Introduction to Blender 3D - Basics to your first 3D art.

1. Introduction: Hello everyone. I am harsher than a designer and 3D artist. I have been making classes in Blender for some time. In this class, I have put my best efforts to introduce blender to absolute beginners. If you are someone who wanted to learn 3D design, but don't know where to start, then this course is absolutely for you. We will start by understanding the idea of Blender and why it is free. Then we will continue to learn the basics like navigating the user interface, key tools and techniques for modeling, understanding and setting up cameras and how to set up lights to extract a render. We will be learning these concepts using interactive worksheets that can be downloaded in the resources section, we will then create a small and fun 3D scene to apply our learning in a practical way. This class is for everyone who wants to know about 3D content creation process. We will conclude this class with some ideas, tips, and best practices for creating your own 3D scenes in Blender. 3d modeling is a sought after skill. As many industries use 3D images to showcase what they do. And often, for this reason, the demand for 3D graphics is projected to grow by many times in the upcoming years. Following this class does not require any prior knowledge or experience. You will learn everything here, Join now and let me introduce you to your journey in 3D design. Giant and new world full of opportunities. 2. What Is Blender: In this video, let us understand what is Blender and its purpose and why it's free. I'll let so to begin with, first, blender is packed full of features, which is the most interesting part of it. And on top of that, it is free and open-source. So let's look at it. Here you can see the main features of Blender. It offers toolset for modeling, sculpting and visual effects, animation and simulation, and also video editing. Blender offers all the tools inside the same proof that makes it super powerful to use. If blender is super powerful, let us understand why it is free. So to take a look at that, I have brought you to the about section in the blender website. In here, you can see the mission and vision of Blender. First of all, what blender thinks it's ideology is to get the world's best 3D and CGI technology in the hands of artists as free and open source software. Open source software means the source code of that software or the code by which the software is built, is free to download from the Internet or from the blender. If you know coding, you can go ahead and support blender and make the software better. What does this mean? Is the software is in the hands of general public to keep developing the software. Thus, blender has evolved as a great tool because so many people have contributed to it from all over the world. Next, let's look at the vision and hear what blender says is everyone should be free to create 3D and CZ content with free technical and creative production means and free access to markets. So this means that if you are a student or you're a freelancer, if you have a studio and you wish to do something with 3D, then you are free to go ahead and use Blender for your commercial projects or for your educational content or anything like that. So you can learn as well as urn and make projects with Blender that you can sell outside. That's what is the vision of Blender is free then how does Blender make money and the proper way how blended funding is by the donations and blender development funds who donates, common people like you and me can go and donate to Blender, and that's how they get the funding. To make things clear, blender does not have advertisements, vendor does not sell your data. Let's go ahead and tank blender for giving us this amazing software. And let's see how to use it. 3. Splash Screen: Alright, so we have just opened up Blender, and this is the first thing that we will see if we open the blender for first-time. First thing is called the splash screen, which is this small screen over here, right in the middle. And this here shows you the current version of Blender. I've got 3.1 installed as of now. You also have the basic operations, just like the first screen in any other software. Here you have the new file. You can go ahead and open any of the files from this, the general 2D animation, sculpting VFX and so on. If you're a beginner and you're trying to use Blender, then you would mostly go with the general over here. And then you have the recent files. And if you are just started a blender, you won't have any files here because you haven't saved anything as of now. This is the recent files and then you also have open from where you can open Blender files from your hard disk. And then there is recovered last session. This will recover any crashes, so such that. And then some release nodes and development and fund if you want to contribute to a blender. Alright, so this is broadly the splash screen. Let's go ahead and exit out of this. To get out of this, you just need to click outside the splash screen once. And yes, the splash screen has disappeared. Inside of this as the first scene that you will see. What I mean by scenes. I mean, whatever exists inside of Blender is called as a scene. This scene right now has a cube and some light and camera. Now let me tell you why there are three things by default is we use Blender or we use the 3D software to get out images, right? So the output needs to be in form of an image or in form of an animation. To create an image, you always will need a camera, which is why the camera is thereby default. Then you need some lights to light up the scene so that you have the highlights and shadows. That's why there is a light by default. And last but not the least, you definitely need some object so that you can shoot that with a camera. So that's why there is a basic object in the scene. This is the cube, which is why Blender has included just these three objects in the scene by default, because you definitely need these three, whatever the scene that you're making. Alright, so in this, this is the 3D viewport that we are looking at. So this is the heart of Blender way we'll be spending most of the time because this is where we'll be navigating and will be modelling and will be sculpting. Or everything happens in here, the visual feedback that blender Gibbs you will be through the 3D view port on the, and even when you are rendering, the 3D view port serves as a great purpose. Alright, so the 3D Viewport starts from here all the way till here. The middle screen that you see, this is called acid 3D view port. Okay, So this is a 3D viewport then above this UC, something where you usually see in the, generally in any software, which is the top bar, where you will have the file, the options to save the options to open up. And you have the edit options and, and so on. So this will be the top bar here. You can quickly go ahead and file and inside of which you can save your document. So this saves as a blend file dot blend. That way you can save up your Blender files in your hard drives. And then you have an option to open a new file and open so these are, and finally, the quit option. So these are all the stuff that you generally see in any software. And then you have the edit, which gives you options to undo and redo your last actions. And then you have some preferences. We want to set up some custom preferences in Blender and so on. And under the Window, you can have the full screen option if you want this, the blender will become a full-screen for you, or you can also have it in full screen mode. And then you have the render options where you can render an image. And then finally we have the help. You can go ahead and look into the blender manual. It serves as a great resource. This is the top bar and then we have the workspaces here. It says the layout modeling, sculpting, UV Editing, texture, paint, shading, and so on. These are all the things that are included here because blender serves as a great purpose. It's like a Swiss Army knife where you can do this just is a tool to do multiple things. Whenever you're modeling, you can easily get inside the modelling workspace and only the tools that are required for modelling pops up. Then you have a sculpting workspace where if you get inside of this, you have the options to sculpt and you have all the tools at your disposal in front of your eyes. So these are all just the configurations of blender. You can easily switch between the workspaces on right, so this is the workspace options here, and then the 3D view we have just discussed now. And then to the right, you can see this is something called as the outliner. The function of this is primarily to give you an idea of what exists in the scene in the form of a list. So this is a list view. And this is currently listing three objects that are existing in that scene. The three objects are obviously the camera, the cube, and the light, which is why we have got these three objects. And it is also getting inside a folder called collections. Collections are just a tool to organize whatever inside. They act as like a folder. You can add multiple objects, insider collection, and you can keep adding multiple collections inside of a scene. Here you can see that there is a top which is the same collection. And under oath which you have the collection and under those collections you have these objects. So just know that the outliner is a way to organize your scene in form of a list. And there's more to this, but this is the basic function of the outliner. And then to the bottom you can see that there is a Properties tab here. So this is the Properties panel. The function of this is to list and to manipulate the properties of any given objects. Beat a light beta camera, or it can even be your scene. You can change the scene properties by going inside the Properties panel. Currently our cube selected, you can select just by left clicking. You can see the properties for the cube. And this shows where the cube exists and currently it's location is set to 0 and what is the rotation and the scale of the cube. Similarly, when I select a camera, this will have the cameras properties over here. So this will display any properties that are there in the scene. And this is a very important panel. Through this, you will be using many features inside of Blender like adding modifiers, adding materials, and changing the world properties and so on. You will know about this little later. And then towards the bottom, you can see that there is a timeline over here. This is the timeline itself. And this is particularly useful if you're making any animation. If you are not making animation, then you can just ignore it for now. But this is really a good place to make animation inside of Blender and it serves as a great purpose over here. Then let's see another bar which is hidden by default, which will be the sidebar. The way I mean it is here you can see that there is a small arrow. When I just click this, you can see about appears over here. This is just the cold as the sidebar. This will show the properties in a much easier way and in a much we'd go with. So you can find this here also, but this is just a convenient way to reach this out. You can hide this sidebar just by pressing the n alphabet on keyboard. And you can get this back by pressing N again. Or you can simply go ahead and click in here. This shows the sidebar. Alright, so let's keep it open as of now. This is the broad interface panels of Blender. Let's go ahead and see how each works in the coming lessons. 4. Basic Interface Navigation: Okay, So in this video, let's take a look at how we can navigate the interface and how we can navigate the camera. Instead of Blender, it's a 3D software rates, so there's no fun if we cannot look around on what's happening. So let's take a look at that. Before we do that, let's just explore another menu, which is called as the Add menu. So to do that, let's first get rid of the objects that are coming by default. Let's select the cube and the selecting by simply left clicking on the queue. And this right-click after left clicking. Once we have selected an object and blender outlines that in the yellow shade here. And you can also see the cube being selected in the outliner. I've selected the cube and I've just right-click and say delete, and we have got rid of the cube. Similarly, let's get rid of the camera and the light. Also select the camera, right-click and delete. Select the light, right-click and delete. So that's how you delete objects instead of Blender. And there's also one other way where you can select the light in the outliner itself and right-click here and you can delete it here as well. We have got everything deleted and we've got an empty scene. Now, we need some objects so that we can navigate the camera and we can rotate around the object to see. So let's create an object. Now, I'll go to the menu here, select, Add, and under the mesh, you can see that there are lot of primitive objects that blender ships with by default. These are, if you recall that you would have studied in your lower geometry classes, that these are all the basic geometric forms. So you can add any of these forms and start building ships. So for now let's go ahead and click mesh and let us put up monkey. So there we go. We have got a monkey here. Let's take a look at different. We have got a monkey here is because this monkey is called as Suzanne. And in blenders history, it has served as a mascot for blender. That's why we have got a monkey here. We've got the monkey. Let's now see the front and how that looks. We need to rotate, right? How do we do that? By looking at the Viewport here itself, you can see that there is a ground plane which is the grid. Every object has to sit on top of this and create this grid is the float. If you consider this as a flow, there are different axis for this. So the green line, what you see here is the y-axis and the red line you see here is the x-axis. And there is a third axis which is not shown in the grid, which is the z-axis, which is why we are able to see three-dimensional here. If you take a look at the corner, here, you can see that there are three axis and these axis are color-coded here as well. This is called the viewport presets. We can go ahead and look at it, just absorb the way this is showing up right now. If you see that this line, the green line corresponds to this y axis here, and this a red line, x corresponds to this one here. The way I want, I mean by corresponds says that look at the way the SAS oriented and this is the x and this is the y and the z runs from the ground to the top. This communicates a lot about this axis. To rotate the camera, I'll simply go here and notice that whenever I touched the circles, I'm getting a highlight on that, meaning that there is something interactive to click. I'll just go ahead and select this minus y. I just hover over this and click this minus y. And we immediately go to the front view. If I go to the Z here and I click and we go to the top view. Similarly, when I press the X, I go to the side view. This is great and this is really helping us to quickly switch between the views the way we want. So how do we see three-quarter views are the views that are slightly perspective. So to do that, we can just click anywhere on the viewport preset and just click and drag. We can immediately like rotate around an object or a tumble around the object to see wherever we want. So that's how we do it. We just need to click and rotate to do that. So this is up perspective view of our object here. I mean my perspective, then there are distortions, right? So how do we control the distortions? Is when you have a perspective view, makes sure that you have got the sidebar open. You can just need to click here or press the N and here, when you see that you have something called as view. When you click the View tab, you can see there is a focal length option here. Right now this object is being rendered in viewport at 50 MM focal lens. When I go ahead and Reduced the focal length. You can see that the object kind of distorts. Let's put this back to 50. If you have worked with lenses or fewer worked with photography, then you will be really familiar with what's going on. And this acts the same as any lens would do in the real-world. So right now this is 50 MM, which is kind of equivalent to add an I. So you can just keep it at 50 MM as of now so that you see the objects naturally without much distortions. If you're not very sure about the focal and then I would advise you not to play around with this. Let this be around 50. And let's look at the report preset again. We can tumble around like this. If we wanted to go to any front or any top or site-specific views, we just need to click on the circles here. When I go to the front, you should notice that the distortions disappear is because this is an orthographic projection, which is not really possible in the real world, but this acts like it's an exact front view of an object. It's a bang on friend view. So you can see that the front orthographic shows up in here. So when I change, That's industry user perspective. So perspective projections are natural and orthogonals are there isometric and they are used for illustrative purposes. Then I click on the X here. This goes to the side or the right orthographic. This is also an orthographic projection so your distortions disappear. This is about the viewport presets. Now let's take a look at how we can pan and zoom in and zoom out of our, in our 3D scene. Below this, you can see that we have got a zoom-in, zoom-out. So I just need to click and drag on this. This will allow me to zoom in and zoom out of my object. And then you have pump view. This will move the view like this. You can treat this like a pan. You can move the 3D scene alone and you can zoom in, zoom out. Then you have a camera view. So whenever you have a camera in the scene, you can click this, but right now we have just deleted the cameras, so we do not have a camera. This is the switch between orthographic and perspective use when I click, this becomes an orthographic or isometric projection. And you can notice that the distortion to disappear even though I moved my viewport preset. I no longer have the distortion and it's all orthographic. And I can click this back onto, go to the perspective view. So that's how we navigate around. And every time it's difficult to go around here to navigate, to make things easy and simple. We can have these by mouth shortcuts. Let's, I'll show you how it's done. When you are in the viewport. You just need to go any wet. And if you press the middle most once and drag your mouse, you can see that we get a similar effect of what this viewport preset is doing. Anywhere in the screen. You just need to press the middle mouse and drag to tumble around. And then you just need to press the Shift and middle mouse to move the camera like this or to pan the camera. And when you press control and hold Control and use the middle mouse button to zoom in and zoom out. This also works if you have a scroll, you just need to scroll in and scroll out to zoom in and zoom out. These are the viewport controls, I'll repeat. When you hold shift and move the camera pans and when you hold Control and use the scroll wheel, you get this. Zoom in and zoom out, or you can simply scroll in and out. You can easily use the icons over here. So that's how we navigate around. Or we move the camera in Blender. 5. Transformation Tools: Okay, So looking around with the camera was fun. And now let us take a look at how we can manipulate the objects inside of Blender. So we need some objects. So first of all, I'll remove the monkey. I'll select the monkey, it's called as Suzanne here. Select that right-click and say delete, and we have got an empty scene again. And of course we need some object to demonstrate. So I'll go ahead and say add and get inside Mesh. And let's put the first object blend. And yes, we have got a plane in here. And now let's add another object, let's say Mesh, and let's add a UV sphere. This sphere in here. You can see that the plane and the sphere are intersecting. And this doesn't happen in the real world, but it happens in, inside of 3D. So this object just intersects one on top of each other. Now what we should do is now pull this object away or put this object away from this. How do we do that is by using them Move tools here. Let's discuss about the toolbar here. Towards the left. If you see we have got a stack of tools like this for somebody isn't if you're not seeing this and if for some reason your window is like this, then you need to click on the arrow here to enable the toolbar back on. In the toolbar, you can see there are some options here. Right here. You can see there is a tool called moon. Now the best part of Blender is when you just hover over any of these icons and this put your mouse over there. It shows mu and this is a tooltip. What blender shows you what this tool will do. I'll just click on the Move tool. And immediately there's a gizmo that appears here. And you can see that this gives most color-coded according to the axis. And the blue for z and x and y. Let's move the sphere on the x-axis by just holding this arrow and moving, and this will just move the sphere out of the way from the plane. This is how we use the Move tool and we can just click and drag to move. As soon as I move this. In the bottom left, you need to notice there is another small tab that has open and this is a pop-up. When I click, it just opens a pop-up. There is some numerical values of the last done action. The last one we did was the move. And you can see that the move appears here. And you can see on the Moon X, Y, and Z, and we do not move on the x, we just moved on the Z now. And which is why you are having the value on the zip. By what value we moved is 1.6 meters on the z value. So you can go ahead and just slide this, move up and down. Or you can go ahead and put any exact values that you want. For example, I wanted to move this by two meters. I just need to put in two and press Enter. And this has moved the spear by two meters on the z-axis. So that's how you operate the Move tool. And this can move on any axis like that. We saw that now let's move the plane as well. So I move that. Let's call an another object. I'll say Add and mesh and let us add a cube object. Now, we have got the cube and we know how to move this. Now, let us go ahead and rotate this cube to see how that works, we have the rotate tool here and select the Rotate tool. And you can see the gizmo has changed two circles. There are circles in every axis. So we can rotate this on any particular axis just by dragging on the circle. And you can see whenever I hover over any of this axis, that axis lights up, highlights in a way that that access can be rotated. Just rotate on the right, like that. And we can also rotate on the z. Similarly on the left you can see this has changed, rotate and it is showing an angle. So I'll go ahead and undo, edit, undo, edit, undo, edit, undo. And to make undo simple, you just need to press Control Z to undo that. And right now we have got cube gone. So I'll edit and press redo. And we've got two cube. We can always rotate this on exact degrees. So right now this is not related anyway, since we have unload everything, I'll go to the top view. Here you can see the rotation axis. So I'll use the z-axis and I'll just rotate like this. Here you can see the rotation and none of which you can see minus 40 is this need to minus 45 to get it exactly rotated 45 degrees. And this way you can use this to rotate the exact degree you want in the particular axis as well. So this is the Rotate tool. Now let us look at the scale tool. You have this scale. Let's change view by clicking on the scroll or middle most. And I'm just changing the view. Here you can see the scale tool, which is also a little different gizmo than move. The arrows have changed two blocks. And this way you can scale your object in a particular axis. So when I scale the object on my Z, you can see this is no longer a cube and it's becoming a cuboid like that. And undo control Z. You can see that you can change this on any one axis like that. When I scale it on the X, this will be top view. Kind of distorts. This way you can scale on any particular axis. And if you want to scale on all access to make this a uniform scale, you can always make use of the white circle which is showing, I would say. So when I click on the white circle and drag, you can see that the cube does not change ship. How much I wanted scales the bigger or smaller the cube proportions are kept intact and they are not changed. This is a uniform scale operation. And whenever I scale and click, you can see the axis and on all access, the same number of scale times is present. So this is really useful when we gain proportionally. Let's scale tool. And next we have another tool which is showing transform. This tool has all the gizmos built-in to this. This is a little confusing. Personally, I wouldn't recommend you to use this transform tool because you can do any kind of transforms using this tool. If you look at the gizmo closely, the rotate, the scale and the move tools are all built inside this unified gizmo, which is that transform. Let's not use this. We can always go ahead and make these three tools in action. So that's it for the transformational tools. Let's take a look at the selection tools. So you have on the top of the toolbar, you have the select box. What this does is we already know that we can select objects by clicking on it and clicking outside of it will deselect it. So first I'd click on an object and hold the Shift and click on another object and hold the shift to click on another object to keep on selecting multiple objects. Whenever I select multiple objects, you can notice the outline that's happening here. When I select the first object, the outline is on the cube, and then I select this plane. Now, notice that the color of the outline has changed to orange, and this plane is the yellow. And when I select this sphere, the yellow color outline jumps to the sphere and did of plane becomes the orange selected. Alright, so what does this mean is blended always highlights the last selected object in yellow outline. The previously selected objects are all outlined in the orange sheet. So this means that all these objects are selected. However, the Spirit is the last selected objects. Why does it does this is because there are some tools and there are some tricks you can do with the last selected object. Sweetest way, this is alright, so you can select multiple objects by just holding Shift and you can deselect them by holding Control and Shift and clicking them again to de-select them. This is a way of selection. So we have a selection tool, dedicated selection tools for this. So on the toolbar you have the select box option selected as of now. So when you have this option selected, you can always draw a marquee and whatever mercury falls into it gets selected like this. I can just select this on this, this or this both ignoring this. But we always don't have options where we have a rectangular or square shaped marquees. We need a lasso to do things. So for that you just need to keep clicking this click and hold. And you have the selected tweak, the select box, select circle and select lasso. When I leave my hold on, the select lasso, selection tool becomes a lasso. You can see the icon here. Now, I can draw a lasso and on my selection to select this. When I select two objects, I can manipulate them both. Notice that the gizmo appears right in the middle of the subjects. And using the module, I can move them both to error. Well, let's, these are some of the selection tools inside of Blender. 6. Edit And Object Mode: All right, So we saw how we can manipulate, rotate, scale, Move, and Transform Objects as a whole. Now, let us see how we can transform objects itself so that its shape changes. So to demonstrate that, let's me, let me go ahead and delete the existing shapes. Select, right-click, Delete, delete, and delete. Let's create a new queue. I'll get inside object, I'll get inside, add mesh and cube. We have got a cubit. Let's get inside and look closely. If you remember in your elementary geometry class that this such cubes or any geometry has three main parts, which is the face, the edge, and the vertex. We need to manipulate those in order to change the shape of an object here. To do that, I'll select the queue and get inside the object mode, which is showing on the top corner. Let's select this object mode and you can see that there is a drop-down. Now these are all the different modes that blender offers for a 3D object. Let's get inside object mode and get into edit mode. So as soon as I get inside edit mode, you can notice that everything highlights in orange. It is because everything is just selected by default. I'll just click outside once to de-select everything. And you can see that the points are appearing on the cube before they were not there. I'll go to object mode to show, and now they are not shown. And now get inside edit. You can see that the corner points are appearing. So these are nothing but vertex or vertices. So why these are appearing is because you can see the three modes data showing here. The first mode is the vertex select and then the Edge Select and then the Face Select. And you can see the icon also is showing in such a way. So right now the vertex are shown. Then when we click on the edge, and this is the edge mode, then the phase model. Let's look at it in depth. So let's first select the vertex, and right now the vertex mode is selected. Now I can go ahead and click on each vertex. You can see that the vertex is highlighted in orange or the white and there are orange line. I'll select two vertices. I just need to hold shift and select this. Right now we've got to select it. And we can select multiple points like that, okay, so I'll just select one again. And you can now manipulate this by using the Move, rotate our skin. I'll use the move tool to move this point or vertex up. And this basically changes the shape or form of r cubed. Now, if we get out of edit mode by getting inside object mode, that form is retained by this, what you can learn on the takeaway here is that you cannot change the shape. Often object in the edit mode, you can just move it, rotate or do transformations on the whole object and not on the sub-object levels. And you cannot change the shape of an object in object mode. So we need, in order to change the shapes, you need to get inside the edit mode to reveal the vertex, faces or edges in a similar way, let's get inside the edge. So when I click on the edge, the edge is highlighted here. And we can click any edge that we want. Similarly, we can click on multiple edges by holding Shift to select everything like that. I'll select one of the edge and using the Move tool, I'll move this. This also changes my shape of the cube. Right now it's no longer a cube. You can see that we are having some kind of shape here. Similarly, let's look at the face mode, get inside the edit mode. Let's look at the Face. Select, select that last option there. And if I click right now the phases are selected as a whole. So I'll select one of the spheres and just move this. And you can see how that's affecting the shape in this way, the edit mode can really alter the shape of your basic shapes. Using these tools, you can go ahead and make the shape that you want. So the important thing that we need to understand here, that whenever we are inside the face mode, we cannot be able to select the vertex. Vertices. We can really only able to select the face, only. To select the vertex you need to get inside vertex mode. You need to be sure of what mode you are using here to get the action that you want to be sure of which mode you have selected here before you are trying and action instead of Blender. 7. Viewport Shading Modes In Blender: In this video, let's look at the viewport shading modes in Blender and what the advantages are. Here, I have just opened the viewport shading modes worksheet. In here you can see that there are basically the one cube and one wedge-shaped cube here. If I just tumbled around, you can see that how that looks. All right. What we have to do is we have to make this q match up to the ship. Let's see how we can do that. I'll just go to my right view. Here I can see the shapes. So let's go ahead and get inside our edit mode. And there we go. Now I'll just select the vertices here. And I'm going to use my box select, which is the select box. And I'm just going to drag a market like that to select all my vertices dead. And now let's just scale them down. Scale to scale it in this axis. There. Alright, so now let's see how this looks in other view. And you can see that we have used the mark we select, but still we have just selected the front part. And that's why we have got a different shape than our example over here. This is happening because we did not select the vertices at the back to get an even shape on the top. So this is happening because of our Viewport Shading mode currently isn't shaded mode. So I'll undo this. And let's get out of edit mode. And we can change the Viewport Shading mode by going to the top right here. If you notice here there's a small bar over here that shows four modes. The first mode is called as the wireframe. When I go and click that, you can see how our meshes are displayed here. And you can see the skeletal view of our mesh over here. The dome, I mean skeletal is because these are the elements of construction. We have just got the edges that makes up this box, that only those edges are being visible and not the box itself. So you can see all the hidden edges and vertices in this mode. The next mode here is the, this is the solid mode right here. I will select that and you can immediately see how you would perceive things in the real-world. You cannot see the hidden vertices are hidden edges here. You can only see the sites that are facing your site. So this is the solid. And then next weekend See the next view, which is the material preview mode. So just select that. This mode is helpful when we start giving materials. You will understand that later. And then there is one called as the rendered mode. So when I select that, this accommodates the lighting and this includes the lighting in the scene to show the lights and shadows that are being cast by these objects. But since we do not have any lights here and we haven't talked about rendering it. We can discuss this in a later section. We can consider it on the wireframe mode and the solid mode. I'll select the wireframe mode. And next I'll go to the right view here. Now I'm going to make the same thing what I did before. I'll get inside the edit mode and select all. Let me select the vertices on top by getting inside the selection box. And I'll just drag mark, we like that. Now let's get to the scale tool and scale them down. Let's get out of edit mode to object mode. And now I'll just tumble around to see how that looks. Yes. Now you can see that the shape is been trained like what we got it here. Let's go to the Solid View to see that better. And you can see how our material preview fix our selection methods. What you should understand here is when you are in solid mode, whatever vertices that are visible, or edges or faces that are visible are only selected. Whatever phases that are invisible, which means the phases that are on the other side and which you don't see in the solid, we will not be selected to select the faces that are on the back or to select whatever. It can be, phases, edges or vertices, whatever you want to select with this in the back, you always need to get inside wireframe so that you'll be able to select them all. These are the four basic modes of viewport shading. 8. Extrude And Inset: In this video, let's first look at the extrude tool. So this comes under some of the basic modeling tools instead of blender on this is not just restricted to Blender, it's the whole 3D, it's the whole polygonal 3D modeling itself. So whichever software package that you use, these are our list standard tools that will be included. Alright, so let's go ahead and open a worksheet for this to be explained better. So I want you to open a file and say Open. And its lender is asking me whether to save this old file. I do not want I'll say don't see him. And this pops up a new window. I navigate inside the resources. And sort of this weekend See worksheet one underscore, basic underscore, Extrude, underscore operations dot blend. I'll first open this file. Online. We are immediately opened up the blender file. So this is the basic exclude operations. In this you can see what are all the basic extrusions and how we can do them. The first line is something that is already done and the second line is what we are going to do now. The first one, if you see it, just ignored the others and just see the first one. As of now. This is like a five-sided polygon or it's a pentagon. And you can see the shape over here. It's just extruded to get this shape. What we want. This is just a two-dimensional face or two-dimensional plane being extruded to get that 3D effect or 3D selfish Sunday. How we can do this is by first selecting. And if you remember that we cannot change any ship, the object mode, if we wanted to change the shape, we need to get inside the edit mode. I'll select this first Pentagon and I'll get insane the object mode and select the drop-down and select the edit mode. And you can see that everything is selected. Now I'll just click outside ones to de-select everything and make sure you're in the face mode and select this phase. Once this phases means selected, we need to extrude this face to get till they're. How we can do that is if you notice that there is a new menu that appears here, since we want an extrusion on our face, we can see that there is a phase over here which shows all the options related to phase. And the EKG shows all options related to edge and a vertex and so on. Let's get inside the face because we want the face to be extruded. Under the phase, you can see we have something called as extrude faces. I'll just click on that and just drag. You can see that the plane pentagon has now extruded to give us a 3D shape. And you can see the extrusion over here. It's set to 1.677. I want to extrude this to a two meter, so I'll just click here and just spread enter two on my number pad and press Enter, and that extrudes up to two meters here. We have quickly got more phases since we have made this extrusions and we have got phases on all sides. So this is a 2D shape being converted to a 3D just by simple extrude operation. I'll get inside object mode, and that was a simple extrusion. Let's take a look at the second example here. What's happening is this is first being extruded and then the top phase is being scaled inwards so that you'll have that tapering effect on the top. So let's do that. I'll select this plane again, get inside the edit mode. You have everything selected, de-select everything by clicking outside and select the face mode and click once we have gotten selected. And now let's go to the face and extrude faces and pull this out just like how we did last time. I'll just put two here and press Enter for that to me, that extrusion. Now to get this tapering form, I can just go ahead and use the scale tool. We've got the Scale Gizmo here. Let's go to the top. I'm holding Shift and my middle most tool drag my 3D window. And let's just use the outside circle here and click and drag. There'll be matched somewhere around there roughly. Now let's stumble and see how that looks. Yeah, perfect. So we saw how the shape can be achieved by extrusion and scaling. So let's take a look at the next example. I'll go to my object mode. Let's go to the top. This one thing, what you can see here that whenever you are inside the edit mode of a particular object, you will not be able to select the other objects in the scene. So you no longer need to panic for this uses need to get inside the object mode to select the other objects in the scene. Let's select the other objects, which says extrude into two, which is a double extrusion that's happening here. If you take a look at the shape yes. Till here, it's the same extrude what we did. And there's again one more extrusion that's happening. Let's do that. Select the plane yet inside an object mode, and put the edit mode and here. So let's get inside of that. And we can click on the select box. We don't have that gizmo. And make sure you have selected. By entering the Face Selection and here phase. And let's get to extrude faces and simply pull this up. And you have to meet an extrusion here. We have got the two middle extrude. And then let's make another extrusion as this example calls for. So to make this work, we need to select this face and extruded outside. Let's go to the top. Again. Make sure you have selected this face in the Face Selection over the top. And get inside face, extrude faces. And you can extrude it like that. Let's de-select and get out of edit mode and get inside an object mode. And you can see that how we can get that shape. All right, so let's take a look at further examples. The top, this is extrude along normal. So the way this works is you can take a look at this example. Dataset ridge on our extrusion. Extrusion is the same as what we did here. It's the very similar thing. But you can see that there is another set of phases like a rim that's happening here. How we can do that is when we select this object and get inside the edit mode. You can see this phase is not same as I'll get oxide object mode and compare this and that. Let's get to the edit mode. If you see that this phase is not cut by any ridges here, it's just one phase. But if we take a look at this example and get inside the edit mode, we can see that there are some new lines that appear here, which means that we have got new phases in the middle. This is what we want to create this shape. So I'll just select this phases in-between. So I press my face select and hold, select one phase and hold Shift to select another, hold Shift to select another, holding Shift to select another. And finally, this phase, we have got all the phases selected like this grid. Now, let's go ahead and extrude. And this is a very similar extrusion, but it's just a little different options. Let's get inside face. There is something called as extrude faces along normals. So I'll click that and drag. And you can see what has happened is that this has been extruded equally on all sides. I'll demonstrate this better and undo control Z. I'll get inside face. And when I click just extrude faces, you can see that I'm not able to get the face looking. Face extrude faces. So I'm getting this kind of an extrusion, but our results should be like that and not this. So I'll undo to get this effect we have to face and say extrude faces along normal to have that effect. So this extrudes along all sides equally. Let's get out of edit mode to check this out. Yeah, that has come perfectly. Let's look at another example. This is the same Pentagon over here, but if you notice that this is kind of cut in half and only half of that pentagon as Ray stops. So how we can do that is when I get inside plane here, Let's go to the Edit mode. Immediately after I come to edit mode, there is a new edge that is appearing here. And till this time we did not see this edge and this example meats that edge. I have put that edge before. Don't worry, I'll tell you how to do that in the later examples. Let's hold that and we can go ahead and do the extrusion just like usual. So extrude faces and that just extrudes up and you can give to meters. So that puts it, and that's how we achieve this shape. Let's go to object mode, and let's repeat. Take a look at the other example. And this brings up a new tool which is the inset. What does inset mean is if you see that it is the same extrusion, which the same pentagon, but instead of which there is a ridge or there is an inset and after that, you have the extrusion. In order to do this, we need new set of phases so that we can select only the middle phases, an extruder. And I get inside the edit mode. You can see that we have got the middle portion here and you can just select one of these face right in the middle. You can come here and say face, extrude faces. This enter to get out of it my object mode. So this just extrudes it like that. So how did we create that inset in the first place? I'll tell you that I select this plane over here, I get inside the edit mode. You can see this is just a pentagon without that inset over here. So how we can do that is make sure you're on the face mode and select the face. Get inside face. And here you can see an option called as inset faces. And I click on that. I just need to drag my mouse to create that new set of phases in-between. And now we have got an inset. I'll just select that middle portion and get inside the face and get extrude faces. To do that, it has got very high, but we can edit it here. Let's put two. Yes, we arrive at this same shape here. Let's get profit by getting inside the object mode. We did those extrusions and then we have something called as inset plus x true. So till now we saw an extrude differently and we saw an inset plus extrude ones, but this is inset plus extra twice. Well, let's see how we can do that. Again, we have got that same pentagon. Let's get inside the edit mode. And as you can see that this pentagon is already been inset so that we can just insert this. And then it has already been divided into two so that we can take up only this half and put it up. This is like a combination between this set of example and this example. So these both are just combined to get this example over here, let's take a look at how we can do it. Make sure inside the edit mode and get to the face selection and select these two faces and extrude them. Go to the front view. I've just extruded till there and use the move tool to move it little up. Alright, so we have extruded to there, and now let's just extrude one of the spaces. I'll select only the one side of it. And let's extrude this again. Face and extrude faces and move this up the laptop. Go to the front view and adjust this removal. All right, so we have made that form also. So I'll get out of the edit mode, come to the object mode here. All right, so we've got that. And finally we have one last kind of an extrude, which is the extrude individual phases. Let's take a look at it. We have got a sphere here. I'll select the sphere and get inside the edit mode. De-select everything. And this select the four phases over here, make sure you're on the phase. And this select 1234. I'm selecting these because our example has those four selected over there. So I'm just trying to select the same over here. So we have got the four selected. Now let's go ahead and save face and extrude faces. You can see that this is giving phase which is together. All the four are still stitched together and they look different than our example on the top. So to get that, I'll first undo control Z and make sure you have selected those four phases again, like that. And now let's get inside face. And there is a new option here which says extrude individual phases. So I'll just say extrude individual phases. Now when I just drag, you can see that we are getting the result, what we need. And this looks exactly like how example looks. I'll get inside object mode. Here you can see how that has turned out. All right, these are all some of the basic extrude operations. So if you complete this worksheet, you will get an understanding of how this works. So I've included this in your resources. So go ahead and try to create all the forms that are here. This is not just limiting. You can go ahead and try your own extrusions to get your own forms. There. 9. Loopcut And knife Tool: Alright, in this video, let's take a look at our worksheet to which is the loop cut and the knife tool. All right, so I want you to navigate to the Resources section. And under of which you can see that there is a blend file called as workspace to look at. So I'll select that and let's open that. And we have got the loop cut and knife tool worksheet. This worksheet will get you practice and we'll tell you what the loop does and how to use the knife tool. In this file, you can see that we have got some examples which demonstrate a look at, let's see What a look at is. Well, let's go to the top view. The first example says the Lukert, Aye, little bit humbled to see what's going on. You can see that the first one is just a plane that's been extruded only in the half. Now this you can relate to the example where we extruded the Pentagon just a half of a right there. We did not cut the Pentagon. The Pentagon was already cut. But here let's see how we can cut the squared so that we can get something like this. This is the plane that I've selected. I'll select it and get inside the edit mode, and we have got the plane. So after we get inside the edit mode of the plane, just select that edge mode selection here. And after we get inside that, we have the edge option here. So I'll get inside the edge and say that loop cut and slide, there is an option here, so I'll just select that Luke gotten slide. We just need to click on a plane. So we have some lines appearing. One is this way and one is the other way. And this is little interactive, so we want to appear, line to appear this way. So I'll just select and click once. Then quickly my, of course are changes on my line changes the color. So I'll just click another time. And then we have this menu appearing here. And you have the factor, the number of cuts, these smoothness. So we'll make sure that you keep the factor to 0. If you have any number there. Once it is 0, we can then click outside. And now you can see that we have got our line in-between, which means there's an edge in-between and we have just divided our plane over there. So after we have the line, then it's fairly easy. We need to get inside the face and select this and go to face, extrude faces and just put it up. You can put the number here as usual and get out, I'd say roughly edit mode. In this way, we have derived data form. Now let's see another example where we have used to look at twice. So I'll select the spleen again. And then let's go to the edit mode by clicking on the drop-down. Select the Edit mode. Let's make the look good. So to do that, let us get inside our edge, edge and get to look at and slide. Click once. Do we make the interactive tool appear and click again. And then this becomes red and click one more time. Make sure that your factory reset to 0. That's it. Now let's repeat this and again, get inside the edge. Loop, cut and slide, click once. And this appears. Click one more time, and this becomes red. And click one more time to put that in place. All right, so we have got the cuts that we need. We have got exactly the divisions. Now, it's fairly easy. Select the faces. Select these two faces as in the example here, hold Shift and hold the other here. Now we can go to the face and say extrude faces to make the extrusion and put this to two meters. And we have got the form. Let's get outside of the edit mode. That's a look at we used twice. And then we have here something called as loop cut plus segments. Let's take a look at it. First of all, I'll select this and get inside the edit mode of this, the example object, and then go to Edit mode. And you can see that there are multiple cuts. Data have appeared here. And we have just had like two cuts this side and the other way. But here there are a lot of segments going on. So this is also possible. We need to select the object and get inside the edit mode. Let's make the cuts are the divisions. I'll get inside the edge mode and go to edge and say loop, cut and slide, and make a cut this way. Click once, click again. My menu appears here and you can see the number of cuts to one. And now we can just move this 234 and we have got four cuts this way. That's cool. So I'll click outside. I'll make another cut this way, the other way. And get inside edge. And say loop, cut and slide, and make a cut the other way. Let's click once, click again. And this also can be increased to four. And now you can see that we have got the same kind of divisions that appeared on there. And now it's just a matter of selecting the phases and extruding. I can select this face, and I will select these two here. Let's just go to the face and extrude faces and pull this up to two meters and enter. We have got that shape. Let's go to the object mode. Nice. Let's look at the other example where it's the loop cut plus slide. Let's see what that does. If you see the edit mode in here, you can see that the cuts are not in the center. There just been offset, which is the slide. So once you've cut, you can slide this edge to make an offset and then you can build that form on top of that. So let's see how that can be done. Select this plane here. Let's go to the edit mode. And as usual, make sure everything is de-selected and you're on the edge mode. And get to edge and say, Look, cut and slide and make a cut in the middle. Click one more time. And now you can see that this has become red and orange. And now you can basically move your mouse and this cut moves along there. And I will click somewhere here where I think it looks closer. And once you're there, and now you can see that menu has a factor of 0.593. Now this can be adjusted like this, so we can move front and back after you put the loop. This is basically the slides once you cut and then you're sliding them. The loop, we have slided this loop to somewhere around there. Let's click outside. And now they can get to the face mode, select it and see face, extrude faces this up and enter the number. We got that. Let's go to the object mode. And all right, Sounds great. So with this loop guard, you can create cuts wherever you want. You can slide it this way or that way. But the one thing that you need to remember is the cuts are always vertical or horizontal and you cannot really cut it diagonal or the way you really wish to cut. So how do we do that? Is there's a new tool that appears here which is called stdin knife tool. So both loop cut and the knife does the same thing. It just puts new edges in place so that you can model your shape. But the knife gives you flexibility to make the cut on your own choice, instead of just making cuts on vertically or horizontally. Let's look at how the knife works. On this example, you can see that we have just made a cut somewhere on the plane and we have just extruded shape out of it. So to, to, to do that, let's select this plane and get inside in the Edit mode. Let's go to the top view. And let's call the knife. The knife can be called by two ways. One way is you can just need to press the letter K on your keyboard key for knife, and that brings up the knife. Or if you're not a shortcut, you can go ahead in the left. You can see the tools that has come here. And yeah, you can see there is a loop cut option here as well. And below that you have something called esta knife. The knife, select that. And immediately our cursor shows the knife option. Now we can just click and just click and press Enter. Now, knife operation is done. We can get out of it by using the select box. Yes. Now we have exited out of knife tool and we have got a newly created topology or we have got newly created edge like that. So we can go ahead and select the Face, Select, and select that a newly created a triangle over here. Now it's just a matter of creating a simple extrude face, extrude faces, and pull this up and enter two meter scale and go to the object mode. You can see we have got that shape looking right? Alright, so you saw how the loop gut and the knife tool works. So you just need to remember what these two does. And let's look at, while modelling, you will get to understand what these two does in a better way. 10. Bevel And Merge: Alright, in this video, I've just opened up another worksheet was just the worksheet three. This is the last worksheet, which is the bevel and merge vertices worksheet. Let's look at the first example. This shows how we can bevel something. So you can see that we have created a new set of edge and we have created a bevel like that from wedge-shaped are there. So how do we do that is by using a tool called bevel. Let's select our object here. So we'll try to create the same shape. Let's get inside the edit mode. And for this, if you see that there should have been an edge here, that edge is paying beveled. So when I say edge, you can select the Edge tool and select, and select the edge over there. Now we need to get inside the edge and say bevel edges, which is here. And just drag. We have got the bevel edges there. Let's go to the top. Here you can see now you can just increase the width to make the bubble much more or less. And this is a bevel that has been created. This is how we create those shapes. Now let's take a look at the next example. Let's get out of the object mode. This is edge bevel plus segments. Let's see. This example has got the similar bubble, but the bubble is kind of a rounded and it results in a rounded form. Instead of that straight paper form, it's not chamfer, it's kind of a rounding. So let's see how that is done. Select the plane. And even you can see that this is kind of a cube and this is just a plain. So let's extrude this first to make a cube. Then let's make that bevel. Let's get inside the edit. Select the face and say face, extrude faces. And put this to do. And we have got a cube now. And now we can select the edge. This edge here. Go to the top view and just say edge, say bevel edges. Got that, bevel like that and click once. And we can then increase the segments here. Immediately. When I increase the segment, you have a rounding little bit. No, I didn't need to increase the segments till four. And now I can exit out of my edit mode. And we have got that nice rounded shape by using the bubble tube. Let's take a look at our next example, which is some vertex pebble. Till now we beveled edge and now we can bubble up vertex. So let's look at that. Here. It's just a shame shape, but it is just a plain instead of an extrusion. Let's select the spleen and get inside our edit mode. And select the vertex. Select one of the vertex here and get inside the vertex and say bevel vertices here. This gives us the result that we want and just move it. Here. You can set up the divisions are segments. I'll just keep it at four and you can set the width according to the requirement. So what you can understand here, just like edges, vertex can also be beveled. Next example, which is the edge bubble plus segments. What has happened here is the edge bubble has occurred multiple times until now we have just bubbled one inch. And here this level is acting on all the edges of our queue. To do that, Let's get inside Q edit mode. Get inside the edge and select all. Getting to select and getting on the Select all. Or you can also my query select and hold Shift and select everything. This gets some of the edges de-selected. So to do a wide that, I'm just going inside the select and select all. And we've got everything selected. Now we can again get inside edge and beveled edges and just drag to get our bevel. And this way you can reduce this to get a nice looking sharp edge. Or you can also increase this to give a nice rounded kind of a cube. So in this way, it's just the same edge bubble, but it has appeared on multiple times. Thus we get a nice rounded form. Let's go to the object mode. Now let's look at the bevel modifier, which is basically modifiers. Anything instead of Blender is like smart objects. So when we talk about smart objects, like it's a non-destructive workflow. The way when I, what I mean by destructive is if you select the edge movable segments, come inside. Edit mode. You can see that we have created new set of edges and new set of vertices and new set of phases. Now once this is done, object kind of Biggs that bevel inside. And now this object is normal at Q. But with the help of modifiers, we can give the same, similar effect without adding this much off topology to this. And whenever we want, we can just remove those bubble effect and have that cube back. Let me explain how this works. So I'll go to the object mode. Select the cube over here, which is our example. Now I'll get inside of it edit mode. And now you can see that we do not have the vertex or edges as it was on here, but we still have this same shape going on. Now how is this happening? Is by modifiers, are by nondestructive methods of modelling a mesh. To explain this, we need to enable this wrench icon, which is the modifier if you're on any other tab here, this makes sure that you click on the modified properties and this shows the modifiers. And here you can see that there is a top panel which was add modifier. You click on. These are all the sets of modifiers that Blender has ships with. And it has got great tools in it modifiers section. So you can use any of these to modify your mesh in a non-destructive way. Right now I have already applied the bevel modifier. The same Beverley can be applied as a modifier to. Let's give the same here. Let's go to the object mode. Select this. This is just a simple cue. And this has got the same segments and phases, just like a normal cube. I'll select this and get inside add modifier. And under the Generate you can see I'm better. Let us give the bevel. And as soon as I give the Bible, all the edges of the cube are getting chamfer. We can increase the segments and you can see how it's affecting. And we can also increase the amount. You can see how that is affecting it. And since it's a non-destructive way, when I go to the edit mode, I'm not seeing the newly created. And just in the edit mode. However, the shape looks like as if it has gotten those inches. So the main advantage of this, if I do not want this much of Babel and I want a sharp a bit. I can simply go ahead and do here the amount, but this is not possible here as I have no controls over the bevel. Once it's beveled, it's beveled, that's on. But here we can anytime increase or decrease the bevel or you can all the way remove this modifier by clicking the X here. And this completely gets rid of your modifier and keeps your model intact. This is a grid point of why we should be using nondestructive methods of morning wherever possible. Let's do that again, add modifier and say, let's increase this a little bit. But if you see that we are getting all the edges beveled instead of one edge getting webinar. How do we restrict this modifier? Modifiers are great, but how do I illustrate them? Just to act on one of the edge of this cube. So let's take a look at it. If you select the cube which I have given, get inside edit mode. And you can see that the edges out of all the edges, one edge is highlighted in blue, which means this edge has been marked as an edge bevel weight, which is way this level modifier is using that weight and giving only that, that particular edge of the bone. So let's do that near to object mode and select this object and get inside edit mode. Now we need to select only this edge. We need to mark this edge and tell blender that hey, just use this edge and give this bevel instead of giving all the other letters. To do that, let's first see here, and this has got a limit method. So let's limit, this says is the modifier will be limited to this method. So first of all, under the limit method, you have few options. This we need to select the weight. When I select the weight, the bubble disappears as if they modify. It doesn't exist because we have not marked any of the edges for the webinar. Now, let's select this edge back on and get inside the edge. And there is our time called as edge bevel weight. Click and drag. And here you have a slider 0 to one and make sure you're set this to one. Now, we can move the among. This modifier is only affecting the newly marked area. That's cool, right? We can use modifier and only affect uncertain part of our objects. So we can increase this level and we can increase the segment degrees a segment, or remove the bubble anytime that we want. The object mode. So this is a nondestructive modifier method as compared to a normal development. This method has a lot more topology and geometry, and this bevel is kind of big. However, in here, we do not have any edges in the edit more. This is the major advantage of this. Now let's take a look at another example where we can use this modifier in a different way. So you can see here that this object is really rounded and it is not, it is much different than on other objects in the scene. To create such smooth looking and rounded objects, we have to use a modifier called subdivision surfaces. What this does is it simply smooths out any sharp edges by adding more geometry to your scene and it just kind of smooths your object. So let's look at how does this time I'll select this object under modifiers. Let's add the subdivision surface. As soon as I add the subdivisions, you can see that the cube shape has disappeared and this kind of forms like a sphere. Let's increase the levels R2D2. This smooths out further. Remember that subdivision surfaces divides your model and it's always a little resource-intensive. Do not keep the values in a really random way. Make sure that you go This levels one by one or not a random arbitrary number. Do not enter a number here that is about like four or five randomly, just like that. So always make sure that you go step-by-step. So if you want more smoothing, you just need to go 34, like that instead of just randomly typing in a value, since it's resource-intensive, that may crash your system and you may have to do a reason for it. Let's I'm okay with the divisions being too. Now you'll see that the cube shape has gone and everything's been smoothed out, which is the function of the subdivision modifier. We can go ahead and turn this off by this icon to see how its actions were. Still not back on. And yet we have gotten, but it's great that we can create organic shapes out of it. But how do we add, achieve sharp edges by using subdivision modifiers to one of the key advantage on one of the key reasons we're using the bevel and particularly the bevel modifier is to give sharp edges on smooth objects. So to do that, select this and give it a bevel modifier. And put this bevel modifier on top of subdivisions. Subdivisions always come at the last on the stack and you can always use this I can here to drag the modifiers one top of the other. So as of now, just remember that subdivision appears at the last of the stack. Alright? First it gets bevel, then it gets subdivided. After I put bevel, you can see that we're getting that cube-shaped back on and little bit because it's appear, because it's applying bevel on all the edges. Let's click on the limit method to wait. And that has gone again. Now let us select in edit mode, just select the edges that we want, the sharp lines. In this case, I want the sharp line here. Here. This edge, this edge and this edge. I'm on the edX selected. And I've selected all the edges that I want these sharp lines. Now let's go ahead and get inside edge and say edge bevel weight. Put this value all the way to one. Let's get out of edit mode, the object mode. And you can see that we are getting the shape that is required. Here you can see the shape is smooth and here it's faceted. It is just a shading technique in blender to make this smooth, Let's click this object and likely and say shade smooth. That has Shade smooth, this thing. All right, so here we have got a little sharp edge. Now we can adjust our bevel. Let's increase the segment. We can increase the amount or decrease the amount till we want the shot looking shape. All right, so that's how we can get sharp lines in subdivision surface objects by using the bevel modifier. Let's take a look at some of the other examples here, which is the merge vertices. What this does is it simply merges two vertices together. Let's take an example here. We have a plane over here, and this we have got a triangle. So how do we get a triangle from a plane or a square shape? Demonstrate this. I'll select the square and get inside our edit mode and make sure you select the vertex. I just need to select the top vertex, this and this, and make sure you've got both selected and get inside the mesh. And under the mesh you can see something called as much. And if you get inside months, you have so many other options under merge. Let's say. At collapse. If we collapse these together, basically what's happening? The two, the two points are, the two vertices are just coming together and they snapping at the center. That's what the collapse means. We can get out of the edit mode and you can see we have got a newly formed triangle from a square. Here. The same thing is done to achieve this shape. We can get inside edit mode to see the topology. And this is like that too, this to happen. We have got one vertex here. This needs to snap in here. And these two are disease needs to collapse. Let us do that. The object mode and select this and get back inside edit mode and make sure nothing is selected. And let's select this point on this vertex first. And then let's select the other vertex where this has too much. And you can also see here that the last selected vertex has been color-coded and this has been as though white. All right, so this is white and this is red. Now we have got these both selected. And now let's get inside Mesh. And let us say merge. And see at last, this means what the vertex, whatever vertex are selected will be merged at the last selected vertices, which just happened here. Now let's merge these two. Select these two and get inside Mesh, Merge and say collapse. And this just comes together and we have got the shape, what we want. Let's get inside object mode. Let's see how much vertices works when we do it multiple times. If you look at the topology here, I will get inside the edit mode. You can see how the merging is happening. Similarly, let's get inside the object mode and select the bottom. Get inside the edit. You can see which vertex goes on more just wait for this to work. This vertex needs too much here. I will select this vertex first and then select the other I'm holding Shift. Notice that the last selected becomes a white, get inside Mesh and say merge and at last, and that just pulls it down and murders with this and this has become one vertex here. And similarly, let's merge this point with that. So I'll select this vertex first and then this and Mesh and say merge. At last. You can do the same in select this and the other. Get inside Mesh. Merge. Last. Finally, we can do this. I'll select this one and select the next one. Oops, sorry, and select this the top and get inside Mesh. Merge. Last. That is just about merging vertices. So we saw how merging or disease can give us shape. Let's get out of an object mode and look at another example where we use merge vertices plus a mirror modifier. Now if you remember, I talked about modifiers before. Modifiers are the one that are giving you a non-destructive effect on your meshes. So it's kind of a non-destructive workflow for modelling. First of all, if you see that this is a symmetric shape to achieve this, so we have got 1.5 over here. So we need to mirror this on the other side, or we need to reflect this on the upper side, which is why blender has a modifier called as a mirror. So I'll select this inside add modifier and let us just click on mirror, and this just reflects this on the other side. If I get inside our edit mode, whatever I do here, if I move this vertex, it moves on the other side as well. I'll undo. Got a meter over there. Let's just merge these in the middle, my collapsing them. I'll select these by This dragging a marquees. And both of them are selected. And I'll get inside Mesh and say much. Collapse. This, just collapse those two words is together and we have got collapsed vertex there. Alright, so we have come to an end of our worksheets. So you can go ahead and use these worksheets to try your own or you can also make your own ships and to see how these tools work with it. Because understanding these basic modelling tools are just a basement and foundation soft creating any model that you want to make. 11. Creating Materials In Blender: In this video, let's look at how we can create materials instead of Blender software for which I'm going to open the materials worksheet. I've just opened it here. You can find this in the resources. In here. You can see that there are two collections. So make sure you have got the assigning materials collection checked. Once you check this, you will be shown these here. So the first exercise is the assigning materials. So let's look at the first example, which is the single material. Here you can see a cone. So I'll just select the cone. What single medical exercise enables you to do is we need to create a material for this cone. Let's now go ahead and see how it's done. So just select the cone here. And on the Properties panel, you can see that there is a material properties. I'll just select that. And this is where you will be assigning the materials for your objects. Let us first see what's there in the materials phantom. Once I'm inside, you can see whatever the selected that name is shown here, which is the cone. And then there is a tab here from where you can create materials. Onto the bottom you can see new, which means we are ready to create a new material. Let's go ahead and click on New. And immediately there's something called as material which is coming in here, which was not there before. And this is the newly created material. Immediately after you create a material, you can go ahead and rename this. So I'm going to click here, and you can name this material any name you want. So let me just give it green because I want a green color and green and enter. Once I've renamed it and press Enter, you can see that that materials is being given green. Next to it, you can see a small circle. This circle is going to give you the preview. And currently our material is white by default, it is why you're seeing a white kind of circle here. Let us go ahead and change that to green. So under that you can see the tab called as surface. And under that you can see that there are lots of properties listed here, but don't look at all those. You will learn them in a little advanced level. And right now, you can navigate to a setting called as a base color. And if you just select that and you are greeted with color picker, color wheel over here. Now we can give whatever color we want. As soon as I change, you can see that this is being affected or impacted here in the single material right here. For some reason, if you are seeing white over here and everything looks white, then make sure that you have selected the right chez report shading mode, which is the material preview. Make sure that you click it right here to see the colors, whatever you give over here, right now it does become green. And we have created our first material, which is the green. Now let's go ahead and take a look at the next example, which is the dual material. Now, before I get inside this, I wish to show the topology of this. So I just go inside the edit mode to show you what is this. Here you can see that we have got two edges that are cut. One on the vertical and one on the horizontal, giving us four phases. For materials, you can go ahead and give a material per phase. What this means is if you have four phases, you can give for different materials for this object. Let us first go ahead and give to materials in this because it's a dual material exercise. First, go to the object mode. First, let's give this one material. Now we can go ahead and make this a checkup like a chessboard. So first of all, I'll create one material here. And this says material. Now let's go ahead and call this as white. And we have got one material. Now, what we can do here is you can notice that there is a plus and minus icon to the right of the material. The material is phantom. Here. I'm just going to click this to add one new material slot. Here you can create another material and just click New and call this as black. So we have got one black and white. Let's select the black and change the base color to black. All right, immediately after I changed, you can see the preview is changing here to black. So great. So we have got two different materials for this object, but still we have not got any result in our preview, which is because we need to assign these materials to our object. Let me show you how. I'll select our object here, get inside the edit mode. And I'll select one phase here and Shift hold Shift to select another face. So we have got two phases selected. And then I'm just going to select the black over here by clicking it. Then over here you can see that one column has assigned select and deselect. So I'll just click on the Assignment button. And this immediately assigns the black material to these two phases. So let's go to the object mode. And great, So we have basically given two materials to the same object by selecting the faces and applying the materials. Great, so now let us look at the multi-material exercise. I'll just select the multi-material cubed. So this is just a cube, a regular cube. The same way we need to create, like I wanted to create three different materials you can create more depending on how many cuts or depending on your topology of your model. I wish to create three materials for this. Let us select a cube here and start creating one-by-one. Let's give this bubble. I've got one and I'll change the base color of this to some purple. I'll create one more material and give this a pink. Let's create one more material and put this as great. Great. So we have got three different materials, so let's assign the colors. I'll select the pink and give this a pinkish color, something like that. And I'll select the gray and put this value down so that I get a gray shade here. And we have got three colors. So let's go ahead and assign them. I'll select the multi-material Cube, get inside the edit mode. And now let us select the phases which we want the other materials. So I'll select the top face and give this pink. So I'll just select the pink here and click on Assign. And that has become pink grid solar. Now let's stumble around and click on another face. Let's assign green. I'll select this n. Now let's get out of object mode. And you can see that we have assigned the materials. Now we can also assign the materials which we created before. If you remember, we created the green and then we created a white, and then we created a bit like if you want the green to appear on this box, well, yes, you can. You just need to get inside the edit mode and select whichever phase you want to give that material. Let's give us this, the green which we created before. So all you have to do is again, click on the new material slot. So another material comes. And below you notice you can see a dropdown next, next to this icon. If I just click there, this drop-down shows a list of all the materials that you have created in Blender. Once you started this file. So all the materials which are created is here. I will select the green. We have got the green selected and all you have to do now is just assign that green is been assigned here. Now this is the case for any material you want to assign, which is, which already exists in your scene. So you can call it here and assign it. Let's get back to object mode, and that's how the multi-material works. And then let's talk about deleting materials. So if you have given a face the wrong material and used to change it. So for example, in this cube, you can see we have got a blue and red. So these two materials, which is the blue material and read material. Now for example, I want to make the front phase as blue and I want to remove the red. So how can we do? I'll just get inside the edit mode. I'll select the front phase. And here you just need to select the blue material and assign it first. And that material has been assigned. Even for the red, even the red on here, you can do the same and select the blue material and assign. We have got our whole cube as blue and we do not see the red right now. Let's get outside our edit mode into object mode. But still you can see that here you can see the blue material which is given to the object, but it is not visible because we have removed it from it. Now we can go ahead and completely remove this material from our object by clicking the minus here. Now I can just select the red material and minus it to completely get it out of our object. That's how you can edit and delete or add up materials inside of Blender. 12. Viewport Materials Vs Rendered Materials: We looked at how we can assign different materials. Now let us understand the basic difference between a viewport and render material. For this, I'm going to switch off the collection assigning materials. Then I'll just click on the viewport versus vendor to enable this collection. Here you can see that this shows the viewport versus random materials. So what this does, I'll just show you. Now on the top, you can see currently we have the viewport shading which is enabled. That's why you're able to see the materials here. Now let us go ahead and put the solid. You can see all the different objects here. Three cylinders, but three are shown in the same color. In the same way. Why is this happening? Now this is called as the viewport materials. You need to understand the difference between a viewport material and the material that is going to appear in the render. So I'll tell you how. First of all, you can treat viewport material is like the raw material, for example, you can let me give you an example here. If you want to make a metal table, what would you do? You will first take up the raw materials, which will be the metal. That metal will not be in the finished form. It will have some it will not be painted. It will not be in the finished form. You'll have to first take it welded and then make your table. Then you will go ahead and give it the color you want. Suppose you want a black looking table or yellow looking table or looking table. First you will finish doing the object. Then you will come to painting similar way in Blender. First we'll make the form and then we'll talk about how that looks or how that has to look. Here. You can treat this as a temporary material to show you how this formula works. And that's why this has been all shaded in the same color are not different. Once you come to the a material preview, this will show whatever materials which we have enabled. This material will come in the render. For example, if you have given this red material, then this red will come in the render and not the solid material. Solid materials will not appear in render. They are just in the viewport to give you an idea of the form and shape, how it looks. We saw the viewport materials for suppose, for example, if you do not like the white, which is the, which is the default viewport material. You can always go ahead and choose the viewport material of your choice. Make sure you're in the solid mode. And then this click on the drop-down and click on the mat cap, and click on the circled here are the spear here. And you can see that there are lots of materials here. These are all four viewport and they do not appear on the render, but they will appear on the viewport and you can use them of your choice. So for example, I'll go and select this, and this will give me a material like terracotta. If I'm interested in this, I can go ahead and use this. And I can say this to some other material and this little bit mimics clay. So whichever you feel comfortable in your eyes, you can go ahead and use this and these Matt gaps are great for marketing. And these are the differences between a viewport material and render material. 13. Basics Of Cameras In Blender: In this video, let's look at what are the cameras and how to use them in Blender. Open the camera worksheet dot blend. And in here you can see the top view of an object here. And then you have three different shapes here, which are called as the cameras. If you want, you can take a look at the description or the name of this in the outliner. And these are called as cameras and they're just like 3D objects. They are objects inside of Blender. And I have basically created three cameras. First, let's understand what our cameras and why are we using them. The cameras help you compose the scene. In other words, the scene in your 3D or whatever you have created in 3D is all your creation, right? And you have created multiple objects in 3D. But how do you want the viewer to view your scene? Where do you want your viewers to look? And which is the object of importance? All these questions can be answered by cameras. So let's look at how to use them. To demonstrate I have to split my viewport into two and you will understand what I'm doing here. So let's just spend a little like that. And then going to drag my cursor over to the corner. And you can see how the cursor changes to a crosshair here. Once I'm in the cross here, I just have to right-click. And blender shows me an option here or a pop-up here. It shows vertical split or horizontal split. I'm just going to click on the vertical split. And immediately you can see that there is a line that appears. And I can just drag using my mouse and just moving my mouse to change the line where it comes. I'm just going to put the line exactly in the middle of the 3D view port. So I'll put it somewhere here and click once. And immediately you can see that we have got to 3D views the same. Whatever we see on the left is being replicated on the right. These are just two independent 3D views. You can see your model in multiple views like that. But now we are going to use this view to set up our camera view. You can treat this as if you are taking a camera with you. And you can see through the viewfinder, and you can also see through your eyes the left one. Imagine that these are your ice and the right one, you can treat that as a viewfinder. So I'll show you exactly what I'm talking about. First of all, I'll select one of the cameras in the scene. So we have got three cameras. First, I'll select the camera on the right, like this. And I'll get inside view over here. And then cameras and say Set active object as camera. Select that. And immediately we get inside a camera view. And on the left you can see an object which did not make sense. Still know it was just a rectangle. Now you can see that it looks some kind of temporal shape. This is like the Greek temples, what you see, and this is just a basic version of it. But you will understand the use of cameras here. When I look through the camera, which is located here, I am getting a view like this. I'll just tumbled around this view to show you what I'm seeing here. You can see where the camera is pointing. This way, you can see how the model appears through the camera. This way, you can navigate or you can ask your viewers to view certain elements of a scene by using cameras. This is one camera. Blender allows you to set up multiple cameras. I said before. This will be like your view through your eyes. You are very free to look at wherever you want. And this is the camera view, which is like the camera will find. This will show whatever the camera sees. Now, let's look at the same scene through a different camera. I'll select the camera on the left here and select here. Let's get inside view and get inside cameras and say sect active object as camera, makes sure that the camera you want to be seen as active or you have selected that and just click here and you can see that we are viewing the scene from this camera. That's why you're seeing the side view of this object. Now let us change our camera to the front and select the front camera and get inside view cameras. And get inside, set active object as camera. And we are seeing this object from the camera, from front capita. That's cool. Now let's talk about composition a little bit. We understood cameras. It's a way to look at your scene. Let's go to the top view and make sure you've got the move tool enabled. And now I'm just going to select the front camera. And I'm going to randomly move the camera. And notice what this does to the camera view. You can see the camera view changes because the camera has moved its position. When I just move it, you can see how this affects our camera view. I can move it left or right. And if I change the view, I can also move it up and down. This allows you to frame your subject just like a real camera would. You also have the rotate. You can go ahead and rotate the camera. Rotate this camera along this axis. Just going to rotate. And you can see the effect that you commonly see in movies. These are all the different camera movements you can do. And this is a huge subject. You can go ahead and study a lot about this. But the special part is these cameras work just like real-world cameras. If you have some experience in photography, you can apply those experiences in blender to get beautiful shots of your. Since now we have seen how we can look inside camera, we can move cameras and how we can switch cameras. Now let's see how we can create one. To create one, what you can do is first you can see the scene from whichever angle you want for the camera to see. Now I wish to a short like this where it's a little bit dramatized, something like that. And I'll keep it like that. Now let us go ahead and add a camera. On the top bar. You can see just like how we would add a mesh on any 3D object. You can add a camera. Let's go inside of inside. And here you can look at an option called Scanner. So I'll just select the camera. We have got one camera in the scene. Where is it? It's exactly in the center of our world. When there has put a camera which is not visible because an object is hiding it. Let's go to the white frame to show. Here you can see the camera exists in our scene. Let's go ahead and position that. Now let's look through this camera so that we know where it's looking at. We'll get inside view. Camera. Set active object has camera and we're looking here. Now let us go ahead and change the position. Change it like that. Yes. Let's just moods height, increase the height of the camera. We look at something like that. And this is how you can adjust the camera's position. And there is one cool way to do this, which is a little more organic and natural. So to access that, you can go ahead and click on the arrow here, the small arrow which is over here. And once I click it, you can see there's a new menu or new sidebar popping up. And we can get inside the view. And once your camera is selected, and make sure you are in the selected view over here, this camera, and click on the lock camera to view. And what this will do is it will lock your view to the camera. What this means is whenever I perform any tumbling or any rotation operation when I zoom in, zoom out, this is going to impact the camera's location rotation in the 3D world. Let's go to the top view and see how this works over here. I'm just going to zoom in and zoom out here by using my scroll. You can see how our camera is going in and coming up and we can go ahead and change the position like that. This is an organic way to compose your scene. This is more natural and it's more realistic because it allows you to go in any angle. And I prefer this method to compose my scenes. But if you're not a big fan of this method, you can go ahead and still use your move tool and rotate tool to get your camera moving in much mechanical way. Alright, so once you're satisfied with composition, make sure that you check this box off. Otherwise you'll not be able to leave the camera view and your camera will change positions. So I'm satisfied with this composition. So I'll just go ahead and click the lock camera to View and check that off. And now when I drag, when I fumble around, I'm just exiting my camera view like that. The use of cameras is really important in Blender. Blender offers many ways to compose your scenes. So you are free to choose the number of cameras that you want according to your story. Go ahead and create some gammas and try some different compositions. And if you want a real-world experience, you can just go ahead and with your smartphone or use your camera and go outside and flick some compositions and you can see how cameras generally work. You can try to replicate them in a blender. 14. Basics Of Lighting In Blender: In this video, let's talk about lighting. Lighting is a very key and important step, because lighting is what brings depth to your scene, even though you create your models in 3D, you are going to create images, right? So lighting is going to bring life and depth to your images. Let's see how that's done. To demonstrate lights. I have opened our lights worksheet dot blend. We've got the worksheet and here let me introduce you to the scene. And we have got a monkey in the center, and then we have got one light and then one camera. Similar to camera worksheet. We have just put the viewport to camera, one of the viewports. So that's why you have two viewports here. And one is seeing through the camera and that's why we see this view. All right, so to see how lights work, so I'll just go scroll here and then click on the viewport shading rendered method. So as soon as I click that, you can see that most of the areas of black and there are some highlights that is being cast by light here. This is like point-like. You see the shape of it. So this is like a circle. It's like a point light over here. You can see the collection under lights. I have kept a point light. This is one type of light, what blender offers. So you can imagine this point light like a bulb at your home. This is omnidirectional light. The way I mean omni direction is once you have a light here, that light is going to emit in all the directions, just like a bulb board. If you have a bulb at your home, I recommend you to switch off all the lights and turn the bulb on to see how that's casting shadows and highlights. This will really help you understand how lighting in blender works. So take a look at this point. This is positioned somewhere over here, and that is giving the highlight over the top of the monkey. And then we have got the shadow on the bottom. This shadow is being caught by the ramp, which we have here. Now this is a ramp I have tried to replicate that you can find such a ramps in photographic studios. I've just put a ramp shape like that. This ramp is basically catching our shadows here. So this, you can compare it like a float. Now I'm going to move the slides with the help of our move tool, drag and move. And you can notice how that's affecting the shadows and add highlights there. I can move this on any excess, I want. Something like that. You can see exactly these lights behave just like the real-world lights. Alright, so this is about the point light. Now, when I say point-like, two things needs to come to your mind. One is that this may cause sharp shadows. And the next one is that it is omnidirectional. It will create luminance in all the directions. Let's go ahead and look at the next type of light. So I'll go ahead and switch point light off. And then I'll turn on the area here. And this is the area light. And here you can see that we have got a light like this. So this is the shape of a squared. This can be a shape of a rectangle also need not be squared. You can relate to this light like since you can see the point light was small and this is big, right from this you can understand this is like a bigger light when compared to the point light. And this is not omnidirectional, it just illuminates on the direction where this line is pointing right now this point line is pointing downwards. That's why you will see the light that is hitting from here, downwards on here. Let's say this is a big light because of its nature and size. This will give you soft shadows and not harsh shadows like the point light. You can relate this late to large windows at your home. If you have a window at your home, look at how the lights come from that, notice the shadows, the diffuse redness of the shadow. Shadows are not harsh like the point late. These kinds of lights are used in photography like the softbox to get an even evenly lit scene. And this is for the area light. Now let us go ahead and changed the direction of the slide to see how this affects. So I can go ahead and use the Rotate tool and change the direction. Now this has become somewhat like a top light. You can change the direction to whatever you want. So in this position, it like this. You can see how this is creating a very diffused light and very even light towards in, over here. When we compare this to a point light source. When we talk about area light, you should understand that they're not omnidirectional and they produce soft lights and soft shadows. All right, Let's now go ahead and turn off the area light. Let's turn on the sun. And this is called a son. Yeah, it does just like the real-world sun. This can replicate your real-world sense effects and there are a lot of settings to this. But let's just understand one of the key difference between the sunlight and the area or point light. First of all, it's sunlight is called as a directional light. So the word I mean direction is because this light is does not change on position. So right now we have got this position over here. Now if I click the Move tool and move it, you can notice that the light does not change. This is not the case like the area or the point light where your lighting changes when you move the lights, but here your light does not change. Whatever I move in any axis, this light stays constant or the, right. Alright, so how do we move or how do we change the properties of this slide is by using the rotation. When you change the direction of the slide, this light is going to change its properties. I'll tell you what it means. You can see that there is a long line which is coming here. This is showing the light's direction where it's hitting. Let us go ahead and click on the rotate, and let's just rotate it like that. You can now see the change in shadow, which means the light is changing. And I'm just going to rotate this light. So even though my light is on this position, my shadows are hitting here because my direction of this slide is this way. In this way, only the direction of fixed this light, which is why it's called asset directional light. So that's the key difference between the Sun and the area light and point length. Now let us go ahead and try to change some properties of light intensity and color of the lights. Go ahead and switch off the sun and turn on our point back on. And you can see the point light. Now, when I select a point light and scroll down in my Properties, I can see here that there are some object data properties. You can see the bulb icon. Make sure you've selected that light otherwise this will not be present. So make sure you select your point light and then click on the object data properties. And in here you can see that there is a preview and light, and under the light it has been set as point. And under that point you can see the color and then the power in watts. So I can go ahead and change the power. Right now it's a 100 thousandths. Let's put it to 500. Immediately we get a brighter scene because lighting has been increased. This is just common. Whenever you have a powerful light, you get more intensity. And very similar to that Blender also simulates that same thing. The more power you have got, the more stronger the light and deeper blacks it will create in the shadows. Let's go ahead and put this to 300. Then we can see another property here, which is the color and select the color and now change it to some other color like a warm white. To simulate the incandescent bulb or something. You can go ahead and z in the color of the light. Or you can go and cross your imagination to create different colors of lights. You want to add some creative depth to the scene so you can give any color to your light and render will give you that kind of luminance. And in that color, this is how we can adjust color. So let's go ahead and put this back to white and setting the color and reduce my saturation. So I'll just drag this to white. And you get that white color again. This color and intensity is common for all lights. Switch off the point, and let's switch on the area. The same properties are listed here as well. You can also increase the power and color of any lights inside of blender. And just like that, you can select the Sun. And here also you get the same properties of any lights. So these three are the three main lights instead of Blender. And we saw how movement rotation affects these lights and the shadows. Let us now go ahead and talk about how we can create a light instead of blender. I'll let, I'll go ahead and use this viewport. Get to the top view so that I can control the lights and the direction from the top. And then let's go ahead and inside our add in here, you can find light and lights are just like any other common 3D objects, like cameras. You can get inside light and you can see the different types of light here. I'll go ahead and click a point light. And we have got a point line over there. And you can notice the illumination that's happening in here. Let's go ahead and move it to the top. As I move, you can see how these lighting is affecting our model. This modal here, and select the point light and change the power. Now let's put this to do 50 watts. Yes. Now you can see the luminance of the slide. To see this clearly, we can go ahead and see in the color a little bit so that we can differentiate that light from the other light. So I'll keep this slide Astrid, you can see how from one side we are getting a red light and from one side we are getting a white light. So this way you can go ahead and create as much of slides that you want. You can play around. This is not necessarily that you have to use point lights in the scene. You can go ahead and use combinations. You can use a point light and you can use an area light together, or you can also add a sun lamp together. It all depends on how you want to light your scene. All right, so in this video we saw how different lights affect your scene. Now, I would advise you to go ahead and create some lights and experiment by yourself by using the scene. So you've got a monkey here. You can go ahead and create new lights and see how they are shadows appear and how color affects the look of your scene. 15. Rendering In Blender: We have talked about lights, we have talked about cameras. In this video, let's talk about rendering. Rendering is an important step because this is where you convert your 3D scene into viewable images or nice movies. Let's see how it's done. So I have opened the lights worksheet, and this is what I've done in the previous video. I have created some lights here. Whatever lights that you have gotten doesn't matter. So we're just going to see inside the rendering properties. To see that, I'm just going to click on the render properties, which is the second one on this Properties panel. We can see here that the first one that says is render engine, which is set to IVI. And if you click on the drop-down, you have got like three render engines here, which is the cycles workbench and EV. You can just treat as cycles and EBS and very important Render Engine. I'll tell you the difference between them. So if you are a beginner, you can just keep it in EV and you don't need to cycles to go there. What this does is cycles will provide you absolute photo, the lesson. Whatever lights and whatever you use, it's exactly photo realistic. If you want photo realism, you can always get inside cycles. So the term photojournalism, what I mean is like whenever you use materials like glass and you want to calculate advanced refractions, you can always use cycles, otherwise, you're always good to go with EV. Ev is great to learn blender for beginners, I would recommend you to keep this in EV because it produces results that are fast and it is not taxing on your computer. You can do EV even in a basic computer. Let's keep this in EV. Now let us talk about an important point which is the aspect ratio. The aspect ratio is the relationship between the length and the height of your image here. So right now we have got an aspect ratio of 169, which is the common video format. This really depends on where you want to post your image, on your animation and what that platform demands from you. For example, if you wanted to post an image on Instagram, you would want to use an aspect ratio of one is to one or a square. If you want to create something for a video on YouTube, that you would want to go for. An aspect ratio of 16 is tonight. If you want to take a photograph in Blender or if you want a mimic of photography, you can go with an aspect ratio of three to two. So it all depends on where you want to post your work. The final place where your works will be shared. To change that, you can go ahead and select the output properties here. And here you can see the format, the resolution, x and y, and the percentage. Here you can see the aspect. And let's go ahead and change the resolution right now it's set to 1920 by 1080. We can go ahead and create a square image by clicking here and seeing examples of 2048 because it's resolution, Let's set this to 048. And you can see how the camera view, the viewfinder of the camera view changes to a squared. And this is what you will get in the random. Then you can also set solutions that are increased to do aspect. So based on your needs, I will go ahead and turn this back to 16 is to nine, which is like 1920 by 1080. You can also set this to focus the solutions if you want to create content for. This really depends on your needs. This is about the aspect ratio. Now let us go ahead and take our render. I'll show you how to make sure before you get to render, you have got a camera and lights on. And let's get inside the Render. Render Image. Yes, we have got a random, but you can see that this render is much different from what we are seeing on the viewport. So I'll go ahead and close this window here. I'll take a minute to explain. You can see in the outline of that we have caught under the light step. You can see that two different icons here. One has a camera and one has the height. You can see that some of the lights we have gotten the eyes closed, but we have got the camera on. So what that means is whenever you have this icon enabled, means that particular object, it can be a camera, it can be a 3D object, or it can be a light or anything in Blender is visible in the lender. When you have the eye icon enabled, which means that it is visible in the viewport for your eyes to see. This is what it means so far here, we have got the area light and the point light has a disabled in the view, you can see that the icon is left to a grid, which means they are not seen in the view, but they are visible in the render, which is why we are getting the additional lighting which we saw in the render. Now, let us go ahead and enable that to see how that looks. Yeah, you can now see that this is what we got in the render. Now let's go ahead and switch them off and switch the area and C point here also, I'll go ahead and switch off the area and point in the render. Now let's take our end that again, a render, render an image. Now you can see that exactly whatever we saw on the viewport has come in the Render. Make sure that you have got the visibilities checked properly. If you've got anything that's hidden in the viewport, make sure that to hide it in the render as well. Otherwise, that hidden object will appear in your final render and you may get confused. So make sure when you disabled something, you also disabled it in the render view. So now we have got an image rendered here, and I liked the image here. And now I'll tell you how you can save this image so that you can share it with your friends in Instagram or on any social media. Let's go ahead and say Save, and get to save S. And this will save your image in PNG format. So this is the file format over here which is set to PNG. You can go ahead and save this to JPEG if you want. I leave it to PNG and leave the settings as default because they perform good assets. We can just give this a name here. Render. Just say save as Image to save your render debt. With this, we conclude the basic properties and settings for extracting a vendor instead of Blender. 16. Understanding The Concept: Hey, so until now we learned all the basics of Blender like setting applied cameras and some modelling tools, etc, using worksheets. Now, let us apply all those skills in a practical way and let us create a small and yet simple scene in Blender. Here, I have given you a concept and you can find this file under your resources and concepts, which is the rockets concept. It is a simple sketch which I have given you to understand. Once we open it, now we can see the basic parts of rockets. So this is the rocket that we are going to make and we'll make a very simple scene and a quick scene so that we'll get a hang of whatever we learned until now. You can see that this shape is like a bullet. You can see how it is made. It is just a cylinder with some loops at it. And we had scaling up and down to create that kind of a shape. And then we have those exhausts from where the flames come from. Exhausts also audit thrusters for the rocket. And here you can see the wing over here. That's how it is made. So this is a plane which is simply attach to a rocket like this. And then we have got a small window over there. And that window is also like a cylinder here. And then on the top we have got a cone like that. Here are some bands of color and this is the shape we have got. I have given you the individual parts of this rocket so that you will be able to understand the shapes better. Once you get the shapes right, then it is really easy to create in Blender. We just saw the concept. Now let's go ahead and put this inside Blender and create a rocket. In the next video. 17. Modelling The Rocket Part 01: In this video, Let's go ahead and start molding or rocket. So here we go. I have just open a blank scene of Blender. And you can see the splash screen over here, and this is just a blank screen. I have just got a, let me click outside and I've just got my cube and my light and my cameras deleted. If you haven't, you just select all these three objects to right-click and delete them, then you will get an empty scene like this. And right off the bat, let's go to the front view so that we can bring in our reference image and we can start modeling this. To get inside my front view. Let me go ahead and click on our front and we are in the front orthographic view. That's sweet. Now let's go ahead and call our reference. So to do this, I'm just going to get inside my folder view and insert of which you can see the resources. And I have got the concept which we just saw, or it is, and this is an image file. It can be a PNG or a JPEG, as long as it's an image file, it will work inside of Blender. What we are going to do is we're just going to click here and drag and drop it inside of blender right over here. You can see that this has got inside of Blender as a reference. This is also having a name by default which is called as an EMT. Now why are we doing this is because we would like to refer to this image when we're modelling. There are two ways you can accomplish this. Either you can go ahead and take a print out and keep it next to you or else you can have a spare monitor in case if you do, then you can keep that reference there as well along with some of the other references that you've created. But to keep the process simple and easy, I have just brought the reference image right inside of blender. You can also do that if you wish. You. All right, So we have got the reference here. Let us go ahead and call this as reference first of all, because I do not want to get lost in this. Let me just go and double-click the EMT and call this Esref short-form for reference. All right, so we have got the reference over here. Let us go ahead and push this roughly around the center. Somewhere like this. I'm just going to use this to model my rocket on top of this. Let me show you how it is done. It is put it like that. Move it somewhere around the center. Alright, so we have got that. Now, let us go ahead and put the first element in here, which will be a cylinder, of course, because of the shape of this rocket. Let me go ahead and get inside our Add Menu and get inside Mesh and let me call a cylinder grid. So we have got a cylinder and the basic and default settings would do. So. I'm not going to change anything in here as of now because this is what I'm exactly looking for. Alright, so let's go ahead and shift this out. I'll get inside our edit mode. And we need to first of all, scale this down to match radius over here, I'll just press my Scale Tool. I'll call my Scale Tool over here and use the outer circle to just scale this down like that. Alright, so if you want to see the reference images clearly, then of course you can anytime get inside wireframe view. Let me just get inside of wireframe here and that's our reference in here. Right now let us go ahead and use our selection tools and grab all these vertices on top, make sure you're on the wireframe or else the backside vertices won't get selected. Make sure you're in wireframe whenever you use the box, select, if you wanted to select the vertices on the other side x. Well, we are in the front view and now let's just go ahead and use our move tool. And just bring this up to the tickets point over here. And let's sketch the bottom vertices and put this up somewhere over there. You can see that the shape which we need slightly coming, let me go ahead and select all by just getting inside my selection box and just dragging a mercury around everything. And I'm just going to use my scale tool and bring up the scale just a bit so that it matches our reference like that. You can see that our reference is not very centered. If you want, you can go ahead and just click our reference to make move it slightly to the center. Or you can just leave it as it is and you can just match it with your eyeballs. That's okay. I just moved it a little center. All right. Let's select our cylinder and continue modeling this. So I'll get inside edit mode again. And let me just select the top vertices. And now we'll use the move tool on this, place it somewhere over there, and select the bottom ones and move this up top so that it matches our drawing over here. Now, cool. Now let us go ahead and add some loops over here so that we get that nice kind of a shape like that. Let us add a loop in-between here by getting inside edge and saying Look, cut and slide and click somewhere. And then let us get to our scale tool and use the white ring. The scale that up just a little bit so that we have that shape. You can get to solid to check how that looks. Yes, this is what we are getting somewhere like that. All right, now let us go ahead and continue to model this. Let us select all these vertices on top. Let's get to the selection and select these vertices. Now let us go ahead and extrude this. So to do this, we can simply go ahead and get inside face and say extrude faces, will get something like that till the top and then use our scale tool here and just scale that down to somewhere or there. Now, it's about just adding some loop cuts to get the shape right. Let's go ahead and add a loop cut. I get inside edge and say, Look cut on slide and put one in the middle. Just use our scale and then scale this to something like that. Let's get inside our solid to see better. And you can see the silhouette and that how this needs to look and how our model is looking currently. So let's go ahead and modify those just by adding some of the leukocytes just like what I did before. Let's go ahead and see edge. Tell blender to add a loop cut, look at and slide and place one over there. And use the scale tool to scale this just a bit, little bit. One over here. Let's get to again Edge and say look at and slide. Please look up there and use the white circle to just scale that up above. We need one over here. So let's add another loop, cut, get into Edge, Loop, got on slide. This scale that up a little bit, something like that. You can see here that this loop cut a slightly scaled down. Let's go ahead and scale that up to get inside-out wireframe so that I can select this altogether like that. Let's get to the solid and simply scale that up. Now the reason I'm going inside wireframe is because I need to select the vertices which are on the back, so not visible. That's why I'm going to iframe. Why I'm getting back to solid is because when I'm in solid I can see the silhouette better and how it's matching in solid. I'm just going to check if it's matching our outer dimensions roughly. I've got this to match, and we have got here, you can scale this up just a little bit more. Something like that. Let me get inside wireframe and select these. Then let's get the solid and scale that up just a bit. Alright, nice. So let's get into wireframe again and check what needs to be done on the bottom. If you see that our silhouette here is almost fine, but when it comes to the bottom, rocket is tapering down the other way like a shape of a bullet. So let's go ahead and change this. Let's select all these over here, the last vertices and then scale them down like that. You can select these and then use our scale tool. Just scale them down just a bit. And now you can see how that shape nicely transitions if you check in solid, you can see that shape nicely transitioning from small to large to really small over there. 18. Modelling The Rocket Part 02: Let's model the top of this rocket. So to do this, let's again get inside our white frame, select only the top. Then if you see that, right now, let me get to loops. As you can see that our reference image is right in the middle, which is blocking the view of our model. So to avoid that, Let's get back to object mode and select our reference. And just move that back to see our model clearly. Here you can see how a rocket is looking and you can see right now that it looks faceted. If I do not want this for setting there, you can see those facets that are applying here. I wanted to share this rocket as if that I'm not seeing those facets or polys. Now to do this, all you have to do is select the rocket and right-click and say Shade Smooth, right over here. So once you do this, you can see those facets disappear. You're getting a smooth looking rocket log. How, like how it has to be. Let's get to the front and check here. And if you see the top, you can see, Let's get inside select and get inside our edit. And here you can see how that is looking. So let us go ahead and select some of the edges here. I mean the total topping and give this a bevel so that we get a nice rounding on the top. So let's see how that's done. Make sure to select everything on the top. You can do this by getting inside the front and being inside the wireframe to drag a mercury around to select that. And once you've got these selected, all you have to do is get back to shading and let us get inside edge here. You can see something called as bevel. Bevel edges to bubble them like that. Alright, so we have made a bevel over there. Let's get to the front view to check how that looks. They've got something like that. Let's go ahead and increase the segments to something like that to three. Let's get back to object to see how that's yeah, that's looking nice. So we have got a nice rounded edge on the top. Let's go to the front. Yeah, that looks nice. Let's continue to define the bottom part where we need that thrusters for the exhaust pipe and everything like that. And here also you can see some rounding going on in here. So let's go ahead and do that. Let's get back to our front view and select our pocket and get inside our edit mode here. Now I'm just going to select the bottom vertices, just like how we did over the top. Let's get back to the wireframe and select all of these in here, get to shade it. And now we're going to do the same thing what we did on the top. Yes, we are going to bevel. Let's get to edge and say bevel edges. And give this a nice bubble so that you have those rounding looking nice and crisp. That's great. So now let's go ahead and model the thrusters over here, which is this nozzle and thrusters. Let's go ahead and do that. But before we're doing it, we need some more additional geometry or they're, the easiest way we can bring this up is by using an inset. So let's get to our face and select rocket there. And let us go ahead and get inside face and say inset faces to insert that little bit like that. Let's go to the front. Let's see how that looks. Use our iframe to check that. And let's select our vertices so that we know where we are looking at. Here you can see that I have inserted this quite a lot, quite a lot, because my vertices should be here instead of there. Let's go ahead and scale that up like that. So you can see those orange dots which exactly match to our drawing or something like that. Let's get back to shaded to check it out and that's how it should look. This just needs to be extruded and made that form. If you have guessed it right, then Well done. Let's go ahead and extrude this. Let's get to face and get to extrude faces. Extrude that till there. And let's make another extrusion. Again face and extrude faces. And we have got that till there. Let us scale this up. Over here. Don't worry about the drawing and they might not match well because they are just drawn out and they may not be very accurate. That's okay. We can match this side. And now let us get again to face an extrude faces and pull that down. So we have got that nice cone looking fled out shape. And now let us just go ahead and insert this face. So we'll just get to face and say inset. Let's get to the front. We need our inset a little bit more. If you see it on the wireframe, you can see it where that is. So I'll just make an inset till here because from there we're going to have the whole for it from where the flame comes from. So let's get back to our solid. You can see that and let us go ahead and make some more extrusions and just going to say interface and extrude faces. And I'm just going to push that up above like that. And if you want, you can scale this down again. Something like, all right, so we have just scale that down inside just to give it a little bit of a look, although it won't be really visible, but still it just makes it look good. Alright, so we have made a deal here. Now let us get inside our object mode to see how we have done this much more clearly. And you can see that we can now add some edges to make things a little bit sharp and to give it some definition. So let's see how that's done. And I will select the rocket again. Let's get inside our edit mode, and now we just need to add some bubbles in here. So let me get inside our edge and select this edge, it like that. Now to select the loop of edges like that, there are two ways you can do this. Either you can get to the front view and get inside wireframe and select the East like that. But now you can see the inside also gets elected and you have to be really careful that, really careful that you only selecting things like that. This is one way. There is another way in which you can do is just getting inside ear and your solid view itself. How I'll tell you when you want to select a loop like that, all you have to do is just hold the Alt key and click on your loop once. And the loop gets selected all around. Alright, so I'll click again Alt and click to select that. And let's get inside the front and let's just add some edges over here just by beveling it. Now, I will wish to do this for this edge as well. So I'll just hold shift and again hold Alt to select these as well. I'm holding Shift to hold multiples and just click holding Alt here to select both of these edges here. So it's Shift plus Alt. You can select these. And now let's go ahead and give it a bevel by getting inside our edge and same pebble edges, something like that. So that will give us a nice rounded Look. Let's get back into our object. And here you can see those highlights coming up like that. Similarly, you can give a sharp edge here. So let's get inside on Edit. Select these. I'm holding Alt and clicking to select that. Let's get this a bubble as well. So let's get to edge and bevel edges and give this some edge sharpness like that. Now let's get back into an object and you can see we have got that sharp looking edge over there, nice and neat. With this, we have concluded the basic form of our rocket in the next video, Let's go ahead and add some more details. 19. Creating The Wings: In this video, Let's go ahead and model the wing. So in here I've got the blender and if you are modeled in here, make sure that you save this file. Let's get to File and Save As and call this a name. Let's call this rocket underscore blend, and I'll save it in my resources itself. So let's get to save it and Save As, and this will save as file and we have got it saved. All right, Good. Now let's go ahead and start modelling the wing over here. Let's get to the front. And this is the shape of the wing. What you see, this is just being, it rotated on our rocket model tries. So this is into three parts. This will be placed one over here, one over here, and one on the backside, which you will not be able to. This is placed by a difference of 120 degrees from each. So let me show you how it's done. Let's just go and start modeling this by using a plane. So first let me go ahead and get inside, add and mesh and call a plane. And we have got a plane there. Displaces plane is currently facing the top. That's why we're not seeing how it looks. Let's go ahead and rotate that. Let's get to rotate and just use this to rotate it like that and enter a value of 90 so that it just gets rotated perpendicular and it's facing you directly. So let's get to our move tool and go to the front. Now let's just move and keep it like that. And let's get to wireframe so that we can see a drawing on the back. And there we go. Now let us get inside our edit and let's use a rare disease there. And make sure you select the move tool and start shaping this up. Let me just select these two vertices there and move it off to something like that. This bring it down. This needs to go up. This weekend, pull it back and drag this vertex. And this vertex somewhere there. You can see this is pointing out, Let's go ahead and merge it back in. Something like that. You can see that how it is forming, it's basically changing its direction. It's not straight since the moment what do we mean has made, are made our plane to change its topology like that. So let's just go ahead and make sure that we get our line right in the middle of this radius. You can see that there is a rounding here and then surrounding there. I'm just placing my vertex somewhere where I think would be the center of that rounding. So it need not be accurate. You can just go ahead and place it wherever you feel right? Because anybody can adjust this later. So let's just put it there and let's select the edge. Now, select the edge and select this edge over here. Let's make an extrusion here. Let's get to edge and extrude edges. Let's get our extrusion straight to down. Let's get back to solid to see how that looks. Yeah, Nice. Now we'll go ahead and make things straight. I'll select this vertex and bring it down. And select that vertex. Bring it somewhere there. Alright, now we can push this inside and push this thing in because it's getting smaller as it gets out. We have got our edge over there. You can check it in our wireframe. Back to solid. And right now you can see we have got it looking nice. We have got the base form, but we still have not got the rounding, which is what makes this look good. We need to make the rounding. Now we can do this by using the bevel. And let's select the edge here and select this edge over here and make sure you're on the edge selection. And we just need to bevel this edge so that we get that rounding looking, right. Let's get to edge and say bevel edges and make a bubble like that. Now we can go ahead and increase the segments over here. So three, something like that. And you can also increase the width if you want more, you can feel free to add them once you've got it here. And I feel this is right now we can go ahead and move this just a bit. Something like that. Alright, so we have got that done approximately, which looks nice and neat. We can now go ahead and give it an extrusion. Now since you can see that this is looking flat, and over here we are getting some thickness. So let's go ahead and get that thickness looking right. So all I'm going to do is select everything like that and get to my top view so that I can see what's going on. I'm just going to add some thickness by giving an extrude. Let's get to face and say extrude faces. Like something like that. This will be our thickness. It's too much. Let's reduce it just a bit. Yeah. Something like that. If it's based on entirely upon your wish and just doing it, just eyeballing things so that it looks right, That's it. We have got it like that. Now. It's time to now position this right. The first position which I'm going to place will be on the back, which is here, which is not visible in the drawing because it's located on the back. So this needs to be directly from here. So let's first do that. You'll understand why I'm doing that first. So we'll just get to object mode and move it to the back like that. Now it needs to be rotated. Let's get a rotate and rotate this 90 degrees. Now just position them using our move tool and place it in the middle. Something like that. Let's check how that looks from our side and you can see how that looks here. You can just go ahead and push it in slightly because it will just look like it's going inside like that. And that looks like it is flushed with that rocket or something like that. Now, we need to copy this and put duplicates of this in two places, one over here and one over there at the selected object and get inside of our object and say duplicate objects and click one more time and you will get the duplicate off this on the outliner. Since you can see that we have got a plane zeros 01 and a plane both are in the same place. That's why you're not seeing two planes. It's now we can just go ahead and move it so you can see that how that's been duplicated. Let's go to the top. And now we need to rotate this by 120 degrees so that we can place one over here on one Voltaire. How we can do this is just by using our Rotate tool and just wrote it. This enter minus 120. Now we've got that. Now we just have to bring this and place it in the right place. Somewhere there. Push it in to place it right over there. And let's check our front view how that looks. All right, so now let's do this again. I'll select the spleen and give the duplicate this first, let's get into object and duplicate objects and click one more time and you have got a duplicate over there. I'm just going to rotate this, get to the Rotate tool and rotate this. Now we just have to give the input in the minus, which isn't a negative value. So I'll just enter minus on my keyboard and just say 120. This will rotate it on the other way. Now we can move it and place it where you feel it's right. Something like that. Let's check it from the front and it's not moving and we need to move it inside. And this time you can always select the white circle here to move it in any plane of your choice. I'll just put it here. Like that. We have moved at one more. And let's go to the front view and check how that looks. I can just move that out a bit. Go to the top. I can still see some gap over here. Make sure you don't see that gap. So this move it quite a bit inside. Yeah, something like that. Do the same here as well. There is some gap in here also. Let's go to the top, just pull it in. Let's get to the wireframe to check how much these have gone inside and you can see how much this each of the three has gone inside a rocket and you can make adjustments if you want. Something like that. Let's get back to solid to see how that's looking. Nice and cool. Alright, so we have just placed the wings in the right places. Now let's go ahead and give those some names so that we don't get confused. Let's just call it the plane as swing. Let's call this one as being underscore tool. Let's call this one underscore three, you can see how easy it is to name things in the outliner. Slowly, we'll see how we can organize things in the outline. And as we add more parts to our scene, Let's add more parts in the next lesson. 20. Adding Extra Details To The Rocket: All right, In this video, let's go ahead and add some of the extra details in our rocket. Like if you see here, we need to add the flame. And then we'll be adding the window. And then we have a detail over here which is like border over here. So let's add that ring detail as well. So let's go ahead and first add that ring because it's a part of our rockets. So let us get inside our front again and you survive frame to peek inside how that looks. If you take a closer look that wherever we are seeing some material changes, like this cap is in orange and we have got a loop right across there because that will be a separate material, just like how we saw in our worksheets. And similarly, we need to split a material in here. But if you see that you've just got one loop over here. Using this loop, we can go ahead and Bevel that to make it into two and then we can add materials later. All right, So let's get into Edit and select these loop in here and get inside our edge and call an edge bubble, which is here in beveled edges and just give a bubble and click once. And you can see that there are a lot of lines are a lot of loops in here which are completely unnecessary. We just need two lines, right? So let's go ahead and reduce the segments back to one so that we have got that looking at, right? So we can just go ahead and select these loops and give a new material in the future. When we are giving our materials, we have got that down. Now let's go ahead and add this window over here. And then we can see how that looks. So let's get back into our object. And if you see that this window is in a shape of a circle, but when in three-dimensional, so you need some thickness. So automatically this will become a cylinder. In the cylinder, it will have some extrusions, some bevels, and some insects to get this formula it on enough of talking. Let's go ahead and see that in action. Let's create cylinder here, get into AD and mesh and call a cylinder. And we have got a cylinder there. Cool. Now let us go ahead and reduce the scale significantly so that that fits somewhere in there. Let's get into scale. Get inside our edit mode by getting insane edit mode and selecting all of our vertices like that. And I'm going to use our scale. This is going to scale them down considerably so that it matches that form. Right now, we can go ahead and make this flat, something like that. Yeah, this is the roughly the thickness which I would like to see. Now we can go ahead and get outside of our edit mode into an object. And now we can position our object where we want, something like that. We can move this outside. Alright, now let's go ahead and rotate things. Let's get inside site and we need to rotate this. Let's get into our rotation and rotate it and put 90 degrees here so that it gets rotated 90. Then you just have to move this so that it just intersects our rocket from the side and from the front you can see how that's looking. So let's position that right, and you can see that it needs to be scaled down just a bit. Let's get back inside our edit mode and use our selection box to select everything. And then get inside our scale and then scale things down just a bit. Let's get back to object to see how that looks. Get to solid. Nice. Let's go ahead and pull that in. You don't see that much. Something like that. Alright, let's go ahead and ship things here. If you notice one thing that whenever I scaled objects, I always use the edit mode and whenever I moved or rotate objects, I used the object mode. So why am I shifting between objects and edit mode when I'm scaling? Because it's a good practice that you always scale objects in the edit mode instead of the object mode. Now this is just a thumb rule. Keep this in mind and you will really thank yourself when you're learning Blender further in the future because scaling things in edit mode salts lot of issues and it prevents lots of issues from coming. So always scale objects in edit mode and move, rotate objects in the object. All right, let's go ahead and shift this. Let's get to the front view. This enter into our edit mode from here. Let's get into an edit mode and select the face over here so that you only select the front face like that. Here you can see how that's getting an inset. All this is doing is there is an inset and then there is another instead. Let's go ahead and do that, schedule the front, and get inside our wireframe. And once you've selected the front face, Let's get inside our face and say inset phases. That gives us an inset to something like that. Now we can extrude this inside. So let's get to solid view. Simply get inside face and called extrude faces and give an extrusion to something. Now, I know that if you've just pushed further inside, it will not be able to see their face. Which is exactly because your rocket is in a nice shape and it's just intersecting with that shape in the back. That's okay. So we'll just extruded somewhere here so that, that shape doesn't get it. Once we are in here, let's get back to inset and let's insert it one more time. Just getting inside face and call inset again. And we can make that inset. This can be pushed out slightly because I want our rounded looking window there. So I'm just going to catch my move tool and move it along the way, it to something like that. And you can see that window getting convex shape or there. So let's give it a nice convex shape node. Let's again make an inset here. So let's get inside face and again inserted something like that. And push this again outside so that you get a nice shape like that. When you see it from the side, you can see convex looking object. And you can, if you want, you can do this again and again until you are good with the shape. But I'm just going to leave it here. Let's get back to object mode and see how that looks. That looks nice. Now let's just go ahead and make that facet go away just by right-clicking and saying shade smooth. And here we go, we've got that. Let's go on now let us sharpen some of the edges by using the bubble. Just like how we did on the rocket. Let's get back inside out edit and select some of the loops here by getting inside the edge and hold Alt and click once to select that loop and do the same to select multiple loops. I'm just when this loop is selected, just press hold shift. And now when you hold Alt again and click, you will select that loop as well. We have got two loops selected there, and we'll just get inside our edge and say bevel edges. And make a bubble. Not too much, just a little bit. Over here. You can increase the segments to two. And let's see how that looks. So nice. We have got a sharp looking window or that, and that looks nice to me. And slowly we are getting the form that we need. We have also made, if you check our wireframe, you have also given some geometrical details or resolution here so that we can put this as a new material. Then we have got an objects in the rocket made, we have made all this. Now the next step is to go ahead and make the flame. To make the flame, you can see that the flame is in just a cylinder, cylindrical shape, which ends like a cone. And if you remember how you did the rocket, then it's the same principle here. Anyone can make this by just following the same practice here. So we can just call a cylinder. Let's get to mesh and call a cylinder. And we have got that cylinder. Let's get inside our edit mode by getting here and calling edit mode. And whoops, get into edit mode and select all the vertices. And use our scale tool to scale this down considerably so that it fits our shape over there. I'll just hold till here. And then I can see the others in our edit mode and select the top and just scale that down and bring this down so that it gets somewhere. Then scale this up just a little bit like that. And let's make an extrusion here. Just get inside face and extrude faces till there. And this is going to be scaled down. In the scale tool only I'm just scaling this down. And let's make another extrusion. Let's get inside face and extrude faces. Make an extrusion until there, and scale this down just a bit and make another extrusion phase Extrude. Pull it all the way till here. And now we're just going to merge this together. Let's just get inside our mesh and call Merge and Center to get that pointy looking object there. Now let's just move with our Move tool and position it right over there. Now you can go ahead and adjust the shape of your flame, but I'm okay with this. Now let's add some loops ear here to make that look more organic. So we need to add two loops, one over here and one over there. Let's get inside our edge and say, look quiet and slide once a week there. Now we'll just scale this up by getting towards scale. Don't use the white ring and scale that up like that. And we'll add one loop over here. Let's get inside edge and look at the slide and put a look over there and scale that up as well. This can just go up a bit. I'm selecting these using my move tool. Moving that up. Again. I just wanted to scale this up just a little bit. You can see what I'm doing here is I'm just using the Move tool, the scale tool to give the shape which I want even after making the base form. So you can either do this when you're excluding itself, but you can also find tweak them after you extrude. So we have got the shape. Let's get back to our object mode and see our solid how that looks. And as usual, we need to shade smooth, right-click Shade Smooth to get that flame looking form there. And we have basically formed our rocket, and we have formed all the bass parts over here. The next step would be to give it some colors and materials. Let's see how that looks. 21. Assigning Materials: In this video, let's talk about materials that give some materials to them. And we are going to follow the exact workflow which we followed in our worksheets. Let's get started. I'm inside the file. Make sure you save this file often if you didn't. So I'll just click Save to save that file over there. And you can see that our outliner is a little messed up because we as having names at a cylinder 123, something like that. So let's get this scene to be clean a little bit to do this. And it's going to select one-by-one, the objects here and give them names. So let's just call them as flame here. And this would be our flame. And then let's call this object as a window, because that's what it is. It's a window over there from where you can watch the stars and see the night sky. So I'll just put it as window. And then we've got the flame. You've got this cylinder, which is our rocket itself. So let's again double-click. Call this as rocket. We've got that rocket. Yes, immediately you can see that we have caught or everything that makes sense in the outliner. This is really important before you get inside giving materials, make sure that you name some of your parts. Otherwise you will get stuck in the outliner. You won't know which part exists, where, and what that means. So it's always a good practice to give names for your 3D objects so that you can always call them whenever you want at ease. Right? So let, let's make our first material here, which is the white color. Here. Let's just select our rocket and make sure you're in the material properties. Yes, I'm in the material properties and I'm going to give new and you can see that object is being highlighted and this is why I asked you to give a name and I select that rocket. This is showing me rocket over here. That's where we're going to apply the material, which is sweet. So now let's go ahead and give new and Blender creates our first material in here. We have got material zeros 01, and which doesn't sound nice. Let's go ahead and call this as white. You can rename things here. This is white and we have got a white material and you can go ahead and change the base color, but I'm going to leave it as it is as of now. Let's go ahead and give some more materials. The next thing. What I'm going to do is the orange material. Let's go ahead and make that. Let's click the plus. And I'm going to create another material, and let's call this as orange. Now let's change the base color to the orange that is shown here. Let's increase the saturation. Make sure it's a nice bright orange. Let's give this, select this the rocket, and let us give the CAP first. Let's go to the front and get inside our edit mode. Let's use our wireframe and click outside to deselect any vertices that are selected by default. I'm just going to select till here, the vertices that I want, this orange material. Let's get back to shaded all the way till there. To see these materials in actions, we should always use the material preview because our shaded will not show any of our Render materials. Let's use our material preview. Here you can see all our rocket looks white because none of the other materials exist as of now. And we have selected this orange here. And we have selected the vertices or phases that needs this material. And I'm just going to give, assign and blender a science that material in a goal, right? So we have assigned that material over there. And now the next thing, what we have to make will be our gray material here. But before that, let's give this orange to our wings as well. Let's get back to our object and select a wing. And in our material properties, you can see that we have got a drop-down. And under the drop-down, I have already got the orange. I'm just going to click it once. We've got that orange, click here, the next wing, and then choose the orange here. So let's give this the last thing, the same orange material in the dropdown. So let's click it and we have got those materials given. Let us go ahead and start giving the next material, which is the gray over here. So let us give another material here. Let's add using the plus given you and change this as gray. Use the base color and choose a nice shade of gray or something like that. Alright, so now let's select some of the phases which needs these materials. Let's get to the front. First, I would like to make that ring over here. Select our object and get inside. Edit mode. Select the ring here. So let us use our face and get inside our wireframe and select only the phases. I'm using my box tool to select that like that. Kid back to the solid to see it. Material preview. Select the gray and hit Assign. And we have assigned to that great deal there has been. And we can copy that same gray window over here. Let's use the gray. And we have got that green. Nice. Let's use this in here as well, which is the exhaust. Let's get inside our edit. Get to wireframe and make sure you are in the Face. Select and select all the faces to their left one. So I will select till here. Yeah, We've got everything selected and let's go to our material preview and see how that looks. Assign that, and get back into our object. And we have got a nice looking exhausted over here. Let's get to front view and let's continue adding some materials. And now we just need a few materials. Which one is the window, which is the blue over here, and then the flame. Now let's make the window, select the window there and make a new material here. And it's called New. And call this as blue. Changes to the color here where you want. And let's assign this to see how that is looking. Let's get to the edit mode and use our face selection and select these faces. This time you can see that a box select is not helping us much. So at times like this, you can always change your selection to lasso, which allows you to use custom shapes to add your selection. Just hold and click here and you can see that there's one called a select lasso. Let's click on select lasso. And this time you just need to draw the shape which you wants to select like that and everything gets elected, we have left to I'll just hold shift and complete that selection and till we get something like that. Alright, now in select our blue and hit Assign. And let's get back to object mode to see how that looks. And our palette here is kind of a violet. So let's go ahead and change that base color here. Make it look a little bit of that. Just don't over there or something like that. You can see that despite giving some materials, we lack some contrast in the scene. Which is why, because blender by default has a setup called a scholar management, which will have a minimum contrast. If you want a high-contrast scene, then you have to go inside and change that setting. I'll exactly show you how it's done to change that setting, we just need to get inside our render properties. And under which you can see the last setting which exists at really the last, which is the column management. We need to open this. And once you open, you can see there is one property where it shows look. Just click on the look and you have a drop-down that opens and make sure that you can set this to very high contrast. And you can see the colors are now popping up than before. You can try the other modes, which is like low contrast, very low contrast, and medium contrast, high and very high. My Personally, I would often use very high contrast or high contrast and sometimes medium-high. But mostly I go, I tend to go with high or very high, which is my style. But if low contrasts suits you, then you only have to do here is set this color management into the contrast that you want. Alright, so we can go ahead and minimize that. And let's get to materials and look at what else do. We have added quite all the materials now we need to add the flame over here. Let's make materials for that. First of all, I'll select our flame and give this a new material and call this as yellow. We've got an yellow material. And let's give this a color to something like that. Then we need to add one other material where there's a little bit different. So let's add another material here and give this new, this is going to be flame orange, orange, yellow, whatever you call it. So I'll just call this S flame underscore yellow. Let's give this a color to something like that, which is slightly bit orangeish, a little different from that. Now let's go ahead and assign some polys with this material. Let's get to our wireframe and get inside our edit mode. And make sure you're in the face and select these faces like that. Now if you want to go back to box select, you can always click here and select the box. And then you can get back to the box, select if you wish. Once you select that, the selected frame, yellow material and assign. And let's see how that looks in our material preview. And get back inside object. Yes, that's how I'll flame is looking and which is fine. For now. You can go ahead and see into color to slightly orange, something like that. Alright, Now we got the materials which we want in our scene, and they are looking nice and we have got the contrast up. And in the next video, Let's go ahead and compose the scene. 22. Composing And Adding Camera: So we have model a rocket completely and given it some materials. Now let's go ahead and compose the shot without Rocket. Alright, so if you see the image here, I have put a composition image which is out of scribble of how I want my rocket to look. This is just our rocket and it's flying into some planet. And this is my idea here and there are some stars and stuff like that. So let's go ahead and put this image there so that we can refer to this when needed. So I'll go ahead and close this and make sure you're in the front view in the blender, just like how we did before. I'm just going to call this composition, which is the image, it's NP and D file. I'm just going to drag and drop it next to short here. And this will be also called as reference. So I'll rename this as a rough comp, which means reference or composition. All right, now let's just go ahead and turn this off. We no longer needed, so I'll just go ahead and put the eye next to this off and then you only have the reference for this. So first of all, let's go ahead and place a camera so that we'd be able to compose our scene. To do that, Let's get inside our ad and get inside our camera. And we have got a camera there. And similarly what we did in our camera exercise, I'm just going to rip this window into two so that we can have one as a viewfinder of the camera and one as the world of the 3D view, just like how we see with our eyes. So let's go ahead and get two views in our scene here. So I'm just going to get my cursor here where my cursor appears like a crosshair. Just going to right-click this and get a vertical split here. And I'm going to split this somewhere, oh, debt so that I just let my window into the right view. I'm just going to get inside view and get inside of cameras and say, Set active as object as camera. Makes sure you have got the camera objects selected. Here you can see on the outliner to the camera is been highlighted in blue. I'm just going to say Set active object as camera and we are inside the camera. The first thing what I'm going to notice here is about the aspect ratio. Even though my camera is inside, I'm not going to touch the camera or move the camera as long as I said, the aspect ratio, right? So let's go ahead and look at the aspect ratio setting. And I will run a squared here. So let's get inside of it. I'm just going to select my output properties in our outliner. Then under this output properties, Let's change data solution. I would like this to be a square comp, so I like to shoot a 2k resolution. So I'm just going to enter 20482048 on my white as well. We have got a nice-looking squared. Alright, So in this composition, Let's go ahead and compose our rockets. So I'll just go ahead and pull our camera outside like that and let's move it up. So this needs to be further out so that Let's see our rocket like that. And you can see that we have got a rocket tilted and it's not straight like that. So let's get to it. And here you can witness that there are different objects in our scene right here. Let's learn something about organization. Before we compose our scene, we have got one camera. There are different types here, right? We've got one camera and then we have got some mesh objects, which is the rocket itself with the flame and everything. And then we have got reference images as well. So everything exists inside one collection by default, which just says collection whenever you open a file, blender ships and default collection in it. And whatever objects you create will reside under that collection unless until you change it. Right now, all our objects are inside of our collection. So we need to define this and give a little more of organization that we can better see our objects. So let me tell you exactly how let's create a collection now. I'm just going to right-click here and say new collection. And we have got one more collection. So let's just double-click and call this as reference REF. And I'm going to pull all my reference images into this collection so that I can have it organized like folders or let's just call the reference. This one. I'm just clicking and drag and drop into it and that will get inside the collection. And there's one reference column. Let's leave that inside this as well. So we have got both the references inside the left collection. So we can go ahead and pull this out or down or up to show our reveal the objects that are in the collection. This way you can keep your Outliner free of clutter and you can put all the related objects into our collection. Next, let's see what else we can put a collection is this camera. And if you have lights in the scene, you can always create a new collection for cameras and lights. Let's right-click and create a new collection. Let's call this ask. Camera. Underscore lights. Whatever light and camera I'm going to use are going to decide in this collection. So let's sketch the camera and drag this down inside the camera and that will reside in this estimate. One more idea and one more thing. What you can see, how you can identify which objects reside under which collection is by the simple graphic representation that blender foods. So this, if you'll notice clearly, this is a hierarchical structure. If you see that we have got a parent collection or the topmost collection of it. And under of which, if you click on the arrow, you're seeing some more objects inside of which here you can see a long line, we'd say is here, all the objects are residing in this collection. And you can also see how blender smartly indents the objects. There is a small indentation here, and all our mesh objects are inside that collection. Let's double-click this and call it as rocket, so that it makes much more sense than just simply collection. Alright, so let's go ahead and put that off and you can hide or unhide. Now, why did we create this collection? We could have simply just used it. And collections are not just for organization, they also help a lot in selection. Let me tell you how. Now, once you have got that rocket being collected into one, you can treat this like a single object. All you have to do is just right-click and say select objects. And what that would do is select every object that resides in that collection. That's smart, right? Otherwise you will have to individually select each and every object inside of which can become tedious and difficult at some time. Which is why adding collections like this and just right-click to select them as a smart move. If we have got all the objects inside of our collection selected. Now we can go ahead and use Rotate tool to rotate this altogether. Like that. We can see that the rotation we want is a little bit tilted and this is striped to the front. And we can get to the top view to make that tilt here. So let's just say the other view and let's just make our tilt like that so that that last Bing is also visible. Let's go to the front view and make our rotation again. So we get something like that. And you can see how simple sketch which we have got. It's a simple scribble, helps us to compose our image and it gives us an idea like what we want to get out of our camera. Alright, now let's go ahead and move our camera so that this kind of has a good composition, looks something like that. Let's go this view and now I'm going to rotate my camera just a bit so that I'm seeing a little from the underside instead of from the straight on. So let's just rotate our camera just a bit. Let's move this down. Now you can see our dynamism is slowly coming up. You can see that the 3D of our objects are slowly coming out. And you can see the underside of this rocket and the flame that's coming out. Now, I would like to keep that. Let's get to the front and let's just move it a little bit like that. And we have got everything looking right, cool. So we have placed a camera and compose the main subject of our frame. And let's add some details in our next video. 23. Adding Extra Elements And Extracting An Image: We have composed arsine and that scene is looking good. The camera angles is looking good, but we need more elements in our scene to make it look even better. Let's go ahead and add some elements. Now when I talk about elements, I'm talking about the other objects that play a part in the story. Now if you take, we have got a rocket, then the stories can be it's flying mid of stars, or it's flying to a planet or something like that. And here I have just tried to get a planet here, like an alien planet and we have got some stars over there. Just like that. I'm going to model this and I'll show you a quick ways to do all these things without getting into much of an issue. Let's get into it front view here. You can always make the smaller if you do not want that looking so big. Now, let us just go ahead and add some objects here. The first object, what I'm going to use is a planet. So I need something that looks like an alien planet here. I'm not talking about realism here and still talking in abstract terms. Just like our rocket. Let's make an abstract planet. Let's get inside our ad and get inside our mesh. And this time I'm going to call an ecosphere. Now this is little nicer looking sphere because it has got triangles basically and they are nicely, It's related to give us a sphere. Now why I'm using this is because this is best if you're abstracting something. Let's see how that looks. I click on the ecosphere and you have got the properties of an ad ecosphere. And here you can see the subdivisions. You can go ahead and increase that or decrease that. And one doesn't look like a sphere, it's more like a rock. So let's go ahead and put this to two. And you can see how those triangles are oscillating like that. And that gives us a nice abstract form. So this will act well as our planet. This is my planet for now. Let's go ahead and move this to the corner of our composition. Something like that. Let's go ahead and pull this back. In 3D. It's assets that this rocket is flying to that planet. I'll put something like that. Feel free to adjust it scale. Now. That's completely based on your own preferences. Now we can do adjust scales in two ways. Here it's just like the real-world. You can make this bigger and pull this back to make it look smaller from the camera. Or you can really scale things down in 3D, just like how you do other objects. So we have put the planet somewhere over there. And that looks nice. Let's, let's just pull it up. Alright, so we have got that planet here. And let's see where that exists in our collection. You can see that in our rocket and this enabling that to see that ecosphere, which is not a part of. So let's go ahead and change that. Let's now create a new collection. I'll just right-click here and a new collection now you don't have to always right-click. There's also a button here which lets you create a new collection on the right. So both just the same and collection for, let's call this as extra underscore elements. All the extra elements are going to get inside this collection. So I'm going to call this as extra element. And this drag the cycle sphere into this to get it in here. And let's give this a name. Let's double-click this and call this as planet. Not right, so we have got our planet there and we have given it a name. Now let's go ahead and add some small stars, which are really quick to make. So let's go to the front view and we'll just add a star over here. By means of star, what I'm going to do is I'm going to add a circle with eight segments on eight vertices. So let's make a circle with a parentheses first. Let's get into AD and mesh. And here you can find circle and under the vertices just type number eight, you have got that eight vertices circle. And now we need to rotate this so that it faces us. I'm going to use the Rotate tool and rotate along the X. And type 90. Got that rotated right. Let's go to the front view. Now, I'm going to use my move tool and move this circle somewhere over here. Now let's model start now this is really simple. First of all, let's reduce the scale and too big for me right now. Let's get inside our edit mode and let's use our selection, select everything. Get inside our vertex select. And let us now use our scale tool to use the white circle and scaling down the lips, something like that. Now, it is really simple. We just need to select vertices that are that are not next to each other. You just need to leave one vertex and this select the other. Alright, so now we just need to scale this down. And you can see that this is looking like a nice diamond shaped. It starts now you can again undo. If you want, you can select the other alternating vertices so you can see how that's affecting the shape and the selecting these four and do the same. And you can see that nice star shapes, we are getting something like that. And you can try this with any cuts, any number of vertices on circle. You just need to select the every other word disease there and you need to scale it down to see different kinds of stars that arrive in here. So I'm happy with this right now. Let's get to edit mode and let us select everything here so that everything is fit. And now let us fill this because right now they're just a cluster of vertices and there is no face in debt. We need to first fill it by getting inside face and simply clicking Fill. And that will give us a nice fill over there. And let us get to an object mode. And this is start and that looks nice. So we'll go ahead and place it. You can see our composition, how that looks. I'll go ahead and open that up to get a better look. Let's place one over here. Yes, it's looking a little big, so let's go ahead and scale it down, get inside our edit mode, and make sure you select everything and usually white circle to scale it down like that and get to object mode. And now all you have to do is just duplicate this and keep wherever we want. We just need to get inside our object and find duplicate objects here. And just duplicate a star over here. And then let's select this again and get inside our object and duplicate objects one more time and place this somewhere and you can see how that's affecting our composition on the right. Let's make another duplicate object. Let's get into Duplicate Objects. Places start over here, and now it's just about giving some randomness to this. So let's get inside our edit mode and scale some stars. I want to scale this star over here so that its little smaller. Let's get inside our edit mode and make sure everything is selected and use our scale tool. And use the white ring to the scaled down. And you can see how that's looking over here. And let's look at it from the object mode. You can see that, yeah, that looks nice. Now we have got everything composed well, and now let's get to some materials. So let's give this planet and material first. So I'll just select the planet, get inside the materials and give this new, and let's give this some color. Like I want a nice orange, reddish matter, just like mass. I wanted to keep it something like that and call this as red. Although it's a little bit orange, It's okay. You can call it the name you want and let it be like that. And we have called that planet. And now let us give some materials for this. And for this, I'm planning to use the yellow material which I used before, to use the same materials which I have in the scene. I'm just going to click on one of the star and click on our list of materials and select the yellow. Select this yellow. And do the same here as well. Jello. Alright, so now you can see that we have got our grid line there, which is not looking nice. So we can just go ahead and switch off the grid line. Just by if you open this panel up, you can find that we have got these two buttons enabled by default. Now what that means is this will show you the gizmo when I select an object. This what shows you the transform controls is often called asset gizmo. When I just turn that off, this gizmo will disappear. In the camera view. We are not going to compose anything here, so we can always turn off gizmo when we are in this kind of view, wherever we are using this viewfinder. So whenever you're using these, you can always go ahead and turn off the gizmo. And here it will show overlays, which will also turn off every other thing the except your mesh objects in the scene. This means that whenever I click, I'm not going to get an outline around what I'm selecting. In this way, you can always see the effect or the result that's very close to your final image. I prefer to use it like this whenever I am using two viewports like this. And if I'm inside the camera view and if I want to use a viewport like viewfinder of the camera, then I always make sure to turn these things off so that I can compose things more freely here and I get an effect that's very close to my final image. And always make sure if you're using this study or at least in the material preview or in the render. So we have got these things now, the next, what we are going to get is we're going to extract this asset image so that you can go ahead and share this with your friends. Now you can do this with 22 ways. One is you can go ahead and render it just like how we saw in the lighting worksheet. You need to place lights and light up your scene to get that render that you're looking for. But if you come here, this is more of an illustrative style of an effect here. And I would not like to have sharp lights are shadows, and I already liked this by default. Now what I'm talking about is material preview will basically give its own default lights in the scene by using HDRI, which you will know when you are learning Blender in the future. But as of now you just need to understand that the viewport shading also has default set of lights. It is basically giving some lights so that you can see your scene when you're viewing your objects. If I get to render, you can see everything looks black because we do not have a light in place. Now since this is aimed for complete beginners. So you can go ahead and light up your scene if you wish, and then get into Render. Render how we didn't before Israels for now, I'm okay with the scene that I'm looking in here. And I wish to save this as an image as it is. How we can do that is by simply getting inside our view, seeing viewport render image here. Blender will give me a render of whatever I'm seeing in the viewport. And that looks cool and I'm happy with the effects over here. And I can go ahead and write this if I want, but this looks good for me. And we can go ahead and adjust the composition as much as we need until we get satisfied output. I hope you enjoyed this lesson and we saw how we can compose and get a quick screenshot by using the viewport render image. This can be adjusted in our resolution, whatever resolution we kept in the output properties, it's the same resolution. What we get this screenshot. Now we have got this. Let us go ahead and save this so that we can share it. I'm just going to get inside image here and get inside. Save As. And I can always give this a name here. So I can call this Test, save it as a PNG. Or if you like JPEG, you need to change this file format and JPEG, but Blender by default setup into P and G. And I'm okay with PNG. Once it's saved here, you can always go ahead and save as image, and you can find this image in your file browser anytime we want. 24. How to Create Your Own 3D Artwork: In this video, let's learn an approach to 3D modelling or creating 3D artworks. Now this will be really useful if you are creating your own artwork from scratch. All right, so let's just talk about some basics and some creative process that's involved in creating a 3D artwork. Let's take a look for this. I have just put a presentation for you to explain. Here. You can find that how you can start with any 3D artwork. Let's run the process. The first one, you need to understand the workflow, That's how this works. So let's see here that we have got The first stage is the concept stage, and then we take it to modeling stage and then we give it the materials. And then we are adding cameras to compose, and then we add lights and then we render. Finally, let's take a look in depth first when I mean concept. Now let's see what this means is first of all, concepts consists of all these, their inspiration there, the idea, reference, color board, mood board, everything comes into this concept stage. And what this means is, first of all, we need an inspiration to come on, create any artwork. So inspiration is like drawing connections by what you saw or what you experienced now in your past, then applying those experiences to create something new. And it's like often like when you see something you get a spark of an idea. Like I can grade something like that. And when you see a cycle and you quickly wanted to model a cycle in 3D or whenever you see an airplane, you find it, you suddenly get an idea to create an airplane. Instances like that. When you see something, you wanted to do something out of that. So that can be said as an inspiration. It's an instinct and it's a spark that asks you to create an artwork that's inspiration. And this can be taken from photographs which you took or from other photographs. And there are artworks on often you will have dreams in which you have some new objects that come into your head and you can take inspiration from that. And then there's books and movies. And whenever you travel, you will meet lots of new people and you see new things. And you might get inspiration from that. So oftentimes, inspiration comes from creating new experiences. Whenever you do something new in your life, you might get inspiration from that. So that's the first thing. What do you need to create a 3D artwork? And then comes out concept ideas. So once you have an inspiration, then comes, what do you want to do with that inspiration? Is it an artwork, is a 3D work or it's a painting or a photograph, whatever it can be, any creative representation. But first thing what you need to do is the concept idea. What is your concept? It's like basic sketches, scribbles. They can recall this doodle sketches, drawings. Or if you're not very good at drawing, then no issues. You can always write descriptions in words like What do you want to create? Oftentimes weren't descriptions help a lot. And then you can arrive at a drawing at a later stage, all you can directly get inside your work. So it does not necessarily mean that you need to be an expert in drawing. You can always go ahead and write down your concepts. Then it can be even your clay or paper models. So some people are dead would like to create things in the real-world like mockups. They can go ahead with clay mock-up. You have plasticine clay or any clay that's next to you. You can go ahead and create mockups out of that clay. Or there is paper models if you want to try out. So that way you can create a concept idea from your inspiration. The next thing what you can do is your references. Reference are like concepts that already exists in your inspiration. It's like you saw something and you wish to create something that's very close to that, but you want to add your own touch then, then there comes the references. Oftentimes when you start creating a work, there will be or there may be some works that are related to that, then you can always refer to that and you can treat them as references. There already created works like concept related representation that already exists and similar to concept or idea. And then comes your color or Moodboard. As soon as you find these three, then you can sit and see your mood of your artwork. You can write down descriptions. You can start collecting all these images at one place. This can be said as color or Moodboard, where you collect these in one place and you will note down some key details like the materials you wish to achieve with the lighting you, which we wish to achieve, and the camera angles sometimes and everything comes from this board, from where you can identify color material and the overall look. Once you've got the concept ideas finalized, and you can go to the next step, which is like a 3D modelling itself. This is first you need to identify your key subject. For example, if you take a look at our rocket concept, we had a lot of elements there, but still the main point that, and the main element of importance or the emphasis mostly rocket. Without that rocket, that story wouldn't exist. So it's like you can take anything without which you cannot create a story that can be the main elements. So first you need to model out the main element and then you can start building things around it. So you can treat this as if you're watching a movie without the protagonist, then you would not have a story that's in place, right? So you will not have a complete stories, which is the same point here as well. You need to first emphasis, give emphasis, and start making the main elements. This will mostly catch your viewers attention in the first place. So how do identify the main subject is, whenever you have a concept, the first thing that you see in that concept and say that, Hey, that's seen, for example, we made a rocket and we had stars, and we had a planet. But everyone who looks at that image will first look at the rock and say it's a rocket scene similar to that, people should be able to identify the main elements. So that's the main element of your concept. And then you can get inside the next phase, which is the previsualization phase. What this means is I have split this into two. This is how I would like to work. First I do a creative analysis and then I do a technical analysis. So what that means is that when I talked about creative, it's like I see the base forms first. So whenever I want to model something, this will be my reference or this will be my blueprint for my morning process. What I mean is like whenever I see a shape, take the rocket example, I could first identify it cylindrical shapes. And then I saw some of the proportions like what is its proportions and dimensions, etc. Then we can come to the technical analysis, which is about how you can create that in Blender. It's just about the software. How do you want to represent this in Blender? And this is not realistic to blend. You can take this as in any art medium and this in here you can discuss and debate about which medium to use and how and which process to start first, and how to finish your artwork. So this comes as a technical one. Then, now we step into Blender if it's 3D, and this is the first time we touch blender in this entire process. From there, we collect all these, all these references and let's start modeling. This is the modelling primary objects phase where we model the important element of our scene. And we create the main element which is crucial to the story and without the story doesn't exist. So we will first model all of the elements which we identify our key and crucial for a story. And then let's get inside more Linda secondary objects. Once we are satisfied with primary ones, then we can go ahead and model out the small details which make that story complete, which, which add to the fine touches and they give stories realism. They often bring a story to life. This will include the supporting elements that enhance and add depth to a story. So this comes to the last of which in the modelling process, if you take our example of a rocket, we modeled the rocket first and then we created those tasks, which are all the secondary objects which added to the story. And then on the bottom you can see I have summarized the process here, which is identifying the key subject previsualization, modeling primary objects, then more links secondary objects. All right, so let's look at materials and this is pretty straightforward. You just need to have the material board where you collect and put every materials of your references, your concept, and any description of short in one place from which you choose the materials that I wish to create this color on that color. Here It's just referring to the colors are using color palettes and then assigning materials. After we assign materials we give the camera. Camera angles are very crucial because they add an extra dimension to your story. The camera angles can provide you a powerful tool, and it is, it can enhance your mood of your story. This is a huge subject and you can study about this. And if you're interested in photography, then you can take your camera and you can start shooting to experiment with camera angles. Instead of camera, we can see that adding cameras first, what to decide is, what is the number of capitals? From which point of view do you want your viewers to view your scene? This is what is the number of cameras and how much cameras do you want to add? And then decide the point of view. Do you want a low angle shot or a top angle shot or a French art or which type of a shot do you wish to convey? This will come in the adding cameras section and then we decide about the aspect ratio. This completely depends on where we publish our artwork. If you're doing an artwork for social media which demands a square format, then we wish to go with the square aspect ratio. If you are doing content for YouTube or film, then we'd go with the 16 by nine. And similarly, there are different aspect ratios available and we need to choose wisely where we are going to publish our aspect ratio to get the best composition. And then we'll get inside the composition where we compose the scene as the story. In this also involves the camera angle, which we just talked about. It's just summarized below. It's adding cameras, having, putting the aspect ratio and then composing. At the last. Once we have got the composition ready, we can always get inside the add, adding lights. So here we installed the three types of lights with this knee point area and sign. And depending on your story, you can create harsh lighting shadows and you can create softer shadows for most software look and you can use the lights as per your design of story. Here you can see the three main process, which is first adding lights, then pushing them that you want the light, from. Which part you want the lights, the highlights, and where you want the shadows to appear. This is completely depending on which type of light you use and where your lights are positioned. Then you can always play with your color and intensity to get the mood that you want. Finally, we'll check everything will add up lights and then let's take a test render. And then we'll change things and get to the final render. What is the process between the test render and final render is huge. So it really depends on the scene that you're trying to create. Sometimes the first lender might appear really well and you wish to settle with that. But oftentimes what happens is that we, once we get the test render, we then adjust the composition to enhance the artwork a bit. And sometimes we adjust lights, and sometimes we even adjust the position and the models if required to add depth, more depth and to meet the artwork better. All this we do here is just we make the artwork much better than it is existing right now. This is completely an iterative process. Once you get the test render out, then you need to see how you can emphasis or how you can increase the impact of this artwork. You can see in angles, you can change lights or you can even change models until you get the final look that you want. So this is what is the rendering process to Lynn. But if you see that we did rocket during which we first composts the rocket image, then we added some extra elements. The reason for that is because we did not create a huge scene into a just a rocket. And the small elements which we talked about where this starts. And one planet which was just an ecosphere. For this reason, we used to compose it first because I was seen was very small and we did the rest of the process later. But whenever you have multiple objects in your scene, when you're seen as huge and has more characters in the scene, then you should always follow this process to achieve desired output. All right, so with this, I'd like to wrap up that this concludes our process for creating good-looking images for 3D and not just 3D, you can use and apply this process in any, any kind of art that you could get. 25. Conclusion: Thank you for taking this class. I hope you have learned something new. Good glass is about discussions and engagement. Feel free to write what you thought about the class in the reviews section. I can't wait to see what you have done. Post your work in the project section, and I'll give my feedback on it Before you go watch the short video on how we use Blender at RStudio. I would like to add that this video was featured by the official blender video. Blender is during the launch of Blender. Blender is our go-to software when it comes to digital design from start to finish, independent designers from India, we have a background of product design. The point what makes blender so interesting is we use it every single day, but for multiple purposes, we loved making virtual product photography in Blender. We have created the mountain bike and the environment here. Blender gives us the power to produce shorts that are difficult in the real world. Cycles. And awesome render engine performs great on CPU and GPU and gives us realistic results fast. We could achieve any lighting we wanted and created a day and night shot of our mountain bike. Ev was also used to create a quick animation here, we could get frames rendered in seconds. The introduction of geometry nodes is a game changer for us. We used it to distribute the water droplets on this mango and it proves to be a great feature when it comes to food visuals. We have used procedural textures to the same, the shader for this mango slice, with procedural textures being so powerful inverse attend. We decided to extend its uses to generate unique patterns which was used in our design product. People, planters leave for home deco. We loved teaching what we learn and experiment and share our knowledge through online courses that features blender as a design tool. Blender is not just that. We have been seeing blender and evolve as a great tool for design. Usage of Blender in non-traditional ways excites us and we're always looking at more ways to use Blender in our workflow. We feel it's really the time to celebrate its diversity. Blender being an open source software, it has opened and given us the freedom to create.