Create an Anime Rooftop Scene in Blender

1. Introduction to Class: Hello, and welcome to this class where we will learn how to create an anime inspired rooftop scene from scratch, just using Blender. We will cover everything from modeling and texturing to lighting and rendering the scene. You'll also learn how to achieve that signature anime look using shaders, lighting, adding line art, and also compositing. First, we will model the entire rooftop scene from scratch, setting up the building, fence, benches, ladder, and all the key assets step by step. You'll also learn how to create each element, apply materials, set up lighting, Azures, and build a strong composition for a cinematic result. We'll then refine the scene with anime style rendering techniques, adding small details and props, and applying outlines to achieve that signature hand drawn anime look. Next, we will create multiple variations of the scene like daytime and nighttime versions showing you how to transform the mood and atmosphere using lighting, colors, and sky setups. Finally, we'll composite the final vendors in Blender and Photoshop using multiple effects like the glare node, the Kuahara node, and also adding overlays to give those polished finishing touches. Whether you are a beginner or an experienced blender user looking to explore anime aesthetics, this class will give you the skills to create eye catching, stylize three D environments. So I hope to see you there in the class. Thank you. 2. Going Over Reference Images: Hello and welcome guys to this new course where we will be creating two anime inspired scenes in Blender, one of them being a rooftop scene and a school hallway scene. So in this very first lecture, we will be just going over our reference images, and I will be showing you a free program called PureRef and how we can use it to arrange our reference images. So you can open up the course files. Over here, you will find all the required files that are needed for this course. So let's just open up the reference images folder. And here I have added all of the images that we are going to be using in this course. As you can see, we have a couple of reference images for the rooftop that we will be using to create it. And we also have a lot of hallway images that we can use to base our scene off. So now what we want to do is basically we want to, like, place them all onto like a mood board type of thing. So for that, we will be using PureRef. So you can go to Google and just search for PureRef quickly. And it is free program, so you can download it for free. Just open up the first link, click Download. And if you scroll down, you can select your operating system and then just type in zero as the donation amount over here. But if you want to donate over here, you can do so. But it is a free program, so you can just type in zero and then hit Checkout, and it will give you the download file. You can install this program for free and then open up PureRef from over here. As I've already installed it, I'm not going to do it again. So just open up PureRef and you will get this black screen open up in your like window. So let me just quickly go over some of the basics of PureRef. You can resize the window like this. It's pretty easy. It will also be floating over all the other windows. Even if you click over here, you can see it does not go away. And what we can do is we can just select all of these images and then just drag and drop them onto the PureRef. And as you can see, it will create this type of thing over here. You can hit right click and then go over to images. And I think in normalize, we can set normalize the scale or the size, I think. What this will do is it will kind of make all of them of equal size, like this. And then we can just select it once again, right click and go to images and arrange them by optimal. And now you can see they all have a similar size, and this way we can just look at all of them at the same time only. The great thing about this is that it will always stay over your windows, so you can always just work on your reference images while you are working with blender. So we can just quickly place all of the rooftop scene over here together. And then we can place all of the hallway scenes over here so that we can always easily look at all our reference images at once. This way we don't have to, like, again and again, check between different windows. You can also double click on any image, and it will quickly just focus all over it. These are some of the other reference images that we will be using to create some specific items, so we won't be using them directly from over here. Rather than that, we will be using them in blender only. So now we have all our reference images over here. And with this, we can finally start working. So the first scene that we will be working on is the rooftop scene. As it is a fairly simple one, we can easily create out the model and then add the materials and then give it that anime or stylized kind of look. And afterwards, we will be working on the hallway scene, which is a little bit more complex than the earlier one. So yeah, in this lecture, I really just wanted to go over pure ref and going over the reference images. We will be starting with blocking out and modeling in the next lecture. Also, you can just hit right click and go to Save and just quickly save your scene. And I will save it in the reference images folder only. You can just rename this to moodboard. It's save. And we also have a lot of other different settings in PureRp that you can quickly just go over by hitting right click and looking around. Also, another important thing is that hold your right click on your mouse to move it around on your screen. You can place it over here in the corner and then you can easily keep working while also looking at the images. If you have a second monitor like me, you can move it over to the second monitor as well. You can resize it from over here if you have a smaller screen to make it more optimized. We can also hit right click and you can change the mode so you can see currently always on top is enabled. That's why it will always stay on top of your each and every application. But if you just disable it, then if you click on your blender, it will go also, you can always keep always on top enabled. It's really helpful. But if you want to really minimize it, you can just click over here in the start bar, and it will basically minimize it like this, even though always on top is enabled. So I just wanted to go over a couple of settings of Pure ref and just wanted to go over the reference images. Now that we have done this, I think this is pretty good for this first lecture. I want to keep it short and simple. In the next lecture, we will be working on blocking out and creating the models for our rooftop scene. So thank you guys watching. I will see you in the next one. 3. Creating Roof Blockout: Hello, A, welcome, guys. So in this lecture, we will be starting with the modeling of our rooftop scene. So I've opened up a new blender file over here. We can just start by pressing A to select everything that is added by default, and we can just delete it. I've also turned on screen cast keys, which is an add on, and it will show you all of the shortcuts that I'm performing right over here, and it will help you to follow me along easily. Alright, so I will just go over here and open up our PR file. And then we can just right click and open up the scene that we saved in the last lecture. So now let's just click on it to open it and we have a file over here. So as we will be starting with the rooftop scene over here, so let's just focus on that. And as I said, we will be just setting up the models in this lecture. So let's start by adding in the ground. So I will place it right over here in the corner. Later on, I will just move it to the second monitor only so that we have more screen space over here. So press Shift A, and let's just add a simple, and we are first creating our ground over here. So you can press N now to bring this side bar view up and you can see we have the dimensions of the cube over here. So we can increase this to something like ten by ten. And let's just decrease the z because we don't want it to be that thick at all. Yeah, something like that. So this will be like the base for the rooftop, and over that, we can just add these curves and fences first. So let's just press Shift, and we can start by adding this like stone slab like thing that is covering the boundary. We can press seven for top view, and let's just move it right over here. Press then X to lock it on the X axis to scale it down and we can scale it right till here. Press S then Z. These are some of the basic shortcuts. You just press to scale it, and then we can press X Y or Z to lock it in that particular axis. Let's see. Press then Y, and let's just decrease the length like this. If you want, you can see the measurements that I'm using from over here as well. Alright, let's just make it a little bit more smaller. Yeah, I think something like that feels pretty good to me. Now we can select it and press Control A and apply the scale. So if you're not aware with this concept, whenever you change the scale of your object, you always need to press control it to apply the scale. And I will just quickly explain it with the example that I always use. So if I add a cube right over here and let's just say I duplicate it, so now we have two different cubes. If I select this cube, press S then X and scale it on the X axis by three. So I will type on number pad just three, to scale it three times like this. Then once again, I will just select the same cube and press S then X and type in three. Now, this way, both of these cubes are scaled by three times on the X axis, but for one of them, I will press Control A and apply the scale, and for the other one, I won't be doing so. Now if you just select it, select both of them, Press tab, press A, to make sure everything is selected, and then press Control plus B to bevel it out, you will notice that both of them are beveling in a very different manner. If I just give it a nice bit of bevel, and let's just use a scroll V to make it smoother. Press tab. And you can clearly see the bevel over here is very uniform, whereas the bevel over here looks very stretched. So that is the reason that we applied the scale because this particular cube has like a uniform scale that's why the bevel over here looks perfect and it looks uniform, whereas the bevel t over here looks pretty stretched because we did not apply the scale for this after scaling it up in the X axis like this. So that's why the bevel is like this. And this goes for a lot of different blender operations, not only just bevel. If you don't apply the scale for your models, it can cause a lot of issues. Let's say if I inset this now, press I to inset this, and you can see over here, the inset is working perfectly, whereas over here, the inset looks stretched. So that is what I just want to quickly go over. I will delete it now and we can come back over here, select this press Control A, and make sure to apply the scale. We can maybe give it a little bit of detail by pressing Tab. Press two for select. So if you know one is for vertice select, you can select vertices. Two is for SLI, and three is for face selling. I will press two now, select this edge, press Control B, and bevel it out just like this and just give it like one bevel. Like no segments in between. Just to make it something like this, to give it like a that stone curve like look. Now what I will do is I will just finish it all by adding in like a bevel modifier. Go into your modifier section and add in a bevel. Make sure the scale is applied, and let's just decrease the bevel amount now to something small like this. Go into shading and enable harder normals. And this way we get this perfect looking stone curve that we can use to fence along our, um, boundary. Now, I will go over here and just quickly enable shadow and cavity as well. So these options will just make your visuals a little bit better in blender. They won't really do anything else, but it will just make your edges look a little bit more prominent with cavity enabled and shadows just for showing up shadows in the viewboard as well. If you add in something like a light, which we'll be adding later on, it will just show you some basic shadows just to get a little bit of idea. And yeah, now I will just move it back over here, and then we can start by first just moving it right to this corner so that we can now duplicate it and fence it along. What I will be doing is instead of duplicating it again and again, we can just simply select it, go into the modifier section once again and just add in array modifier. Set the X factor to zero and increase the Y factor. To maybe something like this. Let's just decrease this to one. Yeah, I think one is fine. They are closely connected like this, and then you can just increase the count to get something like this. I will select it overall and scale it down so that it kind of, like, fits perfectly with our length. And yeah, I think something like this is pretty good, and I think it looks right. Now we can just select it. And once again, I will be simply adding another modifier to copy it over here. You can add in a mirror modifier, and mirror modifier works according to the origin point. So we want to use the origin point of this big cube or the ground that we have created. So go into the mirror object and select the cube as the mirroring point. And now you can see it is mirroring perfectly across this cube over here. And this way we have created dispense on these two sides. Now we just need to select. Once again, move it like this. We can disable the mirror modifier for now, so we can turn it off from over here, press R, then z and type 90, or I'll just type in -90. Press seven and move it right over here. Now this time, instead of mirroring it on the X axis, we will be instead mirroring it on the y axis so that it covers all of the four sides of our ground or the rooftop, sorry. I will also press then X to press the next and just scale it a little bit so that it extends till over here because it does not really matter if the scale is a little bit off for both sides because it is not really even that much noticeable. We have something like this. And yeah I think that's pretty good. I will just select them all and move it a little bit down like this. And moreover, I will just select it for now and just turn off the mirror modifier for this so that we can work it something like this. We will be adding our camera over here, right over here, and then we can create the scene. So I'll just press Shift A and just add in a camera quickly. Now, if you press zero on your number pad, you will see we can view through the camera. For now, I will just hold right click and move it to the second monitor, the PureRef scene. And we want to make this camera like properly fit across our scenes so we want it to place it somewhere around here. So what you need to do is basically just place your blender how you want your camera to be. So I will just move around my view and place it perfectly like this. Then you can press Control 100. And you will see as soon as you do that, the camera will change its location and it will perfectly fit along your blender view. Now if you press zero, you can see through the camera. Go into view, so press N and bring the sidebar view up and go into this view section and enable camera to view. Now you can just hold control and use your scroll wheel, like you can basically use the camera similar to using blender, you can just zoom out a little bit. To view everything like this. Now we have pretty much everything in our scene. I will disable camera to view so that I can come out of the camera view right now. I will also just press zero and go into the camera, select the camera, and you can go into the properties object data properties of the camera and just decrease the focal length something like 35. That is totally up to your personal preference what you want to go for. And then I will just zoom in a little bit, something around here. And this is kind of the view for our scene, as you can see, we are looking at from this side, and then I will disable this. Basically, now we can just add in, like, a cube, and over here, we will be creating our building thing and we will be adding the fences and all those things. So this is like the basic setup for our scene now. Will delete this cube for now. And also, as you can see, the shadows are also showing up because we enable the shadow option from over here, which is quite helpful. So yeah, I will just delete it for now, and the next step to do is to add these fences, which I think we will be doing in the next lecture. I think this much is pretty good for this one. We added the ground and we added the fences. So let's just hit Save first. So I'll go ahead and hit Save. And now just move back in the Blender files, we can hit right click and first create a new folder and rename this folder to Rooftop so that we have a bit of organized files, and I will save this as Rooftop scene. Now, it's save Blender file. So yeah, I think this much is pretty good guys. We will continue to work on the modeling of our rooftop scene in the next lecture. Thank you guys for watching. I will see you in the next one. 4. Adding the Fences and Building: Hello, and welcome, guys. So let's continue modeling our environment now. Let's start by adding these metal fences right over here. So let's just press Shift plus A, and we can add in a simple cube. Let's press press three. For phase select, let's select this phase, press X, and delete the vertices so that we have something flat like this. Let's just move it back right over here. Press seven for top and just place it along right over here. What I will do is just press zero to check the size of it. And I think a two by two square looks fine over here. What we can do is press Control, apply the scale. Press tab, press three for phase select and select this phase, press I to insert this like this, to create the boundary for it, then press X and delete this phase. Now we have something of this kind, and then we can just give it a bit of thickness. So multiple ways to give it thickness, we can just press tab, press A to select everything, and we can also extrude it like this, which will give it thickness. But I think a better way or a non destructive way to do this would be to just add in a solidify modify. So search for solidify and add it. This way, what we can do is it is still a plane only, but we can adjust the thickness from this modifier. So let's keep it something like this, bring it out over here. Let's type in 0.04, I think. And now we have our fence right over here ready. Press zero, and I think it looks pretty good. Then we can just add in once again an array modifier. Type in zero on the X factor, and I think increase it on the Y. Let's see. We can definitely keep a very small bit of gap between them. Or just type in minus one and add in a bevel modifier so that we can actually see that boundary and just decrease the bevel amount to a very small number. Something like this, enable hard novels. And I think this is pretty good. I'll just move it up a little bit. Then we can increase the count of this to something like five. Then once again, select it. And as you know, we can once again add in a mirror modifier and just select the mirror object as this round so that it perfectly duplicates right over here. Now you can see we have created R fence over here. Now, once again, just select it, press seven for top view, duplicate it like this and remove the mirror modifier, press R, then type in 90 to rotate it by 90 degrees and just place it right over here. Now, what I want is that it kind of attaches over here. So let's just make it touch Would you select it now, press S, then X and just extend it till here. Now I'm just trying to, like, fit them properly across the corners. Yeah, I think that's pretty good. Press zero to just quickly check through your camera view, and I think it's looking pretty good to me right now. I'll just place the view right over here, press Control Alt and zero once again and enable view from over here, camera to view. I think right now, something like this looks pretty good to me. We'll definitely work on the view and camera angle all those things a lot more later on. But right now, I think for now it is fine. Okay. Alright, guys, I think our fence is looking pretty good. Now you will also notice that we also have this barbed wire kind of thing added in between the fins. But don't worry. We won't be adding it using models because it would be too, like, high poly. And what I will be doing is we will be just basically creating a material for this part. So we'll be doing that later on. So for now, let's just focus on creating the building right over here. So for this, once again, let's just press Shift plus A and add in a cue. We can place it right over here in the corner for now. And what I will do is I will press slash on my number pad, and what this will do is it will take this cube into this local mode so that we can work on it freely. If you press slash once again, you will come out of the local mode, but you can just press it once again and go over here. Now, to start off, I'll press Tab, press three for phase select and select this bottom face. Press Shift plus S and cursor to select it. Now what I want to do is right now the origin point is currently in the center of the cube. So the origin point is responsible for all of the transformations. So if I just scale it or rotate it, you can see all of those things are happening through the origin point. But if I just place the three D cursor right over here, so what I did is just selected this phase, press Shift plus and then Casa to select it. And then I can go over to object set origin and set the origin point to the three D cursor. Now, what this will basically do is whenever I try to rotate it or scale it. You can see this time it is happening from the origin point at the bottom, and how this will help us if I just quickly press slash to come out of the local mode and go over here and enable face snapping. Press G and first, let's bring it out. Then press G and hold control, and I can easily, snap it onto the face of the ground very easily. And it will also help us when we are trying to scale, let's say, the height of the building, so I selected press thein Z. I can easily scale it on the upward side like this. But earlier if we had a cube, let's say, if I just duplicate it right now and I go to object set origin, origin toemetry now the origin is back at the center only. So this one has the origin at the bottom face. So when I press STN Z, I can scale it very easily the height of the building. But if I press S and Z, you can see it will scale in both the directions, which can cause some issues, not really issues, but it's a lot more work. You have to place it then once again. But this way, it gives us much more control. And yeah, with that out of the way, let's just scale our building accordingly. I will press STN Z and try to decrease the height on the Z axis, go to item so that we can actually see it over here. I think I will be going with something like yeah, 1.89, one point. Let's sent this to 1.8 fives it on the Y as well. And on the X. Yeah, I think the size looks pretty good to me. What we can do next is we can just take any of those buildings, so I will be following this one and just try to kind of, like, add in a little bit of extrusions and things like that to make it a little bit more detailed. So I will just place it right over here and let's start. If you want to copy the dimensions over here, you can do so. And now let's just press slash once again to go into the local mode so that we can freely work over there. Press Control A and make sure to apply the scale first. Press tab, and one other thing that I will show you is you can go over here and enable edge length. Basically, what this will do is it will show you the distance or the length of all of the edges, which makes it a little bit easier to follow the dimensions. Press Control R to add a edge loop, and we are creating this top piece. Place it right over here, so you can follow like right over here. It's 0.3 meters exactly from the distance from the top. Then we can press three for phase select, hold Alt, and select this completely. So hold Alt and select this complete loop, press Alt plus E, and extrude faces along normal. Then I can just extrude it out, something like this. Yeah, I think this much feels pretty good. Press tab, once again, press Control R, and you can use your scroll wheel to increase the number of these cuts added, so I will be adding two. And this time we are creating this portion. We basically need to add one edge lob over here and one over here, and then push it inwards. Add two like this, hit right click, and then you can just press S then X and scale it up on the X axis. Something like this. Then I will just select this phase. And now, as you can see, we need to press E to extrude it and push it inwards. But what this will do is it will add this extra phase over here, which looks pretty weird. So what we want now is that we want to extrude it a little bit more cleanly. So if you go in here in the extrude toolbar or the tool menu, you can press T to bring this up like this and then hold over here, and then you will find this extrude manifold. To select this one instead of extrude region, select extrude manifold. And now, once again, select this phase. And this time when you select this yellow icon and push it inwards, you can see, like, now we can extrude it much more cleanly, and it will give us really nice results. So yeah, with this, I think our building is looking pretty good. Like the blockout phase is looking really nice. I will select it and we can start by adding in a bevel modifier. You will see that as soon as we added the bevel modifier, nothing really happened because sometimes, like the vertices are too close to each other and the bevel modifier can't really work properly, so we need to make it a little bit more manual. So under the emtr section, just disable clamp overlap. And as soon as you do that, basically what this has done is it has removed the limits of the bevel modifier to control the geometry. If you increase it, it can go totally crazy. But what we need to do is we just need to decrease it just that much that we can get nice looking bewels and it does not really, interfere with anything. You just need to make sure there are no, overlapping edges anywhere. And yeah, I think we are good to go. So with that, you can just hit right click and shade auto smooth and just disable the spin icon and make sure to move the shade autosmooth on the top and then enable harder normals. This will give you these good looking edges. As you can see, earlier, they were looking pretty weird. But if you enable harder normals, and then we can get these nice looking edges and corners. And with that, I think the basic shape of our building is looking pretty good. Let's press slash to come out of the local mode and see how everything is looking around. I will also select the camera quickly and we can just Go in over here under the camera settings and increase the sensor size to something like 50. Then go back to view, enable camera to view, and just zoom in a little bit more. Yeah, I think this camera setting feels a little bit better. All these settings are totally up to you how you want to adjust the focal length and things like that. Yeah. I will also select this, and I think it looks a little bit too big, so I will just decrease the size of it, something like that. Seven for top you and just move it over here in the corner. But and yeah, I think that looks pretty good to me. We can also quickly just take a look at how everything is looking. You can go in the viewport shading and just make sure to set this to EV and we can press Shift A and add in like a simple light that is going to be our sunlight. And this will give us very flat looking results. So press R two times while selecting your sunlight, press R two times and rotate it like this to make it a little bit more interesting. It does not really matter if you move it around, but it would matter if you rotate it around. And we can select the sunlight and we can increase the strength to two for now. And if you go over here in the render properties, everything is looking really dark right now. But as soon as you enable this rate racing, you can see we get much better results. But for this to happen, you need to make sure that you are in the latest version of blender that is 4.3. So yeah, make sure you do that. There you will get these nice rate racing features even in EV as well. You can go over here and increase the resolution to one by one to improve these lightings and over here also just set the rate to one by one, which will improve the quality a lot. For now, I think that's pretty good. We can definitely work a little bit more on the lighting and materials later on. But if you just press F 12 right now, this is kind of how our render looks right now. Which I think is a pretty nice start. So let's just continue working on it right now. I will close it now and it's safe. And with this, I think this smudge is pretty good for this lecture. In the next studio, we will be further working on the building, even more adding these more details like windows, doors, and we will be creating some other small props as well. As you can see, we also have a little bit of ladder like thing going on on the building or like a bench like thing on the rooftop, which will give it a little bit more detail in our scenes. So yeah, I think this smudge is pretty good for this lecture. Thank you guys watching. I will see you in the next one. 5. Detailing the Building: Hello, A, welcome, guys. So let's continue working on our building right over here. So, again, if you will look in the reference image, I'm following this building right over here. So we'll just create a section for the windows and the door as well. So let's just start. Come right over here. Let's press tab to go into the edit mode, press Control R and you can use your scroll wheel to once again add two edge loops like this. And I will also quickly enable edge length so that I can see all the measurements. Then press Control, Add once again and just scroll it to two times and add two edge loops like this as well. And this can be window in the center right over here. Like that, I will just select both of these loops and just press G then Z and move it upwards. Then you can just select this pace, press E, and extrude it in words like this. I will also just select the camera, go to view again, camera to view, and you zoom in a little bit and bring it down. This shot feels a little bit better. Yeah. So disable camera to view now, and let's come back right over here. Press tab, we can just hold all and select these two loops once again and just move them upwards. Okay. This does not work now, as you can see, it will kind of make the window looking weird. So enable Xray, press one for the front view like this and just select it all right over here. This way you can easily select everything and just move it upwards altogether. Press tab to come out of the edit mode, disable Xray. And yeah, I think this feels pretty good now. Let's continue and press tab once again, and we can add another two edge loops. Just press G then X, so G then Y and move it right over here. Hold all and just select this loop, press G, then Y once again and move it inwards. Let's see how big we want to create a door. We can use these two faces as well, but I think that's a bit too small, press control R and add another edge loop. I think something like this is pretty good. Once again, just press E and extrude this backwards. This time, undo this, go over here and select extrude manifold. Just hold over here and select extrude manifold, and then again, push it back like this. And this way we have created the sections for the window and the door as well. And now let's actually create them both. So it is pretty simple. I will press tab, and now we can just disable the edge length as well so that everything looks pretty clear. So that everything looks a little bit cleaner, and let's select this tool, select these three phases, press Shift plus D to duplicate this phase like this. Then hit right click so that it is exactly at this location only, you can press P and separate the selection. What this will do is it will basically create this separate object for this door that we can easily use. So you can see right now the origin point is placed right over here, so you go to object, set origin and origin to geometry. Move it back. And this can be a door. What I will do is I will press tab and we can just press two for select, select these two edges, press X and do not delete these edges, but dissolve them so that the shape stays, and we just remove those edges completely. If you would have deleted them, it would have created something like this. So instead, we will just dissolve those edges so that we still have the shape of our door. And this way we can get this door we can go to modifiers and quickly just add in a solidify modifier as well, increase the thickness for this, and you can notice that the shading is pretty weird. So first, let's just move the solidify modifier above the Bbl and that fixes it. Decrease the Bbel amount and we have something like this. Another thing that I want to do is press tab and once again, just select this complete loop for the door, press Shift plus D to again duplicate this, bring it out over here, press B and separate the selection. Once again, we have a separate door over here. For this, I will just press Tab, press three for phase select, select this phase, press I to insert this, insert this a little bit, press X, and delete the phase. So that we have something hollow like this, and we already have the solidifier and the bevel modifier and just move it back in so that we can create a door frame. You want to create it a little bit thicker? You just select this loop and press S to scale it inwards like this. I'll just move this part downwards so that we only get these three edges and not this one. This way, I think that door frame looks pretty good. All right, guys, let's move over to the Windows now. Once again, I will be using the same thing. So just select this phase, press Shift plus D, right click and press B and separate the selection. Select this right over here, go to object, set origin or geometry, and bring it out. This time, I will just press Tab, press Control R and add loop right in the middle. Hit right click and we can create two different separate windows. Select one of them, press B and separate the selection. So once again, now we have these two windows. So what I will be doing is again, pretty basic select them both. Apply the scale, so Control A, apply the scale. Let's add a solidify modifier and move it above the bevel. Similarly for this one, as well. Now, just make sure that the values for the solidify and the Bewl modifier are equal. So 0.004 on the Bbelah now both of them are same. What I will do is once again, I want to create. Let's just select them both, press slash to go into the local mode, and we can just duplicate them, bring them out, press tab, select both of these faces, press I to insert and press X and delete the face. Project. Another thing that you can do is right now I want to decrease the bevel amount for both of them at the same time. So if I just decrease or increase the bevel amount, you can see only one of them is being affected. So if I hold at, and then I decrease it, you can see I can affect them both at the same time now. Just like that. Now just select them both and move it inwards like this. And this can be our pretty simple looking windows. I will just select these two and bring them out a little bit and select these two and just move them backwards. Sorry. Just like this. I think that looks pretty good now. Let's just hit Save on our files. And with this, our building model is also pretty much done. Now, as the environment looks like quite a bit empty, I will be adding, like, a ladder over here on the building and also a couple of these benches that we can use to fill out this empty space over here. So yeah, let's just sit save now, and with that, we are pretty much done with this lecture. We will be continuing from over here. So thank you guys for watching. I will see you in the next one. Okay. 6. Creating the Bench: Hello, A, welcome, guys. So let's continue working. And now in this lecture, as you can see, we are almost pretty much done with the modeling phase. We will be also adding something like over here, like a bench. So let's just add that in this lecture. So for this, I have added, a couple of reference images that you can see the front view and the side view. So we cannot really use them from over here, like, from the a pure Rf, we just need to bring them into blender. So I will press for the front view like this. You can hold your shift and use your right click to place the three D cause right over here, and then press Shift plus A, let's just simply add in a reference image, and we can go into our resource files. So open up the reference images folder and just select the front view. Let's just move back a little bit, then you can press three for the right side view. Don't worry, we'll just isolate them. Then you can just add in a side view like this and move it right over here. Let's just select them both and press slash to go into the local mode so that we can work on them a bit more freely. And with this, we have the front view and the side view of the bench, and it should be pretty easy to create it now. So press one for the front view and press Shift ta. Let's just simply add in a mesh and a cube. Scale this cube down and make it the size of this plank right over here. And scale it up till here. Let's press three and make sure to fit it accordingly from the right side view as well. So just move it back and just scale it down on the y axis. Now you will notice that we have this curve like thing going on where the planks are being moved up in this curved fashion. So first, I will just add in the array modifier. So one way we can do this is just duplicate it again and again, press shift plus deduplicate it, and then rotate it like this. Which would honestly work fine, but I think there is a much better and like a quick and automatic way to do it. So let's just delete it all. Press three for right side view, go into the modifier section for this cue and add in an array modifier once again. Let's set this to zero and increase the Z, I think. Just move this down till here and now we can just duplicate it I think five times. Now to just make it bend, we can add in simple modifier. So just search for simple deform and add that you can see using this modifier, you can bend or move around your object and just select the bend option. And with this, you can see we pretty much get something like that. We get something like the results we want. Press Control and make sure to apply the scale, and that would pretty much fix the. Earlier issue earlier it was kind of skewed, so press control apply the scale, and this will give you this perfect curve going through. Now you can just play around with the angle like this and we will kind of get the perfect look that we want. And now you can see we have this like curve look going on, and the bench is looking pretty good. Let's just next add in a bevel modifier and decrease the bevel amount, just a little bit, not much and add in the harder normals. And with this, I think this is looking pretty good. Next, we can just simply add another cube, scale this down and we can kind of add in a covering over here, again, just scale it up. And make it like the same size of this. Now for this, you will notice that when we add in the bend modifier, like the simple deform modifier, once again, because once again, we want to make this cube in the curved shape of this object. So we can select this and add in a simple deform. But you will notice no matter what you do, I don't think it would work properly. Select bend. You can move it around. We will get something like this. You can change the axis. And nothing really happens. The main reason for this is because right now, if you press tab, this cube does not really have any kind of geometry in it for this to move around properly. For this over here, we had these multiple cubes, which it curved around properly, but this one is only a single object and we don't have any geometry in it, so we can press Control R first and add in like a bunch of edge loops so that the modifier can actually use some geometry to move it around. Now when you add in the simple deform, select bend, apply the scale first. And still, now, if you just move it around, you can see, we get like much better results. Now it is bending properly. We still not get what we are looking for, and the reason for that is that the simple deform modifier always works along the origin point. So for this object to take the proper curved shape, we need to place the origin point right at the bottom over here. So even though it is curved, if you press tab, we can see we can still see our old straight c because we haven't really applied the modifier right now. If you go over here and hit Apply, then if you press tab, you can see now it is permanently curved. Let's just undo it. This is like the point of modifiers to keep everything like nondestructive. So now I will just press tab, press three for phase, select, select this phase, press Shift plus and cursor to select it to bring the cursor right at the center of this phase. Then I will go to object set origin and origin two, three decoso. This way now you can see the modifier has changed and the bending is taking over from this point. Now if I just decrease the angle, we can properly match the earlier shape of this thing. And this, I think, looks pretty good. I will press tab, select the top part, and just move it up a little bit. I can see we have something like this. Let's just select this and once again add in a mirror modifier and select the mirror object as this so that we can successfully duplicate them both. I will also just select it and make it a tad bit wider. Last is to just add in a bevel modifier. Apply the scale, decrease the bevel amount to a very small number, and enable harder normals. This way our bench, from the front over here is done. Let's just select them both, select both of these objects that you just created. Press three for right side view, press Shift plus D, and now you can just rotate them like this. You can see they are not really rotating properly because currently, I have selected individual origins from over here. So they are rotating around their individual origin points. So if you want them to rotate together, we can select something like bounding box center. What this will do is it will treat them both as a single object, and now it will rotate them much more like in the way we want. So we can use the transform options up over here to transform the object in whatever way we like. Sometimes we want to use individual origins, but right now, we want them to rotate as a single object. Now our bench is looking pretty good. Now we can just start working on the legs and the side bars like the handles right over here. So the legs is pretty simple. We have something like this over here. So press three for the right side view. We can first create this simple one, which is once again just adding in a cube. All right. Just place it right over here. Enable X ray, press tab, press one for words, see select, and just bring them down till here. To like the length of the legs of the bench. Press one for front view and just move it right over here and give it the appropriate thickness. With this, I think we can once again use the bend modifier or like the simple deform, sorry. Select the bend, press tab, and add in first, like a couple of edge loops. And now just move it like this. Tab and select this bottom part. And I'll just try to make it match with the reference image right over here. So that like the bottom part is kind of flat. This way, we have the legs of the bench. I will just decrease the thickness a little bit. Obviously, we don't really have to follow the reference image entirely like accurately. It's fine if you just make some changes according to our own. And now, again, I've used the mirror modifier and use the mirror object as this to mirror it across both the axis over here. Now we can create the legs on the back side for which I will just simply press Shift A and add in a plane, rotate the plane like this by 90 degrees on the y axis, enable X ray. You select these two vertices, press X, and delete them. Select these two place one right over here, and select this one, press G, then Y and move it right over here. Now what we do is as it is in a weird shape, I will select this vertice from over here and just press E to extrude it and keep on pressing E again and again and just place it where I want to like, place it exactly, and trace out the reference image. I'll just keep going like this. Alright, guys, we are kind of done. Just select the last two words, Cs, press F to join them like this. Press tab, press A to select everything, and press F to fill out this phase like this. Now you can just press one for the front view and add in like a solidify modifier or just give it thickness directly as well. But I'll just use the solidify modifier. Move it like this and just place it according to the reference image, I just thickness and the last thing is to just add in a mirror modifier. Select the mirror object as this and just duplicate it over the right side as well. With this, our bench is pretty much done. You can add in, like, a bevel modifier as well to this. I will select the smooth bi angle and move it to the top. Just make sure to enable hard and normals for this. Et's just hit safe first and work on the handles, which is once again pretty basic and simple. I will add in a cube, scale it down, place it right over here. Try to roughly match the reference image, move it over here, bring it out, scale it down. What I will do is I will first scale it up on the y axis like this. Press control, apply the scale press tab, press Control R, and just hit right click so that the edge loop is added in the middle. Enable Xray and delete this side. Delete the right side, select it all press X and delete the word Cs. Press tab and go into the modifier section now and just select the as you know, mirror modifier. And you need to right now we don't really need to select any mirror object because we want to duplicate it across its own axis only or own origin point only. So just select the correct axis like this. And now, this way, we can just work on the left side of the model and the right side would be done on its own. What I will do is I will select it. Again, there are a lot of ways to create this shape. We can also use something like a spin tool, but I'll just quickly press E to extrude it out and then just rotate it. Press R and E repeatedly to kind of roughly create this shape. You don't have to match it exactly because to overall smooth it out, we can just add in like a subdivision modifier. Scale it down and now press one. This time, rotate it inwards like this. Sure to press one to go into the front view, and then you can just scale it down and push it into the seat of the bench. And this way we have something like this. I will first right shade or to smooth this, and it looks fine overall. It does look like a little bit blocky. So first, I will add in another mirror modifier. And just duplicate it over here on the left side. The last thing is to just simply add in LA, something like a subdivision surface. You can see it will overall smoothen out the entire shape. So what we can do is we can now press dab, press control R, and we can just add in, like, a couple of edge loops to obviously make it a little bit, sharper because right now, this looks like a little too smooth, so you can add in edge loops like this to just make it up a little bit tighter. You can also use creases for this, but I just like to use the edge loops like this. I will add one over here. And this way, as you can see, it does retain its old shape, but it is not as blocky, as you can see, if you turn it off, like turn off the subdivision surface, you can see the effect it adds. You can increase the levels to make it even more smoother to get like this, nice finish. And yeah, with this, I will just hit Save and our bench is pretty much done, and I think it looks very nice. Let's press slash to come out of the local mode, and I will just quickly select all of this bench, scale it down. And what we can do first is we can just select this piece over here, press Shift puss cursor to select it to bring the cursor right over here. Press Shift A and add empty quickly. So plain access, basically. Now select all of this bench. Make sure to just select the bench only, like, only the parts of the bench and then select this empty at last. So the reason we are selecting this at last is because we want to make it the active selection, as you can see, it is kind of yellowish in color, and the rest of them are orange. So we want this empty to be the active selection so that we can parent it to this, right click and parent and go to Object. So what this has done is basically all of these objects are now like children objects to this empty. So whenever you select this empty, you can just move it around. Without having to select, all of them again and again, which is kind of like a hassle. So you can just select this empty and move it over here. You can also scale it down and it will work perfectly. Let's decrease the size of the benches for now. And I'm not really trying to, like nail everything exactly right now, like the composition or the size of the benches for that matter. You can just roughly sorry, you cannot really duplicate it. I forgot. If you duplicate the parent, you won't really duplicate all of the children as well. So just delete it. Instead, you can just select the parent, and then you can press Shift plus G, I think, and select children from over here. What this will do is it will just select all of the children of that particular object that you've selected. Make sure to select the parent as well. Then you can just duplicate it, and maybe we can create two benches like this. I'll just select them all quickly, hold control, and deselect all of the extra objects. Press seven for top view, and duplicate them like this, press R, then type in -90, place it right over here. And we have all these benches to fill around in our scene. And for now, I think this looks pretty good. Let's just hit Save. And I think we are pretty much done with the molding now. In the last lecture, I will just basically add in like a ladder over here on top of the building to just add in, like, a little bit more detail to our building. And with that, we are pretty much done with the modeling part. From that point onwards, we can, start with the texturing, adding, all the materials and everything and the lights as well to our scene. So let's just hit save now, and this is pretty much it for this lecture. Thank you. As watching, I will see you in the next one. 7. Adding the Ladder: Hello, and welcome, guys. So in this lecture, we will try and finish up with the modeling part of our course so that we can start with the materials and the lighting from the next one. So if you will just quickly look over in the reference images, we have this ladder like thing over our building. So we can add it over here as well in our scene, just to add a little bit more detail, and I think it would look pretty good. So what we will do is, let's just add the ladder in this video. And first, I will select both of these reference images. Now just press M to move them to a new collection and rename this collection too. Under spore images so that we can just easily turn them off for now. Next, I will select the building and press slash to go into the local mode. So now, once again, if you will just look over in the pure reference images, you will find that I've added a ladder reference image, and I've just added for the sake of it, we can also create the ladder without the model as well. It is pretty simple. But yeah, I've just added it for the exact measurements if you want to use it. So we'll just quickly add it into blender and we will roughly use it. So just select your building, press Shift plus S, then cursor to select it to bring the cursor right over here, press Shift A, go to image reference, and then we can just quickly head over to our folder for the reference images and then just add. So we have something like this. And the reason I added this building is because I want to place the ladder somewhere around here, and I want to, like, kind of scale it according to the building so that the reference image is that of the size that we want the actual ladder to look like. So I think something like this would look pretty good over our building. So now we can just select the building and press slash to come out of the local mode and then just select the image now and then press slash so that we can easily work with the image only. Let's press Shift plus A or sorry, press Shift plus S, then cause it to select it to bring the cursor right over here, Shift A and then add a cube, and then just try to scale this cube like this. This way, just make the thickness equal to the ladder. Now what we can do is just press tab, press Control R, and you know that we can add a simple mirror modifier to copy the things onto the right side. So just select the right side and delete it, and then we can use the mirror modifier. And now to create the ladder like thing, first, let's scale it down on the Y axis as well. And if you press tab now on the object, you can select the vertices that are in the middle. And if you just press G then X and move them apart, you can see you can also create distance between them. If you enable this clipping option, then they will be totally connected in between and you won't be able to move them apart. But if you disable this clipping, you can disconnect them. So just select all of the word Cs in the middle and just move them over here so that we can create the ladder like this. You will see that we have this space in this phase, so just select it all, hold all, and select this complete loop, and then press F to fill it out. Now we have our ladder like thing going on. Just press tab, enable X ray, select it and extend it till here. And the top part as well, we can select extend it roughly till here as well. All right. Now we have the basic looking shape of our ladder. Once again, I will press Shift process cursor select it to bring the cursor exactly in the center of our ladder. Then press Shift A, add in a cube, scale it down and give it the size for this one single ladder. Scale it up like this and bring it down over here. All right, so now I'll just select this ladder and scale it down like this first. Somewhere around here. Next, let's cut just this as well. I will increase the scale of this a little bit. And then what we can do is we can just match it with the reference image first and then simply add in array modifier to it, set the X factor to zero and increase the Y the z. And for now, first, let's just match in the reference image. Something like this. And, we have the basic looking shape of a ladder. But definitely, I don't really want to add this much amount of stairs, so I will just decrease it to six and then increase the amount of space between them for now. Let's select it from the bottom and move it a little bit upwards like this, the overall object. And this looks pretty good to me for now. I will also just select this piece, add in a bevel modifier to it, and apply the scale first. Adjust the bevel to a low number and enable hard and normals. Press tab. I'll select this face, press I to insert this and just extrude it out like this, just to add a tad bit more detail. We can do the same over here, add in a bevil modifier, apply the scale and adjust the amount. All right, this looks pretty good to me now. For now, I will just select the reference image, press M, and move it to the reference images collection, just to work freely. Press tab, and now what I want to do is if you press slash, to come out of the Local mode and just select both of these pieces of the lider, bring them out. Over here. So this looks pretty good. And now what we need is we just need a way to connect it to the top part, so I will just create this curvature thing to connect it over here onto the roof. So how we can do that, again, it's pretty simple. I will just quickly show you. We have a nice little tool for it. So first, I will just press tab and select this top face, and I will just press X and delete the face. And we can select this phase as well, and we can delete all three of these like this. Press one and select all of it from the top, press S the Z and type in zero just to make them completely flat. The reason I'm doing this is because we will be extending this part. That's why I've made it completely flat. So make sure to do that. They are all uneven, so just select it all press S and Z and type in zero on your number pad, flatten it like this. Press three for the right side view and press tab and make sure only this top part is selected. Then use your cursor so you hold Shift and then right click to move it around like this, and you can place it somewhere around here. Uh, the reason I'm placing it right over here is because we'll be using it as a center point to create a circle like thing using the polygons. And for that, the perfect tool is spin tool. So press tab and press T to bring this tool bar up, and you can select this tool right over here. That is the spin tool. Now, if you will see as soon as you do that, we get a tool around our three D cursor. So if you move it around, you can see we can kind of spin it. But currently, the axis is set to the wrong axis. So if you go into the tool bar option from over here in this side bar, so that is the N side bar. If you press N, it will bring it up. So select the tool from over here and select the X axis, I think. So if you press three now, and now if you select it, you can see we can very nicely create this curvature like thing which looks pretty good. Obviously, it is not really accurate right now, so we can use this bar over here or this like dialog box to control the settings for it. So if you type in 180, first type in the angle as 180 so that it extends like this. And then you can use these gizmos control the length and the curvature of it. So I think something like this, looks pretty good. You can also increase the number of steps, which will basically kind of smoothen it out. If you decrease it, it will become low poly, as you can see. But if you increase it, it will become smoother. We can add something like 25, I think, to make it really smooth and slash to come out of the local mode just to see how everything looks. And yeah, I think that's pretty good. So press dab, select it now and move it down like this. Yeah, I'm pretty happy with how that's looking, but I just feel that it is a little bit more outwards, than I would have liked. I'll just quickly undo it. Rest slash to go into the local mode. Do it once again. Type in 180. This time, just bring it back a lot more so that this curvature is a lot more smaller. A we can also reduce the number of steps to 20 because the curve is pretty small now. Now, let's press slash to come out of the local mode and just move it down and a little bit outwards. And this feels much much better and a little bit more natural. Alright, now you can see that this part is not really shaded properly, so right click and try shade, smoothing it and also try shade auto smooth because the shading is not really correct right over here. Let's see how we can fix that. Let's just done off harder normals for now, and then right click and shade at to smooth this. And yeah, I think now it looks pretty good. All right, I'm pretty happy with how the ladder is looking. I will also just press tab and select the top part of this building. So just select this part and leave out this like extended extrusion that we have created, and then just extrude it downwards like this so that we have some sort of like a little bit of the roof part. And press zero to just view through your camera, and I'm pretty happy with how the overall view is looking. Et's just select this press slash, press shift and add in another cylinder, rotate this by 90 degrees, scale it down, and just place it right over here. Just to add, like, a small bit of detail. I'll press tab, press three for face select, and insert this and extrude it out a little bit. We it something like this. Then we can just simply use the mirror modifier, which is duplicate it over to the right side as well. Let's select the mirror object as this only. Yeah, it works perfectly. Slash to come out of the local mode. And maybe we can just select duplicate it, press G then Z and move it over here to the top as well. And with this, I think the modeling part is pretty much done. Last thing is, I will also add a bunch of planes right over here, because if you remember, we are going to create a material over here, like a transparent material to create all those wires in between these. So you select it, press slash and go to object set origin origin to geometry, so that the origin is exactly in the middle. Press shift plus cursor to select it, press Shift A and add in a plane and rotate this plane by 90 degrees like this. Move it back a little bit. Oh Then we can just similarly add an array modifier, type in zero and increase the offset on the Y and then just repeat it like this. Make sure it fits properly over here. Sorry, type in minus one. We have to set it to something like -1.05. Sorry. Yeah. -1.015, that fits perfect. Just make sure it's covering everything. And now it is working correctly, I will select it now and add in a mirror modifier and then just select the mirror object as this so that it appears over here as well. Then just select it once again, press Shift plus D. Remove the mirror, rotate it by 90 degrees. Then just quickly place it right over here like this. Make sure, once again, it fits all of the faces correctly. If it does not, we just need to adjust the value over here because we have, I think, tweaked around with the scales a little bit. So that's why it is not really fitting. Type in minus one and let's see if we can go from over here. -1.020 0.022, I think, that fits pretty accurately now. All right, guys, let's just hit Save. And yeah with that, we are done. Let's just press zero. Hit save, go into the rendered view. And right now it is looking something like this. Obviously, because these are totally opaque so light is not really passing from them and it is creating all these shadows, but we will be adding a transparent material to them to create a wire kind of look. So yeah, we will be starting with the materials from the next lecture onwards. So thank you guys for watching, I will see you in the next one. 8. Adding Fence Material: Hello, and welcome guys. So in this lecture, we will be starting up with the materials part of our course. So let's first create this fence material over here, something like this, and then we can work on the ground material. But before we do all of that, let's just quickly add in some kind of lighting in our scene. So right now, as you know, we have just added this sunlight. So if you miss this part, just shift and add in a simple sunlight from over here, and then you can increase the intensity to some number like 2.5 or two. And then if you just rotate it around, you can see this sunlight will move. I've already added one, so I will just delete it. But obviously, as you know, we also need a background in our scene. And if you will just quickly look over in the resource files that I've added with the courses, you will find this HDRIs folder in which I have added three different anime HDRIs that you can use. So all three of them have the complete stylized look, and we can use them. They will also give a nice background to our scene and also add some nice colors. So go into the shading tab and we can switch to the rendered view. Let's switch zero for your camera view. Switch to the world shader type and just simply press Shift plus A and search for environment texture. So we can add in an environment texture, plug this into color, and it will make everything pink because we haven't really selected an environment texture. So click on open, and I will just quickly head over to the HDRIs folder and we can try all three of them. So the first one is this. So obviously, this is like a nice HDRI. You can select it now press Control plus It gives us these nice clouds in the background, but it is not really that much visible. You can press Control plus D. If you miss this part, you can just select your environment texture, press Control plus It will link this texture coordinate and mapping node. And if this does not work for you, that means you haven't enabled the node wrangular add on, so go into the preferences and then go into add ons and search for node wrangler. Then you can just enable it from over here. Also, if you don't find it in this section, they have created two different sections for add ons and extensions. You can go into extensions and then search for the node wrangler over here. If you don't find it in the add on section. You can just search it and then just enable it by default. And then when you select your environment texture, press Control plus D, or if you select any texture and then press Control plus D, the mapping and texture coordinate node will be automatically added. Now if you rotate it around the Z, you can see we can rotate the complete HDRI, we can place it right over here. Now if you press F 12, it will be rendered, and you can see we get this nice background in our scene. Obviously, all these fences over here would be kind of transparent, so it will look much better. So now that we have tried out this HDRI, let's just try something else. You can cross this and hit open and go back again in the same folder and select the second one. And the second one is something like this. Again, it is kind of similar looking, but it will give you some different visuals. You can also compare between the two by pressing F 11, and you can see this was our old random. Now you can just press J to switch between the different slots. So when you are in an empty slot, press F 12. And now you can press J again and again to compare between the two. And now you will see not only the background HDRI changes, but the colors like the subtle colors over here, you can see, over here, there are yellowish, but over here, they are kind of bluish. So yeah, HGRI also adds a secondary source of lighting into your scene, and it adds, like, nice subtle colors. So we have, all these different HDRIs. Let's try the last one, which I think I'm going to use. So DRI three. This one I find really nice. When we add the transparent material onto our fences over here, I think it would look even better. Something like this. You can see these clouds, I like them a lot more than these ones. But yeah, it is totally up to you whichever one you want to go for. You can, like, again, compare between the two and choose whichever one you want. And now that we have done all this, I just want you to discuss this a little bit. You can experiment with this and try out different rotations and try out different variations of them. You can also play around with the location factor on the X, which will kind of zoom in or zoom out your HDRI, but don't do it too much as it will kind of make it look very weird or stretched out like this, as you can see. So I will right now keep it at zero. And before we actually start to fiddle around with the HDRI, let's just finish up with the environment first, and then these things can come later on. I will switch back to Object shaded type and select the fence and click New and rename this material fence. All right. Select these ones also over here and give them the same material. Let's just see if I change the color, you can see all of them are changing at once. Let's just select this principle BSDF and delete it for now. You can see it is totally empty. So the way we are going to create something like this is It's actually pretty simple. It is not even that tough. We basically are going to use a mixed shader, and we are mixing it with a transparent shader and a normal principle BSDF. So press Shift A over here and just add in a mixed shader. But obviously, we are mixing the two shaders. As I said, one of them is transparent. So once again, press Shift A and add transparent and plug this in over here. And then press Shift A and add in a principle BSDF which will control like the rest of the things. And plug it over here. Right now, it is basically mixing them according to this factor. So zero means totally transparent and one means totally like this principle BSDF, whichever color or anything we add over here would be given. But we don't want that. What we want is that we want both of them to mix according to a mask, and that mask will be creating something like this. So for that, we can use the brick texture. So press shift and search for brick, you'll find this brick texture node. And let's just keep it all aside for now. Just plug this brick texture over here in the surface. You see, we get something like this. Now, basically, what happens is whatever you plug in this factor output, so the white colors would be treated as the first like the shader one, and the black would be treated as shader two. So first, what we need to do is you can see we have all these gray colors and everything. So I will just select this and set it completely white, select this and set it completely white. So that we only have black and white colors in our brick texture. And now we can simply use it as a mask. I will just show you you can plug this in into the factor and plug the shader into the surface. So it is right now doing the inverse, so that means we just need to plug transparent into the shader two. So you can hold control and just cut it like this to disconnect them both and plug principle BSDF into shader one, and transparent into shader two. And you can see right away, we get the desired look that we want. So we are basically using the brick texture to drive this mix shader. And what this brick texture is doing is if you plug this in back into surface. So the brick texture is white over here in the middle and black in these lines. So it is using this mask to run this mixed shader node, and the white part is being totally transparent because we are using it as shader two. So it is showing up in the white areas and the principal BSDF is showing in the black areas of the mask. So pretty simple. And with this, we have, kind of, like, the fence like look going on, which we wanted. Obviously, it does not look that good right now. So once again, I will select the Brick texture press Control T to first add in a mapping node, and I think we need to rotate it on the Z by 90 degrees to first get it like this. I think this looks much better. And then we can increase the scale, I think. Because obviously these fences are kind of pretty small. So maybe we can round it up to 15. Press zero. And yeah, I think that looks nice. And now what we can do is we can select the principal BSDF because the color of this fence is white right now. If you press F 12, it looks something like this, which I think in itself looks fine, but we can definitely select this white color and make it a little bit darker. Now if you press F 12, I think that looks pretty good. Also, one other thing that you can do with this material is to make it look a little bit better. You can come over here in the material properties and just enable rate raise transmissions. You directly won't see the effect it adds, but it does make your material appear a little bit better. And yeah, this is how it appears right now. I think the fence looks pretty good right now. So we can close it and let's just hit Save. So we are done with the first material. I think it looks pretty good. We can next select this metal rail, create a new material and we name this to simply like metal for now. And again, select this and add the metal material over here as well. And we can give this color something like. Let's see what kind of color we want to go for. But All right, so I just directly have the X code for the color that I'm going to use. It is kind of something like this color only. So you can paste this X code if you want to. You can copy it from over here. It is 81 A to B DFF. So this is the color that I will be going for. And then we can once again press F 11 to view our render. So this was like the old one, then press F 12 to render it out, and this is something how it looks. So slowly step by step, we will keep on adding more materials to our environment. With the addition of this fence and the color over here on the metal rail, I think it looks pretty good. You can also give it a little bit of metallicness. Obviously, it is a metal material, so you can give it something like 0.45. And what I like to do is I constantly like to compare the renders with my old render. And yeah, I think it's fine. Let's just hit save. Let's just hit save now, and I think this much is pretty good for this lecture, we'll continue working from over here. In the next lecture, we will be working on our ground material and the rest of the materials of this environment. So thank you guys for watching. I will see you in the next one. 9. Fixing Colors and Adding Outlines: Hello, and welcome, guys. Although we were working on materials in the previous lecture, in this lecture, we will be covering two of the most important things for our course that will help us in getting that anime or stylized look that we are going for. So in this video, we will be covering how we can change the color space of blender and also learn how to add outlines to our model. So first, let's start by switching up the color space. If you press F 12 right now, the scene will render out, and this is how our render looks right now. I will also create a space over here so you can go in the corner and you can create two different windows. And the reason I'm doing that is so that we can actually see the change in our render. So select Image Editor and just go over here and select render result. So this is our render result, and I'm doing this so that we can see the change over here when we change the color space. So go into the render properties and open up color management. So by default, the view transform is set to something like AGx which works pretty good for realistic results. But this time we are going for something stylized and like the normal animal look, so click over here and change it to standard. You will see instantly the colors pop out a lot more and in general, it just looks better. You set this to AGX and you can see how flat it all looks. So you can switch this back to standard, and you can see the colors pop out a lot more, and it looks much, much better. You can also go over here under the Loop dropdown menu, which is set to none currently, and you can set this to something like medium high contrast, which will give you even more contrast in your render. So yeah, that is basically it for changing the color space of blender to make it a little bit more suited for our project. You can see earlier it was something like this. And now it looks like a lot more flatter when we directly change it. So we will be going with standard and medium high contrast. You can play around with the settings from over here, like, changing the exposure or things like that. But yeah, for me, I think this much is pretty good. Now we can close this off, and I will show you how we can add outlines to our render or our models. So there are a couple of different ways to do it. There is like the inverted hull method where we add a solidify modifier, and it's like a little bit more complex where we add extra thickness to our models and change the color of it to black, basically giving it that outline look. But I think it is a lot more tedious and it will also add a lot of extra geometry in our scene. Which we don't really want, and it is a lot more difficult to manage in general because you have to add it to every single model separately. Then the other method is this freestyle method, which you can just enable from over here, and I will just quickly show you you can enable it from over here. So enable freestyle, and you come down over here in the view layer, scroll down and you can see we have all the freestyle properties over here. First, let's just press Ftwelve and see how it works. So you press Ftwelve, you render it out, and after a while, you will see freestyle stroke rendering. And yeah, instantly, you will see outlines are added to your model. Now there are a lot of different settings where you can control where you want to add the outlines, change the color, change the thickness. You can come over here and you can change the thickness from over here to like 0.5. If you now render it once again, now the strokes would be a lot more thinner, as you can see. And yeah, this is basically it for the freestyle method. Obviously, there are a lot of different settings. You can try to, like, experiment with them if you want to go for something like this. But as I won't be really using this method, I won't be diving too much deep into this, so I will just quickly disable it from over here. Because the method that we will be using is the grease pencil method. And that method, I think is a lot more visual and dynamic, and we can actually see it change over here in real time, as well. So yeah, we will be using that. So come over here in the corner once again and just collapse this to a single screen like this. Press Shift and we can go into the grease pencil and search for collection inart. So just add the collection linear like this, and you will see we will get an object added for inart. Instantly, you can see all the outlines have been appearing in your scene. Now you can just click on Line art, press zero. So this method works only through your camera. So make sure you are in your camera view because if you're not, you can see it will start to look weird like this. But it does not really matter because it will work perfectly as long as you are in your camera. So it will work perfectly in your renders. So press zero, and you can go into the rendered view or the viewboard shading and we can see the outlines over here. The reason I like this method a lot more is because it is a lot more dynamic in real time, as I can easily change the line thickness and it will all update in real time. All these things you cannot really do with the freestyle method. And yeah, it is a lot less complex as well. As you can see, it was really easy to add these outlines. So let's set the thickness to something like five for now, and we can also decrease the opacity to 0.5. For now, I will just disable this from the viewport and the render as well and then press F 12 to see how our render looks. Then, if you remember, I showed you this in the last lecture, you can press J to switch between different slots of the render. So this slot is empty, as you can see slot two. So press J to switch between the slot and you can just enable it back and then press F 12. Now, this is a render along with, like, all the outlines. Now you can press J to compare between the two. And you can see just by adding the outlines only, it gives a lot more effect of that anime or that comic book style effect, and it looks a lot better. Obviously we will be experimenting with this line art a lot more, and I will show you some of it. So you can open up this edge type, and you can see if you disable some of these things. The outlines, you can adjust them where you want to add them. Like, right now it is appearing up everywhere, but you can disable this and it will appear only over some of the areas. Then if you disable intersection, it will remove the outline from some of the intersection areas. So, we will be definitely experimenting with this. For now, I will just keep it enabled everywhere, and I will show you some of the modifiers that you can use with this. So go into Modifier and search for the noise. You can see we have this noise modifier. And as soon as you add that, you can see your like the outlines a lot more like disperse right now. They have added this randomness or noise into them. Obviously, it is like a lot more right now, so you can adjust this position and you can see you can add randomness into your strokes. You can also add noises onto different factors. Right now it is just adjusting the position, but you can adjust the strength of the strokes to make them thicker in some of the areas and lighter in some of the areas. And then the thickness like that. I think it is a pretty helpful modifier, and that will help you in creating this very comic book style like strokes. As it won't be uniform. You can disable it, and you can see earlier it is completely uniform, but now it is like a lot more broken up. You can again, press F 11 to view the render and then press J to switch to others lot, press F 12. And now you can once again just press J again and again to compare between the two. So earlier it was something like this where everything was completely straight. But now if you press J and look at it, everything is a little bit more dispersed and more sketchy. So it is like a nice bit of effect that we can use. O now we can just turn it off and I will show you something else. There is also this dot dash, I think, search for dot dash and select this one. It will basically create this dashed line effect, as you can see. Earlier it was completely uniform, but now it is in this dashed format. And you can control these dashes by increasing or decreasing like these values. I don't think I'm really going to use this one. It can remove the outline from some areas completely and then add them back according to the dash and gap values you choose. Yeah, once again, if you want to use this, you can definitely go for I will give you this kind of look. But I think I will only be using the noise one. You can also change the color of the material or the outlines. Right now, you can see the material is set to black. It will automatically created this black material, but you can change the color right over here, and it can give you different colors of outlines as well. Obviously, we will be going for black only. So I think this way, we can add really dynamic outlines that we can see in real time all the changes that we make. One last thing that I want to go over is, let's say we don't really like these outlines over here, so I disable this these threshold. So we remove all of these extra outlines and we make it like a lot more cleaner. You can see disabling it, it will remove all these extra outlines and just keep it over some of the areas. But now for some specific object, let's say just for this building, I want to add the grease outlines, but not for the rest of them. So what I can do is I will add another modifier and once again, just add this line art modifier once again. Currently, it is not really using anything, and the source type is set to collection. So change the source type to object and select the object as this building, and then change the material to black and set the layer to the current layer. And you can see, what this is doing is this separate line art modifier is only controlling the outlines for this particular object. So this is for the complete scene, the top one, as you can see, we are controlling, like, all the outlines over here, but this one is just for this particular building. So this way, you can, like, add separate outlines for some of the areas or objects that you want to create. So you can add, like, multiple line art, uh modifier. So right now, this one is set to collection. So whatever is currently in this collection will only have that outline. You can also change it to complete scene where it will be affecting the complete scene or like a particular object, like we are doing right over here. So yeah, as I said, it is a lot more dynamic. And yeah, it is really easy to add outlines to your scene with this particular modifier. But this one, I will just remove it for now because I was just showcasing it, and I will select the line art modifier and enable the crease threshold checkmark. Just because right now we are not really adjusting it too much. So let's just keep it that way. I just wanted to show you how we can add it. We can tweak it around at a later point in our course when we have done, all the materials. One last thing that I want to tell you guys is that you should be just disabling it from over here. Not from over here. Like, do not disable it from over here because it does not matter. But if you disable the modifier from over here in the viewpod, it will basically turn it off in the viewpoard as it can make the things very slow. So you just disable it from viewpot but keep it enabled in real time. So that whenever you render it, so BrasFtwelve your outlines will show up, but you don't really have to see them all the time in your viewpoard because it can be kind of distracting as well as it makes your scenes a lot more slower. But sometimes if you want to see the changes or you are making any updates or changes, so at that time, you can enable it in your viewpoard and work with it. But after you're done, you just disable it so that your scene stays snappy, and things don't really get like laggy because of this linet modifier. And yeah basically, these were the couple of things that I wanted to discuss in this lecture. Let's just sit save, and in the next lecture, we can continue working on our materials. So thank you watching. I will see you in the next one. 10. Creating Ground Material: Hello, and welcome guys. So let's continue to work on our materials. And in this lecture, we will be working on the brown material. So if you will just quickly look over in the reference images, the roof material or this brown material over here is pretty much similar in all of them. We have the style type of texture or like a brick texture, and over it, we have some type of grunge or dirt. So we can simply create this in blender, as well. Let's just go into our shading tab over here, and then we can switch to viewport shading so that we can actually see like all of the colors. And then just click on New to create a new material, and let's rename this material to roof. So now, as I said, we will be creating a tile type of texture. So again, let's just bring in the brick texture. So for now, I will just press shift it and search for brick texture. And we can just directly plug this into the base color. So now to create something like the reference images, as you can see in all of the images, all of the tiles perfectly match up with each other. But here we have a little bit of offset. So first set the offset to zero so that they are matching completely like this. And then next I will just turn the color to complete white for now so that we have something like this. And now we just need to adjust the brick width and the row height to make it a little bit more squarish. Let's see. Let's increase the brick width Then we can increase this row height as well. So that we get something like this, let's adjust the scale as well. Something over here, I think. And also, we need to decrease the motar size, which is the distance between these bricks. I think we need to put it pretty small. Let's try 0.01 or 0.005. Yeah, this feels a bit better. Let's look at it through our camera. And here. Now, the scale and, like, the rest of the things kind of match with the reference images over here. I will also just select the motar color, make it a little bit like grayish, not completely black. All right. So now what we basically need to do is we need to add like a bit of, like, dust on top of it just so it is not completely white like this because right now it looks kind of like jarring. So now if you will go over in the course files and in the textures folder, most of these textures are pretty much that we will be using for, like the compositing phase of our course. But this ground texture over here, we can bring this into our material, and we can kind of layer it on top of our brick texture to give it that dust kind of flow. So it is pretty simple. We will again, just simply using the mixed node. So first, let's just directly plug this in before using the mixed node. So right now it looks something like this where the texture is very much stretched out. So to fix this, just press Control plus T on your brown texture, and we just need to increase the scale. So just drag and select all three of them and type in something like three. Maybe we need to increase it a lot more, something like ten maybe. Yeah, I think this feels pretty good. Now the texture looks fine, and we just need to mix it with the brick texture. So bring it in like this, select the mixed color node. Now plug this into the B and plug the result into base color. And yeah, as you can see, as soon as we mix them both, earlier it was something like this where we just had the brick texture. Now we can just plug in this ground texture as well to have this overlapping look. Now if you will press F 12, we get something like this, and I think it looks pretty good. So what you can also do is now if you look over here at the mixed node, we have this factor value, which is currently set to 0.5. So that means it is mixing equal parts of this ground texture and the brick texture. So if you set this to zero, it will totally be the A input, which is the ground texture, as you can see. And if you set this to one, it will totally be the B input, that is a brick texture. And somewhere in middle, it will mix them both. So it is totally up to you if you want to have more parts of the brick texture or more parts of the ground texture, if you want to make it look like a bit more grungy. We can set something like tra 0.4. Or we will be just going with the perfect value of 0.5 only for now, and we can I think play around with this later on. I will also just shift and bring in like a color ramp node. So search for color ramp and bring it over here in between your brick texture. And the reason for that is so that I can control the overall color of our bricks. Right now, if I change the color, so if I remove this color ramp, so if I change the color of my bricks, because it has these two different colors, so it will give two different variations. I don't really want that. I want to keep a uniform color. So I will bring in this color ram, so bring it in between the brick texture and your be input over here in the mixed node. And now if you select the white color and change it to whatever you want, it will affect like all of the bricks at once. So I just want to, like, make it a little bit like less white. Currently, it is set to completely white. Just bring it a little bit down. So something like 0.85 or sorry, 0.9, I think. Yeah. With this, let's just hit save. And the next thing that I'm going to do is I will add a little bit of height information into our node. So you can press shift A and search for a bump node and press shifty once again, search for a noise texture. So to view any of the nodes, I know I'm just plugging them all them one by one like this. But if you have enabled the node wrangler add on, you can just directly use a shortcut as well. Select your noise texture node and just press Control Shift and left click. And you can see as soon as you do that, it will just directly plug itself in the material out and show you the results of that node. And now if you want to again view your original material, you can just hit Control Shift and left click on the principal BSDF and now you can see the material again. So we do these things like to just quickly view how a specific node looks. If I just want to see how this brick texture looks, so Control Shift and left click and I can see the specific brick texture or this ground texture over here. So this is like a really nice shortcut. But for this, make sure you have enabled node wrangler add on from preferences, add ons and search for node Wrangler. Alright. Let's close this off. I will select the noise texture. And the reason I'm showing you this is because this is how the noise texture looks currently. So you can adjust the scales and things like that. Before that, let's just plug this factor into height over here, and then just plug the original material back in. And we can plug this bump node or the normal node into the normal of the principle BSDF. And you will see what it does, it will basically make these fake bumps into your ground. It is actually not doing anything. It is basically playing around with your light information, and that's why we get these bumps in our ground. Now, to make them look a little bit more realistic, what we need to do is we need to obviously like first decrease the strength of this, and we also need to increase the scale of our noise texture because I want the bumps to be very, very small. So just keep on increasing it to a pretty large number, maybe something like 200. Now we get these crazy small bumps. Now to make them look a little bit better, just tone down the strength to something like. Let's try 0.2. I think 0.2 is also a lot, so let's try 0.1. Something like 0.05. Now, what this will do is, although it is pretty subtle, let's increase this to 0.08. Sorry, 0.08. You can disconnect this and see the difference. A, obviously, it is really, really subtle, but you can compare it by rendering two of your renders so press J. And this is like our old render. And you can see the color also changes, and also it will add these small pumps over here. So I think it is like a nice bit of addition. If you want it to look more apparent, you can decrease the scale and also increase the strength from over here of the normal. But I will just keep it, pretty subtle only. So let's just hit save now, and I think this is pretty good for our ground texture. One other thing that you can do with your material is as we are controlling this brick texture using the color ramp, you can also control the ground texture using your color ramp as well. So if I just control shift and left click on the ground texture, select this color ramp, press Shift plus D to duplicate it and just plug this in over here so that you can actually view that. So using the color ramp, you can control the color, obviously, but you can also control the gradient between the black and the white values. So if I push in the black, you will see what will happen. Basically, it is trying to increase all of the areas which have black as I am increasing a black slider from over here. If I do this for white, You will see the wide areas will increase. And if you try to mix them both at the center, it will create this very contrasting texture. So now instead of plugging this in, I will just plug the principal BSDF back in, and now just bring this color ramp over here into your mixed node. And then you will see you will start to see the effects of the mixed node or sorry, the color ramp node as well. And now we are getting a completely different ground texture. Obviously, we are not going to use this because it does not look that good. But the basic point of this is that you can also adjust the grunge or the dirt of the ground texture. So right now this is completely a default because both of the sliders are at their ends. But if you like, increase the black portion, you can kind of make it a little bit more dirty if you want to go for that kind of loop, and you can make them a little bit contrasty as well. So that is totally up to you how you want to use it. You can also change the color. If you want to add, like, a little bit of yellow tint like this, one other thing that you can do is you can click on this plus icon, and basically, it will add more colors in between. It will be more apparent if I change this to red, then we can change this to constant. And now if you will start to push this in, you will see like we get all these different colors. You can add in more colors like place one over here and change this to green. And this way we can mix in a lot of different colored noises. Obviously, we'll set this back to something like linear, which gets us a little bit more of a gradient, as you can see, and it is not as harsh. But the reason for this is you can create color variation as well in your ground because now you are adding in different colors. And you can kind of create like this a little bit more detailed looking noise. Instead of having it flat out white and black. And you can also control the harshness of all of these using these sliders. So I think adding this color ramp node is pretty helpful. I will right now just go over here and reset the color ramp because I will be keeping it default like this. But yeah, I just wanted to go over this, that we can do this as well. Let's just sit save now and continue to work on our materials. We can create the simple material for these benches. So first, let's select this part, click on New, give this like iron material or something like that, set the metallic value to one for now and decrease the roughness to something like 0.3. And then we can just select all of the objects that we want the iron material added on. Select this, select this. These two, all of the parts of the benches over here. And now at last, select the piece where you added the iron material, select this at last, then press Control L and L link materials. Basically, this will add the iron material to all of them. You will also see this if you click over here, you can see 12 is written. That means this material has been copied to or this material is being shared by 12 different objects, and now we have added the iron material over here. I think we should probably add it on these pieces as well that are on the sides. So you select all four of them and then select any of the object with the iron material, press Control L and link materials. Let's see. I think I will be going for something simple like this. Maybe increase the roughness a tad bit because otherwise it will get too shiny, so maybe something like that. And then select this one, again, create new rename to bench. And for this one, I'm not going to do much. I'm just going to copy a color code and you can copy that if you want to use the same. Just click on this base color and go into the hex and paste this value. You can copy it from over here if you want to use mine. It is F two even double B and double F. So it will give it something like this type of color, kind of like woodish color. I won't be doing too much with this texture because when I was like, experimenting things out, I just found out keeping it pretty basic looked the best. So just select it and now select all of the seeds or the parts where we want to add the wood material, and then select it at last, press Control L and link materials. Let's press zero and see how everything looks. And if you press Ewel right now, this is how our render kind of is looking right now. So it's starting to come along pretty well. I think the basic texture of the like wood and the iron looks pretty nice. I'm surely going to select the line art because right now the line art is, I think, a little bit too much, so I'm just going to turn off this crease threshold for now. And you can compare it as well. If you press F 11, this was our old render, press J, and press F 12 once again to render it out, and you can compare it. And in general, it looks a lot more cleaner. You can see the benches over here. They kind of look pretty dark with all these outlines. But this way, I think they matched the comic book style a lot more with these light outlines. And yeah, I find it a little bit better keeping it this way. It is totally up to you how you want to go f with these outlines as I've already discussed in the last lecture. Let's just hit Save now, and yeah, I'm pretty happy with how the materials are going. In the next lecture, let's just finish up with the building and the rest of the materials. So yeah, thank you for watching. I will see you in the next one. 11. Adding the Building Materials: Hello, A, welcome, guys. So once again, let's continue working on our materials. I will switch over to the sharding tab first, and then we can go over to Viewport Shading and start by working on the building material right over here, select the building, click on new and rename this material to just building. Now, once again, I will be just simply using the ground texture again that we use right over here. So just press Shift A and search for image texture. And on this Image texture, just click over here and select the ground texture. So if you plug this in right now into your base color of the principle BSDF, we get something like this, which is not the desired result at all. So how we can fix something like this. First, what we can do is select Date press Control plus D to bring the mapping and the texture coordinate. And you will notice that if you change the scale to let's say something like five or all three of the axes, the texture does get fixed up in some of the areas. But over here, as you can see, and over these areas, it is looking pretty stretched and weird. So it is not working right at all. So we can either try to fix it by, let's say using some different type of texture coordinate, let's say, if you generated. So we are getting something like this. So obviously, this won't work. We can try normal, and so on and so forth. We can try different texture coordinates, but I don't think any of them are seem to be working. So let's plug this back into UV only. So now the only way that we can fix this is that we can manual UV unwrap this to get the proper UVs for this particular object, and then it would be able to get proper texture mapping. So go over here in the UV editing tab. And for this, it is pretty basic and simple. I won't be doing too much. You don't have to do any advanced UV manipulations like adding seams or anything like that. As it is a simple cube object, so just select it, press Control, apply the scale, and we can just simply press tab, go into the edit mode, press A to select everything. And these are like the current UV islands. So press U UVrap this, go to unwrap and select Cube projection. Because as this is like a cube type object, I can select cube projection for this, and it will work perfectly. Now, if you look at your material, it is uniform all along the cube. And we are getting proper textures. There is no such thing as the stretching of textures going on and everything is looking pretty good. So we can come back to shading now, and first, let's start by rotating it on the z axis by 90 degrees so that we have something like this. And then I will also reduce the scale to something like, let's say, first, let's try one. So one is definitely too big, so we can try it. To. Yeah, I think two feels a lot natural. Yeah, even three feels kind of repetitive, so I will go with two or maybe something in between 2.5. But yeah, for now two is, I think, pretty good. Let's just sit safe. And we have our basic ground texture now properly working with the building. So that is like the first step. The next is to obviously adjust the colors a bit better because obviously right now it is matching like not at all with the overall environment vibe and the loop. It is looking pretty weird, as it is looking like really dirty, and we need to, like, kind of make it lighten up a little bit so that it matches with the overall vibe of the environment, which is kind of like looking pretty clean. So we definitely want, like, some grunges here and there, but not this much. So to fix this, we can either use this with a mix, color node or we can simply use it with a color ramp as well. I can show you with both of them. It works in pretty much the same way. So let's just first plug this into a color ramp and plug this into base color and now to make it overall, lighten up a little bit. So now just select this black pointer and we don't really have to move it around. Place it over here on the left side corner only. Just click on the color. And as you make this color a bit lighter, you will see the overall lightness of the texture is also changing. So we can set this to something like 0.5. And you can see it will make the overall texture look pretty light. And we can also get similar results by using a mixed color node as well. So if I plug this into a mixed color node, this time, I just have to plug this into the factor. And we can choose the same A and B colors as they were over here at the both points. So set this one to completely white, and this can be at somewhere around 0.5, which is already there by default. Now plug this into the result. And we basically get the same results. So we can do the same thing by using the mixed color node or the color ramp as well. So now the only difference between the two would be if you want to make this texture more complex, like, let's say you want to add in something like a noise texture as well, and you have to plug this into the A and B over here of the mixed node. Make it even more detailed, as you can see. Now we have this texture and we have layered the noise on top of it along with a tint of any color, any chosen color from over here. We can do these sorts of things with the mixed node as we can plug in, like, different image inputs or like node inputs into the ANV slots over here. But with color ramp, we can just basically use this as colors only. We can add in multiple different colors over here to make it even more, uh like kind of diverse and have a little bit more color variation. You can do these sorts of things using color app. So now what I will do is I will be going with the mixed color node only, as I think it gives us a lot more options to experiment with our material, so we can just hold all and disconnect the color ramp and we can just keep it in our material only but not really use it, delete the noise texture, press Shift and search for mixed color node. And just plug the color into factor and plug the result into base color and just choose one of the colors as completely white like this. And the second color should be at 0.5 value just to make it a little bit lighter, as you can see. Then to add a bit more variation into our material, select the mixed node, press Shift plus d to duplicate, and again, plug this in once again. Now, what this will do is this will be acting as the overall hue for our material. We can easily, control what type of color for the paint we want to go for this building, and this mixed color node would be responsible for that. So I will be going with something like light yellowish B type of color, and I think this would work pretty well. And now we can control the factor. So if we set the factor to something like zero, that means it is totally taking the A input. So that's why we are getting the earlier material only. Nothing really is being added on. But now, if we keep on increasing the factor, this B input would also be mixed in with the A input. So basically, if we set this to one, it is completely like the solid color, whatever we have chosen like right over here. So I will be going with something simple, so I can just quickly copy up the X code. If you want to do the same, you can copy mine from over here. So this is something that I would be going for and we can set the factor to something pretty light, 0.2. So this was like earlier material, and this is it now. So just to make it a little bit lighter as well, and to introduce, a little bit of color. You can increase the saturation to add in more color. Maybe I will increase it a little bit more. And for now, I think this is pretty good. Let's press F 11 to see our older render. So this was something like it. Press J to switch between the slots, press F 12. And this is something that we have got going on right now. I think it fits the overall vibe of the environment a lot more, and obviously we will be adding some more things to it to make it fit in a lot better. Saturation can be fine at 0.3, I think. Let's save and continue working. Now, one other thing that I will be adding in this material is that it is kind of lacking a little bit of ambient occlusion. So I will show you what that means. So basically, press shift A and search for ambient eclusion node. And now plug this color into surface. I have taught you the shortcut so you can hold control shift and left click and we have something like this. So the ambient occlusion will basically darken up your corners like you can see if you adjust a distance you can see it is kind of trying to darken the areas like around the bottom and wherever we have objects close to each other, kind of like trying to replicate wherever dust would be collected. So it is like a really nice thing, which adds a nice bit of dust effect into your material. So how we can add this thing into our material, it's pretty simple. Once again, we will be press Shift D on the mixed color node so that we have another mixed color node. And plug the result of this one to A and the ambient occlusion into factor, and then plug the result into base color. And then obviously plug this into surface to see how it looks. So right now, everything is yellowish because I think we have flipped the A and the B. So disconnect it from A and plug this into B rather. And now we get something like this. Let's just set this to completely black so at least we know that it is working. So now you can see The ambient occlusion is working as we are getting this dirt like thing in the corners and over these areas of our building wherever things are close to each other. You can see the ladder part is also reacting to it. If I just select the ladder and kind of move it away, that dust thing goes off. So I think it is like a really nice addition to our material. So we can set the distance to something like 0.75 maybe because obviously we don't want it to be too much, and the color once again can be a little bit more lighter than black, not totally black like this. Yeah, I will also select the ladder that we have over here and bring it a little bit more towards the out. So press G and Y so that it does not create, like, a very huge dark spot right over here. Now let's press zero to go through our camera view, press F 11. So this was like our older render from which we want to compare to suppress J so that we are in this one. Now press F 12 so that this render gets replaced and now you can press J to compare between the two. And as you can see, the amid illusion, although it is pretty subtle, it does add a nice bit effect into your material, giving you that dust kind of look, which I think is a nice bit of addition. And with this, I think the building is really matching with the overall vibe of the environment, so I think it is looking pretty good. Let's just hit Save and one more thing that I want to do is select the building press tab, press Control R, I will enable agilent and press Control R and add edge loop right over here at the bottom, just so we can make it of a different color. This way, we will add a little bit of color variation as well into our building, and it will like machine with the environment really well. So first, let's create a separate material, so add a new material slot and give it the same material as this building only. But make sure to click on this two, basically making it a separate material from the earlier one because we will be changing the color for this. So let's just rename this building Underscore blue because I will be giving it like a blue material. Now, select it, select your building, press tab an old ult and select this complete loop. We can disable Edge length and just select the building underscore blue and hit a sign. This complete part has a separate material. Right now, we cannot really see it because both of them are exactly the same. But if you remember, this particular mix node was for changing the hue or the overall color of the material. So we are changing the tint of the material using this, and you will notice when I change this, it is updating right over here. So this adds a nice bit of variation into our environment. So if it is not really show, you can just change the color of it first, and then press tab Woolt select it all completely, select the building underscore blue material and make sure to hit a sign. This way, it will have this completely separate color. And for this one, as I said, I will be going for like Mm hmm. Bluish kind of color. Yeah, something like that. And you can see it is kind of like pretty faint right now. So if you increase this factor value from over here, make sure to not increase it to one or maybe a high number because it will totally take away all of the details as well. So if you want to keep in the details, but add in more color instead of changing the color over here, change it up over here. This way, you can add more color variation or add in more color without actually removing any of the details of your environment. But I won't be doing that because I think this fits in a lot better with the overall vibe of the environment. And I like this a lot more. Let's press zero. You look at it, press F 11. And once again, this was our current render, and this is our older render, press F 12 for this one. And now you can just press J to switch between the renders. And I personally think it is like a nice bit of addition with added color variation. I do think that the blue is a little too faint, so I will switch it up. Here. Definitely not for this one. Let's cohere a little bit. Yeah, something like this. Now let's once again compare it with this one. And yeah, as you can see, now it is like a lot more prominent. Eli was looking I think a little bit too faint. So this feels a lot better. So yeah, definitely switch up the colors over here as well to get the proper result looking. Now let's just hit save, and I think the building is looking pretty nice as well. For the ladder, I will be using the simple iron material only. So select all of the parts and select the iron material, press control and link the materials. And with this, I think we can just hit save and we're pretty much done. Let's just work on these materials, which are, I think, pretty easy to create, select the window, create a new material, rename this to glass. And for this one, what I will do is basically set the roughness to zero, increase the transmission to one, so that we get this sort of material. And then maybe we can change the color of it to a darker color and also first add it over here as well. Let's increase the roughness to something like 0.05 and decrease the transmission to 0.8. Make the color a bit lighter and see what kind of fits the overall vibe. All right. So yeah, I think that's fine for now. For the other parts over here, we can just simply again, click on New, rename this to Window, and just give this like a darker base color. Copy it over here as well, similarly. Is this F 12 ones to see how it fits? I'm not quite sure. I will select the windows and make sure to enable rays transmission for them. And then just select them. Let's try to switch up the color a little bit. I don't think personally, the bright color would really fit this. I think I will just put the transmission back to zero. And yeah, I think this looks a lot better. Let's just press F 12 to see how it looks. And yeah, that's fine. Let's select the window pieces and make them a little bit brighter. Yeah, that's good. I will similarly use the window material over here as well, I think. And I think we can use it for these two as well. Just select all of them and at last select this press control and link the materials. And with this, finally, let's just add the material to the door, create a new material in this to door, and we don't really have to do too much, just create like a Pak a colored door. Let's see. First, let's press a far to see how it looks. Yeah, I think that feels pretty good. Et's just save. And I do want to, like, detail up the door a little bit more, so I will just go to the layout section once again, press three for the right side view, go to object and set the origin to geometry. Shift plus cursor to select it to bring the cursor right over here. And let's just press Shift A and simply add in a plane. Rate this by 90 degrees, I will just quickly create a very simple looking handle for this. How we can do that, I've created this plane, scaled it down, apply the scale, press tab. Let's select this press Control R and add edge loop right in the middle. Hit right click and just select these two whereas press X and delete them. And now you know that by now just add in the mirror modifier so that we can just extrude it over here like this. This way, we get a very simple looking handle. Add a solidify modifier to this to obviously give it thickness. You can see it is not really working correctly, so we can enable even thickness from over here and said too complex. Press tab, select this edge, press Control B, and bevel it out. And yeah, you get Liga very simple and a solid looking handle that should work for the most part. I think it is over there on the other side, where is it? Yeah, just bring it out over here. Rotate it by 180 degrees. Let's place it right like this. Let's see how it looks once. Scale it up a little bit. And also give it the iron material. Let's just save, and quickly, let's just render out our scene first. I think everything looks fine for the most part. We can definitely do some wigs for the colors and everything at a later on stage as well. I just want to make it up and running. Let's try placing it over here if that looks better. Press J, and now press F 12 to switch between the two. Personally, I think the handle looks a lot better over here on this side. Yeah, I'm pretty happy with how it is looking now. I think we have done pretty good with the materials. I think overall, everything is coming along pretty nicely. And yeah, I think it is a pretty long video now. So we are pretty much done with the materials as well. We will be working a little bit on compositing and rendering out the final renders. And we will also be creating a variation of this scene where we will be creating it in a nighttime. So yeah, I hope to see you there in the next lectures. Thank you guys for watching. 12. Taking Renders and Compositing: Hello, and welcome, guys. So now that we are done with the materials and the modeling of our environment, in this lecture, we will be focusing up on the compositing and taking some renders of our environment. So let's just start. Let's press zero to view through our camera, and we can first just look at how our render looks right now. So if you press F 12, this is how something it looks. There are, like, a couple of changes that I want to make first. So first, I will just select this bench and just move it out of the way, and I will select this one and make sure you select just the bench only so hold control and deselect everything else. Just select the bench and delete this, and we can delete this one as well. I think I'm going to go with two benches only, and I will just try to place them a little bit better. I'll select this one and just move it over here. You can press F 11 and then press J to switch between the renders and you can render this one out. Again, this is totally up to your preference if you want to go with two benches or the earlier one only where we had four benches, but I think it feels a little bit too much over here, and this feels a lot better in my opinion. But yeah, once again, that is totally up to you how you want to place all of them. I will just move them a little bit like this. And yeah, I think this feels a lot better to me. I will also just quickly select the camera. Select your camera, press N, and go to camera to view. I'll just move it a little bit. Yeah, I think that's better. Press N and disable camera to view. And yeah, let's just move ahead. And now we can just save our files and then move on to the compositing part. Can go over to the compositing tab, make sure to enable use nodes from over here, and you will see these two nodes pop up. I will also just go over here in the corner and create a partition so that we can select this and select it as the image editor and make sure to place the render result over here. This way, I can see the changes that I make over here. So I will show you what I want to do. So there are a couple of nodes that I will be going over. So first, it's pretty simple. I will show you a very important node that is very useful in making these type of renders. So if you press shift A and search for the Kuwahara node and displace this in between over here, you will see as soon as you do that, it will give your like render this overall very paintbrush style of effect. Obviously this is a little bit too much, but that is basically what this effect does. It will make your renders look very like watercolor. So what you want to do is you just want to decrease the size of it because we want to use this effect, but not too much. So we just want it somewhere around like 1.5, where we still keep a fair bit of information in our render and we don't lose it all because of the watercolor effect. You can select any of the node and press M, and you will see what kind of effect it adds. So you can just press M to mute it, and it will show you the render without the effect of this node, and then you can press M to enable it back on. So I think 1.5 or around one, I think is a nice bit of addition. And then what we can do is we can add a couple more nodes, press Shift and search for filter. And we can select the soften and place this somewhere around 0.5. And then once again, duplicate this soften, so press Shift plus D and place it again. And this time we can select the box sharpen. It will basically, as you can see, sharpen it up, but obviously we don't want it this much. We want it somewhere around 0.2. And now you can just select all three of these nodes, and you can also just zoom in over here. And when you press M, you can disable all three of them at once. So now by default, whenever you press F 12, whenever the render is finished, all three of these node effects would be added automatically. And yeah, I think it is a nice bit of addition, so we can definitely do that. This is totally up to your preference if you even want to add them or not, or you want to change the values for them, that is totally up to you. There are a couple of more nodes that I will be going over. One of them is bloom, so press shift A and search for glare. And earlier this used to be in here only in the EV settings, but now it has been added to this node. So from this glare node, we have all these different types of glare types. So if you zoom in overhead, wherever your light is shining a lot, you can see these streaks are added. If you turn this glare node off. This is basically the doing of this. So streaks is currently the modset that's why it looks like this. If you change this to something like bloom. Then it will give you this glow like effect, which I think looks pretty cool. But right now it has been added to the small part only because this is where the light is shining the most. So what we can do is to make it so it appears in a lot more areas in our render. You just need to decrease the threshold. So the threshold is basically the value. Like whatever pixels have a value brighter than that, only those pixels will be getting that effect. So if you decrease this, a lot more pixels would be starting to get effected. As you slowly keep on decreasing it, you can see now if you decrease it to 0.8, the clouds are also getting this bloom effect over here. And now, if you keep on decreasing it, more and more areas of your render would start to get effected. And slowly it would start to glow everywhere. So we can set this to something like 0.6. And what I will do is basically now, I will decrease the mixed value. So what mix does is if the value is at minus one, it will totally give you the image that was earlier without any of the bloom effects. And if it is at one, it is only now giving you the bloom effect only. So wherever the bloom is being added, it is only giving you that, as you can see over here. So you can place it at a value somewhere around zero and minus one, and it will give you kind of like a mix of both and you can control the bloom very well. So if you said to something like let's say -0.9. We get a decent bit of bloom and we also get it in a lot more areas in our render. If you just turn it on and off, you can see. So you can see it is very subtle, but it still adds a nice bit of value. You can decrease the mixed value. So by decreasing, it means you can set it to -0.8, and you will get a lot more bloom effect. And if you keep on decreasing it to zero, the bloom will keep on increasing like this. So I think somewhere around -0.8 and -0.9 would look pretty good. But I will be going with -0.9 only because I just want to keep everything a bit subtle. So now you can see we have added, all of these compositing nodes, and you can turn them on and off to see the effect they add. You can search through them in the compositing tab over here. If you press Shift A, there are a lot of different nodes that you can go over, mainly over here in the filter where you will find a lot more nodes relating to adding these filter effects like the blur over here or the lasing, all these things. One other thing that you can do is press Shift A and search for color balance and just place it right over here. Basically, using this, it is like a kind of color correcting node where you can add these color effects to the lift gamma and the gain of the image. So what it means by that is the lift is basically used for the shadows. So wherever the dark areas are, it would be affected. If you make it a little bit more darker, you can see the shadows are getting a lot more darker. Let's just set the color back to normal. And the gama is for the mid tones. So what it means by mid tones is whatever, lies between the shadows and the highlights. So the highlights are all the areas that are a lot more brighter and the shadows are obviously the shadows, the darker areas. So gama is for mid tones, as you can see when you play around with only the mid tones are being affected. And then gain is for highlights. Whatever, there are a lot of bright areas in your environment, it would be affected by gain. So yeah, you can play around with all these three color wheels to adjust the color balance of the image. But we can do these sorts of things in Photoshop as well, and there is a lot more control over there, in my opinion. So I will be using that only, so I can just delete this color balance note. But yeah, you can definitely use it from over here if you want to. And with this, we can just hit Save, press F 12 to look at our render. And this is how it looks. I think it looks pretty good, and we are getting that anime or like comic book style of Vive and effect. Let's just go to image and hit Save and we can save it in our renders to glow into blender files. In the rooftop, I will just right click and create a new folder with the name renders. Rename it as one and save it as JPG and set the quality 200, and now it's save as Image. Alright, guys. With this, we have covered all of the things that I wanted to go in this lecture. You can also add a couple more cameras and place them in a few different new angles and get like few different shots for your environment. In the next lecture, what we will be doing is we will be doing a bit more compositing where I will be taking these vendors into Photoshop to just show you, like, a couple more things that we will be going over. And also, I will create a variation for this environment by adding a nighttime HDRI and making it like a nighttime scene. So we will get like two different variations of our scene, one in the daytime and the other one in the nighttime. So yeah, I will see you in the next lecture. Thank you as for watching. 13. Creating Night Variation and Compositing: Hello, and welcome guys. So in this lecture, we will be working on a nighttime variation for our environment and also be doing a little bit of compositing in Photoshop. So obviously, we won't be working in this file because this one is done like perfectly. Our ender is finished, and we have done all the compositing as well. So we are done with this environment. So let's just hit Control Shift in S to create a separate file, and we can save it as rooftop underscore night C, to create a duplicate of this file. And in this one, we can make all of the changes. All right. So now it's pretty simple. What we are going to do is we will be changing the HDRI, also changing the color of the sunlight and just doing a bit of compositing to give it that nighttime look. So let's just go over into the shading tab and press slash to come out of the local mode, press zero on your numpad, and then we can move over to the world shader type. And now, if you will look over in the HDRIs folder, in the coast piles, I specifically added this HDRI four, which is like a nighttime HDRI, so we will be using this one. So we cannot really drag and drop it in over here because the HDRI texture don't really work like that. You will see. It won't really give you proper looking results. So let's just delete it and press Shift A and search for the environment texture node, and then click on Open and now just select the specific HGRI that we want to add. Now if we plug this in we get something like this, which is kind of like a nighttime looking scene, so we have to kind of make it work. You can select the GRI press Control plus T to link the mapping nodes, and then we can first, like, move it around. And then I kind of don't really like this orange look that we have at the bottom, so you can move the location on the z axis. I think, just a little bit, just so we have something like this. So that we do not really have this orange part at the bottom. So now let's just first press F 12 to see how the render is looking. Definitely, it does not really look like a nighttime scene right now, so let's work on the colors a little bit more to give that effect. You can select your sunlight and then you can click on the color option and then just move it towards a little bit bluish color. You know, somewhere around here. And then what we basically need to do is rest of the things we need to edit in the compositing tab. If you press F 11 right now and just compare it so now you can just press J to compare between the two renders and definitely giving it this bluish tint makes it look a lot better. But now we can just go into the compositing tab, and this is our render over here. If you want to just create another window, you can do so like this. If your compositing tab looks like this, you can just go over here in the corner and divide it and click on here and select Image Editor and select the render result. This way, you can see the render result over here, and you can make changes in your nodes and see the results update. So I'll press Shift A and add in a color balance node. And this way I can just make it look a little bit more suitable for the nighttime view. So now over the lift color wheel, just move it towards the bluish tint. And as you do so, you can see all our shadows will get like this deep blue tint, which is exactly what we want. So just make it a little bit darker like this. I'll click on over here and somewhere around 0.65 saturation can be 0.12. Yeah. Now you can just select the color balance node press M and just see the effect it adds. As you can see, just making it a little bit bluish over here gives it a lot more effect of that nighttime view. We can do the same thing over here with the gain as well. Not that much, definitely a pretty low number. And you can also make it like brighter. And this way, you will see the highlights will all shine through. Obviously, not this much, but we can definitely make it at bit brighter over here. Let's set this to something like 1.1 maybe or 1.15 and now you can just select the color balance node and press M. We just see the effect we have added. This was our old render, and this is what we have created just using simple tweaks in the color balance node. So yeah, it is definitely pretty powerful and you can create, various different and you can create various different ambiences and moods just by using simple nodes in the compositing tab. And I think this looks pretty good for the nighttime view, and I'll just hit Save. And now you can just press F 12 to get the final render. Go to Image, save and save it in the renders folders let's just save it as two underscore night. Save it as JPG and give it 100% quality. And with this, we are pretty much done with the first scene. Now I will just open a Photoshop and show you a bit of compositing over there. So although both the variations of our environment look pretty good, I will be just going over some optional and additional compositing in Photoshop just to see what else we can do. So if you don't have Photoshop, you don't have to worry too much about it. Let's just quickly open it up and I will open up the two renders that we have just created. So let's come back over here in the renders folder, open up both the scenes right over here. Alright, so now we already know that we can do, like, a lot of different photo editing in photoshop, like changing the brightness or the contrast of our end making simple like color balance adjustments or like, changing the exposure, things like that. I will be just showing you how we can add some overlays on top of this so if you will go over in the textures folder, you will see that I've added, all these different textures. These are basically all overly textures that I will be just showing you how we can use them. So let's say I drag and drop this leaves type of texture, and I will just scale it up to cover the entirety of my render like this. So it is just to add, that extra bit of anime effect. Obviously this is totally up to your preference. You don't have to add it if you don't like it. So yeah, now, how we are going to use this, right click on this and go over blending options, and Photoshop has all these different blending options. All right. So currently we are in the normal blend mode. So the photo is appearing as it originally is. If you click over here and just start to, like, hover over the other, blend modes, you will start to see different type of blending between the two layers. And the best I think that works is this section right over here, the ten and till here, the lighten color. So you can see we have this lighten and then screen. Then we also have color Dodge. And this. So now, I think, in my opinion, screen works the best for these type of things. So I will just select the screen blend mode, and you will see what basically is happening right now is we have totally masked out the earlier black color if you go back to normal. We have masked out the black color completely, and we are just getting these leaves textures as an overlay on top of our random. Alright, so now in my personal opinion, this particular leafs texture is not that great. I have added another one as well, so I will just drag and drop this one now and scale this up once again to the size of my image. Hit Okay. Also, if you want to know the shortcut for this, it is Control plus When you select any layer or image, you can press Control plus T to transform it. Then you can just scale it accordingly and once again, just change the blending mode to screen. So now if you want, you can just click on this eye icon to turn off the older layer. But if you want, you can keep them both enabled as well. As you can see, it gives us this nice kind of look where the leaves are kind of flying over our roof. So I think it looks pretty good and has got that anime vibe to it. Also, you can select any of the layers and also control the opacity of them. If you think this is too much, you can select any of the layers. Instead of disabling them completely, you can set the opacity to something like 30 or 50 so that they are very faint, as you can. But these two, I think, look pretty good and are like a nice bit of addition to our render. And we can create separate variations as well. So yeah, I'm just showing you different things that you can do with the renders to make them look better. Obviously, it is totally up to your preference if you want to add them or not. And also, you can look through Google and you will find various different like these types of overlay textures that you can use. Like, you will literally find thousands of these and you can definitely experiment with them, and we have separate other ones as well. You will be also using them in the Other scene that we are going to create. So that's why I've added lots of these. Like, let's say we have something like this, and we can change the blending option now to let's say something like once again, we have lighten and you can see that screen works pretty good over here as well. So you can select screen and we can get the sunrays on top of our render. You can control the opacity of this if you don't want it too much. So you can definitely do these sorts of things. I will now just delete this particular layer. And this way we have, lots of different textures or overray textures that I added. And as I said, you can definitely search through the net and find some of your own as well. And they all would work in a pretty much similar way. Like, you can use this particular blending mode as well and just turn the opacity to a very low number and then get this type of some color variation or camera effects going on in your render. I think this also looks pretty good. So yeah, I just wanted to show you like these things. Also, you can select the background. So make sure whenever you are making changes or any color changes to your render, you select that particular layer. If you have selected like any other layer, then all those changes would be done to them. So select the layer zero. If you go to filter, sharpen, you can also select sharpen more. I think it will sharpen the image a lot. You can see the edges are pretty hardened up now and everything is, like, a lot more crisp. If you don't like this, you can, like, tone it down a little bit by just using sharpen edges or just simple sharpen. I think that also adds a nice bit of effect because it makes the edge look a little bit more crispier, and it looks pretty good. Chabot Moore is, like, a little bit too much right now. So yeah, let's just undo that. You can also do obviously, I've mentioned, all sorts of simple color manipulations. I'm not really too well versed with this, but you should definitely experiment into this as well. But yeah, I just wanted to show you like these particular tricks of adding overlay on top of your images. You can copy all three of them and just paste it right over here. Press Control and you can place it accordingly. I don't think personally, it looks that great over here for this type of nighttime render, but maybe you can, tone down the opacity a lot. And make something work that way. But I don't particularly think it goes well with this. We can add this type of overlay, as you can see, this one works pretty well with our nighttime one. You can select this and increase the opacity of this a bit more or like maybe change the blending mode from colour Dotch to screen for this, or maybe lighten works a little bit better. So yeah, you can definitely experiment with all these things. You can see with adding this type of layer will give us these like lens or camera effects on top of our render, which looks pretty good for this nighttime and for the daytime, these leaves textures look pretty good as overlay. And yeah, now you can experiment with the textures I have given you can also go through Google inventors to find some more overlay images and try something with them. And with that, we are pretty much done with the first scene of our course. From the next lecture onwards, we will be working on the next scene, that is the hallway scene. So yeah, thank you guys for watching. I will see you in the next one.