and feels like the proper proportion. So let's bring one of these images here into Blender. I'm going to just bring this up right here and then I'll hover over this corner until the cursor turns into a cross and then click and drag down to then create a new window that we can add an image editor into. And then I will go to Image Open and let's browse to the reference images. Here we go. So I'll just bring this one that we were just looking at, n. And here we have it here now. We can just keep an eye on it as we're working. You can hover over this and press Control and Spacebar and zoom in to take a look at it if you want. Control and space again. But I think it's just good to have here in the Viewport while we're working. So the first thing we wanna do is try and figure out what is the most basic primitive that we can use to begin this. And I would say it's a cube, right? I mean, it's pretty close to a cube. We already have one out here, so I'll just select the camera and the point light, and let's delete those. For this, Let's turn on the Move tool and I'll just bring it up and get it above the grid floor here. And then let's just try and get it into its general shapes. So maybe if we press S Y and move this like that, we could tab into edit mode and grab this. We can press the three key here or click on Face, Select Edge, Select, vertex, select up here. These are the 12.3 keys up here. We also have the numbers on the numpad. You can press one on the numpad for the front orthographic view, the three for the right, and seven for the top. Now, if you do not have a Num pad on your keyboard, you can press the Tilde key, which is the key right below the escape key. And you have the front and right and top here as well in this menu. So if we hit the one key, here we are here. If we hit the three key, we're looking at the right side here. I've got it kinda facing along the x-axis here. So let's see if we can get this into shape. Maybe I'll bring this up. Again. I'll turn on the move manipulator and bring this up a bit. And I'm just keeping an eye on here, just trying to figure out how big this should be. Let's press S Y in object mode and bring that in. So maybe something like that. Maybe that's a good beginning size and proportion. Now, I want to begin working on these curves. There's a nice curve here and these curves on either side. And I think I want to begin with these on the side. Let's do that. Now. If we hit the End key and come over here, since I've scaled this a bit in various axes, you can see that the scale is not uniform. We've got a one-point for in the y-axis here. And I used the edit mode tools to bring it up in the z so it didn't affect the scale here. But if we're going to try and use, say, a Bevel tool to get that edge. We probably need to apply our scale so it's all ones. So if I press Control B, you can see we've got that bevel there and it's pretty evenly distributed between the two signs. I'll press Control Z. But just to make sure I'm gonna go ahead and apply this scale, I'm going to press Control a and apply the scale here. So now when we bevel an edge, it'll use the scale in a uniform way and that's really the way blender works for a lot of its tools is it uses the scale to figure out how to apply the tool. So what Let's do is let's take this edge and this edge. And let's press Control B. And let's pull these out. And then let's scroll the mouse wheel a bit to add a few edges here. And we'll just try and figure out how big of a curve we want that to be. We could maybe do it about like that. And if you want to add or subtract, you can always open up the Bevel settings here and increase or decrease the number of segments. Maybe I'll put that back to five there. And you can also click in the shape and adjust the shape as well. But I'll just bring it back out to about right here. So I guess I can just type in 0.5 here. Alright, so now we've got that curve. But what I realized is I think I want to just work on this centerpiece on its own and these in pieces on their own. So if I took this whole piece here, let's just say I went to object mode and hit S Y. Maybe I bring this in like this. So that's just the center part. Now what I'd like to do is get these curves here. And one way to do that I think, is with this right over here, the spin tool. So what Let's do is let's first of all take away these faces on each side here. And then let's select these edges here. I'll just select one and then press Control and click, and Control and click. And that will select that top row of edges. Now, if we come over here and hover over the spin tool, we can see that it extrudes vertices in a circle around the 3D cursor. So what I'm going to do is press Shift and right-click and move this 3D cursor right around. Let's say right around in here. Maybe we're going to work on this side over here. So now what Let's do is click on the spin tool here. But the problem is when we do that, it isn't aligned correctly. It's wanting to spin it this way around the z-axis, rather than spinning it this way along the x-axis. So let's see what we can do here. I think what I'll do is just click this to apply the tool. And it looks terrible of course, right? It's going in that z-axis. So we can come down here now to the settings. And we can say, well, first of all, we don't need 360 degrees, we can just type in 90 degrees there. And in addition, you can see that the z-axis is what has a value here, and that's why we're going into z-axis. We could type in one in the x-axis and then zero in the z. And now look, now we've got something a little bit more the way we want it. So let's now reduce the number of steps. We can do that by just clicking and dragging in here. Maybe I'll take it down to six. And then if I go back to the front view here we go with the three key on the numpad. And I will just click and drag this manipulator here and move this around. So how do we, what do we think about how big this should be? Maybe like this. I'm once again looking at this side here. Alright, so I'm going to click on the move manipulator here, and let's take a look at it. Alright, That might work. Let's now do that same thing over here. Let's select an edge Control click and then Control click over here. I'll go to the right side again and let's use that spin to a one more time. But let's move the cursor Shift and right-click and move this over here. And this time we want it to be a little bit closer in because it's pretty, pretty tight here. So now let's click on that spin tool. Once again, we have the same problem it wants to go in the z, but let's just click that. And now we can come over here 90 degrees. Let's type in one in the x, and then I'll tab down to the z type in zero. And it looks like instead of positive one, we need negative one in the x. Yeah, there we go. Now we can take this and begin moving this around and getting it a little bit more the way we want it now, do we need this many steps? We can reduce that if we want. I'm going to click in the center again of this, of this gizmo and move it around, kind of like maybe I'll bring it down more like this. Let's try this. So once again, I'm just trying to get this curve right here. That's a little bit tighter than the one over here. Now if we click on the Move Gizmo to get out of that tool. This is what we have so far. And from this, we're going to create these side panels. And then we'll use this center part to work on the center part of the toaster here. So in the next video, we'll keep going with that. 3. Blocking in the Basic Shapes: So I use this main object here to get not only the curves here on these two edges, but also extending out on either side to get these two curves. But there's no reason why we need to try and create this all in one object. When you're modeling man-made objects like this, it's really helpful to think about it in terms of how it was manufactured in the factory. In other words, it wasn't created all in one piece. It was created in multiple pieces and then they were all put together once all the pieces were created. So we can think about our 3D model here in Blender in the same way. We don't need to make it all one piece. We can break it up into manageable parts, just like it was done in the factory. So having said that, what I'd like to do first is split these curves off from the main part. So to do that, I'm just going to hit the two key to go to Edge mode and press Alt and click this edge right here. And then I'll press Alt and Shift click this edge right here. And now we want to rip those vertices apart so that it's two different pieces. So we can come over here to the vertex menu. And you can see RIP vertices is here or it's the V key. So I'm just going to press the V key and then click. And now if I press Alt aided de-select, I can hover over this, press the L key, and it will just choose that, right? I can come over here and press the L key to select all linked components. And it's just that these now have been split off from that main piece. And that's what we want. I think we want to deal with these in multiple parts. So I'm going to split this off to its own object. And to do that, you can just press the P key and then choose to separate by selection. There we go. So now we've got this object. You can see that here. And this object is the main one that we began with. So now we can deal with these individually. So first of all, let's do save this side. I'm going to hit the three key again and tab into edit mode. And this side over here, I'm going to select this edge and maybe move it over just a bit. It isn't quite in alignment there. And then let's press Alt and Shift and click this edge. And now let's just extrude these straight down with E and Z. And we can just bring these straight down like this. Maybe do about here. I'm just kinda temporarily aligning it to the bottom here. Now, I want to close this off. So I think what I'll do first is mirror this object. I'm going to press Control R and drop an edge right down the center. And I'm going to hit the Enter key two times so that I don't accidentally move it. If I'm clicking the mouse twice, I want it to be straight down the center. So once again, same thing here. I'll press Control R and then hit the Enter key two times. Now, let's delete this side. I'm going to press Alt and click these faces here and Alt and Shift click these and then press Control and numpad plus to extend the selection up like this. And then I'm going to just delete those faces, delete, delete faces. Now, we can use this to add a mirror modifier to right here. And now whatever we do on this side happens over here as well. So we're mirroring in the x-axis. I'm going to turn on clipping. And I'll also turn on the cage so we can see the edges on the other side. Okay, so what I really wanted to do was close these off here. So I'm just going to take this edge and this edge, this edge and this edge. And let's extrude this. I'm going to press E y and bring it over this way. And then I'm going to flatten it in the Y, S, Y, zero. Click. And now we've got a nice straight edge there. And then to close this off, we can just select these three edges here and hit the F key to create a face. So now those are all quads, all four-sided polygons. And we've closed it off over here as well, because we had the mirror modifier on it. So let's do that again over here. Let's tab into edit mode. And I will select these edges here. And notice I'm leaving two edges unselected up here so we can close it off when we're done. I'm going to press E and y and move that over. And then S Y zero to flatten that edge. Move it over here. And now we've got three edges right here that we can close off with the F key. And that's a quad, that's a four-sided polygon. And that's generally what you want is four-sided polygons. If we decide to put a subdivision surface modifier on this to smooth it, that works best with four-sided polygons. Alright, so I'm gonna select this edge and once again press S Y zero just to ensure that that's flat. Same thing over here. Sy zero. Now we've got two flat edges there. Alright, so now that we've got those two sides and they're pretty much closed off. Let's create this little band here on either side. So. If we create them at the same time, we'll get them the exact same width. So let's give that a try. Let's from here press ESY to scale in and now they're going to be exactly the same width. So that's what we want. And maybe something like this. And then let's select all these faces here with Alt click and then shift click all of these faces. And that artifact we're seeing when we're spinning around like this is called Z fighting. That's when two polygons are in the exact same place, we get that kind of strange artifact, but that's okay because we're going to be extruding this out anyway, with all of these selected. Now press E and I'm going to turn off the y-axis. I'm going to press Shift Y. So now we're only extruding in the x and the z. So I'm going to pull out just a bit like this. And I'm gonna pull up a bit just so we get the right width or depth there. We can also come over here and click on the green square, which also once again turns off the y-axis. And move that in just a bit like this. Alright, so now we've got that trim there. The problem is when we did this, we created faces down here. It's not too much of a problem. We just need to delete those at least for now. I want to delete them. So we have these open on the bottom. I'll just take these two and hit the Delete key and delete faces. Now we can once again hit the three key on the numpad, hit the one key for vertex select. And I'm also going to press Shift Z to go to wireframe. And I'll drag select these once again, press the S key, the Z key and zero. And that flattens those up there. Alright, so now we've got the two sides and the center, and they are two different objects. Let's now deal with this here. I'd like to, first of all, just come down here and while we're working on this, I'd like to delete this face here. We will come back and add the bottom when we're pretty much all done with everything else. But for now, I think it's easier to work with these objects without having faces on the bottom. So now we can take this right here, this edge right here. And let's just pull this up. We're gonna get this right here. Let's just pull this up to where we think. I'll press Shift Z, where we think that's going to be maybe something like this. Alright, and then I want this piece here and we can just duplicate this shift D, Z, bring that down. Now we have that gap there, and now E and Z. And we're going to extrude this on down. Maybe do about here, Let's say, because it doesn't go all the way down here. So now let's take a look at that. I'll tab back into object mode. There we go. So now we've got that gap there. While we're here, let's go ahead and add the feet to. We can do that. I can press shift a mesh cylinder and I don't need any cat bills at this point in time, so I'll choose nothing. And let's go back to the side view with the three key on the numpad. I'm gonna bring this down quite a bit like this, and then just hit G and move this over. So are these, it looks like they're a little bit taller or a little bit wider, I should say on the top than they are on the bottom. Maybe I could tab into edit mode, hit the one key, press Shift Z and then drag, select all of these and move them back like this or scale them in a bit like that. Alright, and then let's go to the top view with the seven key on the numpad. And I just want to move this over until it's kind of in the corner here. And then we also have one right here on the other side of that trim piece. So let's press shift D y and move that over. And now we can select these two and press Shift X and move these over here at least temporarily to see how that's going to look. Let's do that. Alright, I feel like it's a little too high. Maybe if we take all of these and then invert the selection with Control I. Now we can take this and drag it down just a bit like that. There we go. So I'm just still blocking in the basic shapes here. And we could add that little sphere right there. Let's do that. I'm going to move the cursor to the center of the grid, but the shift S1, and then press Shift a mesh UV sphere. Let's bring it out. Scale it down to about what we think it should be. Maybe, maybe about like this. Let's try that and then I'll bring it up just a little bit like that. And if we tumble around and move it back in. So maybe it's something about like this. Maybe a little too big. Let's take it down a little bit. So now we've got that pretty much in place. And then also before we do too much else, I'd like to get the knobs in place. So maybe in the next video, we'll work on that. 4. Pivot Points and the 3D Cursor: Now before we work on the dials or the knobs here, I feel like this part on this side is a little bit flatter, well, quite a bit flatter here in the image. And I think I'd like to bring this side in some. So how would we do that? Well, I think we're going to need to use the 3D cursor to do that. What I'll do is I'll tab into edit mode and I will alt click this edge right in here. And that will give me a point here where that manipulator is, that's right in line with that. So I'm going to press Shift S and choose cursor to selected or the two key here. And that will move that cursor so it's in line with that edge. Alright, now, what I wanna do is come over here. I'll press the three key to go to face mode, and I'll select that face Control Plus on the numpad to expand the selection. And I'll expand it out to there. And then I'll press Shift and click these here. So we've got all those faces selected on this side of that edge where the 3D cursor is. Now I want to scale in from the 3D cursor. So to do that, and we can change our pivot point up here or transform pivot. And we can change it to 3D cursor. Or we can also press the period key here and change to 3D cursor like that. Now, whatever we do, we're gonna do from this point. So let's hit the three key on the numpad, and let's scale in the y-axis, S, Y. And now we can begin to bring that in and I don't need it to go quite as far and I just wanted to go right about here, Let's say. Yeah, it's just in a little bit further than I had it before, just getting a little bit closer to the reference image there. Now let's take these two pieces right here. Let's go to the top view with the seven key on the numpad. My transform is still at the 3D cursor. So let's press that period key again. Then let's change to median point. There we go. Now we're back in the center of our selection. And I can take these two and drag them forward just a bit like that. Alright, let's see what we think. Yeah, I think that works pretty good. I'm going to press Shift S and put the cursor to the world origin or the one key. We go. So it's back down in the center of the grid. And now let's think about these knobs over here on this side. So I think what I'll do is use a cylinder for, so I'll press Shift a mesh cylinder and we've got 32 sides here. I think that should be fine. And I wanna begin without anything on the top or the bottom of the cylinder. So I'll just choose nothing. And let me pull this out here. I'll turn it in the y-axis, RY 90, turn it 90 degrees. And then let's scale this down. And maybe scale it in the x Sx and bring that in like this. There we go. I'm going to click on the red square to turn off the x-axis while I slide it over here. And then let's bring this back. Bring it down some. And how big should this be? Do we think, Well, I think a little bigger than that. Let's scale it up. Some, maybe something like this. Alright, so I'll scale it in the x just a little bit more. Let's bring it back. And now let's try and get this front part with a tab here. To do that, let me press the period key on the numpad to zoom in. And to do that, I think I'll select this edge right here. And I will hit E and S and scale in quite a bit like this. Let's say something like this. So we're to here. And then I will maybe de-select the top three and the bottom three here. And then let's scale in the y, s, y. And I'll bring them in like this. And maybe scale them in the Z, s, z. So I pull them in just a bit like that. And then let's flatten them. I'm going to take this and control-click this point so it selects everything in-between there. Press S Y zero, and that flattens that up. Move it down a bit. And then I'll select this one. Control-click this S Y zero. There we go. Click and bring that in just a bit. Two. Alright, so now we could maybe bring this up a bit like this. We've got more of a curve up on the top. I think. Take these two and maybe scale them in, in the y, just a hair. Move them up just a bit. Something like this. There we go. Now if we right-click that edge, we can extrude that out. So let's do that. Let's press EX and pull that out to about where we think the top of this should be. And then I want to scale these down in the same way we did that other side. I want to move the 3D cursor to a point and scale from there. So maybe I'll take this point here and press Shift S to, to move the cursor there. And then I'll Alt click this edge here. And let's then scaling the z-axis, s, z and see what happens. Well, I didn't change it to 3D cursor. Now, did I hit the period key? Change to 3D cursor? Now, let's try it. S is Z and bring it down like this. Let's try that. Maybe I'll scale in a bit in the y as y, like this. Is that too much? I feel like that's too much. Let me bring it back in the z and maybe bring it in a bit. Yeah, let's try that. Then let's close this off. So once again, I'm going to de-select the top three and the bottom three here. And let's change to median point again, Period key, median point. And then I'm going to just connect these up. I'm going to bridge these edges together. So to do that, we can come up to the edge menu bridge edge loops, or we can press Control E to bring up the same menu and choose bridge edge loops here. And there we go. Now let's press Control R and drop an edge right down the center. And let's pull it out a bit. And now we can connect these up here. Once again, we've got these three edges. We can hit the F key and then maybe hit the F key again here we can just select one and hit the F key. Let's do this again. If the F key, select this, hit F, and there we go. So now we've closed that off a bit. Now the only other thing maybe we could do is select this edge all the way around. Maybe we could give this a bevel. Let's try it. I will first of all, tab back into object mode and take a look at my scale. It is uniform, but it isn't all one. So let's go ahead and press Control a and apply the scale here. And then let's press Control B and pull out a bit. Maybe add an extra edge or two. Something like this. And let's see how that looks. Not great. Let's try and smooth it. Shade smooth. Or how about auto smooth? Auto smooth might do it for us. Let's come down here to the normals panel. And you can see we've got auto smooth on already here. And I'm going to click and drag and see if we can clean some of that up in here. Now, I may have pulled it too far. Let's press Control Z and go back. Yeah, I think I may have done it a little bit too much there. Let's press Control B and drag it. And I'll just put in one loop, one cut. And there we go. Let's try that. That might be a little bit better. Let's now right-click and choose auto smooth again. I'll come over here and let's click and drag now and see if we can clean this up a bit. Yeah, that's not bad. That kind of smooth that out a bit while still leaving these fairly sharp. Maybe I will add a bevel to this edge right here with Control B and bring that out like this. Let's try that. Yeah, I think that might work. Let's press Shift S1 to move the cursor. And then, well, we should go ahead and do this one, but it really looks about the same, just smaller, right? So maybe we could just duplicate this. Let's try it. We'll move the origin of this object to be in line with this edge. So if I Alt click that edge, I'll move the cursor to it, shift S2, and then tap back into object mode. Right-click set origin to 3D cursor. Now it's right there and we'll scale at that point. And that's what we want. So now if we take this, I'm going to press Shift Z. I feel like this should be a little bit bigger. Let's see. Yeah, I feel like it should be just a little bit bigger. And then let's press shift D Z. Bring this up. And let's scale this down here like this. Something like that. Alright, let's press Shift Z to go back to Solid View. Yeah, I'll move the cursor with shift S1 again. Those are looking pretty good, I think. Let's go with that for now. And in the next video we'll do is work on these pieces here, the rod and the tabs down here. I think this is a little crumb tray. And then we're going to work on using the Boolean modifier to get this whole the toaster slots and these vents here on the sides. 5. The Boolean Modifier: Alright, now let's work on creating some of these holes like this slot here where the handle goes in and the actual toast slots as well. And I think in doing these two, we can take a look at the benefits of using a Boolean modifier and the drawbacks and how we can kind of get around it using other tools. So first of all, let's work on this right down here. And what I'm gonna do is create a cutter object. Create an object that has this shape to it, and then use it to cut that whole into this piece. First of all, let's just take this piece and make it its own object. I'm going to tab into edit mode, hit the three key, select that face, and let's split it off into its own objects. So I'll press the P key and choose to separate by selection. There we go. So now we've got a new object here. I'll just tap back into object mode. Click this, and now we have that new object. So let's now create the cutter object. And since that is its own object, Let's move its object origin to here. It's still currently where it was when it was all a part of that larger piece. So let's just right-click choose to set origin and origin to geometry. And there we go. Now, let's create that cutter object. To do that. We've got these rounded pieces here. One way we can do that is to actually use a cylinder. So let's press Shift a mesh cylinder and we don't need 32 sides. Let's try it at 16. I'll type in 16 there. And then we could bring the size down while we're here, we can type in 0.1 and tab and point to and tab. And that shrinks it down a little bit closer to what we want. And I also want to point out, I left the cap fill as in guns, so we have caps on the top and the bottom. Alright, so now I'm going to spin it in the y-axis, our y90. Let's go to the right orthographic view with the three key on the numpad. And then what I'll do is I'll tab into edit mode, hit the one key to go to vertex select. And let's press Shift Z to go to wireframe. And now what I wanna do is just take part of this, oops, take part of this like this, and drag it down so that it has an even side and curved tops. But because of this one right here, that edge, I'm going to hit the period key to zoom in. It isn't gonna be completely straight on the sides. So what I can do is just dissolve these edges. So I'll press Delete and dissolve edges. And now we go back to the side view here you can see we've got a flat side and now I can take these points here, drag them down and get this shape. So maybe something about like this, let's say. And then I'll scale it down to about the right size. Move it up and let's put this in place here. It looks like I could leave the width pretty much as it is, but scale it down in the z. So let's move that origin again. I'll right-click set origin to geometry. And now let's press S Y, move it in a bit, scale it again like this and maybe move it down. I want it kind of in the center here of this piece. Let's try that. Shift Z. And now I'm going to press S and scale it out a bit so that we can bring this back and inserted here. And it goes all the way through. Now we're going to use this to do the cutting. So let's go ahead and smooth it while we're here. I'll choose Auto Smooth and then come down here to the object data properties. And under normals we can click and drag and drag that up. So it's a little smoother here. It doesn't really make all that much of a difference, but I like to go ahead and do it before I create the Boolean. Alright, so now let's take this piece here. Let's ensure that it has a uniform scale. So let's press Control a and apply the scale. And now we have all ones. Let's also do that for this one as well. Once again, Control a and apply the scale. So now if we take this piece here and add a Boolean to it. So let's go to the modifiers panel, add modifier, and use a Boolean. Now we have to tell it what object we're going to use to be the cutter, to actually do the cutting. So we can come in here, select the eye dropper, hover over this object right here, and click it. That will drop that in here. Now you can see it added kind of an outline here, but we really can't see it happening. So what we can do is select this piece. Come over here to the object properties, scroll all the way down. And under view-port display, we can change display as from textured two wire. And now we can see through it and you can kinda see the actual cut happening. So we could maybe press S and scale of alphabet, right? We can move it around a bit until we get it just where we want it. And so now you can kinda get a sense of what that's going to look like. When we apply the modifier, alright, so let's go ahead and do that. Let's select this piece. Now. Come back to the modifiers panel. And let's pull this down and click Apply. Here we go. So now we can take this piece right here, move it out of the way. And we have our whole, our cutout here on this object. Now, if we tab into edit mode, you can see what it's done. It's tried to make this cut as best as it can. It's kind of taking these and put an edge here, but it doesn't really have any edges up here. So it's not a great tool for precise placement of edges, but for something fairly simple like this, it works. Okay, so now let's come over here and add a solidify modifier to give it some thickness so we can click here, solidify. And now, if we click and drag on the thickness field, like we're coming out in this way, but I'm gonna go back in this way and hold the Shift key so it moves a little bit slower and just move it back just a little bit like that. There we go. Now we can smooth this also. We can turn on auto smooth there. Alright, now that we've got this solidify modifier on here, I want to add a little bit of a bevel here on this edge, so it's a little bit more rounded like we see in the image. But I can't really do that with a solidified because it's still just a flat plane, right? The solidify modifier isn't a permanent thing. We'd have to apply it for it to be permanent. So let's go ahead and do that. We'll need to tab back into object mode. And then if we pull this down, we can click Apply. Alright, so now we have geometry on all sides. We can now press the two key to go to Edge mode, alt, click this, Alt Shift, click this. And now if we press Control B, we can bevel this, scroll, the mouse wheel. But look at what's happening. We're causing some artifacts here as we do this, right? And as we scroll up, you can see it happening. So what we need to do is kinda find one that we like. And then let's now take all of these faces out here. And let's insert these just a little bit. I'm gonna hit the I key and inset this just a little bit like this. And now we've cleaned up those artifacts, right? We've still got a little tiny things in here. We could come over here to the object data properties and click on auto smooth and clean a bit of that up, kinda drag it up just a bit. Now, we're going to come across the same issues trying to add a Boolean to this up here. But since it's curved, we're not going to have such good luck just incenting some faces and cleaning that up. So in the next video, let's work on adding these toaster slots in a slightly different way. 6. The Subdivision Surface Modifier: Okay, for these slots up here, I think let's take a different strategy. I want to take this and just delete it. We don't need that anymore. Instead of using a Boolean modifier for this, I think we're going to need to use something like a subdivision surface modifier. And what that does is it just tries to curve the mesh between edges. So if I came up here and added a subdivision surface modifier here, you can see it's trying to curve the edges. If I tab into edit mode here, you can see it's trying to curve the edges here between this edge and this edge, right? And also it's beginning to curve these a little bit more. It's actually adding geometry. So these curve a little bit more, a little bit cleaner. Now, we can add an auto smooth here and that really smooth that up. So we can use this to get some of these curved edges around the corners and on the edges here. But for now, let's take away the subdivision surface modifier. And let's add some extra edges to hold this. Because as I said, it tries to curve things between the edges and if we leave a long distance between edges, it's going to pull those curves probably more than we want. So what I'm gonna do is press Control R and hover over this. And I'm just going to add some edges kind of matching what we already have, the width that we already have between these. So maybe if I add 12 cuts. Now if you look down in the bottom left-hand corner, you can see where it says number of cuts and you can scroll the mouse wheel and change that there. Now I can click and click again. And then we have the loop cuts settings here where I could change the number of cuts here as well if I wanted. But let's just say we want 12 here. And then I also want to add some this way. So I'm just going to add four. I'll press Control R. Scroll the mouse wheel until I just get four edges here. And click and click again. Alright, so now we've got some faces that we can use to create these holes. I'm just gonna go, let's just go with, well, maybe I'll go with these here like this. So how many phases is that? I could go through and count each one, but we can also come up here and pull down the viewport overlays and turn on statistics. And now we can see that the number of faces here that we have selected is 15. So now I can hit the C key, click and drag and drag these up like this. I selected some extra ones here. I'm going to hold the middle mouse button down and drag and de-select those. And now I've got 30 faces selected, so I'll right-click. And now let's extrude down. Let's hit E. And I'll just pull straight down until we get it about the right thickness there. And then I'll just hit delete and delete faces. Okay, so now we've got those slots, but I'd like to have something similar to the rounded edges we see here. So now let's come over, add that subdivision surface modifier again. And I'm going to turn on the cage right here. So the edges conform to the sub-divided mesh. And now we can add a few more edge loops just to see if we can tighten the openings up just a little bit more. So maybe I'll press Control R and add an edge loop right in here. Let's do that right here and right here. And that helps sum. If I tap into object mode, we can see that here. Now, we can also increase the number of levels in the viewport. Let's do that. Let's turn that up to. There we go, we're getting there. Now what if we press Control R and added an edge writing here? And let's do that over here as well. How are we doing now? We could also take those edges and move them up a bit. I'll Alt click this and Alt Shift click this, and then just drag them up a bit like this to make them just a little bit sharper, we could do that. So in this way, we have put holes in the toaster here without creating those artifacts that we then have to deal with. And being that we've got these curves and so many other edges, we would really have a hard time cleaning up those artifacts. Now we can test this with a different material. We can come over here and pull this down the Viewport Shading. And instead of studio, we could change mat cap and then we can click here. We can find a shiny material here to see how those curves look. If we've got a really glossy material there. Let me pull this down and we could choose, say, this one here. Yeah, That's kinda nice. So you can see, you can view your object with different materials just to get a sense of how it's going to look. And if the curves are working. Let's go back to studio here. And I think in the next video, we're going to combine the use of subdivision surface and Boolean to try and work on these slots here. So that's coming up next. 7. Normals and the Array Modifier: Alright, let's now think about putting these slots in here on the side of the toaster. I think even if I smoothies right here, let's say I use auto smooth. I still want these corners to be, these edges to be a little bit smoother. And also, if you look, even though we've smoothed it, you can still see the polygon angles here if you look at it, at an angle here. And you've probably noticed this a lot for video games. The objects and the characters look smooth when you look at them head-on. But if you look at the edges, you can see they're kind of jagged and that's just the polygonal structure, that's just the polygons that we're seeing and the smoothing is just a trick. It's really kind of an optical illusion. It's just tweaking the normals to make the object looks smooth. And when I say normals, what does that mean? Well, in geometry, any object that is perpendicular to another object is called a normal. It just means perpendicular. So if we select this object and tab into edit mode, and then let's go up here to the viewport overlays and way down here, our display normals area. And I'm going to click on display face normals here. And now you can see we've got these little lines sticking out from each of the polygons. And this is just a visual representation of the front of the polygon. There is a front to each polygon and aback, and you really want the front of the polygons to be facing out, facing the viewer of your object. Because if you take this object into a real-time engine like Unity, Unreal, Substance Painter. Those programs only see the front of the polygons. The back of the polygons are going to be invisible. You're gonna be able to see through those. So ultimately will need to do a final check of this to make sure that all the normals are facing outward when we're all done. But I just wanted to show you what the normals are. Let me turn this off here. So when I say it adjusts the normals to make it appear smooth, those are the normals. But let's say I don't want these particular edges here or these faceted edges here where the polygons are. Let's say I'm going to stay in Blender. I'm not going to go out to any other program. I'm going to stay in Blender and render it here. So I have a few more options. I can use blenders modifiers to smooth this a bit. So let's try that. Let's come over here to add modifier and choose subdivision surface. And now you can see those jagged corners are beginning to smooth out quite a bit, right? I'm going to twirl this one up here so we can see this panel a little bit better. And now it's saying auto smooth or custom. Let me pull this out. Auto smooth or custom normals detected disabling GPU subdivision. Well, that's not a really big deal. All that means is we've turned on auto smooth. So if I come over here and go to shade flat, then turn on Shade Smooth, that warning will go away. So it isn't a really big deal. But the point is now, if we tab into edit mode, you can see you've got the original cage here on the outside. And you can see the sub-divided mesh on the inside. And once again, it's trying to round off those corners between the edges. We can come over here and turn on this little button here, the on cage. And that will then conform that wireframe to the sub-divided mesh, right? So now if we tap into object mode, we can see there is our subdivision surface on that. And I like what it's doing with these curves, but I want these to be a little bit sharper in here. So what we can do is just add another edge, push it in a bit, and make the distance between two edges a little bit smaller, which will make that corner a bit sharper. So let's do that. Let's press Control R. Drop one in here, and you can already see how it's beginning to make that a little bit sharper. But one thing I want to point out is as you move it toward one edge or the other, it conforms to the edge closest to it. But the problem is, is it never really gets exactly the same shape as that edge. So what you can do is you can use the even tool. And if you look up in the upper left-hand corner of the viewport, you can see it says edge slide and you can see that number moving there. But you also see, even if you press the E key, that will allow you to flip it with the F key between one edge or the other. So I'm going to flip it to the straight edge and move it a little bit closer here like this. And then click. And now let's tap into object mode and see what we have. Yeah, So now we have a slightly tighter edge there. We can tab back into edit mode and maybe we can add one edge along here, Control R, and drop this in here and then. This edge is just a little bit sharper now. And then also over here, maybe we can press Control R. Drop one right here, right here. Click and I'm just going to pull it back just a little bit. And that will help sharpen that edge up there too. Alright, let's do that on the other side Here. Tab into edit mode. And for this, we may have to do it slightly differently because let me show you what I mean. If I press Control R and try and get an edge in here, I can't move it at all. It just kinda clips, right? So I don't think I want that. I'm going to press Control Z. So sometimes you have to remove the display of the subdivisions to insert an edge where you want it to be. And you can do that by coming over here and disabling this. So you won't be viewing the subdivision in the viewport. Now I can come in here, press Control R and have a little more control about where I put that edge. So I'll click, hit the E key, press the F key and you can see it flip back and forth. So I'll flip it to there and bring it in just a little bit like that. Now let's come over here, turn the display back on. There we go. So now we've got a little bit tighter edge there. I may want to bring it down a little bit more. I'll just click here and drag it and just a hair more. There we go. Something like that. Now let's insert one here, just like we did before. And maybe insert one right in here as well and bring that one down just a bit. Alright, so now we've got these edges a little bit tighter along that trim. Now let's see if we can add a Boolean cutter to try and cut these slots. So I'll press Shift a mesh cube. I'll bring this over here. And I hit the one key to go to the front orthographic and I'm going to press Sx and bring this way down, so it's pretty thin. One of these, I'll hit G, move this up to maybe right about here. Let's bring this in like this. So it cuts in there like that. Let's see how that looks. I think I need it to be a little bit shorter, so let's select it, press S and scale that down some, bring that up. Is this what we want? I think it comes around to the top of that larger knob there. So I think we're doing pretty good. So now let's take a look at yet another blender modifier, the array modifier. Let's use that to add the extra pieces along here. So I'll come over here, add an array modifier. And you can see that if I click in the x-axis here, click and drag. I can move it this way, or I can move it this way. This is what I wanna do. I want to bring this, this way, I'm clicking and dragging in the factor X. And let's move it to here. And how many do we have here? 1234567. Okay, so let's increase the count here from two up to seven. There we go. Now I'm going to hit that one key and kinda get it where I want to be and then click and drag on the Factor X. Drag it this way a bit. I'll hold the shift key down so it moves a little slower. And maybe I want it to be about like that. There we go. Let's try that. Now let's apply that array modifier. Let's come over here. Click Apply. And now this is all one object. Let's also take this and extended over here. Let's press S Y and move it like this. Slide it over like that. And now we've got a cutter object for the two different sides. There we go. So in the next video, let's take a look at adding a Boolean modifier and seeing what effect it has on a modifier stack that has multiple modifiers. 8. Blender's Modifier Stack: Now, before I add a Boolean modifier, we've seen that the scale can affect all kinds of different tools that Blender has, right? We've seen how it can affect that. Let's go ahead and apply the scale for each of these objects. For the cutter object, Let's select it and press Control a and apply the scale. Then let's also do that for the sides here, I'll press Control a and apply the scale here. Now, with this still selected, let's add a Boolean modifier here. And here's the Boolean. Let's do that. And then once again, let's click on the eyedropper. Come over here, click on the cutter object. And now we can see we've got some artifacts here that are kinda ugly, right? Yeah, look at that. So let's first of all change this to wireframe display. Let's come over here to the object properties. Scroll down, change from textured to wire here. Now we can see through it. And yeah, you can see those artifacts a little bit better now. That's not really going to work. So let's go back and try that auto smooth, even though we were getting that warning in the modifiers panel, Let's give it a try and see if that'll help clean this up a bit. So I'll right-click and choose shade, auto smooth, and look at that. That looks pretty good, right? I think that's what we want. Alright, so we've cleaned up those artifacts. But now what happens if we apply this Boolean? Say we think this looks good, I want to now apply it. Alright, so let's give it a try. Come down here, pull that down and click Apply. And Whoa, What happened? Well, remember when, before we had those strange lines or those oddly placed edges in this piece. The problem is, is that when you use a Boolean, it creates n guns, polygons that are greater than four sides. And a subdivision surface modifier really only works with polygons with only four sides. Sometimes three, but certainly no more than four. So even though we were able to clean up those artifacts, we can't just come down here to the bottom of the stack and apply that Boolean. So let's press Control Z and go back. And this is why Blender really wants you to apply modifiers from the top of the stack down because it's doing each of these processes one after the other. So first of all, it's mirroring the object. And then after that, it's doing the subdivision. And then after that it's applying the Boolean. So to get it to look like this, we need to apply these in that order. So let's twirl this out and let's with clipping on. Pull this down and click Apply. Alright, that looks pretty good. Now let's apply the subdivision. I'll come over here. Click Apply. All right, now let's try the Boolean. Pull this down and click Apply. And there we go. Now if we take this, move it away. We have our cuts in the toaster the way we want it. So the moral of the story here is that blender wants you to apply modifiers from the top-down. And that the order of the modifiers here in the modifier stack makes a difference in the results that you get on your object. 9. Adding External Details: Well, now that we're done with our Boolean modifier, we can go ahead and delete our cutter object. I'll just hit Delete there. But also, if we select this again, we can see, look in here, we've got some inside faces from that Boolean process. So let's tab into edit mode. And I'm just going to select the base down here on the bottom of each of these press Control and plus and increase the selection there. We can probably de-select these, right? Let's do that. Do you select these over here? Like this? And then let's just hit delete and delete faces. There we go. Now, do we have anything else? Yes, we do. We've still got a couple of them up here. Now, this happens with Boolean processes, and often we want those internal faces. When we do a Boolean, say if we want to cut into something and have it be like an indentation. But when we're doing something like this, we can just go through and delete those internal faces. Alright, so now I think we just need to do a little bit of clean up. Let's work on this piece right here. I'll just press Shift a mesh cylinder. I've got 32 signs here. Let's take the cat fell away and then drag this over here. Scale it way down, scale it in the z with z, pull that up some. And then let's just put this in place. Maybe I'll turn it in the y-axis, our y90. There we go. Then I'll click on the green square and just slide it up into this area here that looks like it's a little bit too thick. So let's press the S key to scale and then shift and x to turn off the x axis. And that will allow us to just shrink that down in the width and not the length. We go. Then let's move the 3D cursor over to here. How many hit the period key to zoom in and frame this up. And then I'll tab into edit mode. And I'll select this edge right here, alt click that edge and press Shift S to, to move the cursor to that point. Now, we can move the origin to that point, or we can just change our transform pivot to 3D cursor, right? We can change it here, or we can hit the period key and change it to 3D cursor here. Now if we go to, say an orthographic view, I hit the one key on the numpad. I can hit the R key and just tilt that down from the cursor there, like this. I could also scale that back a bit if I didn't want it quite as long. So we could change from the global axis to our local axis here. And then we can scale in the z-axis now, so S, z, and that'll just pull that up like this along the z-axis. Now you can also change from global to local by pressing the comma key and switch over to global then. And then maybe I'll take this and turn it. So that top pole is on that pipe there is on that cylinder. So let me change my pivot point once again, I'll hit the period key, go back to median point. And now that Move, Gizmo snaps to the origin of the selected object. Now I can change my orientation here from global to local and then hit the R key and turn this like this. Let's say maybe something like this. And you can see how that axis now is aligned with the object. So maybe I'll bring it down about like this. So it's kind of in line with that tube there. Yeah, and we can kind of take a look at it here, see if we need to move it up or down. Any, yeah, so maybe something like that. Now let's smoothies. I'll take this and right-click and we can choose auto smooth. And this one we can do the same. So there we've got that handle. I'll move the cursor back to the center of the grid with shift S1. And let's get this little piece right here that's around that. It kind of looks like I could take this and move it up just a smudge. Let me just change this to Global again because if I leave it here, watch what happens. I click and I drag and look at that. These two objects have different local axes. So if I select this around the x-axis, it's like this. And if I select this one, the x-axis is like that, so I don't want to move them in local orientation. So I'll press Control Z and go back. And then let's hit the Comma key and global. And now I can take this and move them up at the same time, like that. Alright, so now what Let's do is let's create a circle. And create this little washer. So what Let's do is let's, let's move that cursor back to this point, shift S2. Here we go. So when I press Shift a mesh circle, we get this circle here. Alright, let's scale it down. Let's turn it, maybe I'll turn it in the y-axis, RY 90. And let's see how big we think we want this to be. Maybe I want it to be about this big year. Let's kinda move it around that piece there. And then let's hit the Tab key. Hit the a key to select everything and press E and S, scale these n sum. So we're getting that kind of thing here. We could, I guess, scale that down a bit like this. And maybe I'll scale these down a little bit more like this. There we go. So now we've got that basic shape of the washer there. What Let's do now is give it a bit of thickness. So let me move this forward some, bring it down a bit. Alright, so now let's add a solidify modifier. In here. I'll choose even thickness, I'll click and drag and I'll go back like this. We've got uniform scale, but I'll go ahead and press Control a and apply the scale. And now that it's a bigger value, we get more thickness there. So I will hold the Shift key and bring this down a bit. Maybe something like this. Alright, let's then apply that. Pull this down, click Apply. I'll smooth it with auto smooth. And then let's take these edges here. And maybe the internal edges as well with Alt click and then Alt Shift click in here, like this. And now let's add a bevel Control B. Pull that out, scroll the mouse wheel. And there we go, we can get a bit of a bevel there like this. I don't want them to go all the way to each other. And you can see how if you aren't careful, they'll go through each other, right? You can also hit the C key for clamp and that will ensure that they won't go through each other. But you really still do not want them to connect with each other. So I'm just going to go about right there. Let's try that. Yeah, I think that looks pretty good. That's I think all we really need there. I will take these pieces now and I'm just going to pull them down a hair like this. Alright, so we've got that. What else do we wanna do here? Well, we can do these little pieces right here above the dials. That's pretty simple. We can just create a cylinder, maybe add an end gun for the cat fill. We can scale this down. We could hit the period key to zoom in and have that be the center of our tumble tab into edit mode. And maybe I'll just get rid of this face down here, delete faces. And then let's press S to bring that down about like this. I will turn it RY 90 and then let's put it in place. Maybe I will, the three key on the numpad and then let's just hit G to move it over here. Scale it down. Kind of get it in place. Wherever we think it's gonna be. Maybe something like this. Let's bring it back. And then let's just duplicate this shift D Z and bring it right up here. So we just have these pieces over the dials. And then what else do we wanna do? Well, we could create this crumb tray down here. It looks like it's really just a cubed down there. We could press Shift S1 to move the cursor to the center of the grid, a mesh cube. Scale it down, scale it in the z, z. And let's go to that orthographic view by pressing the three key on the numpad. And I'll just bring this up a bit, maybe right into here. I think. I think that's a pretty good width there. Then let's bring it forward in the x-axis until it's just looks like it needs to be behind there. Just a bit like that. Maybe not quite that much, maybe something like that. And then let's maybe add a bevel on the front of here. Let's press Control a and apply the scale. And then let's tab into edit mode and select these two edges. Press Control B, and let's add a bevel there. See how that looks. We can turn on auto smooth here. And then it looks like we've got a plate on the bottom as well. Let's add that to shift a mesh cube. Let's press Z and get it. So it's pretty narrow here, something like that. It looks like it's pretty thin. And then what Let's do is list, kinda pull it up and put it where we think it should be, right in here, maybe something like that. And then we need to kind of get it in the proper shape. So what I'm gonna do is go to the bottom view. I'm going to press Control and the seven key, because the seven key is for the top view and then Control seven is the opposite. I'm going to press S and scale that in just a bit. Then maybe I'll tab into edit mode, press Shift Z, hit the one key to go to vertex mode. And then let's just drag this and drag it out. So it meets this end down here along with the sides. That's maybe select these now and bring these up. So it's just right along the sides and the end. Then we can use our Bevel tool to kind of curve the corners to match the toaster there. Let's try that. Let's press Shift Z. And I want to just select two sides or two corners on one side. Let's do that. I'm gonna hit the period key and zoom in, frame these up. Let's also tab into object mode and apply the scale control a applied to scale. And now with these selected, let's press Control B and pull these in a bit like that, and they're not exactly the right width. So what Let's do is in our Bevel settings panel, let's click on the width. We can move that around like that until it matches the existing curve there. We could add a few more edges in there just so it comes a little closer. Yeah, that's pretty good. Okay. So now let's come around and do that over here. Let's take this edge and this edge, and let's press Control B. And let's pull this out. And this curve is a little bit different, so we can adjust it here in the width. So it's about the right size or about the right curve for that toaster. There. There we go. Now we've got that panel. Maybe we should give this a bevel as well on the front. So let's tab into edit mode. Select these two edges and press Control B, and we'll just pull out just a little bit. I don't need so many edges in there. There we go. I've just got three segments. And then let's right-click and choose auto smooth for that as well. Alright, so we've got those pieces in, I think in the next video, what Let's do is work on adding a little bit of thickness where we need and also creating the interior parts here on the toast slots. So that's coming up next. 10. Adding Internal Details: Alright, let's now give this a little bit of thickness. I don't think I'm going to use solidify for this. I think I want to just select the edges of each of these slots and then extrude in a bit. Now if I hit the two key and press Alt and click, you can see I'm only getting the edge to be selected up to a certain point. And then around here I've got to click again like this. And then Alt Shift click again and again up here for each one of these, that would be kind of tedious. Any way we do it, it's gonna be a little tedious, I agree, but I think an easier way to do this is to actually select this whole area and then de-select the edges we do not want. Now, the reason why it's doing this is because recall using a Boolean will create n guns polygons greater than four signs. So if I select Save this polygon here you can see over here, if we turn on the statistics here, you can see over here that it's one face but eight edges. And this 12 is eight edges. And these down here, Let's see what this is. This is, well, this is ten edges, so these are in guns and things like loops, select subdivisions, all kinds of things has a problem in dealing with polygons that are greater than four sides. So having said that, let's hit the two key and go to edge mode. And then I'm gonna go to the orthographic view on the side here with the one key on the numpad. And then I'm going to press Shift Z. And here in edge mode, I'm just going to click and drag right along here, just to select these right there. So we have all of the edges around each of those slots selected, but we also have a few extra. So what I'm gonna do is hit the C key for the circle select tool and you can scroll the mouse inner out to make it smaller or bigger. And then I'm going to hold the middle mouse button down, click and drag, and then de-select all of these. I just want to de-select the edges that aren't the ones directly around the slots like this. And I'll just go through each one and if you accidentally de-select one that you wanted to keep, you can just come out of the circle select by right-clicking and then press Control Z to undo and then begin again. So I'll hit the C key again. Circle select and middle mouse button click and drag up. There's a little tiny one there. And you can right-click and get out of the tool and then zoom in some more if you want. I'll hit the C key again and then click and drag and select these here. We got one more here. And because we're doing this in wireframe, we're also de-selecting everything on the other side as well. So we have these two sides selected. Alright, so now if I press Shift Z and go back to Solid View, and what I'm gonna do is press E, S, and Y. So I'm extruding and scaling in towards each other, the two sides. So maybe something like this. Let's see how that looks. Is that too much? Well, I think that closes it off nicely, so I think I'll go with that. Alright, so we have some thickness there. What about here? We're going to need to deal with what's inside the slots. So for this one, Let's do, is let's be a little tricky here. Let's select this Android here with Alt click and then Shift click this edge right here. And let's duplicate these. And also I want to scale them out a bit and move them up sum. So I'm going to press Shift Z so we can see this. And since these are two different collections of components, vertices, edges, et cetera, I'm going to change from median point to individual origins. So blender will see these as individual units and not try and do whatever we're asking, scaling, etc, for all of it at the same time. So let's now duplicate this shift D, and I'll press enter. And now I want to scale these out. I'm gonna hit the S key and see how they scale out individually. I'll scale amount of bit and then it looks like I need to scale them in the Y, S, Y. And once again, they're gonna go out individually. Alright, something like that. And then maybe I'll pull them up just a bit here. Okay, Now that we've got them in place, let's split them out into their own objects. So currently we've just got cube here. Let's hit the P key to bring up the separate menu and then choose selection. So now if we tap back into object mode, this new object for me, it's cubed 005. You can see it's highlighted. I'll go ahead and select that. And that's our new edges there. So now if we tab into edit mode, hit the one key. Hit the a key and select all of those. We can extrude these down, hit the three key to go to the right orthographic view. And then I will just hit E and Z and we can pull these straight down like this. There we go. And then let's press Shift Z to go to solid view. And we want to fill these faces. Now, if we do, it's gonna look kinda weird because we have the subdivision surface modifier still on here from when we duplicated it off of the main object here. So if we hit the F key, you can see Jak, that is just not what we want. So we can just remove this subdivision surface modifier here. And that's a little bit better. There we go. So now we have these internal areas where the toast goes. And the last thing I wanna do, I think for the internal slots here, is these little wires right here. And we've been using polygon primitives to create our objects so far. But for these, I think we can use a curve, we can use a path. So if we press Shift a and instead of going into the Mesh menu, Let's go to curve. And let's create a path here. And there we go, We can see it there. It's just, just a line. So if I move this over here, Let's turn it in the y-axis, RY non-zero. If I tab into edit mode, you can see we have these points. And if I select one of these points, I'm going to turn on the move tool here. If I select one of these points and move it like this, here's the actual curve right there, that's the curve that we want to deal with. So what I wanna do is get this curve, that black curve to be more like this in here. So to do that, I think what I'm gonna do is take this point and move it up some, and move this point up. And you'll see how when we get the points closer to each other. Just like the subdivision surface modifier, that turn gets a little bit tighter. So maybe I can take this and move it over here like this. This maybe, and then we can extrude this. We can hit E, y and pull that out a bit like that. And so now, is that about what we want for this? It's not bad. Let me select these two points and move it back a bit. Yeah, let's do something like this. Maybe I'll tilt it up some. So it looks kind of like this. It's really hard to tell. But I think all I need is just something that's kind of like that. Now, how do we get it to be more of a tube like that? Well, if we come over here to our object data properties right here, you can see there's a curve there because we have a curve selected. I'll click that. And if we scroll all the way down, go to geometry. And right down here under bevel. If we click and drag in the depth field, click drag, we can bring that out and make it a tube. So I'm going to bring it down pretty small. I'm going to hold the shift key again. So it moves a little bit slower and maybe something about like this. Let's try that. All right, Now I'm gonna take it in there and we're going to have to scale it and adjust it. But I just want to see if I can make it work. So I'll go to the top view. I'll press the seven key on the numpad, press Shift Z to go to wireframe and let's just hit G and move it over here. And yeah, it is pretty, pretty big. So let's hit the S key and scaled down a bit. Move it in some. How does that look? We need to bring it up. Let me hit the three key. Let's bring it up and put it in here. Alright, How is that Shift Z, Alt aided de-select. Yeah, We're getting there. Maybe I'll scale it up just a little bit like that. So I just want something like this that just kind of hints that we've got these little tubular pieces in there. Alright, so let's take a look at this curve now. I'm going to press Shift Z. And if we take a look at it, you can see we've got a lot of polygons in here, right? We just don't need that many polygons for such a small thing. And the project, we can change, first of all, this resolution preview up here. We can click and take that number down. Maybe let's take it down to it's a little bit too much. How about for we can do that. And then if we scroll down to where that bevel depth is below that is a resolution field and we can click this to reduce that. So maybe we put it at three. Yeah, that looks a little bit better. If we go back to Solid View with Shift Z, I think that's still looks pretty good. Yeah, Let's try that. Alright, so now that we have that, we need to put these others in. How many do we have here? Well, we've got 123456. Alright, well let's use that array modifier again. Let's select our object. Let's come over to the modifiers panel. Let's click Add Modifier and array. And currently it's going down. If we increase the count, you can see it go down like that. How many do we want? Six. There we go. So that's not going in the right direction. And the reason why, I mean, we can change that here by taking the one out of here and putting it in another field. But the reason why that's happening is because our rotation has a 90 degree turn here. Recall when we created that, I'm moved it out and then turned it in the y-axis. So we need to just apply the rotation on this. And while we're at it, we could apply the scale to it wouldn't hurt. Let's press Control a and apply the rotation and the scale. And there we go. Now, they're going into proper axis, they're just going in the wrong direction. Click and drag in the x factor and let's move them this way like this. I will hit that seven key. And let's just see how it looks from the top here. So maybe something like this. Let's try this. What do we think? That's not too bad? Alright, so what we can do now is just duplicate this shift D y and move that over here. There we go. Then we need them on the other side as well. And for that, we can use a different kind of mirror tool. So instead of using the mirror modifier, what lists do is just use the M key here in object mode. What I'm gonna do is press Shift D and enter. So now we have two objects here. And then I'm going to press Control M for mirror, and then the Y key, and then Enter. And you can see we've just mirrored these over. If we click and drag, we can just drag them over like this. And then Shift D Y and put them over here like this. Alright, let's see what we think. Yeah, I feel like this one can come in some maybe like that. Yeah. Okay. So there we've got those inner times inner tubes in our toaster slots. 11. Geometry Issues: Alright, let's begin cleaning this up. I think we're pretty much there. We just need to do a couple of little clean up, some basic housekeeping, but I think we're pretty close. Let's take a look at this piece right here. We've got a subdivision surface modifier on it. And you can see we've got a bit of a curve here and it's curving where we can see it right here. And I don t think I want that. So I'm going to press Control R and add an edge right in here. And as I move it down, we should be able to clean up that curve just a little bit. Now, if I bring it down too far, it kinda clips and hits there. I don't want to do that. I'm going to bring it back just a little bit like that. Let's see how that works. I'm going to press Shift Z, hit the three key on the numpad. And that helps a little bit. So we don't see that curve there. If we spin around here to the back, we've also gone, I think the same problem here. We can once again press Control R, drag that down, pull it back up some so it doesn't clip there at the bottom. And I think that helps. But from here I think I want to maybe apply this subdivision surface modifier, but I'm not sure. I kinda need more information. I need to be able to see how many polygons that we're going to create. Once we apply this. To do that, we can turn off optimal display here and then press Shift Z. And then we can see the number of polygons that we're going to create if we apply this subdivision surface. Now if I take it down to one, you can see that's the number of polygons. If I take it down to zero, That's what it looks like without the subdivision surface modifier at all. So let's see what it looks like once again in solid view now, I don't want it like that, That's a little bit to angle. Now if I take it up to one, it still has these kind of choppy polygon blocks here around the curves. But if I take it up to two, that really cleans that up. I kind of liked that. I kinda like that. We have those curves. Now, once we apply this and save our scene and exit out of it, it's a permanent thing. We can't really go back. So if you're concerned about that, just save a new version of the project and then you can always come back to this version of it. As you can see, what I've been doing is I've been saving each scene as a new numbered file. And you can just go to File, Save As. And then you can press the plus key on the numpad, an increment, the number on the filename. And I like to do that at least every day if I'm working on a project, if it's more complex and I'm making more and more changes, maybe every hour I will do that. But I've got versions one through ten here, so I'm okay with going ahead and applying the subdivision surface modifier here. Now I do want to say it isn't absolutely necessary for the project. You can leave this subdivision surface modifier on it if you're going to stay here in Blender. But if you're going to take this out to a game engine or something with a real-time engine like Adobe Substance Painter. Then you're going to need to apply all of the modifiers. Now, we did this over here. So you've seen how it's done. So maybe for this, I'll go ahead and just leave it as is. So let's see what else needs to be done. Well, maybe these things we can right-click and choose auto smooth for this foot here. And if you choose multiple objects and want to apply the same thing to all of them at once. Many times in blender, you can just use the alt key. So if I right-click and then click this while holding the Alt key, alt shade auto smooth, that. We'll apply that to all of them at once. So the Alt key can help you apply things to multiple selected object. It doesn't always work for all the tools, but it's a good thing to have in the back of your head. Now, I think I'd like to try and curve the bottom down here. And that I think may take a little bit of work, but we could do that. So currently, if I take this and I just hit the F key and put a face on this. Let's just hit the F key, right? Then I could try and bevel this. Let's try that. Let me tab back into object mode and make sure I've got all ones here. Let's now hit the two key alt click this edge. And now let's just try and bevel this, but look at what's happening here. There's a couple of problems here. Let me hit the one key. You can see that because I used a subdivision surface modifier, this curve, the corners. And then when I applied it, it kept those curved corners. Kind of like we're seeing here, Shift Z here, kind of like we're seeing around here. So that can happen when you apply that modifier. So what can we do with that little let me press Control Z and go back a ways to get rid of that face on the bottom. And let's think about seeing if we can get these all aligned and straight. What I'm gonna do is alt click this edge, and it goes up to here. And let's do that over here as well. Let's press Alt Shift and click that edge. And so you can see how that edge curls up into here because we applied a subdivision surface modifier to it. So let's go to an orthographic view. Let's press Shift Z. And then what I'm gonna do is just click and drag. So we only get these points in here just to make sure they're all selected. And then with all of these selected, what lists do is scale in the z and hit zero. So I'll press S, Z and zero, and that flattens everything up. So I'll click that. And now all of those points are down here aligned with everything else. Now I can take these and move them around a bit if I want to bring them down like this at all, I can do that. So now you've got all these points in line, way down here, but they're very close together right in here. So now let's try that again. With these points selected, alt, click that edge. I'm going to hit the F key. And then I'm gonna hit the two key and Alt click that edge, and let's try and bevel it and see what happens. Control B. And let's pull out. And let's scroll the mouse wheel a bit. We get about like this. Now let's take a look at that. That got pretty ugly in there. Now it didn't it? Let me select one of these faces and zoom in here and you can see how they're overlapping because these points were so close together, it really had a tough time doing that. So I don't think that's something we can do even with those points aligned evenly along the bottom there. So I'm going to press Control Z and go back to before we added that face. So in the next video, what I wanna do is take a look at just a little strategy for extruding this edge and kind of cleaning up the geometry so that we can add a bevel to that and have it look a little cleaner. 12. Fixing Geometry Issues: Well, let's now see if we can clean this up a bit so we can add a bevel to this and make it a little more rounded on the bottom. So I think what we could do is we could select this edge, Alt, click it. And then we could remove some of these edges right along here, so that we could extrude this in and then come back and add this area. So what I'll do is I'll just deselect these right here, come in here and Shift-click that. There we go. Oh, and let's go around here and try that over here. If I can deselect these, I'm going to press Shift Z and then kind of angle it and then maybe press the C key and middle mouse button click and drag and de-select these, and then right-click. Okay. Now, I'll hit the period key on the numpad to bring that up. And now let's extrude these in. I'm going to press E and S and scale them in just a bit like this. And then I want to pull it in the y-axis just a bit like this, little bit like that. Okay, so now let's come in here and take a look at this area again, Period key. And I'll take this edge and move it a bit so we can kinda see what's going on here. So we've got these edges here that we need to contend with. The interesting thing is, is I don't think we need this edge or this edge to clean this up. So let's go ahead and press Alt. Click here, press the Delete key and dissolve edges. Now before I do that, let me just show you what I've selected here. Shift Z. So I've selected that edge all the way around. But it really isn't doing anything for us here. It's on a pretty much straight path here, so it really isn't doing a whole lot. So let's press Delete and dissolve edges. And then maybe I'll do that same thing for this one as well. We could try that. Let's hit Delete and dissolve edges. And now I've got this one. Alt click here. And we could scale this in the x just a bit. We could press S and scale it in just a bit so it kind of matches with that other edge there, right along here. I'll select an edge, hit the period key again. You can see I'm just trying to clean this up so we can get a better closure here. So now what we could do is just hit E y, bring this forward, take these two points here, merge them together, and merge at last. And then we can take these edges here and hit the F key and clean that up there. So let's go do that in the back here. Now, tab into edit mode. Select one of these edges, hit the period key on the numpad. And now we've got a cleaner setup here since we've removed those edges all the way around. I'm just going to bring that over like this. Select this, it, EY, bring it forward. Hit the one key, select this point, and then this point, the M key, merge it last. And now I can select these three and hit the F key. And let's see how that looks. Alright, I think that's pretty good. Now what Let's do is let's take this edge right here, and let's try and bevel it. Let's see what happens. Now we aren't going to get a whole lot of a bevel here because we don't have a whole lot of space, but we can try it. Let's press Control B. Pull that out just a bit. And click. Now you can see we've cleaned that up a bit. If we come down here to our object data properties, come over here to the auto smooth, click and drag an auto smooth and we can clean that up just a bit like that. So maybe I'm taking it up to about 34. So now we have just a slightly rounded edge on the bottom there. If we didn't want our foot intersecting with that and we could just grab that and move it a bit. Maybe I'll take these two and just movement in the y a hair like that. There we go. Now let's try that over here. Let's tab into edit mode. And I will select this edge. Actually, I'll just Alt click this whole edge and then we'll come in and de-select. I'll hit the C key, middle mouse button, click and drag and de-select those. And then right-click. Same thing back here, C key. And we go, now let's extrude these N, E, S scale and a bit. Pull them in the y just a bit like that. And there we go. Now let's begin again over here. Let's take this edge and I'm just going to drag it back like that. I will remove these two edges. As I said, I don't think we need these alt click, this, Alt Shift, click this, so that we get this whole, these two whole edges here, right? And then I'll just hit the delete key and dissolve edges. Now we can take this edge right here, E y. Move it to here. I guess I didn't need to select that one, but I can just connect this up. And at last, Let's do that again. I'll select this edge e y. Select these two points. Am at last. And then maybe once again, I'll select this edge here, right? Ear. Scale it in the x just a bit, Sx. Bring that in. Here we go. Select these, hit the F key. Alright, let's go around and do the other side. Select these two. Merge at the last point, selected. Select these three edges here at the F key, and there we go. So now if we Alt click this edge, let's try and give it a bit of a bevel Control B, pull out a smudge. Let's see how we did here. Is that too much? No, I think that worked out. Okay. There we go. So now we've just got a slightly rounded edge on the bottom there. Something kind of similar to this. That's all I wanted. Now, lastly, I think we can see inside here a little too much in the image. It's just kinda black in there. We can't really see it. So what I think I will do is just add a piece of geometry, like add a cube in there. Then we'll give it a black material and I'm just kind of fall to shadow hopefully when we do a render. So let's do that. Let's just press Shift a mesh cube. And I'll go to the front view here. And I want to take this and just bring it up and kinda put it on the inside here. Maybe I'll scale in the x sx. Let's press Alt a and C. We can see it at all. Can't really see it at all. But what I do want to do is select it and delete that face on top. So I'll hit the three key, select that one face there, press Shift Z, make sure that's all we can see. Yeah, but I think I want to move it up so it's a little bit higher. Let's do that. Let's press the Z key or Shift Z again. And let's hit the E key and pull this up, some like this. And then let's scale this in, just hit the S key and scale that in a bit. Something like that. There we go. Then I'll go ahead and delete this, this one face here. Delete, delete faces. There we go. Let's see how that works. I feel like, yeah, These may need to come out here, like this. There we go. And this edge may need to come out so we don't see that in There. We go. These edges too. Yeah, I may need to bring this in just a bit like this. So I'm just trying to get it to a place where it's in there. We can't really tell what it is in there. And we're just going to give that a black material so we can't really see in there. Alright, I think we're pretty much done with the modeling of this. What Let's do now is go through the process of adding some materials, setting up some lights, and doing a render. So that's coming up next. 13. Finishing the Modeling: Okay. I'd like to do just one more thing before we start on the materials. I was taking a look at this and I feel like these little screws actually are an important part of just how this looks overall. So let's work on one of these and then we'll just duplicate it around. I think what I'm gonna do first is I've got a lot of objects up here that have no name to them. They're just cylinder or cube. And I think I'd like to keep them all together. So I'm just going to come up here and change the collection to toaster. And then I can just hide everything that's in this collection here. Click on this scene collection, top of the outliner. And now anything I create will come into the scene outside of that toaster collection. So I just wanna do that while I'm creating this. So I think we just want to begin with a sphere, shift, a UV sphere. And I'll just go to an orthographic view here. Tab into edit mode, press Shift Z and the three key. And I'm just going to remove everything on the bottom here, delete faces. And then I think maybe I will scale this down in the z, z, something like this, let's say. And I could even grab this edge here and move this and just scale it in just a tiny bit. There we go. So we've got something like that. We can smooth it, see how that looks. And then I want to add this little Phillips screwdriver thing here. So I think what I'll do now is just create a cube and scale that down. And in here, I'll press S and scale that up some. In here. I think what I wanna do is create this little cross pattern. And before I do anything, because I think I'm going to use the Bevel tool at some point. I'm gonna go ahead and apply the scale. So I'll press Control a and apply the scale here. Now, if I tab into edit mode and select these four faces here, I kinda want to extrude them all out at the same time to get that little cross pattern there. But even if I come up here and choose individual origins and then hit E and S and Shift Z. It's still going to all come out like that because they're all connected. I'm going to press Control Z and go back. And what I need to do is actually separate these sections somehow. And I think a good way to do it would be to just select these corners here, give them a bit of a bevel Control D, and pull out a bit like this. And then select these faces again now that we've separated them. And then I think I could press E and pull out or push out and bring them out like this. And now I've got that cross pattern. And from here, let me tab back into object mode yet we're still all ones. We've still got uniform scale. And from here I think I'll just take all of these edges right along in here and give these a bevel. Now you can see that they're kind of rounded here. It's kinda hard to tell. It's pretty blurry once we zoom in so far, but let's give this a try. Let's press Control B and give these a bit of a bevel. And I kinda want these to be more curved, so I don't think I'll be able to do these at the same time. So I'm going to press Control Z, and then I'm going to deselect these. I think I'll have to do these afterward. Let me do that. Okay, so we've deselected those here. Get these. Now, I can press Control B and make these a little bit more rounded like that. Yeah. And then come back and grab these and just do a smaller bevel on these here. So lets just grab those controls, be in, pulled these out like that. There we go. So now we've got that curved cross pattern that I think we want. I'm going to smooth it. And maybe use auto smooth here. And then drag up here in this angle fields. So we smooth out a bit. There we go. Maybe I better use auto smooth on this one as well. Let's give that a try. Alright, so now we just need to add a Boolean modifier. So I'll select this piece, go over to the modifiers panel, pull this down Boolean, and now let's select what we want to actually cut into that object. I'll select the eyedropper, select the cross here. And now we're not really seeing it happen here. So once again, let's take this, select that come over to our object properties, scroll all the way down to the viewport display and change to wire. Alright, now we can see what we're doing here. Maybe I'll bring this up a bit. Let's say I'll hit the S key and scale. Some kind of like that. Maybe I'll pull up just a little bit more like that. And yeah, I think that works pretty well. So now let's take this and apply that Boolean. Come over here, pull this down and click Apply. And now we should be able to just delete this. There we go. Now with this, let's begin putting this in place around the toaster. So where do we need to put them? We need to put four here and two up on top. So I'll come over here to the outliner and re-enable the visibility of the toaster when it's go to the front view here, I'm going to pull this out, Turn it in the y-axis, RY 90, Enter. And now let's just see what we can do to get this about the right size and in the right place. So I'll hit the S key and scale that down quite a bit. Hit the G key and move that over. Maybe I need to take a look at it in solid view here, and let's do that. I'll scale that down just a little bit more and hit the G key. And let's put that right. Maybe right in here. I'll turn it a bit. I'll hit the R key just so it isn't exactly straight up and down. And let's see how that looks. Not too bad. Let's take it back to here. Hit the period key on the numpad and zoom in. And I'll place it just outside of that. I feel like that's still just a little too big. Let's hit the S key and scale it down a smudge. Let's see. Yeah, let's see how that works. I'll take that and let's just duplicate it, shift DY and move it over here. And then let's take these two and take them up, Shift D Z and bring them up to about right here, let's say. And then let's get the one on the top here. Let's do that. Shift D, Z, bring that up. Let's turn them in the y-axis. Ry 90, that's the wrong way. So hit the negative key. Here we go and then enter. Now let's bring these up and put them on top here. Actually, I better go to the side view and see if they're actually on the surface. They're not quite. There we go, maybe about like that. If the seven key, and let's put these kind of in the center right there maybe. Okay, let's see what we think. Yeah, I think that helps. Let's turn these again. I'm going to hit the R key and turn it a bit like this just so they aren't all in the same direction, all in alignment. Maybe I'll bring this one a bit like this. In these two, I need to just adjust one of these, I guess our Z bring it over like that. There we go. Yeah, I think that's going to help. And actually one more thing I see, this piece has a very sharp edge on the top. And we're gonna be seeing that edge quite a bit as we render it out. I think I should probably add a bevel to nano press Control V and just pull that out just a bit like this. There we go. And then it looks like we've had it's smooth because of this edge here. Yeah, I think just adding that little bit of a bevel there can help that kind of catch the light in the render. Alright, I think now we are ready to go through and begin adding our materials. So we'll begin that in the next video. 14. Adding Materials: Alright, with the modeling done, let's start adding some materials to this. Let's go over to the shading tab here. And we can see our model surrounded by an HDR image, a high dynamic range image. If we want to, we can come up here and look at this a little more closely. This is our HDRI. We can take the blur and we can increase it or decrease it. Now you can see that we've got a scene here that's providing the light and the reflections for object. And because we've got a metal object here, we really need something and the reflections when we're setting up the materials and the lights, etc. Because so much of the information we get from a metal is the reflections. Now I'm going to come back up here and we can take the blur and we can bring it back to about 0.5 the way it was. But for me, I'm not a big fan of seeing this HDR image in the background. So what I usually do is just take the world opacity and drag it all the way down. And now it's just kind of a bland gray background, but I think that's for me a little bit better. We're still going to get the reflections here from this HDRI and the lighting, but we just don't get the distraction of the background. Alright, let's come over here to the material properties panel here. You can see that it's really pretty much the same thing as our principled BSD f that we have here in the shader editor. It's got all the same settings all the way down to the alpha field here, and then it begins to change a little bit. But ultimately it's pretty much the same. Now our original object came with a material. If we pull this down right here, we can see we just have that one default material here in the scene. And that material is on these objects here, really on all of them. So for this material, what Let's do is let's call this metal here. And then we can come down here to the metallic, right down here. And we can also see the metallic here. It's once again the same thing. We can just click and drag on that, drag it all the way up to 1.0. And there you can see we've got a metal material already coming through on our object. Now we can click on the roughness and bring this down. And as we do it takes the roughness off of there so we can see clearly the reflections in the metal there, but that's a little too much. Let me bring the roughness up just a little bit here. Maybe something like I'll just for now type in 0.1. And let's bring our images over here so we can see what we're working on actually, why don't we just bring it in over here. Let's do that. I will pull this down and choose that toaster PNG in there. We can see it here. So just so we can see it, while we're adding the materials, we need to probably add this same material to this piece here. One way we can do that is just select it and pull down this menu and select that there. We can also add it by, let's say we want this to have the same type of metal material. We can select it and then Shift-click something that already has that material on it. And then press Control L and link materials and that will just add that same material to that. So once again, we take this Shift-click, this Control L and Lincoln materials. And we can do that maybe for this, Let's try that control L link materials. So that's just a quick way to add the same material again and again. Let's now add that black plastic. Let's select this. And I will come over here and add a new material here, a new material slot. Or we can click New. We can click New here. I'll just go ahead and click New here. And now let's give this a new name. I'll call this black plastic. We go and let's in the base color here. Let's take the value way down. So it's a little more black like that. From here we can adjust the specular and the roughness. We don't want to add any metallic here because it isn't really a metallic object. And actually that's really not too bad. Let's take the roughness down a little bit and that's a little bit too shiny. They're maybe let's bring it up. Something like this. And then let's take this Shift-click that knob, press Control L and Lincoln materials. And really it looks, this looks very similar. So let's just do the same thing here. Shift-click that, control L and link materials. Okay, Looks to me we can add a little bit of roughness to this, Something like that. Yeah, there we go. Now for these down here, I think these are more like a black rubber down here. Let's click new, call this black rubber. And we will take this and pull this down, bring it down pretty close to black there. And maybe I'll bring this roughness back just a little bit, so it's a little bit shinier maybe. And then I'll take these Shift-click this Control L and link materials. And you know, what I didn't do, I realized is I didn't put these little tabs on there. I didn't even think about it. Should we go ahead and do that? I guess let me come back to the Layout tab and let's just press Shift a mesh circle. I'll take this and pull it out here. Let's tab into edit mode that the one key and let's go to the top view. And I just wanted to get rid of some of these. So just wanted to make this, maybe we get rid of these here, delete vertices. And then let's take this, shrink it way down, bring it over here. And maybe I will turn it just a bit like this. Let's bring it back so it's close to where we want it. I think it's right around here. Take these two points and let's extrude these back e x back like that. Maybe bring that in. We could select this edge and this edge and hit the F key to fill that. And then we could also just select this and this and Bill that. We can give that a try. And then let's well, let's give it a solidify modifier here. To add a bit of thickness, we should probably press Control a and apply the scale. There we go. Now we can see the thickness there a little bit better and maybe I'll bring it in like this. Let's smooth it. Let's apply this solidify here. Then what we can do is maybe take this edge. And these edges here. Add a bit of a bevel to it like this. There we go. Then let's see if we can use our auto smooth. You clean it up just a little bit along that edge here. Yeah. Something like that. Shift T Y and I'll move that over here. There we go. Let's see how that works. I'll save my scene. Go back into here and let's give this that black plastic. I'll select these two and this control L and link material. Alright, let's grab these here and press Control L and Lincoln materials. I missed one here. And up here, you need to do the same. Let's do that here and here. Control L link materials. Alright, so we're getting there. I had to take a little time to make those tabs, but we just have a few more materials we need to add. Think I'll add a new material here and call this black interior. Let's just take this all the way to black, turn the roughness all the way up. And that just gives us a black interior there that we can't really see into. I think that'll help. Alright, in the next video, we will continue on with our materials and then we'll begin thinking about how we're gonna get this raised dual It logo on the middle pieces. 15. More Materials and UV Mapping: Now the other materials for this, like for the washer here and for the interior of the toaster slots, those look a little bit different to me, at least than the exterior. So I think I'm just going to make these slightly different. So if I select those interior pieces for the, for the toast slots, you can see we've got that basic metal material on it that we created before. I'm going to click on the X to remove that from there. And let's click on New and then I'll call this metal interior. That just feels to me like it's a little bit grayer, not as shiny. So I'm gonna take this and bring it down like this. Now for these things, I think I want them to be a little bit shinier but not as shiny as the outside. So I'm going to call this, what are these? I'm going to call these toast holders. I'm not exactly sure what they're called. Let's take the metallic and drag it all the way up. And I think that's something I didn't do in here. In fact, it was using specular instead of metallic and I should probably use the metallic there and then use the roughness here like this. Let's do that. Then. I don't have to have it quite so dark in there. There we go, Something like that. Now let's come back here. We've got the metallic dragged all the way up. That's good. I'll bring the color down or the value down a bit. Yeah, I really think that's about all we need. I've still got the roughness at 0.5, so I think that's fine. I'm going to take these and then Shift-click these at the end and then press Control L and link materials and that gets all of those. What about this little guy, that washer thing? Let's take a look at that. It looks kind of yellowish. Let's see if we can do that. I'm going to call this washer. And let's drag up the metal and maybe drag down on the roughness a bit this and then let's give it a little bit darker and a little bit yellow. I'm just going to drag into the yellow here. Just a little bit. Yeah. Something like that just to give it a hint of a different color there. And then for these, looks like we've got one red and one black. Let's take this and I will call this, is that a light that comes on? Let's just assume that it is red. Red light. And I will drag it down into the red, maybe make it a little bit darker. And also, one thing you can do here is you can come into this color swatch and click on the eyedropper and then just click directly on the color. And that didn't quite get it very well now, did it. So it just depends on what pixel that you happen to click on here. Yeah, that's not really going to do it, is it? So let's bring that back down. Take it into the red just a bit. Then for this, I think I'll take the roughness down a bit specular. It's pretty good right in the center there, I think. So. I just wanted it to be a little bit shinier and you know, what I could do also is one, I can smooth it. And two, I could select this edge right here and give it a bevel. Let me make sure I've got my scale uniform. I do not. I'm going to press Control a and apply the scale. Then I'm going to grab that edge and just press Control B, bevel that in just a bit so that we get these kind of highlights on the edges kinda like this. Yeah, so that's why sometimes it's good to bevel those edges because you get just that little highlight there. That's kinda nice. Maybe something like that. And then this thing as well, we should probably apply the scale with control a, smooth it, bevel this edge right here, Control B. Here we go. Now we can add our material to it. I'll go ahead and call this black light. I don't know if it is actually a light, but we'll just call it that for now. And I'll give it a little bit of specular highlights. Like it needs to be a little bit darker, maybe. Something like that. There we go. I think that's all the materials. So now we need to think about how are we gonna do not only the raised dual It logo on the metal, but how are we going to do these things in here? The little white designs and lettering to do though, is we're going to have to UV map things. And UV mapping is really just the process of preparing your 3D object to accept 2D images. Let's, let's begin with these little knobs. I'll select one and come over to the UV Editing tab here. And with this in edit mode, I'll hit the a key. And here is our UV map. I'm going to scroll over here and go to the material preview so we can kind of see a preview of our materials here. If I select everything here, I now see the current version of the UV map. So this began, I think, as a cylinder. And so this is kind of what that cylinder UV map originally looked like, and now it looks nothing like that at all. So we need to redo the UV map. What I'm gonna do is first of all, just with this selected, let's hit the End key tab back into object mode. And once again, make sure our scale is uniform on and press Control a. And I'm going to apply the rotation and the scale. We've got a 90 degree turn here. So when I press Control a and rotation and scale, and that makes those zeros and ones, that's good. And then I'm just going to use an automated process that Blender has to create uv maps called Smart UV project. So with this selected, I'm going to press the U key to bring up the UV mapping menu. And then I'm going to choose Smart UV project. And then in here, I want to set an island margin of 0.01. Let's say, let's try that 0.01. And that's just how far our UV islands are gonna be spaced apart. And then I'll click Okay, here we go, here we've got our UV island. Now, I think the one we really care about is this one here. So you can see that this piece right here, if I come over here and click on UV select mode island here, I can just click this and we can press G and move it around. We can hit the R key and turn it because I think this curve on the top here coincides with the curve on the top here. I just wanted to get this so it's straight up and down. Then I want to take all of these UV islands here, and I'll click and drag these here. There we go. And move them outside the zero to one space outside this square. I'm going to take this, hit G, move it into the center and hit the S key. And I want to make this nice and big. Here we go. Now, this is what we want to apply, that white design and lettering too. If I create a new window over here and create an image editor, Let's bring that in again. There we go. So this, this right here is what I want to apply to this here. So in the next video, what Let's do is bring in that image texture and see if we can apply it to this UV island. 16. Adding Image Textures: Alright, let's go back to the shading tab and see if we can bring in that design. I think over here, I think I'm gonna change this to a UV editor here. And then let's get rid of this by clicking the X. So we just have our UV editor here with that zero to one space, that square there. Then with this selected, let's bring in that image. Now. I'm going to use the Node Wrangler, which is a blender add-on that actually comes with Blender. It just isn't enabled. And the way you enable it as you come over here to the Edit menu and preferences, and you click on Add-ons. And let's just type in node. And here we have the Node Wrangler here. Now I can twirl this down and you can get more information. But really all you need to do is just put a checkmark right here. And you can see that when I do that, it automatically pops into the sidebar here. So now that that's done, I want to be sure and save the preferences. I'll exit out of this. And now what we can do is just select this principle, be SDF shader and click add texture setup. And when we do that, we get an image texture node, a mapping node, and a texture coordinate node mapped from the UV map. So let's just click open here and find in our Textures folder, I've got a PNG file here that we can use to bring in this image. So I'll click Open. And here we go. Now we can see it here and it's not. What we want is it? There are few things we need to fix. In the texture node. We need to change this from repeat to clip. And now we're actually getting pretty close, aren't we? Let's now with this selected tab into edit mode. And let's bring in that image over here. I'll pull this down and click on the dial PNG. And here we go. Now we can see it with the UV map overlaid over it. So what I'll do with this selected, I just want this piece selected and not all of these. So I can of course just take this and drag select it. And I think I want to just scale the UV island down a bit. I'll just hit the S key and scale down and you can see how it increases in size over here. As I scale this down, you can see that there. And maybe I want to move it just a bit. I'll hit the G key and move it to the side like this. Maybe I'll scale the UV map back up just a bit. And I kinda want to just get it centered on there. I'll hit the G key and move it or round again. Maybe something about like that. Let's see how tab back into object mode. And yeah, actually, that looks pretty good. I think. I think let's let's go with that. Now. We have it over here. You can see it here. And the problem is, is that this is the same material as this and this, and this, and we just happened to be able to see it over this. So what we need to do is duplicate this material. So the material only applies to this particular dial. To do that, we can come over here and click this little duplicate icon. It says add a new material. So I will click this here. That will change this to a 001. And now we can change this to, I'll call this large dial. There we go. Now, if we look at this one, it still has this on it because in black plastic this is still there. So what Let's do is just click and drag this area here. Hit Delete. And now that goes away for this and this, and it stays on this because it's its own new material. Alright, so let's see if we can do that. Same thing to this here. So we don't need this image anymore. I will click that. And once again, this is black plastic and we don't want to add an image to the black plastic material. We want it to be a new material. So let's once again click on this little icon here. And instead of black plastic 001, let's call this small dial. Let's do that. Now once again, I want to click on the principle of BSD F. Click add texture setup. Here we go. Now I want to bring that image into here. And the one we have for this in our Textures folder is this dial small PNG. So let's click here. And we can't see it at all. Well, maybe just a bit, but it's really stretched and does not look good at all. The reason why that is, is we haven't UV map this. Recall that we created a UV map for this that looked very similar to the object. This, however, if we tab into edit mode and hit the a key, this does not look at all the way the objects should hear, right? So let's go ahead and once again with these selected, let's press you smart UV project. I'll make sure I've got an island margin of 0.01. Click Okay, and here we go. So now we're gonna do the same kind of thing. I'll take this, hit the G key and move it out of the way, and then drag select all of these and hit G and move these out of this square. Now I'll take this, move it into here, turn it a bit. Let's kinda center it up and scale it out. So it's kinda big. And look at that. We're already getting it, so it's pretty good. Let's now come over here and I will hit the G key and kind of move this around. And I'm keeping an eye on this over here. I'm going to scale this. I'm going to hit the S key and scale it down. No, I think I need to scale it up. I'll hit the R key and let's turn it a bit. And then look at this. We've got a little bit of bleed over here, right? So we need to change this from repeat to clip. There we go. Alright, how are we looking here? Pretty good. I think I want to hit that are key and move it over just a bit like this. And maybe I'll scale it down or bring the UV map up so it scales down in the image here like that. Let's try that. Yeah, I think we've got that there. Alright, so in the next video, well, let's do, is let's think about how we're going to create that dual. It raised embossed logo on the front and the sides. So that's coming up next. 17. Using a Displacement Map: To add an embossed logo onto the toaster here. I think what I'd like to do is use a displacement map. And a displacement map is interesting because it is a texture. It's just a grayscale texture. But at render time when you actually do a render, it creates new geometry on the mesh just for the render and then it's gone. So it's kinda this strange combination between a texture and modeling. But I think it's very effective for something like this. So let's see how that would work. When I first did is created in Photoshop, a grayscale image of the dualist logo. Now, I've found on the Internet a black logo, and then I inverted the color and then I use inner shadow in Photoshop to create this kind of gradients. So the center of the letter is a little brighter than the edges. So you can see how it kinda has a fall off towards the edges. And what that'll do is give us the illusion of a bump of a curved edge on that. Because for a displacement map, anything pure white looks like it's pushed out. Anything pure black looks like it's pushed in and then a middle gray looks flat. So what I'm hoping is that this will kind of feel like it curves down to a middle gray or the flat part of the toaster. So let's give it a try and see. I'll move this back over here. And I've selected this centerpiece and we have the metal material on this. But I think what I wanna do is create its own material for just this piece, kinda like we did for the dials. I think because we're going to need to UV map and apply textures, we need these to be separate materials. So what I'll do is just take this centerpiece and then let's come over to the Properties panel here. And it looks like I accidentally collapsed my tabs on the Properties window. So what you can do is come up here to this little arrow right here and click on that, and that'll bring those back. So I think what I wanna do is duplicate this with this little new material button here. And then I'll call this metal center, just so we know that this is the centerpiece for this. I'll call this metal sides. I'll just duplicate this right here again. And we'll call this metal sides. So what we have now is metal center on this metal sides on these pieces and then just the standard metal on all of these others. Alright, so now that we've got our metal centre on this, we're going to need to UV map this to apply a texture just like we did for this. To apply a texture to a material, we're going to need a UV map. So we can probably stay here in the shading area if we want to ensure that I've got a UV editor here in this window. I'm going to take away my toaster image with the X key here. And now, let's with this selected tab into edit mode and hit the a key. And this is what we have. It's not exactly what we want. So let's go ahead and just ensure in object mode that we have all ones in the scale and we do not. So we need to press Control a and apply the scale. So now our scale is uniform. Then let's tab into edit mode, hit the a key and press U. And let's go ahead and begin with smart UV project. Let's click there. Let's ensure that the island margin has some value in it. I'm just going to put 0.01 in here. And then let's click. Okay. Alright, so this is what we have. Is this going to work? Well, let's see what parts these are. I'm going to click on this little UV sinks selection right here, just to see what UV islands coincide to what part of the 3D object. And then I usually turn this off, but I'm going to click here. And then let's select this. I'll go to Face Select and then just hover over this and hit the L key. Now, where's this? Well, that's on the back. I didn't really want that. What about this over here? I'm going to press Alt, a hover over this, hit the L key. And here we have this piece here. Alright, so I think this is the one that we want to put the logo on, right? We could switch this, I guess, to an image editor and bring that toaster back. Let's do that just so we can see it here. I'm working on this one right here. What Let's do is let's invert the selection in the UV editor Control I. And then I'll just press G and move these aside. And then I can press Alt aid to de-select all of these, hover over this, press the L key, and then I'll just hit the S key and scale it up a bit. So it's taking up more of that zero to one space. We may need to scale this up or down, but I just wanted to put it there for now. Alright, so we've got this part UV map. That's good. Let's now take our principled be SDF. Here are material, and let's click add texture setup. There we go. Now, what it did is it actually applied this to the base color and that's fine. That's what it's supposed to do. But ultimately we're gonna want it to apply to the displacement channel here. So what I'm gonna do is just take these, I'm going to disconnect this. Take these, hit the G key and move them. So they're over here. Take this and move this down like that, so that we know we're gonna be putting these into here. Let's bring in that dual It logo. I'll go into my textures folder and this dual It logo, gradient PNG. I'll open that up. Now we have that, but we need to get it from here to here. And we've got a color output and a displacement input. So to convert that we have a displacement node. We can press Shift a click on Search type in displacement. And here it is. Here. Let's drop that here. We need to take our color, drag it into the height and our displacement and put it here in the material output. And look at that. We're already getting there, right? That's pretty good. It's kind of it's a little too strong. I think we need to adjust that. So what Let's do is let's take, for now, let's take the mid-level down to zero. And let's take the scale. Well, let's take it way down. How about 0.1 or 0.01? Yeah, that's pretty good. Let me how about 0.001? Let's try that. 0.001. That's not it. That's a little bit closer to what I was imagining. Let's try 0.005. Let's try that. Yeah, maybe something like that. Alright, so now what we need to do is move and scale our UV island here to get it in place. So we want to write here by this screw right there. So I'm going to hit the S key and scale it up. So it comes down to about the right size and look at that. We are repeating. We want to change this from repeat to clip, so we only have one there. Okay? Then let's move this. I'll hit the G key and move this down so we get it right next to that screw there in about the right place. How does that look? This here is pushed in, but I kind of like it pushed out. I mean, we could type negative 0.005 and see what happens and that flips it in. Yeah, we could do that. It's still a little too much. Let me try negative 0.0, 025. So that's not bad. We could try that. And then it looks like the ones on the sides are pushing out. So let's try that. I'm going to try negative 0.001. Let's try that. That Is that enough? Yeah, that's not bad. Let's try that. And ultimately we're going to maybe have to make adjustments for all of the materials and even the textures once we begin applying the lights and seeing it as a render. But I think that looks pretty good. Yeah, let's go with that. And then in the next video, Let's do the same thing over here on the side. 18. Finishing the Texturing: Now for the logo on the side here, we really just need to go through the same process. We just need to ensure that we have all ones over here in the scale tab into edit mode, I'll hit the a key. You and smart UV project. Ensure that we have in Ireland margin. Click. Okay. Alright, so now what we need to do is figure out which is which. So I still have my UV sinks selection turned on. So what I'll do is just hover over one of these and hit the L key. And that's this over here. I'll hover over this, hit the L key here. And that's that they're okay. So now we know this is the one that we want. I'm going to turn off the UV sinks selection with Ireland select on, I'll just click this. And then here in the UV editor, I'll just hit the G key. Move that aside. I'm going to come up into the 3D view and press Control. I. So I select everything else. I'll select all of that. Just drag select and just move it out of the way, right? So now we have, if I come up here and hit the a key, now we can see all of that hears everything we do not want. Here is what we do. So I'm just going to bring this into the center here. I'm gonna hit the G key, bring this into the center. It looks like it needs to be turned, right. It looks like it's upside down. So I'll press r180 and hit the Enter key to turn it 180 degrees and it'll hit the S key and scale it up. Here we go. So we're going to be moving this one around to get the logo down here. Now, we can set up a new node tree here in this material. But I think what I'll do is just tap back into object mode, select that center. Then I'm just going to click and drag these and press Control C. And then I'll select this material. And in here I'll just press control V. And here we go. So we can just move that and then grab this, hit the G key. And now let's just pick these up. Put it here like this. And now we can see it there. I do want this to be coming out. So instead of a negative value here, I'm going to type 0.002. Let's try that. Yeah, Let's try that. Okay, and then I'll tab into edit mode. And here is where I can move this around. Scale it down similar, I'll scale the UV map up, so the logos a little smaller. I'll also maybe go to an orthographic view and hit the three key. Now, how about the one key on the numpad? Know that doesn't do it either. So I'm going to press Control and the one key on the numpad. And there we go. Now we can see it from the back orthographic view. Yours may be a little different depending on which way your model is oriented. But if we just go to an orthographic view here and hit the G key, we can begin to move this around. Maybe I'll put it right in there, maybe scale it. So it's a little bit smaller. It looks like it just kinda fits within those slots there. Let me move that about right here. Let's try that. Tab back into object mode. Yeah, so something like that. I think we could put it on the other side. But first, I think we need to split this off as its own material as well because this material already has a displacement map going into it. So we could maybe take this and call it metal right side. Let's do that like that. And then we can take this side over here and assign it to a new material. So what we could do is we could add a new material slot in here. Right here. We could put the metal right-side in here. We could duplicate it here. Now call this metal left side. Let's do that. There we go. Then let's apply these faces over here to that material. I'll tab into edit mode. I'll hover over this and press the L key to select all of that. And then let's just click Assign. There we go. So now if we select this and choose Select, we only have this over here. And then if we choose this and choose Select, we only have this over here. So now with this selected, we can UV map this again, we can press U and smart UV project. And click Okay, and there it is. So this is the one we want right here. I'll just move that out and take this and move this away. So now with this, once again, we can turn this R18 zero. We go and we can scale it up so we can see it. And now we've got this texture going into this new material that's only for over here. Once again, we could scale it up. You can hit G and move it down and try and get it in here. Like this. There we go. So now we've got a logo on the front, indented and logos on the side that push out. And that's I think what we want. Alright, so in the next video, Let's begin setting up our scene to do a render, we'll set up the lighting, maybe a couple of objects for a scene, and we'll see how it looks. 19. Setting Scale and Using an HDRI: Alright, now it's time to see what this thing looks like under some actual lighting conditions. Let's go over here to the Layout tab. One of the things about the lighting and blender is that it really relies on real-world scale. So for the light bounces and reflections and global illumination and all of that to work properly here in blender thinks should really be their real-world size. So I did a little googling and found that this particular dual it toaster is really about 22 " tall. And currently we can see it's, it's about 2 m wide. So because each one of these cubes are, each one of these squares here, a meter. So it's a little big. Let's figure out how big it should be. Actually. First of all, let me grab all of these objects here and let's move them into the toaster. What I'm gonna do is just in the 3D view, I can just hit the M key and I can move those selected objects to the toaster here, and there they go. Okay, so now that we've got everything involving this object in this one collection, let's choose the scene collection up on top, and let's create a cube real quick. And this is gonna be our reference object, how big things should be. So once again, this default object is, well 2 m big. Let's take the z down to instead of 2 m, about 22 ". So we can just type in 22 and then double-quotes for inches and hit Enter. And that will take it down to a little over 0.5 m. Alright, so now I'm going to bring this up and put it on the grid right there. Let's take these other dimensions down to about 0.1 m here. So this is actually how tall our toaster should be. So we need to just scale this down. So it's all proportionally this big. We can do that by coming back to the transform pivot point menu. And instead of individual origins, which I still have here, let's change to 3D cursor. So now it's going to move and scale and rotate from the 3D cursor. And since the 3D cursor is in the center of the grid, I think that's a good place to go here. So let's now, instead of having this selected, let's come up here to the toaster collection and right-click and click on Select Objects. There we go. Then we can hit the S key and just scale down until it's about the right size. I'm going to hit G Y just to move this over sum. Then once again, select objects in that collection. And let's hit the S key and scale down until we get it Just about that size. There we go. So it doesn't have to be perfect, but it just needed to be quite a bit smaller than it was. Now that we've got that in place, we can take this and delete it. And then if we create, say like a table or counter that it's going to be on. We can come up here and go to Mesh plane. Let's do that. Let's say it's maybe about this big, maybe it's something like this wide. So we just have something that it's sitting on here. Maybe we'll have it be a table. Then let's create another plane and I'm going to pull it back here. And let's turn it in the y-axis. Actually, I need to change from 3D cursor back median point here, there we go. Ry 90. Then we can take this and let's just scale this out, something like that. Just so we have some sort of a backdrop. Now for these, once again, we need to apply the scale. I'll press Control a and apply the scale for this and for this as well. Let's do that. So we've got all ones for those things. And then let's bring a camera. And I don't like to really begin doing too much until I have a camera in. So I don't accidentally work really hard on modeling or texturing something that's going to be outside of the frame of the camera. We don't want to waste time doing that, so I'm just going to press Shift a camera. Here we go. We can drag this out. We can bring it up. So here's our camera. I'm going to scale it down just a bit. And scaling a camera doesn't change anything, how it views anything, it's just how it's represented here in the viewport. And then let's look through the camera. And to do that, you just hit the zero key on the numpad. Or of course you can always hit the Tilde key and go to View camera here. So I'll just hit zero on the numpad. And there we go. Now we can see through our camera. But I want the camera to point at the toaster. What we can do is come over here to view. And right over here is this little lock camera to view setting. And I like to temporarily just turn this on. And now as I move the viewport around, I'm moving the camera around as well. I can move that around and maybe get it. So it's I don't know, maybe we're going to view it like this, let's say. And also I want to change the focal length of the camera. Let me uncheck this and then I can tumble around and that cameras selected and look at here we have it in the toaster collection. So let's move that out. Once again, we can press the N key and move this object to the scene collection. Here, we have it out here that we can work with. And in fact, I put these in the toaster collection tool. Let's select these two. Press M. Move these out to the scene collection, the main scene collection here. Okay. So for the camera, let me get rid of this. I'm going to right-click between two of the Windows, click join areas and pull it up to here and just get rid of that image editor. And then if we go to the object properties of the camera here, I'm going to change the focal length from 50 mm to 35 mm. And there we go. Now let's look through the camera again. I'll hit that zero key on the numpad. It looks like we're going to need if I'm gonna go here. Well, there's a couple of things I can do. I can move all of these over or you know, what I could do is just go more straight on with the camera here and then take the object itself and turn it. So come up here to the toaster collection and right-click Select Objects. Now I'm just going to hit our z and let's turn it just a bit like this. So you can kinda see one of the sides, at least. Here we go. Alright, let's try that. I'm going to press Alt a to de-select. I'll uncheck this. There we go. So now we've got our camera positioned with our toaster there. Let's now add one of those HDR images here in this view so we can get some lighting and reflections on this. Now, I have gone to a website called poly haven. And here I have downloaded an HDRI and a couple of textures. And this is a great website because it's totally free. You can download HDRI and textures and models. They have a blender add-on that allows you to use these from the blender asset browser. But that add-on cost a few dollars. So I've just downloaded for free and HDRI and a couple of textures. And we're going to use these in our scene. But also feel free to go to Poly haven, grab your own HDRI is your own textures and put them in here however you want. I'm just going to move that over here now it's, so let's now bring in that HDRI. I will come over to the world properties here. And under color, I'm just going to click on this right here, so that I can bring in an environment texture. And what I do, and I go up to the rendered viewport shading here, I get a big, ugly pink mess. And that's just blender saying I'm missing something and what is missing is the HDRI. So let's come over here and go to Open. And I'll browse to the HDRI folders in the project files. And here's our HDRI. I will click Open Image. And here it is. So it's just a little room, a little kitchen, and it's got a sliding glass door here. So it just provides some nice illumination as well as reflections. Now, we don't have to see it all the time. Just like over in the shading tab, we can hide the image, but keep the lighting and the reflections. If you go over to the render properties here and go down to the film's section. You can click on transparent. And now you don't see that in the background. So we're getting there. We've got a couple of objects in our scene. We've got the camera, and we've got an HDR image in the background to give us some reflections. So in the next video, we'll talk a little bit more about the Render Engine. We're going to use, add some textures, maybe another light, and then do a test render. 20. Adjusting the Lighting: The next thing I'd like to do is just to change our render engine. Our current render engine is EV, which is great. It's a near real-time engine. It is wonderful, but I'm not a big fan of its shadows. I'm going to change this to the Cycles Render Engine. And I just like the shadows we get from this a little bit better. I'm also going to change my device from CPU to GPU compute. And I think that's going to help get quicker renders here. If you want to adjust this, you can come over to Edit and Preferences. And in here, under System, blender is going to evaluate what kind of graphics card you have in your computer and give you a few options here as to what you want to do. I currently have an RTX 3-SAT, and I found that between optics and cuda, this tends to render a little faster and truer. This is my opinion that the differences are actually very slight, but I'm just going with this particular setting. Your settings may differ here depending on what blender finds in your computer. So I'm going to close this. And then let's put our textures on these objects here on our table and our wall. For this, I can go over to the UV Editing Tab again. And I can just select that, ensure that it's got all ones and the scale fields and it does. And then I'm just going to hit you and smart UV project. And okay. And then for this one up here, I'll do the same thing. Tab into edit mode, use smart UV project and okay, and we really don't get that much of a difference there because it's just a polygon plane that I scaled up evenly. So I think that'll be fine. Alright, let's go over to the shading tab, and I'll select this right here. And let's create a new material for it. I'll just click new, call this fabric because we're going to bring in a fabric texture. I'm going to select my principal, BSD F shader here. And then I'm going to click on Add principled set up. And in our project folder, I've got a texture folder here. And under poly haven textures, I'm going to go into fabric. And I've got three files here from poly haven that I just want to select all of them. And click principled texture setup and that will bring them all in. Hook them up to the proper sockets, give them the proper mapping nodes. And there you go. Let's go over to the layout tab. And let's hit zero and see how it looks. Well, it looks a little too big now, doesn't it? I think that needs to be quite a bit smaller. So okay, in the shading tab, I'll hit the zero on the numpad to go to the camera view, we can switch over to our rendered viewport shading here. And let's just increase the scale over here in the mapping node, I'll just click and drag on these three fields and maybe let's take it up to two. That's a little better. How about three? Let's try three. Yeah. Actually, that's that's not too bad. I'm gonna go with three for now. Let's just see how that works. And then for the wall back here, I've got a wall texture from poly haven as well. So I'll select that, create a new material, I'll call this wall. And in here, once again, I will select that principled be SDF shader. Click Add principled set up. Let's go into the wall folder and I've got four textures here. I'll just select them all and click here. And that brings those in as well. I'll go over to the layout tab. Here we are in our camera view. Now the last thing I wanna do is turn the HDR image in here so we get a better reflection. I feel like we're just getting a big black thing here in the reflection. So once again, let's go over to the shading tab. And I'll hit the arrow key on the numpad. And instead of here in object view in the shading editor, let's switch from object to world. And that allows us to see that HDRI from poly haven that we brought in earlier. Let's with this selected, let's click on Add Texture setup that adds a mapping node and a texture coordinate. And now let's come in here to the rotation fields and in the z field. Let's just click and drag in here and see what happens. We do that. We can see we can begin to turn that whole scene. I think I want it something like I'd like a brighter image being reflected. So let's see how that looks. That's not bad. I mean, click and drag a little bit more. Maybe something like that. Okay. Alright, so I've, I've turned it to about 112 degrees. Let's go over to the layout tab again. So alright, we're getting there, but I feel like it's a little bit too dark. I feel like we're going to need to add an extra light in here to get a little bit more illumination. So I'm going to just going to tumble around here. So maybe I should bring in a light here. I'll press Shift a light and I'll bring in an area light. Let's see how this works. I'm just going to bring it up. You can see it's already adding a little bit of illumination to it. Maybe I'll bring it over just on one side of the camera here. Maybe something like this. And then I can click on this little dot and drag it toward the toaster there. Alright, I think that's looking pretty good. Let's hit the zero key and see what we think, but we can see it here. It's kind of kind of obvious, isn't it right there. What I'm gonna do is I'm going to create a new window here. I'm just going to come up here to the top corner of this window until my cursor turns into a cross and click and drag across like this. And then I'm going to bring this down like this here, like this. Alright, so what I'll do first of all is switch back to shaded view here. Maybe hit the zero key and there's our camera view. And then over here, I will also hit the zero key. And let's make this a rendered view. So I'm gonna come over here, click here, make that a rendered view so we can see it there. I will remove a lot of these things around here. If I click here, that'll take that away, the statistics, et cetera, away. And then if I click here, it'll take these away right there. And then if I hit the T key, it'll take this away. So now I get a nice clean view from my camera view there. And if I wanted to move the camera, what I could do is I could hit that in key here once again and go to View. And in this view only lock the camera to view so that I can move around here freely without a problem. But here, if I tumble around here, it actually moves the camera. You can see the camera moving around in here. So that's kinda what I want. I want to be able to move the camera wherever I want while still being able to work in the scene over here. So let's say I set it up, so it looks kind of like that. And now we can come over here and work on the light here. So maybe I move it over here. And maybe I move it up and over like this. Let's try this, kinda hide it back here. I don't know if this is really going to help. Let's see. Actually that's not too bad. It gives a little bit of light back here. Let's turn that up. Let's come over to the object properties for the light. And let's turn it up from ten, wants to just a normal 60 watt bulb. And let's see what happens. Okay, that's not too bad. That kind of mimics what we're seeing. The bright light here that kind of mimics that over here. Let's move it forward some, and then bring that back to the toaster there. So I think this part right here is this light, but it's not bothering me as much because it's kind of blending in with that big area of light there. So I think that's kinda nice. I'm going to save my scene Control S. And let's try a render. Let's hit F2. And let's see what it looks like. Alright, it took 44 s, but I think we're getting close. The last thing I wanna do is just add a little bit of dirt and imperfections to the metal is just too perfect. I think even if it came brand new right out of the box, that's still seems a little too perfect for this Chrome. So in the next video, we'll add a little imperfections to the metal. 21. Adding Grunge and Rendering: Now as I said, I feel like there's metal materials just a little bit too perfect. Let's go back over to the shading tab. And over here, what let's do this, let's add a little bit of grunge. I'm going to select this piece right here, and let's go back to the object view for the shading editor. And then I'm gonna hit the Home key to view all of this. Now in the roughness channel here, I think I'd like to bring in a grunge map. And I've got one in the textures folder in the project files. So if we just select this and click add texture setup, we get a texture setup here. This image texture here is what actually needs to go into the roughness here. So if I take this, pull it out and drag it into the roughness, this is what we want. So now what we can do is bring in that image. Let's click Open. And I will browse to my project files. And under textures. Here it is. I've got a grungy map here. So I'll click Open. And here we go. So now you can see we've got quite a bit of grunge information here. I'm gonna hit the period key to zoom in. Yeah, So, but that's a little too much. It's a little too much going on in there. So we need to somehow bring that back and we can do that with a color ramp. I'm going to click these are drag, select these, hit the G key and move this a bit. And then in here I'm going to press Shift a and search, and search for a ramp and choose Color Ramp. And here we go. I'm going to drop that right in here. Now what we can do is use these two points here to adjust what we're seeing there. So if I take this and I drag it this way, you can see it reduces the amount of grunge. Okay, So maybe I can bring it to something like this. But because it's pure black, it is making it really shiny. It's like a very clean mirror. So we don't want that. We want to keep some of the grunge, but then bring it back so the roughness matches this area as well. So let's just with this selected click on the black. And we can bring this value slider up. And that will increase the roughness. So we can kinda get it similar to these over here. Now, I want to bring this forward some, so it's not quite so much grunge. And we go, Let's see how that works. It's still a little too much. I think if we take this here and bring it down, it just increases that. But we can also change the color here. So it's just kind of a balancing act between the two. Something like that. I think we can just see a little bit in there. Yeah, let's try that first of all. And then what I'm gonna do is take all of these right here again and press Control C. Click on this, press control V, and then bring this into the roughness as well like that. And when we do that, we're not really seeing it over here and it's because we've selected the left side over here. Yes. So you can kinda see it here. And I think that's actually not too bad. So let's now take this and duplicate it and take it over to the right side as well. So once again, Control C, go over to the right side, Control V. And let's plug it into the roughness here as well. There we go. Now let's take a look. Let's see what we think. Yeah, I kind of liked that little imperfections there. I think that helps. What about this? Well, we needed on this default metal material to, right. Let's do that control V. And let's add this into the roughness there. So now we should have it on all of our pieces. Yeah, I think that looks pretty good. Let's go back to the Layout tab and let's just do a render and see how it looks. I'll hit F12 again. And actually before I do, let's come back over here to the render outputs. No, excuse me, the render properties. There we go. And what I wanna do is change the render sampling. If you're having trouble moving around in the viewport when you've got the rendered view on, you can always bring down the max samples here. Let me bring back our statistics here. If I move this a bit, you can see it churning through 1024 because I've got 1024 in the viewport settings here. If it's slowing you down to have that do that. You can always come over here and turn this down to something like 256. And then when you move this around, it should go a little bit quicker. In addition, for the render samples, you can take this down quite a bit because we have de-noise on. This does an amazing job of cleaning up a render that isn't at a high sample rate. So we can even take this 40, 96 down to like. Five-twelfths. Let's try that and recall when we rendered before it took about 44 s, I think. Now let's try it again with the max samples down to 512. So let's try that again. I'm gonna go ahead and save the scene with Control S and then hit F2. And let's see how long it takes. Alright, This time it took about 17 s. So that's actually a good deal of an improvement there. But looking at this now, to me, it looks like I've got too much grunge here along this part. And I don't have enough reflection. I've increased the roughness too much here on this part. So let's go back and fix those. I'll just hit the Escape key. And then I can turn this window down here into a shader editor. I can middle mouse button click and drag on this and move that over. And then here I can take this and grab a shader editor so that now I can play around with it in here. Let's say I want to use this one here. And maybe I can play with the roughness in this node here. I'll go to the color swatch. Let's drag this down a bit until it's a little more reflective. Yeah. See how you can pull it all the way down and make it more reflective and bring it up and make it more rough. But I'm going to drag it down just a little bit. So we see a little bit more of that table there like that. Let's try that. Now, I said that I feel like I have too much grunge here in this one. So maybe I will drag this up toward the right. See if I can clean that up a bit. Once again, I'll save my scene. Hit F12 and let's see what we think. Once again, about 17 s, That's not bad. I like this. Yeah, I like that. We're not getting quite as much grunge here. That's fine with me. I feel like this could have a little bit less grunge and maybe a little bit more reflections. So let's try that once again, I'm going to hit Escape. Select this for less grunge. I'm going to bring this back this way. And bring this up this way here like this. Alright, let's try that. F2. This time it was just a little below 17 s, which isn't bad. But yeah, I think that's a little bit better. It's still it isn't perfect. And maybe I can add a little more grungy in here, but I think that's a little bit better. Alright, So when we like what we see, we can always just come up here and click Image and Save As, and save our image to our project folder. I'll just create a new folder, call it renders. And we'll put this in here. And I will call this toaster render one. Let's do that. And there we go. Now we've saved that image to our hard drive. 22. Adjusting Depth of Field: Alright, the very last thing I wanna do is just deal with the overall lighting and maybe let's add some depth of field to the camera. First of all, the overall lighting, I think let's come back over here to the world properties. And for our strength for this HDRI, let's take this 1-2. Let's just try that. That's a little too bright. And about 1.5. Yeah, that's not bad. Let's try 1.7. Yeah, I think I kinda like it like that, so let's try that. And then for the camera here, I'm going to select the camera. And for this, I want to have the front of this be in focus. And as we go back, I want the background to fall out of focus, like an actual camera lens would do. So let's select the camera over here and over here in the depth of field. Let's turn that on. And we currently have an f-stop of 2.8. And that gives us a fairly good blurb, but it's in the wrong place. The focus is back here on the wall or even further back. It looks like it's 10 m back. So let's choose an object to be in-focus. I'll select the eyedropper here. I'll hover over this small dial here and click here. Now you can see that small dial is in focus and everything behind it is out-of-focus. So is that enough? Let me hit the End key and I've turned off camera to view so I can zoom in a bit without changing the camera position. So I feel like that may be a little bit too small of an F stop. Well, let's see. Well, let's hit F2 and let's take a look at a render. Alright, so now because we've got that depth of field on, it's up to 18 s. Isn't bad. This is pretty good. We've got this area in focus and then it kinda falls off back there. We could try a lower F-stop if we wanted, we could hit the escape key and come down here and we can try. How about just two? Let's just try and f-stop of two and see how that works. Let's hit F12 and take a look. Well that's not bad, but I feel like this side is beginning to fall out of focus. So maybe 2.8 isn't all that bad. How about I just try four? Let's try an f-stop of four and just see how that works as well. Just to give it a test and see which one we like. Alright, That's not bad either. But I think I liked the 2.8 that we began with. So I think I'll go with that. Come over here and go to 2.8. And I think we're about done. Let's hit F2 one more time. Now after about 18 s, we have a render. I'll go to Image, Save As, and this will be toaster render. To save. 23. Conclusion: Well, thank you so much for joining me as we explored blenders strategies for modeling and texturing. I hope this course has been useful. I've certainly enjoyed going through it with you. And I look forward to seeing the things you create using Blender and these techniques and processes will keep on creating and get your work out there. Hope to see you real soon. Take care.