Introduction to 3D Product Visualization in blender

1. Introduction: Are you a designer? Do you like the idea of developing products? Would you like to develop your products and 3D? Hi, I am harsher than a professional 3D design. I have been fascinated by great looking industrial designs ever since my childhood. Join me in this course that I'll be showing you how to model texture, light, and render a drilling machine. In the following lessons, we'll be taking a look at specialized polygonal modeling techniques that I use to visualize products. This involves creating a 3D mesh from 2D drawings, blocking out the basic forms to find detailing, solving common modeling problems. Understanding shading using procedural techniques offered in Blender, followed by basic lighting and rendering. This course aims to deliver 3D modeling techniques, which will give you an idea on product modelling in general and can be used to create any product, not just the one shown here. The techniques can be used in a variety of applications, such as industrial design or prop modelling. For games. Often. We will be doing all this inside of Blender without needing any other software. Although this tutorial is done using Blender, the techniques can be easily translated into any other polygonal modeling software package, such as Maya 3ds, Max, Cinema 4D, moto exedra. I'm excited to share my learning which I acquired over the past few years and will now, and I hope to see you in the course. 2. Best Practises In Blender: Thank you for enrolling and joining my course. So here we are. I've just fired up Blender and the empty screen reading. So before we actually dive inside and start modeling our drill, we need to set up a few settings, a few presets that needs to be done right, in order to get better results. All right, so here this need to check the scene properties. And under the unit step, make sure you have the metric setup and the unit scale as 0.001, which means we are working on millimeters. Since it's a product. The scale is about a few 100 millimeters, so I'd like to work on millimeters and even the length. Remember to set it as millimeters. So this will give you accurate readings when you come to the object scale and object properties extra. Alright, so once you have that setup, Let us now go ahead and get into the preferences. I'll just show you some of the add-ons that I like to keep it on. For my workflow once such an honest look tools and I searched loop rules and make sure that you have got this enabled. And these add-on ship by default inside of blenders. So there is no need to go ahead and download it separately. So it's all part of the package. And also I like to keep the Node Wrangler add-on enabled. So this kind of helps me when I'm dealing with inodes in materials. So this is off-grid use. So make sure you have both those add-ons enabled. And even the grid scale can be changed on this step where it shows you what always, make sure even the grid scale is 0.001. So which means each box is going to represent one millimeters in the real-world lights. We have set up our basic properties to get started. Let's go ahead and save this file. It's always a good practice to save your file before you start the work so you find it doesn't get lost even in case of a machine crash or something. So I go to my and save this as grill. Okay, So once this file is saved, let's go ahead and start blending of all our reference images so we can get started with the modelling process. 3. 01 setting up references and caliberation: All right, In the reference folders, I have references for all of them. I have the back, I have the side, I have the top and front. So we have references on all the possible languages to start on modelling. And I have also provided you with a model sheet. What you can do here is I would recommend you to have it on another monitor if you have access to dual monitors. If not, I would highly recommend you do this, get this printed and keep it next to you. If you are just having one monitor to see how the surface behaves, which helps a lot in vital modelling. Alright, so let us, without further ado, let us start and bringing these inside Blender. So I'll go to the top view by pressing seven. And I get the top drag-and-drop. And there we go. And front. I'll select the front and drag-and-drop as a friend. And I'll go to the side view, which is three and plus right. I'll take the right side for the dead and run. We have the back, right, so I'll go to the back by pressing Control 1 to go to the back wheel and distinctive back and put them back here. All right, so we have got all the views here, so we now need to align it properly and then we have to calibrate them. Right? So I'll select each of them. So just select the side and plus all the g to snap it to the midpoint. Select all these and Alt G and G. Okay? So this select the xy-plane and g on the x and this MOOC on the x-axis, I'll select the front, and sorry, this is supposed to be the back. I'll move this to the back and the front and move this nostril different. And it should be put to the top. And the top is actually miss oriented. I mean, it's not aligned properly, so I just rotated. And minus 90 degrees. We'll put it back there to the center. And this mode, little bit less than that. Okay? All right, so now we have to move everything up so that everything touches the ground. So just select all and grab it plus the z axis. I'll put it somewhere here so it's off the ground, Blinn. Alright, so now let's just go ahead and start naming these. I'll select on this side. And the back, and the front view. And finally the top. All right, so we have got everything properly setup. Now we need to calibrate for what calibration means here is we need to exactly match the sizes accordingly, right? So this is a product modeling place where the entire dimension of this product is like 275 MM appetite. So we need to make sure that this is 225 millimeters. So how do we calibrate that? For that we have added a plane by pressing Shift a and select a plane. And I have already derived for you and rotate this across y-axis to 90. And I'll press N on my keyboard, or you can click here as well, where you have the product transformation and dimensions of an object. So I'll just go ahead and on the y here, it's just the way and displace. I'll just go ahead and type in, do 75 mils. So this is our products dimension. Now let us just select all of the others acceptably clean. Make sure your cursor is in the center of the world. The origin or press Shift C to make it the center. And when I press the period key on my keyboard, like the 3D cursor for the pivot settings. And now we just need to scale it up. Plus S to scale up. This, skip this. To match my dimensions of my product as a scale it up, scale it up, scale it down somewhere here. And let's recheck. Yes, it needs to be scaled up again. Select on this. And we'll decide you and scale it up again. I think it's roughly size. So all right, so it's a little bigger. Let's again select all and scale that down a little bit here. All right, so that's, it, almost matches our dimensions and get rid of this plane. And that's it. So we have set up on our reference and now I'll just go ahead and go to the view property here, view panel and I'll set the end to maybe five meters so that we have, we don't have the issue of clipping here and we can work with our product. All right, so now we have everything to get started with our modeling. I'll select, I'll do one more thing. I'll select these planes and I'll go inside the object data and the capacity and make a decoder and reduce the opacity to 0.2. So it's not on the, It's not abstracting our view when we are modelling and make all SEO point to opacity 012. And this capacity and zero-point. Go ahead and save that. So we have finished setting up our reference images and we'll also calibrated them. Now. Obviously start with the model. 4. 03 understanding the forms: We can begin our modelling processes. So if I just want to name this collection as reference. So again, toggle off and on, and I'll create a new collection here. And I'll call this as Israel is going to be a new collection. And what I can do is I can turn on filters and make sure I don't select these accidentally. So I can lock the references and you can select the drill and go to the side. We would get a start on this side. So coming to the modelling part, if you open up the modal sheet, we can analyze the basic forms that is happening here. So if you see here, what's happening is there are three major parts here. So this is going to be the 1 first 1 is going to be the handle and one over here. So these are the three major forms blocking and then we have a detailing that's coming across here, which will be a chamfer which runs all across and joints are in a circular form. And then we have a lighting detail here, which is actually an operation in LED, which runs when the product is active. And then we have the trigger, which will really push button which starts the motor. And then we have one mode switch over here which locks the button here. And there is one more switch year, which is basically a slider, I guess. And then we have some grooves and some details there. And also we have the grill part here, which is actually heat wins, which allows the trap heat to get out. These are the goods and yeah, here you can see the details better of R groups on top. This would be a groups. And then we have a metallic part which actually repeats and this is where the drill bit actually sits in. Okay, So basically this is what our product is all about and we'll have grouping groups on our grips here. When we are going to texture it. 5. 04 begining modelling: Let us begin by creating a plane, shift a mesh and plane. I'll go to the edit mode by pressing Tab and select all and scale that up. Make sure you're scaling this in the edit mode and not the object mode. And scale that up and rotate on the y-axis by 90. So I have a plane and just go ahead and set it up there. All right, so I'll select this edge and basically just align them right way they have to be. So that'll be our plane and data plane, so we're there. All right, so let us start blocking our form now, just going to add some loops here, will block all important bonds on our mesh somewhere there and put one here and one here, sbin. And one will travel across to live. And so how I'm basically creating this by checking the corners that the points of intersection, where are the points of details are going to be. So I'm just adding a loop or there. And I'm also seeing this curve the way that should work. So I lied one in-between here. And finally, when they're there should be one. Alright, so let us go ahead and start by pressing G. G. This moved along or you can even move it. And I'm basically tracing them. So I'll go ahead and put this to medium line like that. And these parts needs to be going up. So make sure you set this to vertex snapping so it's easier to snappier vertices around points. Let's start carving here. And I'll put this inside. Alright, so we have got that. So I'll go inside the edit mode and select all and motocross the x. And I'll add a modifier called a meter. So in the middle, I put on the z axis to be mirrored and I'll turn on clipping. So it just joins together. And let us choose a mad cap for us. Regional. Like to keep that white for now. Right? Let's go ahead and give it a subdivision modifier to give the subdivision surface. And do it. The way it's shaped from the front view is it needs to match them from the front end. So these would eventually go inside like that. And I will add one by pressing control and pushing that out till I get here. And when we land and take that out. And what we can do here is these things are going to go inside. So yeah, something like that. So this is what a clipping us. So as soon as I take the clipping off, nothing happens. It goes inside. And the middle modified when you turn on the clipping, it's going to snap right back. And well, those points together. It's a very handy add-on when we do industrial models like this. Right? So we've got that basic shape that's happening. So we need to add one more where the chamfer happens. So I'll add one model there and put that loop somewhere around there, and move that up and snap it. To start shaping these again, what we did, just going to pull these points down, which will form a handle later. Skip it somewhere there, and add points to match that curve. Alright. So we can go ahead and extrude it inside to form our bottom. Same way on the sites. Extra them. And let's warm the back. Okay, Now from our task is to shape the.gov, the Vedas. So I'll select these points and push this out. For now, let us get rid of these points by joining them together. And join these together as well. But it's neat lines continuing here. So I lied for now and just get rid of it. And I'll put a line which continues on across. Add one there and one there. We get rid of it. So we have one line that continues on across merged, there can be merged, right? So we are forming basically the curve that happens on top. So I'll put this down and catch of these points and move ahead. Right? So you need to sharpen these points here. So I'll select some of it. Here. Select these points and I'll give it an edge bevel rate by pressing Control E and give it an edge bevel wheat and put it to one and add a bevel and put the bevel on top of subdivision surface and change that to, wait. Sorry, let me do this. Right. Edge bevel rate. So they form that top. Now we can go ahead and shade that better. Still come inside. Do something like that. So this edge kind of runs through here and goes all the way. And edge bubble rate. So we have got that falling edge there from the back of our model so that we can see what's happening on the back. From the back view. This edge is straight and doesn't go up like that. And we'll go ahead and do that. Select these points and push it down. So alright, so now we're getting a point of, we're getting to the point of model slowly. So what's happening here is this edge kind of leaves out and forms that. So there is one other hedge running across here, which is the top. This is going to be sharp as well. So let's go ahead and build that and select that and take my knife tool by pressing K. And we can already see these edges where its going through. And this select here and press C on my keyboard to keep it straight. And also check that is at so that I don't want my cut through. So I've done my CO2 and select, so it has cut through my mesh. I'll do the same here. I'll select these edges and Bevel rate and give one here as well. All right, So we just need to move these edges out so that it kind of forms a sheep we are expecting. Let's move that up as well. And here I'm going to connect these two and get rid of these loop here. And push this out. We have a curve on top. Make sure these are straight by selecting all and S on the Z and 0. So they made it straight. Same way we have to make sure that all these lines are on the same plane. By placing, selecting all the edges that are vertices there and scale on the zip and this corner C 0, so that everything forms, falls on the same line. All right, so now I can just go ahead and I don't need this and this is not a sharp corner. And select these and get rid of them by placing edges. They've got this need to select these from here and push that out. Do something that we have a nice shape going. And let us go ahead and pull this in. So we have a nicer shape. I need to pull this in as well. And LinkedIn like that. So yeah, so I'll add an edge somewhere there and pulling in them as well. So I'll just Latin. All right. I'll save that. Let's continue to shape up the top view and switch off reference for a sec. And then let's go ahead and cut through these things here, and one there and one here. So we have our, let's connect these two on the top and destroy it and all that. So we get a rounded shape. Again done on our reference so we can continue shaping them and just move them a little bit. 6. 05 blocking the model: Let's shape the these parts here. So what's going to happen here is this is going to be closer to. So I'll quickly go ahead and block them. So I'm matching these lines. Second line because there is a chamfer running. I'll just match it to the ones here. He something like that. Right? So I will just go ahead and select these all and fill that by pressing F. And then I can, anyway, that's the Insert button and I'll press B to have bodies. And we can now go ahead and start. I'll draw my reference and I love this. Go ahead and join them by using my knife tool. And see this. Joined them on. Join these. Alright, so we've joined, but it looks a little odd. So what we can do is make sure, do you need to snap them all? Select these. And finally select this point and go to my period. And, and say active element. Now scale on the y and this is 0. So what's happening is all these points are going to be snapped at this point. So alternatively, you can also pull this out and snap it there. But then you have to do one by one. Then you have the police and snap it there. So instead what we can do is select these and select this finally. And make sure if you press the pivot point and by period key and set active elements so that the pivot comes to the active element and scale why 0. So that will snap it to that point. So I'll do the same here. Scale y 0. Similarly, select this scale 0 on my number. I'll just keep my eyes. Okay, so this is a curve so which needs to be done manually. So what I can do here is select these and say, Look tools, right-click Loop tools and they flatten. And that there. Alright, so we have formed the base of our front. So this also will be, make it sharp sectors and pull this out to merge these points. Pull this out to be merged here. All right, So we have got the basic form is building there, and I'll turn on the reference again. And let's make sure all these are straight. And select all of these front bots and scale y 0 and pull this out and get the curve that we need. And these points needs to be pulled back a little. All right? So the basic front foot part is mostly done. Let's go ahead and build out the back edge handled potions. So I'll just go to the back room. And it's going to the reference and I will switch off the front. So would not disturbing. Only select the back parts 3 and go to the back wheel and shipping them out. They should be. And finally these points back, we'll start shipping them out. This wind will come out a bit same with this. So it kind of bridges and forms the back or there. So I will take this out and make sure we have a smoother look in transition. So now the shapes are looking on issues like that. Okay? So this select these vertices still there, and I'll move this off somewhere around there. So we have a nice hand grip. Spoon this off till they're all these to the center of the and select these and double G. Basically I'm sliding edges by pressing G, G on my keyboard, and I'm just sliding that off. And this nearing the center of this circle there. So notice how we just blocking main parts here and there are no details at this stage as of now. We are just blocking and starting to get the reforms right. So I designed forms right, and not find it. So I'll go ahead and block this part as well, which comes down. Select. Let me just go ahead and select the scan B here and just extrude these points by pressing E on my keyboard and giving it the Z depth something and just add one more loop over here. And I'll get rid of the spaces on the inside faces and join them together. Alright, so this selected, then push it in G, G, G, G here. Alright, so we have got that block decibel. Let us go ahead and doing here. And add one loop that put it in here. And put it in here. Scale that up, down and it's called NAEP. That out a little bit older. It nice. 7. 06 starting the details: Alright, so we are in a good position to basically go ahead and give some details. The first detail I want to give this, I want to break this part here. The spot. What we can do is let's give these also. Belle wait. And what I'll do is select this and extrude. And make sure I'm exploring on the z-axis and keep it somewhere there. What I will do here is and press Shift D to duplicate that and plus Enter and press P to separate that. So we have one surface which is extracted out. So I'll go ahead and hide this for a moment. And these guys needs to be sitting over there. So I will select this as my final point and make sure you have this. The pivot point as active element and scale on the zip and 0. And with that point, and make sure it's selected and press M and center. Similarly here at center. And get rid of these on site. It's better to wait. So we got that curve going on. Right? So again, all hedge to bring that back and isolate that and move this guy again. And extrude that. And make sure you select this one. Select all. And finally, I'll be selecting this point and shift scale is at 0. And then select all and m and c by distance. So it's getting remote. Bye. All right, so we've got the sliders that's going on, and I will fill these guys together. So F and F, and take this off. And now I just want to bring that up so I match it to sum, right? So this will be my slide isoform two scalar inside. So it has some edge. This is a little bit of height, and this is straight. Let's just bring that up a little bit. 8. 07 adding chamfers: Front chamfer and select all these and the front wheel and press I to insert that Ireland and just pull led up to form the friend chamfer. So in our model sheet, what is happening here is we have a curve that's going in this way. And then occur, that's happening inside here from the handle. So let's go ahead and give these details that is happening over here. So I'll go and start making the basis for that. So which is going to be the circle, which is found here. This one I will cut through. And I had a card holder and another cut over here as well. So I'll just move that. And it can be just bevel and press V for a vertex. So it uses four points and just use my scroll wheel and give, make it one scroll to make it eight. Alternatively, you can just press Control B V and click it and change the segments over here to do. And now we can go ahead and look dunes and give a circle. So we have a circle made. So this put it to somewhere there. So that point, right? So we can now start cutting them for the g and this g, G and move this. And know I list, go ahead and start cutting that to get us to form a loop. Go ahead and take my knife tool and make sure that you give it. And you finally current across there. And just merge these two. Last summit last. You can merge this over here. So this here and one more. So I'm just basing double G in sliding over our edges on it. So I'll go ahead and use my cut tool to start cutting these ones. So I will add one loop here. And let's go and start cutting this to here. And let's start by using the knife tool and cut and cut. And then I'll add one here. That's just add one. And then start cutting them again. We got that. And then we'll be cutting them cross and put on there. I saw no, we have immediately we got access to a patch here and also make it cannot be needing this in the future for our protocol. So select all of them and delivery. And even the bottom. In this place, my insert, my blessing to have an inset going on the layer and merge these together. So we don't need these lines or edges. And continuing to grade that circle order to translate it. So we have got that and we need to make sure that this is also sharp. In sharpen these, sharpen these edge bevel rate and give it to this one. Alright, so we have got that and I'd like to numeracy stare at last, give the spin rate right now. So let's go ahead and continue giving this form here what happens is this kind of catches and E. I'm just using my knife tool again, and that's these points and E and register. And again, select them, press them. And so when I close these points As plus e to start on New, so disconnect these guys there. All right, so now what happens is I would like to merge these last, right? So we need one going over there and join this with them. Rhythm. And this can be joined The itself. And even this could be joined here. And let's see how that looks. Assessments. And make sure you give them that. Bell. This kind of also trying this and get this off. Pull this down. Alright, so we have got that. Know, what we can do is truly shape out some of the forms here is whatever happening now is like it's all on a flat plane, but it's actually not that we need to know these guys inside. So we have a much more definition of shape going on. So I'll select these year and I'm just going to move that insight. So what we can do is add up one there and join these together. We can pull that and do that sharper edge. And that can be sent around there. And this can go up to get a sharp edge. And we can really start closing them. My Extrude, Fill and extrude and joining them there at center. And that's just now let's go ahead and make these things sharp by selecting these edges and Control E and giving edge weight and select this as well. And spell it. Great. So now we've got forum. Whoops, I think I hit it accidentally. School and turn that back on here. Right? All right. So we have got the shape and yeah, of course there are dense which we need, we will be, will be taken care. No. We should be doing really now is getting rid of some of the unnecessary loops and shape them that we make sure that they follow the curves properly. All right, so we need to see these curves happening, right? So we need to definitely, we have to see what's actually happening. So what I'll be doing is I'll select the surface which is inside our inset, which we currently did. So I'll just select them all. Select the things which we got recently. The new formed phases. Oops, sorry. Select them on like them to do. And these sbin. And I'm just going to move them gloss on x here so you start seeing the definition that these guys have brought. So I move them across on my x. So it's inside here. So we've got that good looking chamfer or that properly. All right. So let's go ahead and clean up the mess here. 9. 08 cleaning up: Cleaning up the mess, but it's also a mesh that up. It's a mesh on a mess. I don't know. All right, so here there is something happening wrong. What we can do is join these and E and joining over there and merge these points together and get rid of these dry over there. And see what we can do again is right here and get rid of the stray. This background. And this can form. These points are going to be sharp because the have to be sharp because it's going to be a ket 0 there. And there's going to be our triggered the trigger sitting over there. So they will be sharp pressure and this RAM that in those grass there. And say it makes sure that all of these are on the same plane. This has to form a nice race track kind of shape, which is our overall language. So we have to be rounded off that way. Pretty straightforward, right? So we also have to continue these sharp lines which is going to form our grip side and make that as well. And continue it. Make this inside edge sharp. Select these and push that insight and a little bit. And we need to rotate so that it behaves properly to push that in as well. All right, so from the front view, we should be doing now is check the surfaces. So I'll just switch off my references. And checking our surface of this line needs to fall, right? And it can't be that really. And we need to make that line right, select these and push them inside. So it kind of false properly. Under resulted in niche. And again, select that and delete that, push them. All right, so I need to put this in again. Not that at all. So we can get rid of these edges. You don't need it. Enters and start shaping the back. Really can again have my references there and we are just going to shape it from the top. So it forms a nice curve there. And pull that out. Selecting that, pulling that out here. All right, so we have all that expects. What I would like to do now is select these two layers and is planning to take it inside. Putting it that way. Yeah, So that works better. And let's move that to the bottom little bit. And that, again, Let's start adjusting our points such that get adjusted to the current. So I'm just moving that. Alright, so it's more of a rough adjustment. It's refined it a little later. And now we need to make sure that we get rid of these dense to that. So while these guys inside a bit sticking out that much. All right, I think we definitely need to have a look there because of a geometrical issues. Stone. Just to properly this, move this down. And let's start suggesting again. I'll pull this inside a vacuum stone, the stone in a bit. Let's move that down and start filling these backward knees back on this further back. So the foreign, and you can also rotate, right? I'll isolate that, go to our back. We will do sort of the mesh better. So here we see these exact buttons, school here and so on. Just W G, and then just refining the surface. Find that surface. We've got these things needs to get up again on this side. All right, so we've got debt. And what I wish to do now is to add up one more layer of array of loops so that there is not much of a stretching happening. In here. So let's do that. Let's see what it gives to just pull that out to get a smoother transition between these. And we'll go and press my comma and change that to normal and this, pull that out. So these are not entirely flat. So they're left out for it. So we don't need this activity can be joined. They're getting rid of this point. And joining these two can be joined. They make this sharp. So there's actually no exact step way to reach this point that actually it's more about creating the basic shape and tweaking the points to actually match up to our form to get where we need to be. So there's actually no strict way to funnel exactly. What is needed is the confidence to actually start modelling and solving the problems along the way. Instead of figuring out everything right from the beginning, it doesn't always work that way. So, yeah, that's it. So we have arrived at a model which is d, okay, right now. And we'll refine again. But for now we can focus on the other parts that's happening. Pulled out a little bit. Let's pull that out. So make sure that there's no damage that's happening. You can always go to the sides. I mean, the you can always go to the view that is most parallel to the plane to adjust the points. Right now what I'm doing is I'm going to decide and I'm just pulling and pushing points in and out to basically create a much smoother surface. So we add this an issue here, this go ahead and join these together, right? Last one, proper surface. From all the angles, make sure that we have got a free flowing lines. Instead of edged, edgy and January forms. Make sure we've just got free-flowing line from this line comes in. And from the back. Let's see how it looks in the backyard. This looks edgy and I mean really this modals. And make sure we have a smooth flowing lines to get a smartphone. 10. 09 making a mistake: So we have almost blocked most of the phone. Here. It is. Go ahead and do the top dense and end up groups. And then we can start blocking the vent here, which would be our heat goods. So chill everything again. And let us start blocking that right away. Mike, limit. That's going to affect it's an obvious that there is one mode chamfer that goes on top, so we have just made one. And there is one other chamfer which is, which will actually be, this, should eventually be this. And then they're going to be glucose inside. So let us do that. I'll just select these here and do the Global again. And this MOOC data across the front view, we can see that, well. All right, we need to move the front little bit and hide that. Make that selectable. Different view. And a little bit. And do that again. And do that. Okay, So this shouldn't be, shouldn't be doing these things. They should go back. And you should just come out and do something which will make sure the offset between the and this are the same. End up with problems. That will seem obvious. So make sure you get a constant offset. I'll isolate that and go ahead and do that. And this one is going to be inside. Oops, select it upward and join there. And this can be brought further insight to get that shape we're looking for. All right, we've got a little bit and take that in. So occurs are slowly becoming free flowing lines. Nice and smooth and show on start pushing in. Then one way to do this right is set on these and scale them down to 0. And put this at the highest point. Select this and make sure your pivot point is an active element and start rotating this off so you have a good, alright, so we asked this, of course is our chamfers, but they also have a little bit and we brought out get rid of it. We can make that again. Sorry, guys. Yes. So let's check if we are right according to previous. So yeah, so that you can notice the bend here. It's not straight, it's just bending. And let's make that in our model it's more straight so we can actually increase that bend. And there's also a curve that's happening. It's not flat. So we need to have that curve and then take that off and bend it down. And this can be straight. They shall for this moment. I guess we are reaching their system. Let's go ahead and move that again. In the front. The top view doesn't look right, so just move these bins. So we have a chamfer. Just move it again. So we get something like that. We are right. Okay, so I will add a curve to this plane. What I will do is I select these here and I have this pushing them in. So we have this is basically to have this line visible now this is just hiding. So I'll just pull this down and pull it in. So we have that go visible. In the back. It's like there is one more curve here. A little bit. Show the references. At the end is a good point too. And the gruesome back in. And a little bit. What I'm doing here is I get aligned two groups, so there is one needed here, please, one. And so it's saying that again. So three for three groups here as well. So one goes here and one will be this. And we need one another in the middle. And getting, thanks upside, select one to lead on, to select the edges 1, 2, 3, and 4 plus 1, right? So small. So there's four edges, 12341 and Bevel that we have an edge. Hey, I need an edge in the middle. So at this level data across, something like that. So I'll join across. These points can be joined at the last. Quite so we've got loops for them. And let's do the same here. Three goes, we've got three. Three. So these are actually going to school perform tier, so something's not right. So these, since we added more points, we need to adjust the curve again. Let me adjust these points again. So these points can actually be taking them back here. All right, I'm bad at all. On the reference. And pull that up front. Let's go ahead and label them. So let me just join this summary. Only one segment. And then this will be other. And everyone needed layer, this bridge. Let's go ahead and subdue a bevel these guys again, this would be. These are smaller groups when compared to the first one side, the square and join at last and last. Alright, so we have got the shape, but it's just notice how this has ruined. So we need to solve that by adjusting the points. We're back a little bit. I can actually join this also at center. Let's see what it looks like it is okay to be joined here. So we actually escape some problems. This edge, this edge here. And basically to get rid of this edge at all, we can do it. As I told earlier, this is all about Solving such issues that happen. Amongst your modeling session. Sometimes it is frustrating, but also this one. Alright, so let us giving these 22 E and Z. Oops, sorry. Select this only the spaces. Oops, sorry. Extrude below Z and it will select all and M and press by distance, summarizes everything together. Now we can use. 11. 10 Troubleshooting: Let's say there are numerous issues and the geometry, so I wanted to reconstruct the the V1, the top line. I'm not going to edit this because you have a context on what kind of errors happen and how to troubleshoot them and solve them. So right now the error here is some of the geometries are not lining up with our design. The edges are lined up properly. And there is one more issue where the top view is a reference plane, is a little bit misaligned. I mean, you can see that they are not perfectly aligned, so which will result in a mismatch of reference plane. So what I will be doing knows this. Select the top you from the reference plane and I'll just move that so that it matches again. All right, so we've got that. And let's go ahead and again, selection for that. And now we're basically reconstruct these top chamfer to get a much cleaner geometry. I'll go ahead and dissolve. I mean, delete these vertices and select and say phases, so we get rid of that. And now let's go to the view here and let's align them and match. So what I feel personally is like there needs to be one other loop that, that carries forward. So I'll add one there and adjust these curves accordingly over the top you. And just kind of adjustment as needed and this one. And move that out a little bit. So I'm just going to move in. And we can just start to basically fill that from my top view to get an understanding of where am I goes up, select these and I'll push this up like this. And push this out. Same way. Push this out. And there's more pushing out as needed. With this view and pushes out. You can see how this goes inside. Pull it out a little bit so we have better control over it. So small data class and keep it somewhere that to reduce the tension between that edge and pull that out. So we form a nice curve. All right, and that's again, flatten them on. And scroll down and select global and just pull this in. So you need to pull these points out normal and I'll just point out so you have a much cleaner shape going on. All right, so I didn't select all global and scales at 0 and snap it. And I want our lives to be in one plane. I'll select this and make sure my an active element and the scales at zeros or in the same plane. All right, Then we have got the base so that we can do now is inset this curves, which is an important step now, this i and press B to inset it monocytes there. All right, so what I should do now is to continue this point and get rid of this. And just make sure to get the shot and get rid of this edge too. You've got an inset there. And I can just take this up. Beautiful to enjoy loops properly. And just create one here as well. So CAN put it submitted. Right? So now we have this up Dillard, so we have a curve joining this. 12. 11 creating the top grooves: And continue these curves. And these edges see a join them there. Okay? All right. So we have got them and now we can do is we definitely need to deselect some of it like this, and we need to basically move that back so way how it works. So what I want now is to just move that little backward like that and select all these and well that like that at home, these and all that. And finally, these, and let's move back there, Select All and push it a little back so only edges stay at the center. And similarly here, we will be needing this needs to go on to three, smaller, three long. Let me center and de-select that and put it in the center. Like that in the center. So this is a tricky step, or do you need to maintain the curve? Pushing these points around. So dry maintaining the curve when you push these points. So I can just turn off the reference so we can look at actual curve. Alright, so this needs to be like that. So this coding to a drawing will fall down instead of taking that up. So push that little down. So let's pull down, keep it somewhere and deselect these points. Only selecting them. And rotate with reference to this point and this rotate that. So we have a curve that goes up like that. All right, so let's go ahead and give it a bevel. So we get given these can be taken aback. All right. So let's go ahead and Belize. And just said One-two-three. One-two-three. One-two-three, one-two-three for him to leave Philip, write small tree MM. And bring them closer like that. And you can just merge them. Center. At last Shift, Alt, Shift R to repeat last action. So again, similar way we do it here. 12341234. Well that across and merge them. M at centred at center and center. M at last shift to repeat the last action. And there we go. We have got our crew lines. So let's just go ahead and make them perfect by aligning them exactly where we need. Okay, so all we need now is to just select them and extrude them. Basically what we can do is select some of this point here and scale 0. To keep them as a reference point O, we can just go ahead and select all and plus m and say by distance. So it gets rid of all the extra points that we created. Now we can just go ahead and start making the edges sharp, like that. Just selecting the edges that I need to be sharp. Select all the edges that needs to be sharp. And just say edge bubble weight and make them sharp. Some issue that's happening because there's one unnecessary edge that is selected and one non selected edge paranoid. Unnecessary edge over the edge bevel rate. So I'll select the bottom curves as well. And let's see how it looks when and sharpen. Yeah, great. So let us sharpen the bottom part as well. So for this, I let me go ahead and switch off the subdivision so I can see it properly. What we are dealing with, select these bottom edges and give it an inch better rate. And when giving this edge bevel way to make sure that you are making the factor 2 1. A factor not lesser than one might have a lead even to potential problems which can be avoided by keeping the factor 21 or 0 and not value in-between. Hanging. There are double points here. Yes, there are. So I don't know For some reason, might not be closer, so I'll go ahead and do that manually and select all at center. Center. Center here because they were not actually on the same point. So we can actually bring these things down even a bit so that we don't have, right? So yeah, that kind of work. So we have to bring these and merge the distance with that. Okay? So I have a feeling that these points needs to be in one line, so we need to select all from the side view. I'm just going to take this and select these and scales at 0. So on are aligned properly at one. Please. Let us go ahead and join them together in such a way that we don't have to carry this forward. The last point 0 and scale y is 0. Alright? So there is nothing to be connected here as well. So I'll go ahead and join them here. So same way, select that here, 00, 00 and sharpen that. That's nice and sharp. And with the chamfer is kind of not really visible from the angle. So I'll just go ahead and lift that up a little bit so that our chamfer becomes visible again. We need to select all of them on the inside and push this up to make the chamfer visible. So we've got that running across and it will definitely know. And we'll also keep this point. For instance, scale this out a bit to basically improve the visibility of our chamfer and correct these curves back again. Let's see how it looks when it's launched. Yeah, I find that so much better. 13. 12 Cleaning up again: Make sure that we have got a smoother model. Should be. So as mentioned earlier, I'm just making this as a kind of a free-flowing form or more than that. And we'll somewhere there. And so there are kind of suddenly straight lines in the place. So which will make the model look wobbly. And they made a lot of bandage. If we had n side from the back, make sure it's the same from own views, we have got free flowing lines and not sudden, sharp lines or sudden goes on hitting like that. And then if we maintain that, our model is going to be clean. And it's going to do well. When we light it and write this up. Okay? Add one more than one node. So I'm just going to go, shouldn't be like that. Song. To solve that, take us up to be forward. Cisplatin these by selecting that leptons and say flatten. This part over here, can really can smooth them out a bit. To remain in that overall racetrack language. Select that up front. And I'll go ahead and flatten that. When flatten these planes to bring these points up and bring this point or this called decibel scale that and z. And make sure it's all on one plane. And finally, let's go in and select these and the side view, this flatter. So you get a proper flat geometry. Select this and pull that and say these, they should follow. That, should follow that. 14. 13 Creating the grills: So to do that, I just want to bevel link these vertex across. So we have a, you will understand later why we're doing this with us because we want a sharper transition happening and we would not like a bending form. So let's select all these and push this up a little bit so we match our curve or that end. Also. I would like to take this up. So and this basically averaging this distance and this distance. So we get a clean code. And we can even move these as a part of it. So I joined them together. J central, this, all of this edge. So we have a sharper thing there. All right, now I'm just going to split this as a different part to have a detail on that. So I'll just press Shift D to duplicate that and plus b two separate. So we have got a part going on there. Like so let us plot and get rid of this matter and Bevel. And since we need to make more number of such curves there, I say OK with two subdivisions. So we have to apply this way doing an applied. So we have more geometry and more topology to work with. Okay? Get rid of these phases. For some time. I'm going to switch off a plane so we can work with this. I'm just going to leave one and then we'll do the phases. 1, 2, 3, 4, 5, 6. Here we got six holes that, and then we can get rid of these now. Faces. And finally, steak or food or the, or the bottom opening. So let's give it a mirror and put it on the z-axis and say clipping on. And make sure that this thing goes with them to join. Let's just push these and make sure they joined the right. So we've got that happening. What we should be doing now is basically to, to this one. And I would hide soil scales at 0 and select this and that. Select that. Align them properly to a point. I select this point and this last point scales at so everything's aligned in one plane. Select here and go to the last point. That point again, scaled y 0. So yeah, we have got I would like to align these to the center, so I listened to all the middle points seen here. And select this point and scale with zeros so that everything appears to be mid. Right, so now we just need to give it a smoothing. How that looks. All right, Great. Give it a smoothing and let's go ahead and add a solidify to give it a thickness to solidify on top of the on top of the stack. So we've got why we're doing solidifies because when there are parting lines, you can see the bottling lines clearly if you have a thickness for that material, which is why we add a solidify modifier. And so there is a meter, so we need to put the mirror on top and then solidify so we don't have that artifact going here. Notice that issue that happens when the soil, if I is on top, so I'll put a minute. So basically the object was mirrors and then gives it a thickness. All right, so now still we can, you know, these inside, they are much more smoother. These curves. I'll do, I'll just go ahead and give them a subdivision. Select all and Control E, edge bevel rate. And so this will add one more layer of detail. I'll add a bevel to the stack. And my bevel is going to be on top of afterward, after the solid if I so we've got that straight and we need to change the angle to wait so that edges remain sharp. All right, so now let's go ahead and see how this looks. So I'm going to delete this part here too to be able to see that. So before deleting that, I would like to have a backup of my of my model. So what I will do, I will create something called new collection and call this as backup. And I'm going to duplicate that and move that into the backups. So we always have a model which we can refer to when we come back into the process. So I will switch off the backup and I'll turn on the gel again. And I'll simply go ahead and start deleting these phases. So what happens is you have the plane like that. And we need a thickness forged this as well. So I'll go ahead and give it a solid if I put the solid on top of our subdivision surface and even on top of her bed and give it a good thickness. And these parts are not glued together, I suppose. So I joined them. So we have to give this edge, edge, but we'll wait and do that. So there we go. With this edge and overweight as belts. So select all of these and go to edge beverage. And Jane that one. There we go. So we have that nice girls. So you want to make them bigger so we can do that just by scaling them cross a way. I mean, in case if needed. We can also do one other layer of detail where we add to get a more sort of a rounded rectangular field. This add loops around. And what I'm going to do is just select these pieces and these vertices along the corner of each and every hole. So I will take these vertices like that for everything that I see. And this is just to get a shape of what we are looking at. So now at this selected From make sure you've got median point and scale them on the way so that everything tends to scale down. So you have a more kind of rounded, rectangular look to make sure that on the whole sizes are somewhat matched. So that's it. So we have created that part. 15. 14 adding a rubber button: We will go ahead and detail out the section over here near the handle, where there'll be a drama part and there's going to be an LED, which is an operation in LED which shows the productive sector. So I'll select these and I'm just going to inset that. So this would be forming my basis of my light. And then I'll insert it again and select that and push that inside. And I said this will be my there'll be a button or that and push them in like that. And pull that up. This is going to be my button and there's going to be lighting on around here. So what I will do is make sure you select this ring outside and duplicate that by pressing Shift D and B to select that. And select the outer ring. Give it some extrusion. So this is going to be our LED light that's going to come. And the product runs. Alright, so I'll just quickly save that. We can actually go and separate this part. Because I think you'll hear and plus B and C selection. So this will be our button. 16. 15 cleaning up once again: All right, So far so good. We've got the pretty much the model that we need. So yeah, So we definitely made a few mistakes here. But we corrected them without actually starting the model from scratch. So what is a good sign that treaty modelling can be an iterative process and you don't need you don't need to have a roadmap on exactly what you have to do. And you can definitely come back and do things like what happened here. On the top part, we actually completely deleted and did again. So those are some of the things that need to be learned and that comes my experience. So yeah, as you know, you just need to have confidence to start a model. And this needs to start and step in and slowly correct problems as they come by. So that was fun, I think. Two. Now let us go ahead and correct some of the edge. As in surface problems if needed. We'll have one last look at our final model. And then we can go and start making the other, the trigger and the button over here. And at the other parts, which are the tertiary details. Let us check the model first. So check for any issues that can be resolved or things like that. In this place. It's check. Something can be done, right? I have a deck of this. So what it means is in edit mode, it will not show the subdivision thing. So whenever I tap out of edit the chosen smooth, and when I come to edit it, you get the idea. So this place, what can be done is these two points, vertices can be taken out so they appear better. Let's do that again. Bring that out. And bring this out as well. Yeah, something like that. And these places where these things are coming out a lot can be put in and all these can be actually aligned instead of projecting out. So I'll just align this to this and select all these. And select this at last. And change my pivot point by pressing the period key and selecting it to active element. And I'll scale on the x is 0. So there we go. We have a smooth kind of a transition that's happening. Yeah. So these things can come out as well. Doesn't need to be inside. Yeah, so that's a good surface. So the final part is to achieve a good looking surface before we go ahead and split our model to give a tertiary details. So I'll push this back. You get that surface, right. All right. That's a nice surface that I don't think anything else is to be needed. And over here is one to bring that closer. All right. And this can be out. Scan. I'll just undo that, a little mistake and scroll the front view. Push these points, a little insight, they're sticking out, unnecessarily. Push that in and kinda have a smoother flowing curve. Yeah, I think that's fine. All right, so we've got that nice and smooth. Good work. Let us, there's something that needs attention here is like this curve which will come out and this will move the front. This can move like that. So we get a nice looking rounded shape. This push this behind and all like that, a little bit like that. And for that and centric. All right, nice. 17. 16 adding switches: Great, So let us split this and let's make our trigger. So I'll select these all. And I'm going to make inset so that it inserts in. And I will just select these points. And option E are all D and say extra long normals. And I'll push those buttons like that. I mean, much more Aldi extrude along normals and till we reach that point. Alright, so our trigger smooth this and perhaps even get this point. I can move these guys and smoothen the scope. And I do know that it's a little bigger, but I did it purposely. I just wanted to make it big. But if you do not like that, you can anytime, like push the shop to get up and going to have that smaller, which is also fine there. And this thing has gone inside and push these points to out so that everything kind of falls in that line. And select tools and flatten rates, a chart and push these lines. Actually they don't need to be so they can be there. All right, cool. Let's just make it sharp. And we have to split this part. So select those lines. And I'm just going to press V to split that. And so we have got and select this and speed to select. So there we go. We got our trigger. I mean the button that engages. And let us now do this button and this is fairly simple. Scanner select this and Shift S cursor to selected to make the cursor over there. So keep us cursory we need. And I will add a circle there. And it just going to be in 12 segments. And I'll rotate that on the way and go to Edit Mode. Scale that up. And even this is, we'll still have a racetrack kind of a profile so much that now I'll select this point and plus v to rip that. So at this point and press V to look that vertex now plus l to link, select only that, since this is dripped, so it's no longer part of a connection. That connection is gone, which is what we did by ripping my blessing week. So we just have to select the linked by pressing L and move this to the side. Same ways like L and move this to that side and select these vote and say F, have a failing. So we've got that. I'll just smooth that out a little bit. And let us just fill this first by pressing F. And we can join them by pressing J, selecting these points and press J, the middle point, x1 plus j, these points, and press J, so this joint and this as well. So J, J, and I'm going to add a couple of loops round so to make them edges nice and sharp. So I will scale data and the y-axis so that this kinda goes there. And now I'll select all and press I to insert it. It doesn't work because our borders are switched on. So I'll press I and press B to release water constraints. Okay, So now we have got this and I will select all and extrude them back into our model. And I will also add. A loop there and give it a subdivision, and reverse the normals by a carpet outside and shade smooth. Okay, so we've got a button that maybe stops the engagement, accidental engagement of the machine. So when this is on, sometimes press the engagement doesn't happen. It's a lock for the trigger or something like that. Let us make the one that's on top, which is fairly simple. We just have to select this. So we know it's a problem here which we did not address before. So I'll go ahead and do that. So I'm just going to x and this all registered. And I'll join these two the last. All right, So now again, let's do the button. Select all and press Shift D to duplicate and press Enter and plus b. Two separate that element. So now I'm just going to start bridging them together by pressing, fill and all in Pressfield. And I'll isolate that. Any normals will calculate outside. Let's go ahead and join these centered the joint already. Some issue recalculate outside the solidify that's causing the problem. So we don't need a solid if I on this, so I'm going to get rid of it. And yeah, there are and just that need to be connected. So and this put two vertices there, and I'll connect these together. Oops, doesn't work. All right, so let's solve this by actually deleting faces on the bottom. And we don't need this x, sorry, this all vertices. And that is again, go ahead and fill that back. 1, 2, 3, 4. Fill it back. And just join these together. Join them. Join this, and finally, join this. And you can make this sharp, like it was, right. So what we can do now with this doesn't happen all around. So I'll select all, I'll press the period key and go to active element. And let us as active. And I'll scale this down along x to have a switch, kind of a design. The nice so, and this also, I do not want to have this transition. This one is to be flat, so select one by one and just flatten it. And to learn and add just a point. Again, it's not nice. Operators. 18. 17 Modelling the front details: And this point would still be the center of the circle that's happening here. So I'll press Shift S to put my cursor, the algorithm front view. I will just add a circle with maybe 24. And I'll scale that up. The lid fits my radii and on x. And read that. Move that up little bit. And E extrude on the y to get it to there and extrude inside like that. And then just pressing going my selection by pressing Control plus on my number pad to grow my selection. And I'll just pull this up outwards so that comes. So I'll just go ahead and sharpen these curves, these edges by pressing edge bevel rate. And unfortunately we don't have an edge Belle-V there. Yeah, because we'll add a bevel and set this angle to wait. And we'll add a subdivision surface and select all control F and say Shade Smooth. Check the normals. Alright, so I'll give this as 0.5 MM with three Segments, you get out chamfer there. So I switch off my reference to check how this is looking. And I just want to match the chamfer to the one on top so that both have aligned II. Pretty much it. And let's continue modelling the square root and save this. Now, I want to keep the median point and scale this in. Add one more loop. It's just a support loop. Scale this down. And let us start extruding it by, I mean, he scaled up little bit for the shaft to continue. And what we can do is shift D, This is separate part and b to split that. And we have got a ring that is split. And I'll extrude on the way and continue building our form. I'll extrude and scale up again and reach this out like that. Extrude and scale and pushes up there and extrude on the way to have a try debt. And again, extrude and scale to get to this point. Alright, so Extrude and to ticket deal there. And give this a bevel control E and edge evaluate and change this to one moves and do the same there. An inch below weight edge. But we'll wait and speculate on monopolies, which is here and say edge weight. This can be a little bigger. So we see that the shaft is going inside and this is inside. All right, so we've got that. And that just gives us an x inside and changes to hedge bear weight. All right, so now let us make the part which is on the front, which will be a gear like structure, which actually drives modulus across. So we will have to do that by selecting the Shift B again and P2 separate that. And we've got this, so we need much more divisions, which is really clear on this, since the geometry here is much more than 24 divisions which we have right now. So what we can do is get rid of the bevel over there and keep this one. And let's just apply this subdivisions to that, which we'll get more divisions. There we go. We got two more divisions. So I'll just come to this point. And I'll scale this in. Something like that. Okay. Now all I have to do is select all and go to the face mode and select one interface and select that again. And go to Select and select Checker Deselect. So this is just deselects on, just selects one by one and this one in-between. Alright, so now I'm just going to extrude that out. I go to there. And that's again, give it a subdivision surface. And add a loop there. Tall F and shade smooth side a loop in here. Alright, so we have got that and I like to have a thickness on the bottom here. So select External that again, to have a thickness. And isolate that and E and extra that inside ones. So I have a discrete edge between this and that. Be visible line. I like to keep that visible. For this project, I'll just pushes inside and then isolate that. I want to get rid of the edges by edge, but we'll wait and I'll lose that. And I'll just want to sharpen these edges. I'll add a better read on top. And let's say this to quit. And let's add an edge bevel rate. Yes, So we've got that bevel rate over there. And we can give this to 0.3 and push the segments to three. Even 0.1 might work. Yeah, So meteorites are very sharp. Kind of a bevel. So yeah, so so we've got that right. And I'd like to add one, which is not really required. A few like to keep that sharp. You can do that also just by adding one another loop. So when I press Control, this is going to give on the one. So I want to cut on everything. So I'll go to the top view. I'll go to my knife, select that and press Z so that the country was on. Notice this part where the cut throughs on and off. Make sure it's on, on position. And press C, which is also going to show that angle can chain which is on or off, press Stat and on. Make sure is your cut-through and angles are turned on. And I'll just click and make a cut like that. So we just going to give me a little sharper edge over there. So what I'd like to give it that way and I will just scale that down. It. All right, Nice. So let us now go ahead and create this portion which is on the front part. Similar way, I'll just duplicate this speed to select selection. And g on the way to go there and go to the Edit mode, select all and scale it down. And E, y there. And again scale down and E S to scale that down a bit again. And to put that inside. And it goes all the way inside of them. So I would also like to scale this in a way, right? So this also has a part that is on the front. Alright, so we can do that by, so this has around 24 segments, right? So this can easily be used for that. So what I'll be doing, again, shift D, Enter and B to separate and select only the edge or that. And I'm just going to E and L scale them down and put it to something like that, and scale them in. So I'll isolate that. All right, so now let's go to the and let's divide them into three parts by deleting the others. Okay, let's put some math here. It's actually 24. So part so I just need to live for, and let's asleep to 1, 2, 3, 1, 2, 3, 4, 5, 6 points are selected. So I'll just leave 21234123451 more. Yeah. Selected like that. I just divided 24 sections in the tree and just Control I and to invert selection and get rid of these by deleting the faces. All right, so we've got that. And I just want to continue the edge parallel lines here. I will just add a bevel. Okay, we just already there. So I just wanted to add a solidified then. So let us solidify that first. I'll put it on the solid. If I give it a thickness. Actually you can get rid of these. They're not really needed because alright, so this is it, Shade Smooth, 0.2 and make that sharp. So we are not sharp enough. So I cut through here. Same way as we did this OLS K, z, and C to be turned on cut-through and angle constraint. And I'll just make a carpet there. And I can before that. And let me just push this inside a bit so it's not really visible. And now I'll make a cart is at C and G, G to slide that across there. And let's make a cut again here and g, g, and let's leave that inside. So we have a much sharper looking. 19. 18 adding wire details: Shift S and let's add our part of there. Again. Highlight a second. And yeah, pretty force good. I'll scale that up a little bit. And I would like to rotate this the same way here. And let's go to the normal amine. Let's see locally and slogan. So extreme that on the z. So I'll add some support loops for loops here. And I would like to add a loop there and support loop over here. So what we're going to do is make that holder, which actually comes when the drill bits I'm in drilling machine, so I will extrude them till there. And let's add some points here as well. So I'll select that and select that. And on this axis, pull this out. Okay. So select that and gross selection, and I'll insert that. And right-click Loop tools, circle. Push them in and let us just go ahead and select these two and say locals bridge. So we get rid of that. And let's give it a subdivision. That looks good. And we just need to move these things off. So we have a round kind of a shape. So I'll move this, scale this down to get it on a form and right-click Shade Smooth. So we have around form. So I'll just go ahead and select these points on that circle and say right-click, sub-divide. And select the vertices which are subdivided currently. And I would just like to scale the mean, which results in a star-shaped and push this out. That's it. So we have made, and let's finally do a wire. Just select this and scale this down a bit like that. Shift S cursor to select it. And I'll add a curve, and I will add a part. So the scale that part up and go to my front view, I rotate that 90 degrees. Push this down, go to the edit mode. And I'm just going to put this wire inside the core properties here. And active spline, sorry geometry and increase the depth. So you get a circular extrusion. Now I just want to make sure that it goes in properly. So push the same and then extruded discos in. Whoever scale the stone. The stone. All right, sweet. So let's go ahead and make one more last part of a geometry there. This is where there should be a emissive light inside. This would be the cap for the light and the light glowing inside the MSO material itself. So I'll just select the face there and Shift D and enter two and B two separate that. So basically we are extracting the surface there and I'll get rid of the bevel and also the solidify. So we have it this out. Select all and scale that a little bit. I mean, not only the outer agents in that little inside, select the inner agents, scale that out. So it kinda is smaller than the ring that's present there. So this will be inside that that's going to be inside that lighting. The plastic which will be transparent and this is the gluing material which is inside. So now I will select all of it and I'll just push it inside. To like that. 20. 19 adding rubber handle detail: Select, first of all, make this edge sharp, right? And select some of these. So this is, as I said, is going to be handled so with a rubber grouping part and stuff like that. So and it's going to have rubber padding and it will have when we having a group to facilitate holding and things like that. So what I want to do is like show it with the thickness for it, right? So I want to be able to give a thickness to it. Basically select all these part here and all E and say extrude along normals. So I have a small, but it negligible thickness that. And I'll go ahead and sharpen this by pressing edge beveled rate. Oops, I think that's a little too much. So I'll do it one more time. Option E extrude along normals, but Given a really small number, so it's not that obvious, but it's still dry run on time or d extra long normals and put it somewhere. Yeah, perfect. So edges, edge pebble, wait. To give this edge sharp look like that. This is going to be our rubber padding. So I will sharpen this edge as well. It's going to look like that. 21. 20 splitting up surfaces: We gave the thickness here. We can go ahead and start splitting this office smooth obstacles again. And start taking that down smoothly scope a little bit. Okay, so splitting this is by giving different materials to this. So I'll select this and select this and say new top part. And then we need a the chamfer. So this is going to be our chamfer material which I assigned. And we can change the colors here. My go-to in the report display and chain that to some other color. So yeah, there are some artifacts happening, so I just go ahead and increase the segments are due and I'll put this as one millimeter by one millimeter. Then I'll open the geometry and I will take off the Colombo overlap. Okay, So we've got that as a separate material. And let's go to the top part. This is going to be different color and this say orange, as we did here, to select the bottom part by select them all like that. These things like these points here. So the parts which are except the top and the robot and the chamfer is going to be this. So this will be bottom bar. So I will add this new assign that and change the view port color in the viewport settings and make that a deeper gray. All right, and select the handle part and give that a material as well. So let me select these guys over there it is. And let's give this some material. I want the inside it is two, so I'll just press Control a to select all the lip inside the thickness that we give. And I'll give this as a handle and sign this a deeper, greater login. Let's assign something is. So we have split only parts according to the materials. This one and change this color. So the more obvious. Yes. So these are parts that was split and this is not as it should be, the same color as bottom, the bottom part and the switches. So this is the same material as the top part. We will also be the same material as the top part. This will be somebody unless the bottom part. And this will be similar to the dotplot. And then got these miscellaneous parts for the column that says from wire. And give this a viewport corner like that. This would also be a shareholder and give the same digital switch. This will be transparent. Something inside this will be light. Now, we are definitely going for a separate shading session. This is just the split bats and have a basic overview of how our surfaces are going to look and lined up so that set. So in the next video, Let's go ahead and UV unwrap this model so that we can use this for, for further texturing. 22. 21 BasicUV: Welcome back to another unit. We're actually going to the UV unwrapping process now when you've actually done with modeling and we have done it pretty well. Alright, so in this unit, I'm in this section we'll be taking a look at how to unwrap this drill. So the purpose of unwrapping is so that we can add some textures. And when you're going to bake, maybe in the future, the unwrap is really going to be useful for you. All right, so without further ado, let's go in and start with the UV unwrapping process. Alright, so what I'll do is here I'm going to get this saved as another file so that sense it's a new section, so I'm just saving it as a new file. And before we go into UV unwrapping the thing what we have to do here is to mark out our seems. Alright. So let's go ahead and do that. I will first isolate our drill here and I will quickly go ahead and start marking off this seems. All right. So I'm going to select these first as a CME. Yes, I'm going to select the front edge first and Control E and C. Seem great. So we've got that same map. And let's do the same for all. Basically. Wherever we have actually splits offices, we need seams on all those areas. So I'm just selecting seems based on our surface split that we have already done. I'll select here. Actually, no, sorry. It needs to travel on the underside nonviable and lowered again. Select the layer selected there and make sure to select the one on the bottom and not on the top. So I'll select these edges and I use Control to click. So this picks shortest part. Oops, sorry. So let me go ahead and turn off subdivisions so we can see it properly. Select this, select these. And finally all around until here. And these go to vertex view so that I can see it better. And I'll just say Control E and say Mark, seem. So let's see how that has come. So yeah, that has been marked as read and got that same map. So this part, when I press L to select link, I can select the scene. So we are, this comes out as a separate element and that comes out as a separate element. All right, so here also we need to continue the seams here so that that unwraps and rips apart. So I'll select the layer and select the layer and say, yeah, and say maximum control E and say Maxine on right, so to test out, and it's going to plus l and make sure this select link doesn't seem. And yeah, and I press L only this part selects up. So when I press L here, this part selects up and say me over here. All right, pretty well. We need to break these parts which are inside as well so they come out properly. So there's going to be a siem, first of all, near the circle. Right? This is going to be the same part. So let me go ahead and give that same material has been a mistake over here. So this is a part of the chamfer itself. Sorry. This is the this should be the part of the bottom. Yeah, We've got that right. And when I, Yeah, So nodes right. Then there definitely should be as seen around here. Control E and say Maxime. And basically that's apart. And there's going to be one part in here. And then there's going to be somebody there. All right, so we have got all the parts. Seem then we have to do the same for buttons as well. So these are flat. I don't see him here. E and Z maximum. And same way on this button. This is skip this edge and say Maxime and take one edge inside and give that the same as well. Some same way we isolate the spot. And let us see him here. Say Maxime, Maxine. And we need to select one, the bottom and say Maxine. And this can come out as one element which is fine. And same way, isolate this portion and, and start marking seams the same way. I'll select these two wedges and this and say Control E and mock scene. All right, let's go to the bottom by pressing Control 7 and select the bottom edge and say Marxism. So now all of these are going to be splitted out perfectly. And same way, this has to come out. So, so Al Gore and seamless and say Maxime An oxime here. And this is going to be the same as well. Alright? And this part mocks him here. And that's at rest of the part can unwrap flat, which is fine and mocks him here. Now, I'm not actually doing a completely perfect UV unwrap. All I'm doing here is the ui's that are required for texturing. I'm just doing it as a quick unwrap and I'm just thinking about what textures will be there and basically unwrapping on context on that, rather than giving more time on just UV unwrapping. So let's do this quickly and say mark seam marks in there. And there's one over here, Mark C and C. And these are flat portions which doesn't need to be unwrapped. All right. So let's go ahead and yeah, there's one other part which also needs to be more, Maxine. So this comes out as one part. Alright, so I'll go ahead and turn on the subdivisions again. This doesn't need seams because it's flatter section. Okay, so let's see how are you is come in, are first unwrap. So I'll just go into actually editing, layout, select all. And I'm just going to say u and unwrap. All right, seems fine. I don't think there's something to be concerned about. Led looks perfectly fine. Now, in this point, we need UVs on both sides. It's not something that's mirrored. We need separately with on both sides since I'm going to add a branding later on on this part, I'll just put a logo or the logo shouldn't come on this side. So I definitely need separate us. Or you can also go ahead and changed the mirror. You is right now. So as of now, I'm okay doing one side of this. If you want, you can apply the mirror and for example, just applying the mirror and unwrap, I'm going to get us on both sides properly. So I'm not going to do this for the purpose of this tutorial, it's not really necessary. But if you are developing an asset and you like to do this and you are completely free to do that. I'll just undo and I'll just keep on one side for now. And, and just keeping the mirror modifier intact. All right, so yes, as I unwrap them and grab these and select all and wrap. And wrap. So this can be unwrapped directly. They don't need unravel. All right, so since this is not a discrete asset and I'm not planning to take this anywhere else, so I'm not going to pack all the way here, but you are free to do so if you need, you can pack all in a layer than take it out. So as of now I'm not doing, not going to do that. I'm not going to bucket. Okay, So let us go ahead and conclude the UV unwrapping by giving the basic textures in the next lesson. 23. 22 creating materials: All right, so we're done with the basic unwraps. Let's start giving the basic materials. So what I'll do, I'll come to the shading layout and we don't need to see our reference planes. So what I'll be doing is switch off the references. Oops. This will be our properties. Be our outliner. Yeah. So right here, right here, I just switched to close this reference on that so we don't see it Coming. So let's start giving the basic materials and I'll select the handle part first. So I need to select the materials tab and scroll down and select the handle. And first of all, I need to bring that color down to something like that. And I wish to have ribs on that so that it's easier to hold. So I want to add a. So let's do this procedurally inside of Blender by just adding a detection here. So I'll just go to Add and texture. And I want to select a wave texture there. And I'll go ahead and give this a some coordinates. So I have got the Node Wrangler install. So what that's going to do is when I select the lecture and press Control T, it's going to give me a mapping node and a texture coordinate known over there. Check my screencast. So I'm going to keep this in generated and I'll connect my wave texture to directly and I can see what's happening. So this is going to be our addiction. I want to add a color ramp so I can basically adjust my wave texture by doing things like that. So yeah. Now I wanted to feed this channel inside the bump. So I'll add a bump and connect the normal inside the normal and the color inside the height, and connect the principal. And there we go. We immediately see some details as part of a grip. So I would like to have this more like scale that and right now it's all going a straight man, or if you like that you can keep it as the same, but I would like to have some rotation on that. So what I'm going to do is I'll just give a rotation on the z. So it kind of has a zig, I mean, like a slanted kind of a pattern going across. So still do much, I'll say 30 degrees. Yeah, So we have garnered some gripping detail going on. These are coming out fine. And you can adjust the gripping details with this part of the colorRamp. So that's makes the process much easier and much more right, rid of so we can make those script like that. And yeah, I like that for now. Let's go ahead and do the other parts. So I'll select the top and let's give this top parts of material. So I'll give this orange color like and reduce the roughness so that we see. And that'll be our top part. And I want to add some paint details and I want to add some bump details and this mesh, I mean, in this part, so I will just quickly go ahead and add a bump. And I'll add a texture, and I'll add what is called as a noise texture. So I'll connect this noise to the height. And the same way I'll press Control B. When you have a no wrangler installed. If not, you can quickly search for texture, coordinate and mapping to get the same result. All right, So here we go. I'll disconnect the noise and bump over there. Let's see how this looks. I'll connect this entropy normal. And immediately we can see some noise details happening. Well, let's see how that, how that looks. So this is what is happening. So I want to keep my object into the vector and we immediately see small patches of kind of a greeny look. Let's see how that looks on our model. And yeah, I just think it's really do much. So we can adjust that by adding a, adding a mat node just by giving into converter and selecting mat. And this set is mapped to a multiply. And this reduces value to 0.01. And you see really subtle grains of the paint that's happening there. So it's your creative, it's your graded potential and your abilities that you can actually make this one and make it refer or whatever. So I would like to keep it at a minimum. Roughness, I mean, 0.5. That's perfect. Let's go. We've got that detail on and I would like to chain that orange little bit. Not really happy with this kind of knowledge. I would like to have yellow, a little bit of a perfect. All right, so let us select the bottom part. Now. I would just like to have this same setup over there at the bottom part. And let me give it a color first. This would be a gray, definitely. And I will again give it a nice texture Control T to get that mapping. I'll put this to object. And I'm just going to add a bump again and give this inside the height and the normal to the normal. Okay, so that seems lie. Again, let's add a converter and math node will put this between the the bump and the noise texture. And let's get this to multiply. Let's give it a number, 0.01. So we have a some detail on plastic. Okay, so I want this chamfer here to be really glossy and give it a high gloss finish. So I'm just going to give this chamfer and get this nice. I can actually copy the same color over here. The bottom part, in Blender, any value, it's just going to hover over there to the base color and say Control C to copy that and paste it over there. And that color will be pasted. And now I'm just going to reduce the roughness to a really low value so that I can start seeing that nice glossy highlight. Turns out well. And this is also a as part of that. And let's select the rubber switch and give it a rubber like field. Let's again, it's like the base color and bring it really down. And again, we need to add texture and give us a noise texture. We've seen noise. Yeah. And again control D and let this be on an object and connect this inside the bump. And its connective bumped inside a normal connective factor inside the height. And so this looks really noisy and I again want to add, reduce that. So I'll add a map node in between. This time we're going to search textures and dismantle. And this is going to get this to multiply. And I'll put this right there. And again, 0.2 or 0.1. All right, so I want to increase the roughness of that. Since it's a rubber, It's not a reflective surface and you can give a color of your choice. So I would like to keep it something like that for gray. Okay, so, so far so good. Let's do the wire connector, which are simple materials and it's going to give it a little black. And just for the roughness down and the same to hear some black wire but it will this be dark gray and pulling something like that. Alright, so ox, so there is some issue on the material selection, material assignment here I'll select these two polys in this again and give this bottom part material and assign that. Yeah. Okay, so let's go ahead and do the rest of the part, the metallic parts over there. And this is actually a part of this itself is going to be orange. So I select that and give that as a top part. All right, so I'll go and select these. All right, so I want to have a nerd kind of finish over there, so which will not only be here and not on the others. So I want to give this a separate material. First of all, let's give this a new material called metal here and select only the faces here and give one more material by clicking the plus sign here. And let's say new and call this as metal. Okay, so this is going to be an element, metals. So I'll give this first material. I go to the metal and put them in Alec up and change the color to a little, a little a that. Alright, so in all of these are going to have the same metal. And this as well. This has all the same material. And let's work on the new material here. So algorithm medal and I'll copy the color and put it in the novel and paste it. And let's go and increase metallic. Alright, again, let us do this procedurally instead of blender to give that look. So what I'm going to call here is called something called a Voronoi texture. So I'll call that by pressing Shift a and go inside texture. And there you can see something called warned I texture. So again, I'm going to press Control T to give me the coordinates. This time I'm going to press it to UV. And in these planes which which haven't been unwrapped it, I'm sorry, I'll select all and give you an unwrapped here. Let's see how that looks. Yeah, perfect. So what I will do here is connected distance. Inside bump. Again. Put a bump there and put the distance to height. And the normal case, so sine sign this normal material here. So first of all, I'm going to reduce the randomness to 0 is going to give, give us predictable results on what's happening. All right, so I'll connect this to see how that looks over here. Alright, so the problem here is the textures are a little bit stretching. So what we can do is in the bevel changes segments to a even number. When it's odd, this kind of issues happen. So sometimes for walks, For number of segments, it's actually not just odd or even, even. One or two has issues, but when you have it as four segments, you're going to have, you're going to see even squares in them. And now we can just change the Z to have a chain, the set rotation to have a normal kind of looks at 45 degrees. And I'll connect this back. And Yeah, we're getting there. Now. I would like to add a color ramp. Again. I'll search for a color ramp and give this color ramp inside. Put this color ramp next to the war nie texture and we can start adjusting our ramp. Right? So notice when we start adjusting, we're getting circles instead of instead of the squares. So that's because the matter is in Euclidian. So the cells were nice. Cells are going to be Euclidean, which means they are going to have circles and m. So we can chain that something too. Shabby shave and you immediately start getting squares. And so we can do something like that. We can even add up a point over there and flatten that a little bit, right? That looks fine. I just want to increase the scale of it. So let me just increase it to give a null up finish. All right, Looks good till now and it's cool that it was all done inside of Blender, completely procedural and not adding detection. Okay? So we just have to work on one more part where we are just going to add a logo or so, which will be doing in. This is going to be useful when you're putting a detail or something on your model. So we'll take a look in the next lesson. 24. 23 adding branding: Oftentimes you'll be tasked by adding. Oftentimes you'll be asked to put a branding and logo on the product. So maybe a detail or something which we now want to project onto the surface, which can be done. So I'll show you how this can be done in Blender. So let me select the materials tab and select the bottom part. And let's actually add a new image by adding a texture and calling Image Texture. Alright, so I'll create a new texture, and I'll put this as 1024. By 1024, I will call this as branding grow. So I'll go to the color and put the alphabet 0 and cellular as blank and say, Okay, so I've put a lecture called impactful. So which has a branding or diet is going to be put on a drill. So let us call the structure. So we have this created over here. Now let us go inside the texture paint tab. Let's scroll out and see. So we are, this is happening because we have given a alpha texture here, which is why it's not visible. So what we can do now is to have a part which will be filled here. So I'll go to, I'll select the fill tool and I'll keep in color as 0.5, which is a 50 percent gray and fill that color to get this back. And here what we can go do, go to the brushed up here and corner detector and say New. And if you select the texture properties here, we can open our texture and the inputs and open architecture, which is impacting grid. Okay, so I will again go to the draw panel. I can see the brushes and the texture has actually come up with it. And select the tile to view plane so that we can project our texture where we want. So I'll put this and set the color to white because I want this to be coming out. And I'll just click on where I really want to have. But we have an issue where we have the, there is a gradient on our brush which can be easily solved. I'll undo that and let us select a brush, fall off and Jane, the customer to something called as constant. So this make that bigger and bigger. And this place the branding on wherever you want. I would like to place it on top a little bit, scale that up and put it there. All right, so I've, I'm done with placing that. Looks nice to me. Let's now again go inside shading property and we have the branding which is here up fairly well. And yeah, so there is something here also. The reason is because U is are overlapping on top of each other and also have the similar material. So I'll just go inside the US. I'll select all and push that out of the way. So we have got the branding done over there. Now let us connect this without bump map so that we have a, we have this ion, the bump channel. Okay, so I connect this back and pull this to the bottom. So let's add another. We can add as a mat and put a mat there and connect these two together. And let's see our result. So we have got our texture and we have got this common mode as well. So if this is actually engraved inside the product, so if I would like this, I like to give this sticking out instead of going inside. What I need to do is I just need to add some called an inward node. So I place the inward node between that. So it's just going to invert our image. So it's going to make that as coming out. So nice to hear that right now. We just shouldn't forget to save this. So I'll just go here and image and let me just save this as, Save As, and I'll call it something else, maps and I'll put it inside as this. So this image is saved in drive. All right, so I think we have pictured Ali's to now and we can go ahead and put a HGRI to actually check others and finally, texture out the lighting material in here. 25. 24 adding hdri and continuing shading: Select the world here and let's select the color and go and set environment texture and open environment texture. I have included an artist workshop, HDI. You can open that image and you can select here and say SeaWorld and scene lights to see our HDL in here. So if you don't like this HDR and you want more such HDR us, I would highly recommend you to go and check out HGRI haven't dot com where where I person called exile is actually developing some of these jars and it's really cool and he's doing an amazing job and he's giving the HGS for for free, but I would highly recommend to donate some if you can and make allow him and encourage him to make his jars. And there's a huge collection of them. And personally, I've been a big fan ever since I started learning Blender. So yeah, you can go ahead and download the HDR that you wish. But I have given one called artist workshop. And let us first take them out for now. And now, when we select rendered, we are going to see that HER surrender coming out. Okay, so it looks pretty good. What I'll be doing now is select these transparent part and give this a transparent material. First I'm going to increase the transmission to one. And I'll increase the transmission roughness to a value of about 0.5. And you can reduce the roughness. It's a shiny plastic and select the portion inside. It is going to be our light emissive. And I'm going to add a message Shader emission and connect this directly. And let's get rid of the principal. And let's give this icon. I would like to have a green LED. So there we go. We can see that green LED through our transparent coding. So it looks like as if it's an actual light itself That's cool over there and we can actually increase the muscle strength to value and it looks like light is glowing and all right, so that looks pretty cool to me. We can actually add a little more details by adding a little more grains on our paint if needed. But I would say this is enough, but we can also add, since we have got the noise texture going on, we can play with that in a different way. For example, we can have a mix RGB here. So I'll select and call as mixed RGB. I'll call them exergy, be there and copy this material there. And let me disconnect it there. And let's connect our noise texture in here. Let's see how this looks by disconnecting that. And right now you can see there's no difference because both the colors are same. But when I start changing the bottom color, you're going to see speckle this off, right? So you can actually grade speckles like that. So we can keep something like that. Let me connect this to see what's happening. So you can have duotones or others like that, paint speckles. So you want to introduce some more organically inside our surface shading methods. So there are a lot of such techniques to be carried out, but so I'm just keeping that a little darker so we can see the difference here is that adapt now little darker. So such speckles and such small paint details actually add up to a lot of realism. So yeah, we have finally come to an end to our texturing process. And I hope you've enjoyed till here. 26. 25 lighting and rendering: We saw the texturing in last time and now let's just go ahead and add a few lights and let's see how that's going to look. I'm going to select the layout tab again, and I'll give a new collection and call this lights. All right. I'll just open this tab so that I get access to another one, and I'll set this to shader editor, and I'll set the object to world where I'll be able to rotate our HTRs based on the lighting that we want. I'll select the artist workshop HDR here and I'll press control T to again give our texture coordinate and mapping, which is enabled by noragularn now we can just go and click render to see how it looks. So I'm keeping the render into cycles right now just to see how this is going to come out. And if you are seeing your HDR in the background and not a transparent like that, you will have to enable film and say transparent. And I also would like to keep my color management to very high contrast. I feel this gives a better result for me every time I enable this. All right, so I'll place a camera in our scene. And put this camera somewhere there, and I'll select the camera and inside the viewport display, I'd like to keep the camera big, so I'll just give a number over there, and I'd like to have the passport out to one. And let's open a new window here and I'll put this to camera view there, and I'll press N and select view and say camera to viewport, and I'll get rid of n again and let me frame our composition so that we get something like that. All right, so this is a little long format for me to work. So I'd like to keep my camera dimension, image dimensions to square. So I'll select the output properties and change this resolution x and y to 2048. So I get a square over there and I start composing a bit and press N and take off lock camera to viewport. And you can go to render view and you can start changing our HDRI. So that you get the result that you expect. What you can do now is go inside and here and change this to V and see the preview. When we're fine, we can go to cycles to I like something over there, and I'll change it to cycles to see how this looks. All right, cool. So what I can do now is I've got the basic lighting happening there, and I'll add some lights so that we get more details on things. I'll add light and area light, make sure this goes inside the lights category. I mean, lights collection. So I'll change my light properties to area light, and I'll increase this brightness to one. I mean, to ten watts and change the square to rectangle. So I'm trying to create a soft box type of a look. So I'll increase the dimensions of the light. To something like that. We can just place the light to where we exactly want. I'd like to have a light from the top. I'll reduce this wage power to about maybe three. Let's just duplicate this light to there and let's put a light on the backs to see detail on our grip. I go to the front and let's just the light so that it comes from the back and you can even play with color lights if you like that. Look of color lights is actually cool. It gives more drama to your object. I'd like to have a light from the bottom shift and duplicate that light and alt g to put that at bottom and I'll rotate this light to one 80 degrees so that faces the So we have some lighting happening from the bottom and shouldn't be an exact rotating and putting it there. And this can be a little less maybe two watts All right, so this is not a dedicated lighting course, so I'm just going to keep the lighting to fairly simple. And I'm just putting a light to basically see actually what's happening. And now we can add duplicate this light again. This one shift and R and 90 and rotate it this way, and let's place a light from the front also. I mean, we can put it on the back and let's see how that looks. So you want a back light. So I'll increase this to maybe 20 watts and put this slide at the back. So put this down. So we have we have some kind of a back light which is throwing from the back which Yeah, so I'd like to reduce it maybe ten and rotate that more and put it somewhere there, and let's give this a color. I like to keep this say some blue tones there or even you can go for a MGa shades pink shades or you can be creative with lighting. It's up to you. And yeah, that seems fine. So that's it, so let's go ahead and extract a quick render. I get to 50% and extract a quick render. All right, so we've got a render here and it looks fairly nice. And to me, I'm just going to open the composite and to see how this looks with the background, and I'll make sure the backdrop is turned on, and I'll add a alpha over. I'll put this image over there and chain this to value like that, and I'll add a viewer and connect this to the viewer. Connects that looks like a good decent render in a very short amount of time. All right, so that we conclude our lesson on how we can do modeling inside of Blender, which can be used great for props and even on product design and industrial design and product visualization. And also in prop modeling phrases like games and movies. All right. I hope you enjoyed this tutorial, and I'll meet you guys with another tutorial soon until then by