Interior Design With Blender: Build an Advanced 3D Scene

1. Introduction: Being able to build a scene is very important because it allows you to create a whole image. That you can bring different materials into the picture. Different textures, different shapes, different forms. You can really bring something to life that didn't exist ever before Everyone. I'm **** Elliot and I'm a designer turned animator. You might have seen my work in Youtube making tutorials, or you might have seen it on Instagram where I'm creating some things that just pop into my mind from time to time. In this class, we're going to learn a lot more modeling techniques. In particular, modeling with modifiers like the skin modifier. We'll also spend a lot of time using some subdivision surface modeling techniques to create more rounded forms, like the cushions on the chair will be creating. And using pre made assets that help you save a lot of time and still have a really high quality look. I'll also walk you through a couple other little tricks like doing some basic cloth simulation. And how to use text in your scene to create three D objects that you can place on walls. Now even though by the end of this class, we're going to an architectural room scene with some pieces of furniture in it and some art on the wall. You don't have to be particularly interested in that exactly if you want to take this class. Because even if you're doing character animation, you need somewhere to put the character. If you're doing product design, product animation, you need a scene to put those products into. You should take this class if you feel a little bit comfortable with where you're at with blender. And maybe you know how to move things around, do some very basic commands. But maybe you're struggling a little bit with where to take your model. Besides that, come hungry to learn. Come with some ideas. Think about what you might want to create in blender. I'm so excited you're here with me today on this class. Let's get started. 2. Model a Lamp: Hey everyone, welcome to today's class where we're going to be taking a look at methods for modeling in Blender. We're going to take some basic objects that you might be familiar with from more beginner level lessons and bring them into the scene to create a little bit more advanced objects, bringing some more modifiers into play. And in general, taking multiple steps to eventually build out a full room scale scene complete with lighting, a few different objects, and room for a lot of flexibility to add your own creative flare. So we're back in blender here with the default cube, our camera and a lamp over here. And I want to start with pretty much clear scenes. So I'm going to select all these by holding Shift and left clicking on them, and then pressing X to delete them. And then if you forgot to rotate your viewport, you can just hold down on your middle mouse wheel and that will allow to rotate around your viewport. If you're working on a laptop where you don't have a mouse, then you can click in this top right area here and just drag that around to rotate your viewport. But again, I highly recommend you get a mouse. So to get started with this floral lamp, we're going to add in a circle to our scene. So I'm going to press Shift and add a mesh circle. Usually when you're creating objects, you want to start with something that's the closest resembling what you want to create. And I think for the base of this lamp, I'd like it to be just a cylindrical object. So I'm going to press tab to go into edit mode, where we can see all 32 vertices that are making up that circle. And then I'm going to press to make it a face. And then what I can do is press E and Z. By default, when you press it will move along the normal. So in that case, it was the Z axis. But if I want to go straight up, I can press Z and just go till it's about the shape that I want. And then we've got a cylinder there. So we could have started with a cylinder, but I tend to like starting with circles because now I know my origin point is right down here in the bottom. So this is working good for our base. But what I want to do next is add an arm that we can attach the lamp shade to. I want that arm to start in the middle up here. Rather than creating the object at the three D cursor in the middle of our scene here, I want to create it right here. What I can do is press Tab to go back into edit mode and then just make sure that these top vertices are selected. If they're not, you could just go into your face select mode up here and select that top face and then shift S. And then this will bring up the Snap menu, where you can move your cursor to different areas or your selections to different areas. So I'm going to snap my cursor to Selected, which will place it right in the middle of all that geometry that's currently selected. What I'll do now is tab back out of edit mode because I want to make a new object, you want to make new objects in object mode and edit objects in edit mode. I'm going to press Shift A, and I just really want a singular point here. I'm going to start with a plane, then what I'll do is just press Tab and then scale that plane all the way down to zero. And I'll actually just type in zero on my number pad here. What I have now is just a single point that's resting right there and you can't really see it because it is just a single point. But we do actually still have four different points here. So if I select one of those points, you'll see that we have all of them. And I only really want the one at the bottom. I moved those other ones out of the way, so I could just delete those. Or after we scale this all down to zero, we can press A to make sure everything is selected even though there's not much to see. And then right click and do merge vertices by distance. What that's going to do is basically find vertex's vertices that are on top of each other and merge them together. And you'll see down here in the bottom it says it removed three vertices, now we just have this single one. What we're creating now is the arm of our lamp that's going to come up and over. So I'll press E. And then with that still selected, I'll press Z. So it goes straight up just until we have it kind of coming up to a nice height. And then I'll press E again. But I'm going to do this in front of you because I want to make sure it goes directly out to the side. So I'm going to press one on my number pad. And remember if you don't have the number pad, you could just click this Y button right here. Then I'll press to extrude this straight out, you can press in X or another trick for extruding along axis is to press E and then click your middle mouse pele once. And that will start to go along whatever axis it's near one. To undo those, to give this arm of the lamp a little bit of depth, we want to skin it with geometry. And there's a modifier just for that, and it's called the skin modifier. So what I can do is go into my modifiers properties here and add a modifier, and that's going to be a skin modifier. Now these are arranged alphabetically, so if you start to lose track of where they are, that's a good way to remember exactly where they are. The skin modifier is right up here next to our trusty solidify modifier. And you can see what the skin modifier does now, rather than having to mess with all the vertices that we see here in our wireframe mode, we just have one that we can mess with. Now when we move this around, it's going to update dynamically. And that's one of the powerful things about working with modifiers. We've got that looking right. I'm going to switch back into my solid view here. And the way I can switch between these views quickly is by pressing Z. And then if you drag over and click, you can go into wire frame or material preview or even rendered view. And once you get familiar with those, you can press Z and just slide over really quickly. And that'll allow you to quickly switch between them. This is looking a little bit thicker than I'd like in the skin modifier. If we go into edit mode, you'll see that each vertex has a radius x and y. Now I'm going to go into my x ray mode here. Again, the option for that is up here, or the shortcut is Alt Z, so that I can actually see all my vertices. If I select them all, I can press Control A, and that is going to control how thick this arm is. I can move that in and out until it feels just about right. And you'll also see that updating over here you could update these individually if you are interested in doing that. But I typically, when I'm using the skin modifier, wanted to be even that's looking good. Now let's do another very simple object over here where we're going to create a shade for our lamp. I want to move cursor to that location, so I'm going to press Tab to go into edit mode. Select that one vertex on the end shift cursor to selected tab out of edit mode and I can add in another circle. I'll add a circle there. Press Tab to go into edit mode. To extrude it down Z to make sure it's going straight down. And then to bring it out a little bit until we have a nice shape there. Now I might just want to move this down a little bit. Then maybe in this object I could actually also create a little bit of a cord. Now rather than going straight down, I want this to be a separate object within the edit mode. I'm going to press Shift D to duplicate this vertex, and then just move it down till it's where the cord would land. And then I'll press E and Z to go up. And then with this whole piece selected, I can press control A and just drag my mouse wheel in so that that's a little bit thinner and we have a cord here. Now I want to add a little bit more detail to this floor lamp so it's looking okay. Now, if you're feeling comfortable with where it's at, feel free to stop right there. But I want to smooth out this weight object. And I'd also like to control the way that this lamp curves right here in edit mode here I could press control B. And that's not going to do much because by default the bevel command, which is control B, is trying to bevel edges. But if I press V, if you actually look along the bottom of the screen here pointing, if you can see that. But there's a lot of actual options there of what can do. And that's the case for many things in lender. If I press V, I will start to devel vertices. And this is what the bevel command does, similar to what the bevel modifier does, but you could also just scroll upwards and then you would get about the shape you want. That's going to add in some more dimension to it. You could leave it at something like that if you'd like. And that looks great. 3. Alternative Beveling Techniques : Now another way to add Bevel, of course, is with the Bevel modifier, and that's a little bit more dynamic. So I'm going to add in a modifier and we'll make that a Bevel modifier, which you can see by default is working properly. But maybe I don't want to bevel the bottom here. There's actually another really cool tool within the bevel modifier and that's to control where the bevel is happening. By default, it's just looking for angles that are greater than 30 degrees, which would include these 90 degree angles at the bottom and sides. But I wanted to just have it be on the top here. What I can do in edit mode is to select those top vertices. And then I could change the bevel weight, which is right here, mean bevel weight to one. It still looks like everything's getting beveled. And that's because we need to change this limit method type from angle to weight. Now we can see that it's just the area that has the weight applied that's getting the bevel. Now I can adjust this to a value I like by bringing that up and maybe adding some more segments, and then shading it smooth. Now if you remember from our previous lessons, when we shade things smooth, sometimes the smooth shading doesn't work very well. And that's because it's trying to smooth this really big edge. But if I instead do shade auto smooth, then that's going to detect kind of blunder will sort of do a good job of assuming what you want to be sharp and what you want to be smooth. Now let's just say we want to, maybe we decided we wanted our lamp to go sort of up at a different angle, so we wanted to select this bottom and then bring this down. But now it kind of messed up our curve. So this is a reason why you wouldn't necessarily want to usually use the bevel command if you can avoid it for quick things like if I just wanted to add a bevel at the bottom here, The bevel command works great for that. And, you know, maybe we don't need quite so much definition, it's good for that. But for something like this where you're maybe not totally sure what you want your final shape to be and you want some flexibility, then using the bevel modifier is a lot better in my vertex select mode. Let's actually just remove these ones and repeat that process, but in a more procedural way. Let's bring this up and then bring this over then. Now what I can do is add back in, I already have the skin modifier on this object, but you realize that it disappeared from this edge. Sometimes in the skin modifier, you need to mark roots. That's just so blend your nose where to start that skin modifier then rather than adding the bevel like I did before with the control command. I'm going to do that a better way procedurally with the bevel command. Now, in the bevel command, it's going to, by default, be looking for edges to level. So if we go back into our solid view, we can see that it is leveling the edges, but we don't want to level those edges. We want to level the vertex at this edge right here. I'm going to changes from edges to vertices, and now it's trying to level every single vertex that's being created by the skin modifier. This is a really important time to note that modifiers work in order. We have the skin modifier at the top here, and then the bevel is being applied. We actually want this the other way around. We want that single vertex to be beveled. And then we want to add some dimension to this with the skin modifier. In the modifiers tab, what I can do is just click and drag up until that is at the top. And now we have control over this bevel value and it's much more dynamic. So if we add some more segments here, then we'd be able to make that change we did just earlier. And the bevel is going to update dynamically. So that's a much better way to work with modeling and blender if you can sort of think ahead to what you're going to be doing and work a little bit more dynamically. And it just also gives you a lot of flexibility in terms of creativity, where you can sort of make changes as you go if you see something's not working the way you like. So just to finish this off, I want to add in maybe a subdivision surface modifier at the end of this. Because by default, the skin modifier is really just creating a box around your object, but using the subdivision modifier will smooth that out a little bit. You might notice that if you try to right click and shade that smooth, it doesn't work. And that's because there's a quirky thing with the skin modifier where you have to check smooth shading in the modifier right there. Let's just maybe move this down so it's going into our base a little bit better. Then let's maybe also add in a solidify modifier to this object so that we just have a little bit of thickness. Then we could also even add in a subdivision surface here and maybe a few edge loops, just that we have a little bit more of a nice organic lamp shape. This is a great opportunity to play around with exactly what you want your lamp shape to be. The subdivision surface modifier obviously allows us a lot of flexibility with changing those shapes, but I think a good shape like that is working for me. So that's about all with this lamp. Now one thing I do want to make note of is since we're going to be putting this into a larger scene, it's important to be working in a little bit of a real world scale. So the way that we can control what the scale of our scene is is in scene units tab. So this little cone with the dots in it is the scene tab. And then under units, you can see right now we're working with the metric system. Which for many of you is probably exactly what you want to do. But for someone such as myself, we use the imperial system. I know don't shame me, but we want to, I'm going to add in basically I'm going to imagine that, you know, a person may be standing beside this would be about six feet tall. So our cube has been added right at the top of our scene there. I'm just going to bring it down to the floor. And then I can see the dimensions of that right here in this sidebar. And again, if you've lost that bar, you can press end to bring it up. So I'm just going to bring this up until it's about six feet tall. So that we can imagine that that's a person. So something about like that. And then I'll just in my front view, make sure that's sitting right and we can see that our lamp is way too big. So I'm just going to select all these objects and scale them down. But I don't really want it to scale right there. I wanted to scale about this point. Now would be a good time to press shift C to snap our cursor back to the middle of the scene, select these objects, and then to scale them about that cursor, I can press Period, and that will change the pivot point. Basically, I want to scale about the three cursor to scale these down just until our lamp is about the size of that person, someone standing next to it. It would be right about at their eye level, which is about how big a floor lamp like this might be. Then what I want to do, remember, is you don't want your scales to be off here. And that's really important when you're working with modifiers. So I'm going to press control A and apply my scale, which you can see now throws off our modifiers a little bit, but it's really easy to get back. So I'm just going to rescale all of this down and then in the bevel, I'll pull this back in quite a bit until it's right where I want it. So it was like six feet that it was trying to bevel, we can bring that way back down. Maybe you just want to type in a value here like 6 ". Maybe we just bring that up a little bit, that's looking better. And then the bevel here, we could also make the same adjustment. Maybe that's a 1 " bevel, or maybe it's a little bit bigger that's looking good. And then this is looking way too fat at the top, so let's bring that in too. And now we've got a properly scaled lamp next to our box person over here. But we'll delete that person. Okay, so the last thing you might want to do once you've got all these parts here is just consider naming them just so that it's a little bit easier to organize your scene, especially once you start putting this in with other objects. So I'm going to press F two to rename this object the base. And then I'll press F two to name the Arm. And then I'll press F two, or you could also double click up here in the Outliner to rename this the Shade, just so that we have those objects. And then another thing I might do is just maybe select all of them and then select the base last. So anytime you're selecting multiple objects, the one with the lighter colored orange outline, that's the active object. So that's sort of the last one we selected. I'm going to press control and parent them. So I'll parent that to the object. Now if I ever move this base around, everything else will come with it. And we don't have separate objects, so that's a really convenient way to make sure things are just a little bit more organized now. Feel free to have plenty of flexibility here with what this design actually looks like. Like I mentioned, I sort of knew the direction I wanted to go with this. But feel free to play around with the shape of the shade, the shape of the arm, the base. There's really a lot of flexibility here, and I'm excited to see what you create. So join me in the next lesson where we're going to do some subdivision modeling. Just a little bit of a different modeling technique. Slightly more advanced, but great for creating curved objects. And what we're actually going to be making is a chair object with sort of a wood frame and a nice soft cushion. So I think it'll be a lot of fun. Join me there and we'll get started soon. 4. Subdivision Modeling a Chair: Welcome back. In this lesson we're going to be creating a chair model using subdivision surface modeling techniques, which is a little bit different than what we've been doing so far, is a great way to create more organic shapes like the cushions in the chair we're creating. Subdivision surface modeling is basically a method by which we create a cage object and then that is automatically smoothed in blunder so that rather than having to control hundreds of faces, we're controlling very basic shapes and the subdivision surface modifier will smooth them out. So we're in our scene with our lamp here. I'll make sure that I've saved that. And then I'm going to add in a new object, which will be our chair object. So before I get started, I'm going to press file and save As. And I'll save that as lamp and chair and save the file. I want to move this out of the way, so I'm going to select all these objects and press M and move them to a new collection, which I'll call the lamp, so that those objects are now in their own collection. And I can uncheck that here so that it's hidden. But while I'm getting sorry with my chair, I'll leave it on just so I can make sure they're working at about the right scale. So I'm going to put shift A and add in a cube. And then I'll leave that in the middle. But maybe we slide our lamp a little bit out of the way. And then I'll move this up sitting right on our floor. And I want the seat height of our chair to be about 18 ", which is pretty common. So I can look over here and see that this is now two feet tall, which is about 24 ". But in edit mode, I could also actually add in some edge length options. So you can see right there that those are our edge lengths. So I'm just going to move this top plane down a little bit until we're at about 18 ", which is 1.5 feet. And you can actually control the units over here from feet to inches. And my math was correct, that's 18 ". So we've got our basic cushion shape there. I'll just move this up off the floor. And then I will also turn off my edge length option. Now I'm going to duplicate this object in my side view and sort of create a bit of a back for the chair. You can see that we're still rotating about the cursor though, from the previous lessons. I'm going to press period and change our rotation to median point, which is typically what you'd want it on by default. So I'm just going to move this up into place. And then grabbing this edge, I'll pull this out a tad. And I'm just creating a general shape for our chair here. Maybe moving this cushion down. But really the bulk of what we're doing is subdivision surface. So these cushions obviously right now are not very smooth at all. So we're going to add in our trusty subdivision surface modifier, which you can see completely wrecks the mesh. But it does smooth it out quite a bit. Now if you remember, the Viewport levels is what you see in the viewport and the render levels are how many levels get rendered. Sometimes you want the Viewport levels to be a little bit lower than the render levels, just so that your Viewport operates a little bit faster. But I'd typically like to leave them the same. So I want to bump this up to maybe something like a three and then I can really start shaping this out. Now I'm going to be doing changes on both sides of my object, but this is a symmetrical object in the case of the chair that I have planned. So I'm actually going to just press control R to add an edge loop right here and right here. And then I'm actually going to delete this side. Because what we can do, and I'm actually going to delete those vertices, what we can do is add in a mirror modifier. So the things we do on one side will happen also on the other side. That modifier is right there. Remember, those are in alphabetical order. If you lose track of where they are, Now what I can do is just start moving things around with the mirror modifier on and it'll happen on both sides. Remember our hockey control R to add edge loops and then maybe another edge loop right here. And then the power of subdivision surface modifying is now that even though we're working with a pretty basic shape, I could shape this out a little bit more right here. So maybe we move this down, maybe we move this over and we'll notice that that's actually not a nice smooth transition between. And that's because there's an option in the subdivision surface modifier that we need to enable which is clipping as well as merge that'll make sure that they merge those together, but also that you can't go through your sort of mirror plane. Now there's another thing that, if you remember from the lamp lesson, modifiers work in order. So we're actually getting the model subdivided. And then it's being mirrored. So we need to instead be mirroring the base mesh and then subdividing it. And now we have a little bit more of our expected result. I might just pull this whole thing in because we have that clipping option on it's going to not go through it. And then we can just make some general adjustments to the shape here. Maybe this part comes out a little bit. Maybe look on our top view, I think this is a little bit more curved until we just have a nice shaped object. Maybe we want the bottom of our chair to be a little bit flatter. And maybe we add in another edge loop here towards the front, just so that the front of our chair maybe has a little bit more cushion to it. I think that something like that is looking pretty good. Let's right click and shade that smooth. So what I'm going to do next is add in a simple frame to our chair. And I'll do that using similar techniques I did on the lamp over here using the skin modifier. What I'll do is first, let's just hide that lamp now that we know it's looking about the size we want for our scene. Let's uncheck it over here. And we now just have our object alone in the scene. Software is F two. While I'm working, just to keep things a little bit more organized and rename that to Cush for a chair cushion. I want to now add in, like I mentioned, a frame. This object. This is going to be a familiar process. We're just going to add in a cube. And then I'll bring this up. Until it's right sitting on the ground there. And then I'll move this over. Then I want to mirror that to the other side. If we add in our mirror modifier, you'll see nothing really happens. And that's because it's trying to mirror currently about the object origin, but our origin is right here and we want it to be right here. Instead, when we added that cube, let's move it in edit mode so that our origin stays right there in the middle. Now that's looking a little bit better. We've got our origin right here. That's what things are rotating around. And when we add in our mirror modifier, now it'll come to the other side. That's exactly what we want. I'm going to also add in a skin modifier and then we can see that it's very large salt pressed a, with everything selected and control A to bring that down. And I really just want one piece to work with at this point. I'm going to select this edge right here, for example. And then if you remember from previously, we press control to invert that selection, I'm going to press X and delete all those edges. So we just have this one edge. Now we've lost our skin modifier again. So remember you can mark route to get that back. Let's just move this over. Let's just rotate things, move them around until we have a nice shape for our chair. So we have a little bit more of a mid century style shape there. So that's looking good. Now, I'd also like to create some arms and maybe some crossbars in the front here. But we'll do that with subdivision surface modeling, similar to what we did with the cushion. But we'll also utilize a solidify modifier. One thing I like to do, a Latin blender, is steel geometry. I already know that this has a subdivision and a mirror modifier on it. So rather than creating a new object and adding those, what I can do is rest tab to go into edit mode. And then I'm just going to find a face that I think is going to work for my arm. So I'm just going to select that face that looks good. Press Shift D to duplicate it. And then we have duplicate it. But let's just right click so it snaps back to where it is. And then before I select it, I'm going to press P and separate it by selection. So now we have a new object which is named chair cush one, which is the name that's automatically generated. Let's just change that to Chair arms and now we have the arms for our chair. Remember we want to do our modifications in edit mode so that origin stays right in the middle. So I'm going to press Tab to go into edit mode. Bring this up, bring this over, select this edge, bring that to a nice place. Then just in my front view, let's make sure we're looking right. And it can be a little hard to see here because of course, this is just a singular plane. So let's add in our solidify modifier just to give it some thickness. In this case, I think I actually want the solidify to happen right now. We have it being mirrored first, which usually you want the mirror modifier first. And then we have it being subdivided, and then it's being solidified, which that order works for me pretty well. But I might want to smooth it out again once after. I might drop this down to two and then add in another subdivision surface so that it gets smoothed out at the very end. So something like that looks pretty good, but that's looking good. Let's steal a little bit more geometry from this arm rest here. I'm going to show you how to do some level out. So I'm going to press Shift to duplicate this piece. And then I want to move this down. Now I want to rotate it so that it's straightforward. So I'm going to press R and X because that was already at a little bit of weird angle. I don't know exactly what straight up would be. You could press and Y and then, and that will scale everything along the Y axis so that it straight up and down. And we can see that now that is going exactly how I want it. So I'm just going to move that into place right there and then bring this piece over and it's going to connect right there. Because again we have the merge option on. And then I'll just add an edge loop right there. Bring this over and we've got a nice shape, which of course, you could add a little bit more detail if you wanted to by just maybe bringing that up and that's looking pretty good. Maybe we want the same piece in the back. Let's select this whole thing. And a quick way to select all that would just be to press A. But of course we don't want the arm selected also. So I'm just going to hover over this and press L. And that will allow me to select linked islands where you can think of L as the L in island. Now in my side view, I'll just duplicate this over and just rotate a little bit until we sort of have a nice shape there. And that's about it for our chair model. One other little detail we could add potentially would be going into this and adding like some cording around the outside. The way I could do that is I'm just going to duplicate this and move it over. And I'm going to move this to a new collection, which I typically like to call the trash collection. And that's basically just, I want to save that model because what I'm about to do is a destructive process. So I'm going to apply the mirror modifier and the subdivision surface modifier because I want access to all the geometry so you can see what the subdivision is actually creating. It's creating all these faces. And you can see why it's important to work with subdivision because you wouldn't want to have to control all those at once. But I just want to add a little bit more detail. So I'm going to use Alts and left click to select an edge ring. And I'll do that just in a couple of places where we might naturally have some cording appearing on our model. Maybe right there and right there to select those edge rings. Now with those selected, I'll press Shift D to duplicate them and then to separate by selection. Then with that selected, I can add in a skin modifier cabinet, edit mode, selected all and then control A again, is our hot key to control the radius, and let's make sure we mark root on all those. And then maybe we add one more subdivision on top of that, just smooth it all out and we can check our smooth shading option. So now we have our model that's fully ready to be textured and add materials to. We've got some porting around the outside and we've got our nice other objects that are ready to work with. What we have now is a nice chair model that we created with a few different modeling techniques. Some we've used before like skin modifier and the solidify modifier. And also we played a lot with the subdivision Surface Modifier, Mimi. And the next lesson where we'll actually pull this all together into a room, add some more details, and create sort of a full environment that we can place our furniture into. 5. Build a Room: So we're back in our scene here and we have our chair and our lamp off to the side here, which we want to start placing those into a little bit more of a contextual room scene. I'm going to start by building out the room with a plane, So just shift a mesh plane and then just scale this out. And I kind of want this to be a long hallway I'm looking down into. Now, again, similar to the chair, you might be interested in gathering some inspiration of your own about exactly what you want this to look like. But for me, I think something like this is going to work well. I just want to create a subtle like reading corner where might be hanging out on an afternoon reading a book next to their beautiful lamp that they designed. So before you go too far with any room design, it's a good idea to think about where your camera is actually going to be looking. So I'm going to add in a camera to my scene with shift A and then camera. And then that will appear right there at the three cursor. But what I'm going to do is go into my camera view with zero on the numpad. Or again, there is an option right here to go into our camera view and then shift Tilda to use the WASN D keys to sort of fly back until I think I'm looking at about the distance that I want to be. So I'll leave my camera right about there and then I'll change my rotation to 90, so it's looking straight ahead. And then just holding control with these values to make sure that they're snapped to even increments. So with our camera about where we want it, I was also thinking that it might be cool to do this as a vertical scene. So I'm going to switch this 1920-1080 by 1080 to 1920. We have just a little bit more of a current feel to this, creating a vertical render. It will allow some unique opportunities with the composition and the story we're telling. This is looking good. Now one thing we haven't played with too much yet is the focal length on the camera. Our focal length by default is usually set to 50, But we might consider bringing that up to something longer. Like maybe you're looking longer down this hallway. Because I'm a simple person, I usually like to leave it at very simple increments. So I'll just set that to 100. That looks pretty good. We'll set that. We'll just get our camera back to where it was right there. That's looking good. Then let's pull our lamp into the scene. Our lamp, I think we want to be more against the wall. I'll just rotate that over a little bit. Then let's pull that back to now our chair. We have not done all the parenting with yet. I could either parent them all to this cushion object or another way to parent objects is with an empty. I'm going to snap my cursor to the middle of our cushion, right there where the origin is. Add a empty, and that'll be a cube. Then I can right click and change the size of the empty. Empty is basically just a null object that you can't see it when you render. But it's good for just controlling things. That's how I use it. So I'm going to select all our chair objects here until they're all selective. And then lastly, select the empty. Remember the lighter orange one is the active object. Press control to pair that to the object. Now, instead of having to select all those objects each time I want to move it, I can just select the empty object. So now I can place that in an area I want. Now one thing we haven't covered yet, I want to just move this along the floor. So rather than having to go in top view and move it, because when you're in top view, it's not going to be moving in the Z axis because that's the axis we're looking down. It's only going to do X and y. But you can press G and then shift z, which will exclude the Z axis. Shift z and something like that I think is going to look pretty good. I want to be mostly in the center of the scene. Now in my camera view, I want to see this right side wall a little bit. So I'm just going to move this over a little bit and I'll use my giz mode to make sure, Moving the right direction, maybe that can come to something like that. Just so that we see that wall. And then maybe our lamp, we don't want to see quite as much of it, let's move that over then. Similarly, this lamp base is feeling a little tall, so we can press A and then and shift Z. Just repeating that similar action to make that just a tad smaller. So that's looking good. Maybe we need to pull out just a little bit more. So let's come out like that till we have a nice frame shot. And then let's extend this scene out a little bit more. So I'm going to press to extrude this out. And then I actually want this to be a corner. Let's just that face, and then we can select these two and extrude them over. Then let's just go ahead and pull this out further. We're actually going to see that, but that'll just help us get a little bit of context right away. I think what I want to do is start lighting this scene and maybe not adding some materials quite yet. But I want to play a little bit with where these walls are landing and what the shadows are going to look like. I'm going to split my view, which you can click up here on the top right and drag over or anywhere we see those two arrows, you can right click and you can do a split. So I'm going to do a vertical split. Move that over just until we have something like that. Decide which side you want your rendered view to be on. I typically like to have it on the right side here, but let's have this be our rendered view. And we'll render in cycles. Real quick. I'll go into the rendered view, make sure I'm rendering in cycles, and then I want to be rendering on my GPU, which is not enabled currently. So let's go into our System preferences and change that to optics or Kuta, there's different options. Then now we can see we have our rendered view here. Now if you remember from the previous lesson, we might want to set a rendered border with control B just so we're not rendering what's outside the frame there. We have our default very boring world, but I instead want to use the sky texture like we did before. Let's add that in. Let's bring the sun maybe up a tad and rotate around just until we've got a nice light coming into our scene. I want to be casting just right into our chair. Way too bright right now though, let's bring the strength down quite a bit. And we need to start adding a lot more object wall objects in here so that it's not quite so bright. One thing I'll also do in my render view is always turn off the overlays, so I just have a nice unobstructed view of what we're working on. Let's start shaping this out for the ceiling. Well, let's actually start, let's start with some walls over here, just so we don't have so much light coming in from the right. I'm going to create a new object and that will just be a plain object. And then let's press tab RX 90. I'm doing that rotation in edit mode so that our orientation over here stays 000. Always good. Remember to have this B one and these B zero. If you can, I'm going to add in a solidify modifier. And this will be just our walls object, you can already see. We're starting to get some nice shadows there. I'm going to bring that up till it's sitting just right on my plane. Then I might move this edge over. Then maybe this is like a multiple window corridor. Let's select this whole object. Duplicate this over. We're getting a lot of light coming in from behind our scene, even if it's behind the camera. Sometimes it's a good idea to actually extend your scene so that whatever light might be coming in from your world texture is not visible to the light coming in. Now it's a little bit darker in the foreground like you might expect. Maybe you're walking down the hallway and you've got the light shining through these windows on the end. Now similarly, I'd like to add in a ceiling here. Let's just select our floor object. Maybe we'll just take this plane and then I'm going to duplicate it with shift D and move that up. I'm actually going to want this to be its own object. I'm going to press P again to separate and separate that by selection. Let's move our origin. Right now, the origin is in the same place that it was on the floor object. Let's right click and set our origin to geometry. And I'll just place it where the ceiling, where the center of the geometry for that object is. Okay, cool. That's looking like a nicely framed shot. Now, one other fun thing I wanted to do in this scene was to add a picture on the wall. There's a really easy way that we could do that, and that's by just importing an image of the picture you want to use. And then we can build a frame around it. I want to find where about I want to put that picture and I think it's going to be just in the middle of this wall here. I'm going to select that wall shift cursor selected. And then what I can do, add in an image. Now we actually need an add on for this. So if you press shift A, you will see that there's an image option. We have reference and background image, which is very useful to use sometimes. But I want to add an image and have it automatically be in the scene with a texture on it. So there's an add on that actually comes with Blender called the import images as planes add on. And if you search for that, it's installed at fault, you don't have to download it or anything. Then you'll have a new option where you can do just that. Pre shift a, add an image and that'll be the images as planes. And then I'll just select an art piece that I've selected here. This is one that I totally painted on my own. Didn't create with AI at all, but you might have some art you made on your own. But this is one that I generated using a popular AI image generation service. Really cool, especially for three D scenes to start getting some art on your walls, so that's looking good, something like that. Once your scenes starts to get complicated, you kind of want to be moving around things really quickly. There's a really good hockey for that in its period on your number pad will frame selected. Okay, so in this lesson we added quite a few more details to our scene. We, of course, built out the wall. We added a little bit of lighting so that we could see what kind of shadows we were working with. And also just using, again, some of the very same modifiers and techniques that I said I use all the time, wasn't kidding. We added a table, we added some shelves and some other little floorboard details. And we even added a picture onto our wall using the import images as a planes add on to just start bringing a little bit more personality and life into our scene. Maybe the next lesson where we're going to talk about using pre made assets to help you save a lot of time and still have a really high quality look. 6. Use Pre-Made Assets: Okay, so we're going to take a little bit of a pause from our current scene because I wanted to tell you a little bit about using pre made assets in your scene. Now it might feel like you're cheating a little bit when you download a model from somebody else, especially because it might look super high quality and maybe you're not at that skill level yet. But even someone like me, I download assets all the time, especially for things like plants or vehicles where maybe I could model them myself. But it takes so long to do so, and there's already so many models available online that I like to just bring those into my scene. There's not really a lot of creativity maybe in what my plant looks like. Because really at the end of the day, I just want to look realistic. So using a pre made asset for something like a plant, maybe like a statue. Those are both really good examples. So what we're going to look at on the screen right now is a model that I've downloaded from a website called Chokafer that has a lot of really good models that are optimized for blender. Now you don't always have to use models that are optimized for blender, but there's so many websites out there that have blend models readily available that already have great materials on them. So this asset here is kind of an SUV model that's got a ton of detail on it and this actually already has materials set up on it as well. If we go into our material preview view which runs through EV, we're going to see that it already has a ton of materials already on it. It's got a nice texture there. And in this case, the model is also already animated. So if we were to move it on the y axis, for example, you can see that the wheels roll and everything like that. Now although you could make something like this on your own, it's just so involved and maybe you're doing an architectural scene. You need a car parked outside the house. It wouldn't make sense to take hundreds of hours modeling a vehicle like this when you could just find one online for a decent price. And there's a lot of models like this that are actually available for free as well. So one of the websites I like to use a lot is called Poly Haven, and they actually have textures, models, and a lot of things on their website that are freely available. They are great members of the blender community and I would definitely encourage checking them out if you're interested in getting some models of your own. So on their site here, you can see that they do have HDRIs, which we'll cover later. We've got some textures and there's a lot of models that are available and these are fully free to use. They're creative common zero license, which means you can use them even in commercial projects. So definitely check out some of what the community is doing and there's a lot to work with. I want to download one of these models and actually bring it into my scene. I'm going to go into the models section here. And then you can see they have a lot to work with here, so you might be interested in putting a tree outside your house. Or maybe you want to put a little statue on your shelf. Maybe we do, actually we take that statue. Let's download that. There's a few options here for how high resolution you want to download it. So you can go all the way up to eight K. But I think something for this example, like one K is going to be just fine. We'll just click download on that. And then you can place that wherever you want. Then that will download a zip folder, which then you can right click and unzip it, extract all, okay. And then you'll have a blend file there that actually has the bust in it. So if we go back into our room scene here, it's really easy to bring that model into blender. So we'll just click File and Depend, and then we'll find where we have that file located. And that's going to be right here in my Models folder where I have the marble bust. And then if I double click into that, you'll see these are all the collections materials, et cetera, that are in that blend file. But I'll just go into the object folder here and you can see we just have one object and that should also come with the materials. So now we have very quickly just download it from the Internet. We've got this nice model that we can put into our scene. And maybe this is something we want to just put on our little table top light there to give us a little bit more detail. So if we go into our rendered view and take a look at that, you can see that it's already got a really nice material on it that's already set up to work in blender, some texture on there. And it's just a really quick way to bring high quality detail into our scene with little to no work at all. Now there's another model that I also downloaded from that same Po Haven website, and that's just going to be a plant. Sometimes adding plants into your scene is a really good way to just breathe a little bit more. Life brings some nature into an otherwise still environment. So I'm going to pen that one in as well. I'll navigate to where I have that saved, That's this potted plant right here. If we double click into that, then we can see in the objects, we actually have three objects here. There's the dirt object, there's leaves, and there's the pot. Let's go in and press A to select all those, just like we would in the three D Viewport, press A to select all those right here in the file browser. Let's pen those. And you can see that very quickly, we now have a plant into our scam. Now we might feel like the terra cotta pot isn't quite working for us, but we want to maintain that these leaves, obviously, and maybe the dirt. What we could do is actually we could just delete that pot and then we could just make our own pot. Another thing that's fun with some of these three D assets is you don't have to use the whole thing. Maybe you find a model that's almost what you want, but not completely what you want. You can take just the plant portion of it, for example, right there, I've just made a pot that's going to work with the rest of my scene. And then I can select all these objects and parent them to that pot object, just like we did before. So that now we have a plant in our scene to work with. And we could duplicate that as much as we want. Maybe we just move that off to the side a little bit. So that's coming in from that sunny edge. And we could even duplicate it with Shift D and create another plant over here. Anytime you're working with pre made assets like this, you might want to kind of rotate them around so that you have a little bit of a different appearance. And you're not seeing exactly the same plants. But just like that with the marble statue and with these plants that we download free online, we can bring more energy into our scene that we might not have had previously. So what we've done is just downloaded some free assets online, put them into our scene, and it's feeling a little bit better. Join me in the next lesson where we're going to add just some more details. Maybe add an actual lamp to our lamp object, add some simple materials to our chair, walls and floor, and just in general get this to a place where it's ready to render. 7. Add Color and Texture: Welcome back to the scene. We're back in our room scene here. And just wanted to go through and add a few more details. Maybe add a little bit of a curtain using some cloth simulation. Add some basic materials into the scene so that it's not looking so white. And just in general, kind of wrap things up, get our camera set up and create a render so we're back in our scene here. I've done just a couple more organizational things. Kind of got rid of one of those plants, decided we didn't need to move this table around a little bit. Rotated in my chair, Tad added the shape of these shelves just a little bit and added some simple pots, just like we did in the first class, if you remember following along with that. So what I want to do now is start adding in some materials to just make this feel not quite so white and bland of a scene. Now to add a material, we'll go into our Material Properties tab here. And then press New. And that will add a new material, which by default is just going to be this white principal chatter. But I'll name that. We'll call it something like leather. And then we can make that whatever color we want, but I'll make it maybe a really dark deep brown or something like that by picking sort of a red color there. And then bringing the value way, way down till it's almost black. So something like that looks pretty good. And then if I zoom in here, I can have a little control over the roughness value of this. Maybe I want it to be shiny, so I'll pull that roughness value down a little bit, something like that, until it's looking good. Now I want that material on this cording as well. I could either select it right here or I could just select that object. Second, remember the lighter orange is the active object. And then control L. Then I can link materials and then I'll get the same material. Let's also add a simple wood material. So let's just call this wood. We're not actually going to do any image texturing quite yet. We'll save that for the next class. But I want to just maybe pick a lighter wood tone here, maybe something like that. Bring the saturation down a tad and maybe make this a little bit more of a yellow tone. Something like that, I think looks pretty good. And maybe we darken it up just a little bit until it's feeling right. Similarly, let's select the other objects we want to be wood. And let's collect this one last and then control L and link materials. Now those will also get that same wood material. Now for this lamp, we could sort of do whatever color we want here. Maybe we do want this to be a black lamp. Maybe just to help it stand out from our scene a little bit. Now another thing I wanted to do here was actually add in a lamp to this lamp object. If we were to set our sun by bringing the elevation all the way down, let's just bring that down into our basically dark. If I was going to make like a night scene or something, I would actually need some light coming out of that lamp. If you remember how to set your cursor to the right location, we can press Shift S and snap our cursor to selected so that it's right there. And then I'm actually going to just add in an object that'll be our light. I typically like to use an area light for a lot of things. We'll use that here as well. I'll just bring that down a little bit and then I can change the settings for that light in this tab right here. So I can bring the power up. I can choose the sides of it, which will control how sharp the shadow is coming off of it. And we have a few other options here. You could do a spotlight. A point light sometimes works, but because I have this wide opening on the top, I don't really want it casting on the ceiling, even though that might be realistic. I'm using a little bit of artistic freedom here. The area light is just going to cast straight down for the color. We'll get into later how you can make this a super realistic color. But I'm just going to warm that up a little bit so that it's not quite so bright white of a light. We want this to feel a little bit like a reading room. We're just bringing the saturation down on this a little bit. With lamps usually want this value just to be all the way up. That's looking good. Whether or not we actually use that light, maybe we don't even see it in the sunlit version, it's good to have it in there. Let's also make sure that this is parented to our base object, that if we do end up rotating our lamp, the light will move with it and you can see what that's doing there. Let's bring our sun back up and just have a little bit more of a daylight look returning to us. Still looking for some interesting shadows here. Just rotating the sun around. I really like the shadow coming down through this sky area here. So you can keep playing with this until you have it about where it was before or just where you think you like it. And something like that I think is looking good. Adding a few more materials here, we might want to make this floor shiny to give it a more elegant, maybe upscale feel. I'm going to select this object here. Now. I actually have walls and the floor in this object. That is okay. We can add two materials to one object. And I guess for the sake of demonstration, let's do that. I'm going to press a new, to add a new material, and we'll name that floor. And I want the floor to be a reflective, dark color. So I'm going to set the color down to something darker. And then I'll set the roughness value to something low. So now we start to get a really nice reflection where you can see we're seeing our chair right there. And I'm also noticing that our chair looks like it could probably come down to Earth a little bit. That's looking good. But we did want to change the walls to be their own color so that we can have two materials on one object. I'll hit this plus sign right here, and I'll add a material slot. Then I'll click New, and I'll name that Walls. Obviously, this didn't get applied to the walls. So what I need to do now is go into Edit mode and then select the faces. I want to actually have the other material, and then select it over here and hit a sign. Now even though this is one object, we have the floor as one material and the walls as another material. We have our scene coming together here, maybe for the shelves. We also give them the wood material, so let's select that from our list here. Wood, we have that. Then these pots that I added, we can just give those maybe a black material like the base head. Now another thing I wanted to do is a little bit advanced, but it's a lot of fun. And I think it's something that we can do relatively quickly to bring some more excitement into the scene in a way that you might not have considered with more traditional modeling techniques. 8. Add Fabric Curtains and Text: I'm going to add some curtains into this area right here. I will select where I want that curtain to be, which is basically going to be just taking up this whole area right here. And then I'm using Alt Z to do my x ray view and make sure those are all selected. I'm going to shift D to separate these by selection. And then once I've got that, I'll select it all. And then I'll press to make that a face. When you're doing simulations, you want most faces to be pretty much square so that there's not anything getting too stretched. When you actually do the simulation, to press control R, to add edge loop, just because this was a little bit of a long rectangle and now these are a little bit closer to a square shape. We've got that now. This has a solidified modifier on it, which I'm going to get rid of for now. Let's remove that then. We need to add a lot more detail to this mesh to allow the simulation to work. If I add in a cloth simulation now and then I press Space Bar to play, it's just going to start falling down because now this is behaving with gravity. Let's actually add that additional geometry. So I'm going to tab to edit mode. And then right click and subdivide this. And then I'll press Shift R to repeat that action a couple times just until we have a little bit more of a dense mesh. And we could maybe even do it one more time. Let's get in a little dense. It's going to depend on your computer. But if we press Space Bar again, we'll see that that falls straight down, which is not what we want. We want to sort of have it kind of be attached at the top like it was to a pole or something like that. So let's go ahead and add in a vertex group, which this is a new thing, but can be helpful when you're modeling to kind of organized parts within the model. So I go into edit mode here. I can select this top edge with Lt and left clicking, and then I can add a new vertex group and click a sign. And then now if we were to like deselect that, for example, if I select this vertex group, that's now that group. So I'm just going to name that pin until that is named properly. Then back in the physics settings here for the cloth under the Shape tab, I can select a pin group. Now when I press Space bar, it won't actually fall down because those vertexes are holding in place. Those vertices are holding in place. Now if we tried to move our object, you'll see it's not moving because it's trying to use whatever the simulation was. Usually when you're moving objects in simulations, you want to move them on a frame zero and then when we press Spacebar to play. Really happening. And that's just because we need a little bit of physics into our scene to make this curtain have a little bit more of a dynamic shape. Let's press Shift A and add in a force field. Getting way crazy here. Let's add in a wind force field. And then we'll just move this to the direction the breeze might be going. Don't mind which way the walls are. By the way, you might have seen me do this before, but a lot of times I just want to free rotate things rather than pressing R and then X or Z or whatever. You can just press R twice and that will allow you to enter, I think what's called a track ball rotation. Now if we press Play, not much is going to happen. And that's because these force fields usually need pretty high values. If we bring the strength up on this a little bit, now we'll start to see that we have that curtain blowing a little bit in the wind. Now, the more detailed your mesh is, the more kind of blowing will happen, the more folds increases you'll get. But I'm just going to let that play a little bit until I have an interesting shape there where it's just blowing in a tad. And then I could leave it at that. And then if I right click and shade that smooth, then I could add in a solidify modifier to give it some thickness. And then if I want to save the state that the cloth is in right now, I could right click. All right. I could click right here and apply the modifier. Now we'll no longer have the simulation on it, but we have this nice cloth object. We can add a new material to that cloth. We'll just call it cloth. And then just so that it's a little bit see through, we'll bring in some alpha value here. Now this isn't a particularly realistic technique just bringing the alpha that's like transparency in an image editing software, but that's a quick way to give this a little bit of shear. Now maybe we just want to bring these walls up a little bit so that there's not such a big gap there. And we could even use some of our same modeling techniques as before to create a little curtain rod right there. So let's select these edges and then just add in, I'll just add something really simple like a cube. Scale that down, scale that out, and then just scale that down more scale on the y axis. And then just pull that up. Maybe that gets our lamp based material and it is a little bit out of frame, but liking the way that that's looking. If we do end up pulling back a little bit, yeah, now we can see our curtain rod there. Just for a little bit more detail, a little more emotion. We've got some breeze in our scam. Then maybe it's the last thing we might want to do is add just a little bit of accent lighting maybe in this area above the ceiling. I'm just pulling in some edge loops here so that I can create, want this to be like a Sunken ceiling type book. So I'm just going to select that newly created face region. I have impress to inset it. Then I'm going to extrude it up a little bit just so that we have a nice ceiling detail here. And then maybe oppress shift D to duplicate it, actually, instead of duplicating it with that face selected, let's press I to inset it again, just creating a very small gap here. And then we going to press E and Z to bring that down, just so we've got a little bit more detail on the ceiling. While we're in there, we could snap our cursor to selected and then add in even maybe another area light which we could set to be a rectangle. And then we can just change the size of that so it fills that area. And then if we move that down a little bit, then we could bring the power on it up. We want it to just be in that gap there. Okay, that's looking great. So I just wanted to create a modern hotel feel where we've got some light shining through right there. Now if we were going to go back and do like a night time render or something, we've got sort of these nice light details in there that's helping it feel like a sort of modern ambience. But you can see with just a few little modifications, adding some materials, doing a little bit of cloth simulation that we can really start adding more detail to our scene and getting this to a place where it's ready to render. One other thing I wanted to show you really quickly is just how you can add a three D text object into your scene. And that's pretty simple. Let's say this was maybe a hotel or something. We want to show people which direction the pool was. We could decide where we want to put that text. Let's maybe select our plane here. And then make sure your cursor is snapped right to that so that our text appears right on the surface. And then you can press in object mode. You can press shift A and add in a text object. Then with that text object, let's first just rotate it by 90 degrees on the x axis. Maybe scale it down a tad. I'm doing this scaling in object mode, which is okay in the case of text. Now you can basically just in edit mode, it's a little bit different where you basically have your normal cursor. We could do just like an arrow and we could type pool to indicate that the pool was that way. Now to add a little bit of geometry to that, just down here in the text tab. This is the same place you'd see like lighting settings for light when you click on text. It has its own unique tab where you can change some of the alignment things and also add in some actual geometry to it. Let's extrude this out a little bit so that it has some thickness. And we could scale it down a tad just until it's feeling right in our scene. And then maybe we give the same material that our lamp base has, something like that is starting to give our render just a little bit more context. Now with text objects, you can change the font, but for simple use cases like this, the blunder default fonts just fine. Okay, so once you've got your model and your scene set up exactly how you like, you got that furniture tweaked just the way it feels, right? Looks nice and comfortable. It's time to render your scene. And that's a pretty simple process because we've already got a camera set up, so just go into your camera settings, make sure things are looking about the way you like if you wanted to. You can even add some depth of field into your seen by checking this box here. And then you can select the focus object. So maybe we want to select this chair as our focus object. You can bring down the F stop if you really want it to be nice and focused. Create sort of a moody render, or you could kind of bring that up to something maybe a little bit more realistic. I just want to make a brief note about samples. So samples is basically how much light is being blasted into your scene and how many rays are being shot out. And this is in cycles in particular. Vi doesn't work quite the same way, but in Blender by the fall, it's going to have your render samples at 40 96 and your Viewport samples at 10:24 Now you usually do want these values to be a little bit different, so in the Viewport you don't want your computer cranking away while you're kind of live in there working, but in the render, you do want a little bit higher quality of a render. Now for me, in a still image like this where there's not any too complex materials or metal objects, or wild reflections happening, I'll usually set this as something quite a bit lower, maybe something as low as 600. And then while we're there, if we did continue working, maybe jump back into the scene later. Let's set our viewpoint levels to something lower like 300. And the reason we can get away with such low samples is because Blender has this AI denoising system built into it. So you can see in our Viewpoort render here, we have all this kind of grain happening and that's as a result of low samples. But we know that those won't actually appear in our render because we're using a higher sample count, 600 in this case. And then we have the denoising option enabled. So once you've got your shot framed up just how you like it, then you can just go ahead and press 12 right here on your keyboard, and that will start the render process. And after just a couple of minutes, depending on the power of your computer, you should have a pretty decent looking render right there ready to go. And you could then press Image, and then hasn't quite finished yet, you'll see the sample count appear. Once that finishes again, this could take a very long time. Don't be afraid if it is taking a long time. But once an image is ready, you can press Image and then save As. And then we could save that as, room render or something like that. Save the image. And I'll also note that in those settings here, you can change the compression level on the PNG or you could change it to something like a J peg. If you were just sharing a quick image with someone. A J Pec would be a much smaller file size, but a PNG usually does a pretty good job of retaining the quality and the file size isn't too big. So once you've got your image shaved, it's ready to share. You could do another version with a different aspect ratio. Maybe if it's like the header of a website, you want a widescreen. Or you could leave it like this for a social media story or something where it's more of a vertical render. In this lesson, we wrap things up a little bit. We added some more materials. We added some text objects with this pool sign here. We also added in a curtain and a simple material to that. And just in general, got things ready to go. We also rendered our scene. We talked a little bit about sampling some things to consider when you're rendering your own images. And basically we've got something that's ready to share. 9. Final Thoughts: Congratulations for making it to the end of this class. I know we covered a ton of stuff here, lots of different modeling techniques. We even did a little materials and lighting. But the techniques we used here today are going to be used throughout your blender career. I've been using these same techniques on a daily basis, almost for the past over ten years, and I still use them today. All these things, even though they might seem small and minuscule at this point, are fundamentals to getting better at modeling and blender, and being able to bring some of your own ideas into the world. So we looked at two main things today. One was to create objects yourself in blender using the techniques we covered. And another method we covered was importing objects that you might find online with some model libraries. Now, those aren't the only ways to get models into your scene. There's other cool ways like using photogrammetry, using your phone to actually three D scan objects. You can import those into blender. You could also even look into using virtual reality to sketch objects in a virtual reality headset and import those into blender. So at this point we've done so many different things. I'm sure you've all created a lot of different objects. I encourage you to keep playing around. I'm really excited to see what you share in the project gallery. Maybe your scene looks a lot like mine. Maybe you've got something else. I'd love to see what you came up with. Thanks for taking this class. There's so much more in the learning path. I hope to see you there.