Transcripts
1. Intro promo: Prototyping for packaging design has a host of benefits. It allows you to view your designs from various angles and make confident design decisions. I have some other Claudia, Mia, creative professionals from India join us in this class. Let me uncover the potential of Blender. I said robust tool for virtual prototyping and packaging design visualization. By enrolling in this class, you will gain access to some of the major 3D models, including a DIN. Do, an approach you can use in your person as well as commercial projects. We are going to harness the power of 3D to gain a deeper understanding of our design and reduce the design production. By making confident design decisions. We will learn the tools and techniques in modelling and UV mapping to create textures that accurately map on curved surfaces. Followed by material creation that simulate various packaging effects, such as embossing, UV coating, and foiling. We have also included the simplest techniques to extract a render of your virtual prototype so that you can share your design with your clients or investors as 3D renders blender is a free and open source software. We understand the difficulties of learning a new software, and that's why we have developed beginner friendly lessons that focus one knee on the tools that are required by you. We have provided a minimal keyboard shortcut sheet that you can print and have it alone your desk in just a few hours, you wouldn't be able to grasp the core concepts. If you are a packaging designer or someone who works with packaging, then enroll now. And this course will be great for you.
2. 01 S1A Opening a blend file: After you install Blender, this is the first screen layout. There you're going to see. So this is called as the splash screen, where it shows the current Blender version where I have got 2.93 dot-dot-dot installed. So depending on this version, the artwork shown here might change. And then you have options for new fade and then recent files. So you can quickly go ahead and dismiss this panel by pressing Escape hard, by just clicking outside the splash screen. Okay, so there we go. This is the first file that you're going to be greeted with once you start Blender. Okay. So for this purpose, after doodle, I have come up with a specialized blend fight with the help of which we can learn the interface. Okay, so now let us go ahead and open that file. And go to file. And click Open. And that'll aggregate to my exercise files. And select Section 18. And select a file that says Interface basic stock blend. I'll click Open.
3. 02 S1A Understanding interface panels: So once you open the interface basics dot blend fail, you won't be able to see at dinner with a graphic that says cold brew coffee. This file was made to illustrate you the basics of the interface and then interface navigations. All right, So let's begin. As soon as you open Blender, you'll be able to see four different panels on right? So the first panel here is the 3D view port, which actually houses all your 3D models. And you can basically look at their entire 3D world. And then the second panel here is the timeline panel. With the help of timelines, you can actually edit animations. So if you are familiar with software such as Adobe Animate or Adobe After Effects, then you'll be familiar with the concept of keyframes. So such keyframes can be applied here. And you can basically animate your 3D model. And then you have the panel called Les outliner to the right. So what this actually does is it shows you a list view of all the objects that exist inside your 3D scene. So with the help of this, you can easily identify objects when improperly named them. And it, it, it acts as a great support when you're actually modelling and naming files. And you can also organize some things inside of this outliner. And then finally, you have one panel which says properties, which actually displays all the properties associated with the 3D model, as well as the properties of the entire 3D scene. So these are the main four panels that we'll be using inside of Blender.
4. 03 S1A Outliner basics: Now let's talk about the outliner in detail. So notice how there is a scene collection which actually holds the entire scene. And then we have something called as the collection. And notice that there is a drop-down arrow next to it. So I can go ahead and collapse that and expand that by just clicking on the drop-down arrow. Once I've collapsed that it's going as collection and I can expand to see whatever is insane. So right here I can see that three different bodies exist inside of the collection. So they're called didn't body, that didn't opener and it didn't seem. So let's go and see what are the lambdas mouse clicking on on these to actually select this to show you what's inside. So all these three bodies exist in a collection. So collections are basically like folders which actually help you organize your models and other 3D objects inside your entire scene. So you can make as many connections as you want to keep all your objects organised. So I have three objects here, so they are the, let me just show you. So these are the gin opener. This is a separate object and then I have it in body, and also I have it in C loses a small objects here. So all these three objects exist inside of that collection which I can hide and unhide when needed. Alright, so let me go ahead and name this collection. I just have to click on the Collection with my left mouse button. And I can double-click that to enter into the Rename. And so I'll just call it as 10. And hit Enter to rename.
5. 04 S1A saving a blender file: So with that being said, let us go ahead and save our blend file and I'll show you how it is easy to see the Oberlin fail. So I'll just go ahead and file on my top corner. I'll go to File and click Save or Save As It's just like any other software where you save files. So I'll go ahead and save as and give it a name and save it. Since I've already saved this file, I'm not going to do it, but you can call it as name and click Save As to save that file successfully. Alternatively, once you, you can always say Control S or Command S if you're on a Mac to save your files.
6. 05 S1A Understanding the 3d viewport: Let us go ahead and understand the 3D Viewport. Unlike traditional duty applications which only show you x and y, which runs on two coordinates. Blender and other 3D related softwares work on three coordinates, namely x, y, and z. And the interface shows the object in three different coordinates, like so right here. In this, you can see that there is a green line, which, which goes this way, which is called the y-axis, and the red line which goes through the screen. If we notice to the right, there is a small gizmo which says X, Y, and Z. So you can see how the axes as actually aligned and how your model exists in this entire axis. So imagine this is like an entire 3D world and you can put objects wherever you want, depending on these three axis.
7. 06 S1A Interface navigation: Now let us go ahead and see how we can navigate our interface depending on this axis and how we can move around in the 3D scene. Okay? So all these controls exist in three ways. In blender that is namely either through your mouse or your keyboard, or you can also use the screen navigation tool that exists here or towards the right of the 3D view port. Alright, so let's first discuss the screen-based navigation. And then slowly we can come down to the mouse and keyboard. If you notice here there are four different icons on the right. So one says zoom in or out of the view. The top one, which has a magnifying glass icon to it. So I just have to click on with my leftmost and then drag to actually zoom in and zoom out of my 3D model, which basically goes in and out, close up on Zoom all. So this can be used like that. And then the second icon shows the move to View, which is actually a pan. So I can click that and drag so I can pan around my scene. And then I have the camera view toggle. So as of now we don't have a camera that's exists. Well, we'll cover that in a separate section. And then we also have the last button which says switched current view to perspective or orthographic. So you can have two types of projections in Blender, namely perspective, which will have distortions and can replicate any kind of a lens effect. And also you can go ahead and use orthographic projection if you want an isometric type of a view. So you can click that and go into the isometric projection. Now you can see the model without any distortion in the perspective. And you can click that back to toggle between isometric and perspective. All right, so, and we can also go ahead and take a look at the top circle, which shows the XYZ coordinates in which has a color. So what we can do is go ahead and click that circle and drag along. And you can basically tumble around the scene. This is basically kind of an orbit motion. And you can orbit around any object and see all sides of it. And know when a just click and drag with my leftmost. And I'm able to see all the views of my model. All right, So these are the basic navigation controls inside of Blender. So they are the orbit and you can pan and then you can zoom in and you can also change the perspective and orthographic projection. So you can also use these, use the viewport controls here. And you can directly go to a front sign, our top view. That's just by clicking. If you just hover your mouse to click and hold and go, do any of these points which actually highlights the blender actually lights up dead zones for you. So now if I go and hover over the z, it is going to have a light own dizzy and I click that once. It's going to go to the top view. And then I can hold on the x and click and it's going go to the side. And namely whatever we want. You can basically hover over those small dots and click to actually snap to that view what you're looking at. And so this is really useful feature if you, anytime, if you want to look at your graphic in a more, in a more orthographic projection like front view or side view, or taught you how our package or something looks in front, side and top. So that can be rendered very easily using these tools right here. So as I said before, you can also navigate the 3D view by using a tree, but most with the scroll wheel. So what we'll go ahead and see how it's done. So you can use the scroll wheel on the middle mouse button and click the middle mouse and you can basically tumble around, which is the same setting that is given by this circle out here. So you can do that by just hitting the middle mouse button and scroll around. In some modes, you the middle mouse and these are the same. So the scroll access and middle mouse button and press that I can go to tumble around the object. And then when you use the scroll wheel, you can basically zoom in and zoom out of an object, which is nothing but this feature, what is found here. And also you can pan it down by pressing the middle mouse and the shift at the same time. And then you can basically pan around the scene or the 3D object.
8. 07 S1A Shading modes: All right, so now let us see the different shading modes inside of blended and how you can shade your objects, 3D objects or models. So there are various modes and methods of shading and there are various options to and so which is actually found in the top right corner of your 3D viewport, which shows the viewport shading panel. So you can click the first one, which is called as the wireframe. So when I click that, your model is going to be rendered as a wireframe. And this also can be rotated and shown from all alone, just like what you did before. It's just a different method of shading. And then you have one called the shaded view, which will show the 3D model without any graphic or anything like that. You're just going to see a model with no textures and on it's just a 3D model which you can see it just the geometry without lighting on anything like that. And then you have something called as the material preview. When you hit that, you're going to see the preview of the material inside of the viewport and how that material looks. And when this is enabled, you will be able to see all the textures and details and graphics that you have given to your model. And finally, we have one goal, the rendered view. Now, we don't have any lighting or associated lights or environment in our scene, so we are not able to see the object clearly in the render view. So we'll come to that later in this part of course. As of now you can see the viewport material preview and then the wireframe, and then the shaded view. This can be accessed another way by using Z on your keyboard. And I press zed wherever I am, I can see the shading menu that pops up. Now here I want to tell you something that Blender is an extremely fast software which uses quite a lot of shortcuts so that you can actually access blender and a really fast way and it works really fast with you. So to facilitate that, developers or blender have come up with really cool shortcuts which you can learn and which will come up in later point of this course. And as of now, I just want to show you that how these kind of material that space can be accessed by anywhere in the viewport and just by pressing Z. And then I can come on to the solid and then material preview and then wireframe just like I would on the top of the screen.
9. 08 S1A Duplicating objects: Let us go ahead and see how we can duplicate and delete objects inside of Blender. So I'll just go ahead and open up the collection which is thin. I'll click the drop-down menu here. And I can see that embodied in Oakland and in seals or three are different objects right there as I said before. And I want to select the ten body. And I'm going to click on between body here on my left mouse button. And then this is highlighted in blue, which shows that this is being currently selected. All right, so now what I'm going to do is go ahead and press shift D on my keyboard to duplicate that, and I'll click once. So this has actually duplicated my object. And you can see on the outliner with there are two objects name called Pin body and blender has automatically renamed as dark 000 001. Just like you cannot have two objects on the same name, so it has already renamed as 000 001. And you can go ahead and rename the thing that you want. And we can also go ahead and hide and unhide to see what's there. And in this point, I also want to tell you that there is an icon next to the object in the outliner. This is, this works the same way as in layers as in Photoshop. Just like how you would turn off and on something in a duty flat form just like that, you can actually turn off a particular body to actually hide that. And since we have two duplicates on the same place, we are not able to see that properly, but I can go ahead and hide one. And then this is, this exists at the back of it. So this also activate, go ahead and again click that to actually hide that. And then we are left with this too. And I hide all and it's going to go everything for our solid that's go ahead and unhide all. Click back and everything. And now we've got it back on. All right.
10. 09 S1A Transform tools: Alright. Alright, so I want to move my duplicate somewhere nearby so that I can see and confirm that it's a duplicate of the existing object. So we can do that by using the transform tool status found on the left of your view. This can be accessed by pressing P on your keyboard, or you can also click on the small arrow, which is shown here. And to show the tool shelf, this is basically called as the tool shelf, which actually houses most of you are transforming tools. And you can use that to move, rotate, and scale your objects inside your 3D space. Okay, so let's go ahead and click on the Move Tool. It says here, which shows the an arrow on four quadrants which you can move it on anyway, you like. Okay, so I'll go ahead and select the Moodle and make sure that you have selected the ten body 000 001 here on the outliner, which is the duplicate. I'll select that. And I'll tumble around to see how my gizmo is. And I want to talk about this gizmo for a sec here. When I click on the Move tool here I am. I'm shown with a gizmo on three axis, which is showing the red on x, is blue on Z and the green on y. So when I actually click any one of the axis and just drag with my left mouse button click and drag. I'm able to actually pull this out of that. So this has more on the y-axis or we can see that. And then I can also drag it in any way as I want. So now I'm moving on the x and I can also move it on the z. So you can already the gleam move your object on all axis without constraining to one. What you can do. You can actually select the inner circle, which is in white, and click on that and move and you can move it on all the axes without a constraint. I'll go ahead and do that by pressing Control and Z. I'll do that. And I can again place this on the floor. All right, so we saw the transform tool. The first stolen transformation is just a move. Then let's go ahead and see what we can do to rotate this object axis. So the next tool here is called this a little bit, when I click that, I'm greeted with a different type of gizmo. It's basically a spear and appears to be a circle in, in, in any one of the angle. So what I can do here is this also has got three different axis, just like the move gizmo. It has the rubric on extra return 0 and repeat on y. What we can do is when you hover over any of these three rings where you can see it gets highlighted, right? So I'm going to hover over the red ring and I'll click and drag and it's going to rotate on the x-axis for me. And I can rotate it in any way and in y and z. So I will go ahead and undo that. Let me just rotate on the z-axis to have a different view. Okay? Now let us go ahead and talk about the scale, which is right below here. And I click that. I am having the same, similar type of gizmo, what we found in the mu2. But here we can scale the object in that axis. For example, I just clicked on the zed and scale and notice how the proportions of the, of the tendinous changing now and all the graphic and everything is getting stretched to accommodate that. So I'll go ahead and undo. I'm not going to scale this, but there's further information. You can scale it in any axis and now you can see you're basically distorting the objects. So make sure you don't scale this one. I'll go ahead and undo by pressing Control Z. And then you also have the final tool which says Transform, which is actually the combination of all the tools together. So in my experience, I would never suggest you to use that because you won't know whether you're scaling or reading on it. Everything acts in the same place, so it's a little tricky to use. And then we have the annotate tool, which when you select, you can basically write something on your canvas. And maybe you're giving this file to someone else and you just want to put a note to it. So basically it's just an annotation tool and it works that way. So I undo that. And then you have a measure tool which actually acts as a measurement for an object. So we'll, we'll cover this later in detail. But this is just like how you would use a scale in the real-world, you can actually measure distances between objects, or you can also measure the sizes of an object just by clicking and dragging. And it'll show the size of an object and go ahead and undo that. Let's talk this in detail later. And then finally, we have a Create menu which lets you create primitive is inside scenes, which lets you create basic shapes such as q, cone, cylinder, etc. So this also will create in a later point where isis want to inform that, want to keep you informed that there is a tool called as grid right here. So I'll go over and undo. So that wraps up our transformation tools. And in this 3D view.
11. 10 S1A Selection tools: Let's, let's go ahead and look at the selection tools now. We have the top one. Coach coins says the select box is nothing but like a marquee selection where you can just drag. When I click my mouse anywhere outside the object in the empty area I can, I'm able to draw Mark way to select something. This is very similar to the selection tool or Photoshop or Illustrator, or any tool to retool your views before. So you can make a selection box to basically select multiple objects at the same time. So when I draw a selection box around one object here, it just selects one. And I can draw a selection box like this. And it just selects the two bodies and notice in the outline on how the these two what is selected and highlighted in blue. Right? So I'm going to select everything by pressing my drawing a mockery along everything. And then you can see how all the objects are selected here. You just have to click and hold to actually access a drop-down menu inside the selection tool, which actually shows multiple types of selection. One says tweak and then select box, and then select circle, and then finally select lasso. All right, so yeah, it's pretty self-explanatory, but I'll go ahead and tell you what it does. And when I said tweak, I'll deselect that. And this is basically, you cannot draw a marquee around things. It just selects the object that you are clicking on. Okay, so when I click on the body is 000 001, I can select that only and I went and click on here and it selects that. So notice on the outline on how things get selected when I click on different things on the 3D scene. Okay? And then let's go ahead and see what is a select circle. Select circle is kind of like a paint selection method. Where what you can do is go ahead and paint the selection where you want things to be selected. So instead of clicking 11 and going like that, I want again do is I can just come here and paint over an entire area to select things. Click and drag to paint this election so I can select multiple, select multiple things at the painting, a stroke. And this also, in my personal experience, I don't use this much, but there is a feature like that. And then you also have select lasso, and this is the final mode of selection. When I select that, you can basically draw any shape that you want. So I can only select this by drawing the shape around that. But make sure that this shape should completely engulf and edge with completely draw around the whole object. It will not select an object which it doesn't completely cover. Okay, So this is the Lasso selection. And then let's now see how it can be select things. So, and also how we can select multiple things at the same time. So I'll go ahead and select the tweak again. And I'll select one object at the top, which is the tin opener. And I want to select all by pressing one by one. So what I can do here is to add selections to previous selected object. I have to hold Shift and then press the next one to select the other object, and then press here. And it selects everything. It kind of adds up to this election. And alternatively, you can do this on the outline or to say once you select some object, hold the Shift and you can keep selecting and keep adding to the selection as much as you want. Okay, now let's go ahead and see how we can deselect things. So once something is selected by Shift, you can hold the same shift and click on the same object again to basically deselect that. So I'll go ahead and deselect things. Okay, So there's one more selection method in this blender. And what you can do is place the keyboard shortcut a to select all. And so when I place a, what it does is kind of select all the objects in my 3D scene. And you can also deselect all by pressing a place which is like WE, and I press it twice, it's going to de-select everything like that. It's just like a double-click and you have to do it a little faster to make it work. So an I plus 1, so it's going to select all and I press WE, and it's going to deselect everything.
12. 11 S1A 3D Cursor: Okay, so now let us talk about a very important role in blender, which school called the 3D cursor. Notice when I tumbled around and see, notice how I can see there is a small crosser with a red and white circle, dotted circles on, on the side. So this is called as a 3D cursor. So this has a lot of uses and I'll just illustrate one such example. And you, and we'll see the rest of things later. When I sent it selected 3D cursor here. And I am able to send this point anywhere I like in my 3D space. So one selected, you can click anywhere and the 3D cursor will go ahead and lock to the cursor position. So once I'm there, I will set the 3D cursor here, and I'll show you how this is useful in a case. So now let us go ahead and select the duplicate, which is that embodied 0, 0, 1. I'll select that. When I go to the top of my 3D view, I can see a small menu which shows the global. And then we have the transform pivot point. So I'll select the transform pivot point and drop down. And here you can select the 3D cursor. And once I've selected that, I'll go ahead and select the Rotate tool. And notice the gizmo actually falls on the 3D cursor on not on the object itself. So how is this useful? So imagine this is like just away. Use transformation tools in Photoshop or Illustrator, we call it something else, pivot point. So this works very similar to that. So when I hit this somewhere and I transform and notice the pivot point is there and it prepaids based on that pivot on not on the object spirit itself. So this is kind of useful in many situations. We can change the pivot point of an object and do transformations based on that pivot or not on the object itself. So I'll go ahead and set this back to object. The way we would do this is again, go to the same transform pivot point button and select the median point, which will land the pivot back on the object itself. So there are, as I said, there are a lot more of uses. Just a small thing, small use of the 3D cursor. And they're a really lot more which we'll talk later in this class. And I think that wraps our tools section.
13. 12 S1A Sidebar: All right, so I want to talk about a submental inside of this 3D view, just like the Tools Panel which came up when we press T. The similar way we can actually access another panel which is actually called as the sidebar, which is actually a host of a lot of data which is shown there. So I can access the sidebar by pressing N on my keyboard. Or alternatively, I can also click on the arrow next to that, next to that transform orientation plan. I'll click that. And here we go, we are able to see a lot of data on us, on a particular object selected. So when I select the ten body here, it's going to show its data. It shows the first is the transformation. Make sure you click on the item here. And then you have the transformation which shows the location, rotation, and scale of the object, and also shows the dimensions of the 3D object. So it shows zeros 0000, which is like it. It kind of is in the center of the 3D scene. So it shows us 0. Alternatively, when I select the next object, the duplicate over there, I can see the location data here. So this is actually located 69.72 millimeters across the x-axis and 69.304 across the y and minus 2.57 on the zed axis. So this is the location of an object. And notice how this changes when I move my object with my gizmo, I by pressing my move tool, and I'll move that. And notice how this data changes based on the axis that I move. I'm moving, currently moving on the z axis. And notice how the zed value changes. So this is basically a coordinate of location information of your object on your entire scene. Alright? And then let's talk about the rotation. How it affects. It is very similar. And this also shows the probation the rotation data of an object. And then this is, if you remember, we rotated out object on the z-axis when I first illustrated the duplicate tool. And here you can see it's notated on minus 46 degrees across the z. And I can change that by, by again going to rotate tool and rotate that. And there is, notice how the values change here. And alternatively, you can also rotate and transform objects on, based on numbers by in here. So you can kind of go into the Z and click on the arrows, and you can move that points. Also. You can notice how the cursor changes when I go to the mid of that set panel and, and I move, you can, when I click and drag my cursor, you can see how this object rotates on the 3D space. And similarly you can rotate on all the x, y, and z. So I'll go ahead and say 0 for all worry you can do is click on that and press 0, press Enter and y 0, and click on the set and press 0 and enter to actually reset everything back. And you can also reset its location data by pressing the, by editing the values here. So I want to reset this back to my floor. I, it's currently floating in air, so I want to put this back in my flow. What I can do is on Desert, I'll click on desert and presses 0 to reset this back to the floor and it snaps back. Alright, so this is our location and transform properties. I mean, this shows, this bar shows the transform properties of our object. So notice the dimension panel which shows the x, y, and z. So it shows how tall or what is the size of an object in a particular axis. So on the z-axis I have a 101 millimeters, which is nothing but the height of this. Ten, just roughly a 101 millimeters tall. So this also shows the other dimensions on the x and y. In this case, it's nothing but the diameter of the of the tin can. Next, let's go to the view panel and we can see the focal length of your camera. And then we can also see the location and rotation of the 3D cursor, what we said before, and since we kept it really cost. So here it's showing its data the same way as it shows an object. And it shows the location and rotation of three because I can go ahead and make this 0 to put the 3D cursor back into my origin. And I can also put the rotation or at least 300 to move the 3D constant. Alright, so that's it for this. That's it for the sidebar. And we can go ahead and close that by pressing the end on our keyboard to hide that sidebar.
14. 13 S1A Unit Setup: All right, so now let us go ahead and see basic unit setup. So basically to give you an understanding and I press the Enter key, you are able to see the, when I click the item, you are able to see the dimensions right? And also on the millimeter, setting up proper units will give you the most accurate results and also will give up best images when you render your scene, right? So let's go ahead and see how we can set up the unit. So for this, we'll have to dive into the property span. So I'll go ahead and select the property here, which says the scene properties, which has the corn and atmosphere icon next to it. So I'll select that and notice how these properties change here. So all these are seen properties which are actually the properties of the entire scene. Alright, so now the headings is seen and then we can see the units from day. Sometimes it might be collapsed and you can open that. And then you can see the unit system which says metric. So this is just like how we would set up a duly tool. When we start, we basically define the canvas right in the pixels or millimeters or whatever, or A4, A3. This is very similar to that and you can go ahead and set up your unit when you actually start getting inside Blender. So before you model anything or do anything, make sure that you first set up your units. So in the unit system, let's choose metric and New have imperial units as well. But for sake of convenience, let's go ahead with metric. And then you can see that a unit scale. So which is like, for example, one, which means like. The entire scene works on meters, which is one metric. So one is like one meter. So all these are the metrics or when you see here the dimensions quickly teens to 53 meter and everything's in this two meter. All right. So I'm going to set up two millimeters. So if it was one, so how am I going to set up the delimiters is actually one meter is equal to 1000 millimeters, right? So what I'll do is select here and select 0.001. Alright, so immediately my scene is two millimeters. So what I can do here and choose the Lent and selected drop-down and select as millimeters. So now you can see all the units are shown in MM. So for my convenience, I'm going to set up with the millimeters. You can also set up with centimeters if you want. But let's go with males 10.
15. 14 S1A Additional panels: Let's go ahead and talk about the other other panels. And Sarah blender to do that, I'll go ahead and open a new file. So what I'll go ahead and file and say New and click on General to open a new file. And this, I'm not going to save, so I'm going to say don't see. All right, so we have open a new document here. There are three objects by default, which is a cube, and then one camera, and then one light, which you can see on the collections here, namely camera Cuban late. So let us go ahead and see how we can customize blenders panels to suit our needs. So we'll be needing two extra panels, namely shader editor and UV editor. Let's go ahead and bring that up. So what we can do here, I will go ahead to my right of my 3D view port to actually customize this panel. What I can do, I can notice how my cursor changes to a plus sign when I go to the edge of a plan and organize, just click and drag. I'm able to open a new panel like this, which is a 3D view. Again. Go ahead and open up one more panel. The same way I'll navigate to the top right of my 3D viewport this time the bottom one. Notice the same key that comes from the coast. So that comes up. I'll just press and drag towards my left to open one more panel towards my left. And we have got three panels now, an all shows our 3D view. So let's go ahead and change that. I'll go to the top panel here. And go, and notice there is a small icon that shows the editor type, so I'll select that and it opens up, drop-down. So this shows a host of panels inside of blender, which is used for various purposes. But for our purpose of packaging visualization, we're just going to use mainly three basic balance. Alright, so here I want to just set this shader editor and becomes associated with that. And then the bottom right panel, I want to set it to UV editor or the ALU. And again, select the same button here and then set it as We editor. So now we haven't got three different vinyl inside of the same window. All right, so now let us go ahead and talk about what these panels do. So when I select the cube here, the Material Editor, the shader editor already shows something in here. So in a selected queue, it shows the default material of the cube. And let's talk about materials detail in some time. And then we can also see a panel release of a cube. So u v is nothing but a flattened version of the cube. So to see the race of the queue, what we have selected cube here. And then on the top there is something called us the object mode. When I click that dropdown opens, I just wonder select the Edit mode of that cube to actually reveal the flat back of the queue. So you can see how that Q wound would actually unwrapped. So this is just like how we would unwrap a cartoon or a cartoon artwork like this. So the similar way that you actually, he's unhappy and laid out flat on the uv space. So you, WE is more of a 2D space, so it kind of shows the flattened layer of a 3D model. So here we go, we can see the flat version of the cube. So UV editor is basically used for this purpose. And let's, we'll be using UV editor a lot in the course. So we will talk much detail on this later on. Now we can focus on the material editor here, which is called the shader editor here. And this has already given some nodes here. So we kind of use blocks called nodes to tweak look of an object here. Alright, so let us go ahead and select the tab here, which shows the edit mode and go back to the object borne by selecting this. So we'll talk about editing, edit more than objects more in detail. As of now, we can just select the object mode and select the cube again. And as we discussed the various shading methods inside of Blender, I want you to go into the material preview by going and selecting this Viewport, Shading medieval period, or even by pressing the z and selecting material people, whatever works for you.
16. 15 S1A Brief on Principled shader: Now if you know this and get inside the shader editor, there is a node called principle be SDF. So this node contains a look and feel of the cube. With this node, you can actually change colors of the cube, give it a different material. Like you can make the cube look metallic. You can make it shiny, you can make it rough. Or you can also give it any kind of texture to have that, to give that glucose detection. Alright, so now let's basically change the color of the skew by changing the base color here. So when I click the white base color here and I select different colors, notice how the color changes in the 3D view. So you can say new color based on your preference. And then you have guards thing called metallic on the bottom. So when I click and drag for this the value, so I click and drag one. This shows like a metallic q. And then we have the panel called roughness. So here I'm just touching the basic and minimum and needs that is required to create something in this node. So I'm not going inside all the parameters such as specular and subsurface, etc, which is little out of scope and which will not be using much during packaging visualization. And so here, when I touch the roughness, I can make this as 0 to actually show completely middle finish as in like a metallic finish off tube. So notice how changing few small numbers can actually give different look for your object in terms of how it looks. So this will be carried out when you render this object as an image. So we can actually increase the roughness to make it rougher. We can reduce it to be really shiny look. And we can also change the metallic to make it a nonmetal like a plastic. So I let these are metallic and reduce the roughness. So now it acts more like a plastic cube. So I use the chain, the color to show it better. Make it gray roughly. So it looks like more like a grade plastic UP or we can play with the roughness things. So right now, you can go ahead and play with materials by changing the colors and giving a different roughness value and also experimenting with the metallic values. And note that one thing I wanted to say is like metals are either 0 or one, which means there is no material on Earth which is partially metallic and partially dielectric, right? So you should always set this as 0 or one. So mostly this value comes when we mostly deal with packaging, this goes to 0. But this value comes in when we act on special effects such as filing, etc. So we'll talk about it in depth in the later lessons. You can now play with the colors and roughness to actually gain different finishes of your object. I want to wrap this up by just saying that the shader editor can actually give you various look for your 3D object. It can completely transform the look and feel, whether it's cardboard or whether it's metal. And you can basically simulate any type of material and visualize missed that. And then UV editor kind of shows the flattened view of your 3D model. And then the 3D view is actually the viewport in which you can be on all sides of your 3D model. So that's it for the introduction. And let's dive in and do something with the skills that we have learned.
18. S1B Texturing and shading a tin: All right, So in this section, we are going to shade and give a texture for our Tin. Can. I want you to open that file? So I'll go ahead and file and click Open. And then let's go to the section one B. And inside of which you can find blend file called S section underscore one B. So I've already opened that file here, so, but I wanted to click open. And once open, you'll be able to see this tin can with a gray material. Split our views just like what we did before so that we can work on the shader editor and the UV unwrapping to light. So let's go ahead and do that. I'll show you one more way to do that. So I'll just go to the right corner and my cursor actually changes. And I'm going to right-click here and I'm greeted with a minimum, which is called as the vertical split and horizontal split, right? So I'll go ahead and create a horizontal split first. So I'm going to right-click here, select horizontal split. And notice there is a line that comes and it moves along when I move the constant rate. So I'll click almost half of the viewport so that my views divided. Suppose in case you want to adjust this view anytime you can go and click on the middle of it and you can see the cursor changes and you can move the way you want. And I also did something like here and now I want to split one vertical split, so I'll do that on the bottom we bought. So I'll go to the right corner and again, right-click and say vertical split. And I'll mark a split almost half of it. So now we have gone to see him. And by any chance, if you want to dissolve the split and you no longer want to split this window, that's also easier. You just have to right-click on that divisions, the intersection lanes and say join areas. And lender will show you an adult which actually shows which window to join with what? So I'll go ahead and join this just to show. So by this way, you can join reports as well. And again, when I say join areas and I'm back to the same original report, That's again, split it. All right, so let's go ahead and assign a different balance to these rewards. So first thing I'm going to do is change the top important to as shader editor. And this can, the left can be the 3D view asset is, and on the right can be UV editor. Now that is not all that this has to be followed. You can keep any of you as you wish, as long as we just have these three balanced to work with.
19. 01 S1B Viewport matcaps: Okay, So I want to show you some feature in Blender. If you're not very happy with this gray looking material, you can actually have different looks to it. What you can do, there is a button to the top, which actually shows, show overlays. Next to that you can actually see all this panel. And then right next to that you can see the wireframe shaded and material preview and render option. Next to that, you can see a drop-down arrow. When you drop it down. You can see a new panel here and you can select mad cap. And right on the mat carbon and click on the ball. You can see all the different types of support material. So you can actually select one and you can see that blender gives that color for that object. Now this is not a rainbow color. It's just for your reference when you're working in a 3D view, whatever color or material you are comfortable with, you can keep it in. Some materials are really good on the ice and you can work on a longer-term. So you can always go for a little dimmer and softer colors. So I want to select a color like this, and I can go ahead and with this, I want you to concentrate on the outliner and see how many bodies we have here. So we have five different objects given these objects so that we can give different materials to each offered object to illustrate this better. And the 3D view port, I'm going to again go to the same mad cap section. The same way you can go to the shading panel right to the top corner and select the drop-down. And under the mat cap you can see that a material is actually selected as blue, which is highlighted in blue. You can just select the random so that you can have random colors for each of the different parts here, just for an understanding that each color is a different object here. All right.
20. 02 S1B Assigning materials: All right. So we're going to give the top as stainless steel material. And the bottom as well is going to be in SAS, just like how you would find in a traditional cans. And then the middle part will have a cool graphic coming. Although it's all let us go ahead and give materials to each of it. Introduce you the material collision options, just like what we saw in shader editor. But what we can do now is first I will select the top seal material, which is the thin metal part, and select that. And I want to give a stainless steel. So what we can do now let us go to the Properties panel here and scroll down. And you can see a tab called as material property, which is the second last of the section, which has that V0 with the checkered pattern. So I'll select that. It is displaying a different menu here. I'll just select New and we have got a new material in which says material here. Now we can go ahead and rename this material and notice what happened to the shader editor. We are now having one principle, we SDF and the material output. All right, so now we can go ahead and give a name to this. This can be renamed in two different places, either here or also by double-clicking here. So let us give material name by giving it as stainless steel. And see you the same name as actually come up here and I spell so you can rename it anywhere you like. Okay, so now we have given this a material, and then let's go ahead and select the next option. So this seal also and the opener and the seal also has to be stainless steels will select that here or you can also select it in the outliner. I was like That didn't open up. And you can see, make sure you click on the material panel, material properties. And here you can see that there is also an information showing here that it says in openness or whatever material you are going to give is going to be applied to the tin opener objects only and not for the others. So now what we can do notice there is a new and then there is also the same, the same icon. What do you formed here? And then there is a drop-down and select that and give stainless steel front is as well. And let us repeat that for the seal also, I'll select the bin seal, or you can also select the viewport the same way and click this drop-down and say stainless steel. And so we have got three objects having the same material. I'll also doubled down and zoom in and select the bottom part of the tin. And I'll give that also as stainless steel and do the same and select stainless steel. So now we have got stainless steel applying for everything. And then the one last material which we want to give it here is our main graphic area where we are going to have some graphics and textures going on so I can select that. And for this, I wanted to create a new material. So let's create one new. I'll go to the same digital panel here. And I can give new here ADLS, that is also one mode and the shader editor where on the top you can see new. This is the same, which is distributed in two places. Whether we are comfortable, you can select that. So I'll say new. So this time I have created in the shaded editor and select New. And then we have got one material here as well, and I'll rename this as thin body graphic. Alright, so we've got two different materials and we're good to go.
21. 03 S1B Defining materials: Go ahead and start giving it the looks that we want. So the stainless steel looks has to look like stainless steel. Let's go ahead and do that. I'll go and select one object which will have the stainless steel in this case, I'm going to select the tin metal part. And notice how the shader editor has changed and it is showing the material of the stainless steel. And when I select the body, it is going to show the material of the graphic. Let's select the stainless steel. And then we have got the properties of that material. In our first section, we discussed how we can have differentiating methods. The wireframe, the shaded and the material preview, and the rendered. All right, so now let us go ahead and select the material preview to see the preview on and materials, I am going to go to the top right of my 3D viewport and I'll select the viewport shading options. Alternatively, we can access this by pressing Z and selecting material preview, both just the same. When I come into the material preview, you can see everything is like white and it appears like a chalk as of now. So let us go ahead and start reading the material so that it looks like SS and other materials. Okay, So I have selected that stainless steel part and inside this shader editor, what I'm going to do first is to give the base color. So right now, I want to have a stainless steel which is not going to have color like this reflection's right, so let us be white, so make sure you put this to pure white. I'll show you why. And then we have the metallic property. I'm just going to pump up the metallic property all the way to one. And then we have the roughness. So let us reduce the roughness. And you can actually see the 3D view port how that material is actually coming as stainless steel. Cool, right? So let us go ahead and reduce the roughness all the way to, you can technically go to 0, but zeros actually act like a mirror. So we don't want that much of a glossy surface. So let us keep it in between value of 0.2 or 0.1 based on your preference. So I am going to keep it at 0.15. So that actually gives a nice stainless steel kind of look to my object. And now let us go ahead and actually notice how the bottom has also changed because all the objects which have had had the stainless steel materials actually changing. And the body is largely ending because that is all the way or different material which we are going to change right now. All I want you to understand is like different bodies can have the same material. All right? So one material can be applied to many different bodies. So you just have to create one and you can apply for n number of bodies inside of Blender.
22. 04 S1B Images as label graphics: So I'll select again here. And notice how the shielded address changed. And now I want to bring in a graphic. And you can actually bring in images here as your graphic. So we already will have some image, basically when we are doing packaging, we are anyway using duty software to generate a label. So the same label can be applied here. So I'm going to give a label to what we can do here is on the top, notice how the shader editor, There's view select, Add and no. All right, so I'll click on add. And there is also a shortcut which is Shift plus a when you hold shift and you're going to be graded with the same menu, which is the Add menu. So right now I'm going to click on Add. And I'll come down a panel which says texture. And inside of that texture, notice how there are so many of textures available and will not be using all of these. So it's easy to get intimidated, but don't worry, we're just going to use one of the texture in here. So I'll go ahead and select what is called as an image texture. This is a node which lets you call a local image on your computer and use it as a texture of your 3D objects. On right. Now here in the image detection or because there is a new button and there is an open button, I'll select the Open button. So this lets me inside my General Folder View. And here what I can do is I want you to navigate in, inside this section one B, and inside I have put a folder called as maps. So open that. And inside that you can see a graphic which is just a PNG image which I actually exported out of my 2D program with this Inkscape, which I use. But you can do this in Illustrator or any other duties software as well. You just have to export it as a PNG file. And I'll select that PNG and say Open Image. And then that file has been opened. And notice how the image texture is giving a name graphic underscore. Underscore 002 got B and G, which is nothing but my filename itself. And once opened, you can actually call this same image in the UV editor panel. So I want to go to the UV editor panel and notice there is a small arrow on here and the same thing, the same languages continuing here. There is a new and there is an open and there is a dropdown. So I'll select the drop-down. And here you can see whatever images are there, which we call inside of Blender. So since we have already called one image inside Blender, which is the graphic, and I'll select that. And this is going to display my PNG image in a square format. And now I'm going to select that can. And do you remember that when we put a q, you just went insane edit more than it actually displayed all the UVs for the cube. So the similar way, we are actually going to select this and go to the Edit mode in our 3D view. I'll select the object mode and select Edit. Don't worry, we are anyway going to discuss edit more than detail in the coming sections. And once I've selected edit more, and it's going to select all by pressing A1's. And immediately in the UV editor, you're going to see the unwrapped version of the scan. And I have already actually aligned the ui's pouring into the image that I have given. So we'll have an entirely different topic where we discuss how we can align our graphics to our object right now I just want you to put the material to it and look around. I have already aligned here, so this is nothing but the unwrapped version of this can go to the shader editor. Here you can see there are color codes, right? So there is one, it's called the color and there is two outputs here. So nodes actually just our data blocks which have inputs and outputs. So here you can see there is an input which says vector, and there are two outputs here that says color and alpha. Generally what happens, whatever things are there on the left of a node is generally an input, and whatever comes on the right is actually an output. So what we're going to do from this node, we are going to output this color and connect this color inside the base color. And you can also see one thing here is that both have an yellow color coding, which means both are compatible with each other. So I'll just correct the color inside of this base color. And notice that we are getting, we are getting a string on an organ or whatever you wish to call. And this string basically means that the two nodes are connected together. Alright, now I can move this node anywhere and still that string remains connected. Similarly, even in the principle be SDF is actually connected to the material output through the same way. And notice here also there are two green color code, and that green connects with green and yellow connects with the yellow. All right, so now I can move these things independently and still have them connected together. Okay, So as soon as this is connected, I'll go to my 3D viewport and I will select the edit mode back to object mode and see that we have got the texture, whatever we put in there. You can look around this object. And bam, we have got the texture on all sides and we have got a metal that's going on there.
23. 05 S1B Metal color: And now I wish to say something about metals and now you'll understand why I kept white for that color for the metal. I'll just select that metal once again. And you can change colors on the base color and notice the metals in this color. When you want to simulate gold or an effect of a rose gold or any kind of media like that. I can just change this base color to whatever color. And notice that now I have got kind of a copper look. And I can see in this to Google or I can change it to whatever blue metal on whatever I want. So I'll put it back to put it back to white to have my back again.
24. 06 S1B Maximise viewport: So now we have got this, so, and we have also got all the views. And I want to show you one feature where we can actually maximize one viewport at a time so that we can use that will effectively. What you can do is just hover over any of the viewport inside of blender on right? So I'm going to hover over the 3D view and I'll just press control and space. And we can actually maximize that viewport to work with. So you can still work on a larger screen if you're not limited to a really small screen illustrate. So you can again press Control and space to go back to the normal. And I can do the same in any view here on control space. And I get a full view of the shader editor, and I can get a full view of my UV editor as well. All right, so I'll go and make my 3D view port full screen and I can look around this 3D model.
25. 07 S1B Screenshots from blender: And grade we have actually put different materials and we have also given a graphic toward them. Can let us go ahead and make them matter to share this or take this as an image so that you can put this in your presentations and things along. But right now what we're going to show now is this is not rendering, which we'll discuss later. This is like work-in-progress, kind of a screenshot which you want to share with your colleague or your team Barton or whatever. So we are going to learn how we can actually take quick screenshots and share. All right, so to do that, again, minimize my view so I like to keep everything on here. What we can do is notice there is a panel on top which actually says View, select, add an object, just like what we saw in our shader editor, the similar way we have those panels in our 3D view as well. So here what we can do is I will go ahead and say View. And inside that view, you can have the option that says viewport render image. So when I select that Blender will just give a screenshot of whatever is there on your 3D view port. And we have got this as an image. Now I can simply go ahead and say image and save us to save this as a PNG or JPEG or whatever you wish. So I'll say cancel. And what? I have also having some grid lines here which I don't want to share. So I can, there is a way in which you can eliminate those lines. So here on the top of my 3D view port, I can have, I have two highlighted options in blue, which is like show gizmo and show viewport overlays. I'll just go ahead and turn that off here as well. So now notice that we are now viewport. Everything has gone and we only able to see our tin can. So when I keep it like that, and now I'm going to again say View, viewport, render image. And then we have a image rendered here. So this you can easily go ahead and share across. But sometimes what happens, you might not get this viewport render in a PNG format because they might have some kind of background do it. Maybe it's a black or white or whatever, but we are going to keep it as pions yes or no. So if you're not getting, you're getting a background in your viewport. Render. What do you can do is just simply, you can anytime go inside the render properties, which is the Properties tab inside of which the second option, which has a type of a camera back icon and select that. And you can just scroll down to actually show a setting that says film. I'll select that film and open that and make sure that I have checked this transparent option here. So without selecting this, you might not get a. So when I turn that off, I'm getting angry background back on me. Can we just not really ideal to share or put it in anything? So make sure that you have got the transparent checked and then do your screenshot accordingly. And I wanted to say one more thing about this. So the resolution of the screenshots right now, what we're getting is like we are getting 16 by 9 image rates. So you can also change that when you come to the third tab, which says the output properties and select the output properties and notice the dimensions here, which is the top section, and it sees a resolution x and resolution y. Right now it's set to full HD resolution so you can keep any kind of resolution you want. Suppose you want your image to Venus square format. I can see in this and I'll give 2040 quizzes to create a solution. And you also have a percentage of that resolution, which is a 100. So if you want to have a low as preview so you can innovate in that or 50 or a 100, whatever based on your needs, we can go ahead and select view port and that image. And now we've got a square image done. So that's it for now. You can save this image as whatever format you want and share it with a WIP purpose. And I hope you found this useful. And in the next sections we'll go deeper and discuss little bit on modelling. And we'll actually go ahead and model a box and see what we get.
26. 08 S1B Tips and best practices: Hey, so I hope you enjoy the lessons didn't know. And at this point of time, I want to share some of the things so that you can take Blender, 3D and the whole course to the fullest. So the first thing is like don't get overwhelmed by the interface. And I know that lender has so many tools and so many panels and so many buttons. And it's easy for a beginner to get overrun by looking at those. But trust me, it's really simple. And you are self that we saw how we could actually texture and shade by just a few buttons and few bands and all those hundreds of buttons that had no use for that. So since blender is a very vast software and it is used in various industries like gaming, filum, and visual effects, and graphic and architecture and medical visualizations and so on. And hence, there are so many industries using Blender. It has got so much of tools and things to do. But the usage for package visualization is really, really small and we can learn that easily. And there's nothing to be worried about interface. And trust me, when I started learning Blender, I was using a version that was like 2.72 or something and that was like the interface was way back and it was not something like this. And blender is doing a lot of efforts to make interfaces easy so that beginners can take up right now this interface looks much more polished and what it was. And i've, I feel there's a lot of constant improvement to it. And yeah, so we don't have to be worried about the interface. The second thing, what I want to talk here is like it has got complete customization. The way can be completely customized according to your needs. And the thing that you have to know this now is customization is based on the needs. If you recall, I had actually split that window into three because we needed that for the packaging visualization for that particular package. All right, So it really comes down to your preference and your needs on how you want that window to look. And there is no like concrete setup that this has to be separately you would do actually create your own UI and customize according to your needs and your workflow. So it's really open on the end-user on what he wants. And third thing, What share now is, since we are going to be talking in depth on packaging materials and the packaging textures, colors, etc. I want you to observe the packages that you have, maybe in your home or in your studio. You can actually observe details such as the color, the paper texture, and the finding details, the embossing and the details. And notice things like the roughness value, how smooth it is or how rough it is. And you can see what is the height of the bump and like how much embolus it has and how much DeVos it has, and what is the texture and what texture is the paper and the thickness of the paper, and things like that. Because observing these details are going to put you in a very long run when you come to packaging visualization. And it's actually going to make your packaging looks realistic, right? So let us go ahead and observe, and then you can take the next session. And I hope you are enjoying this class and I'll see you in the next session. Bye.
27. 01 S1C What is UV Unwrapping: Uv unwrapping is a key and a very important process in packaging visualization. As this process will only allow you to map and apply images or textures, often labeled graphics, onto your 3D model. But first, we need to understand a key difference between an image and the 3D model. A 3D model has three axis, namely the X, Y, and Z. While an image only has two axes, and often two-dimensional, they are x and y. We cannot actually add another axis to an image. It's difficult rate, and often it's impossible. But we can easily flatten a 3D model and remove that extra third axis and make it booby, which is where UV unwrapping comes in. So how do we flatten a 3D object? To demonstrate this, let's call Claudia, and let's take a real life example, B. So this is a 3D box and it has six faces as you can see. And hear. She's going to flatten it by cutting an edge open and making a scene. So right now she's going to mark as C. C is nothing but a cut lines which helps to open up that really modern and make a 2D surface. So we are marking the theme in red line. And here you can see that markings that seems can easily cut open a 3D model. So in the last video, we saw how to unwrap a live object. Now let us apply the same principles and see how we can do the same in a 3D world. So I have given this file in the exercise files, I want you to go ahead and navigate an open UV, unwrap in our exercise files. Let me go ahead and do that file open. So under my section one C, and go inside and open the UV, unwrap dot blend. So there we go. We have this file open. And here you can see some primitives that are lined up. So we will be unwrapping these primitives just like the techniques that we saw just now, will be marking seams, which means creating that Katlyn and will be fooling them all open and making them all to be. Basically we'll be flattening out all these 3D object and remove that additional coordinate. Let's go ahead and see how it's done. Now, you can set select the first example here, which says the plane and resists already kind of across kind of a shape. I wanted to select that. And under our properties panel, let us go ahead and navigate to something that says object data properties that has a triangle in a green color. So I want to deselect that. Now what does this mean is any UV map that you give to an object will go inside of this of this object data. So let's discuss that further in the future. Now I just wanted to select that. And under which you can see I have already defined some shape keys under that, which says basis and K1. You don't have to know what this is, but it's just fun to do. So I'll just select that one and I'll just play with my value. And there you go. You can actually see that plane cross type of a shape getting to a queue. And I can go ahead and do that. I can play with the slider to adjust my folding and unfolding basically this. I just wanted to demonstrate how this cube and drabs. So let's go ahead and go to the edit more and select that, and go into the object mode and say Edit mode. And there you go. Remember we mark a red light on the, on the live unwrap, which we did a live Q the similar way, this also has a red edges, right? So those are the seams for this object. Now, I'll again go ahead and play with the slider. You can see yourself better. And I'll display with the value. And note that slowly the plane comes to Q. And I wanted to stop right here. And let me go ahead and zoom in and show you that you can see that a red lines which appear as seems that those are the cut lines through which I am able to unfold this and make a 2D shape with a 3D object. And this is my layout. And this is going to be my u we map, correct? So this is a demonstration of how the shape would unwrap.
28. 02 S1C UV Unwrapping objects In blender: So what we'll do, we'll go ahead and set the next queue. It's just not unwrapped it. So join with me and we'll go ahead and unwrap the skew and see how it unfolds. Before we do that, let me just show you that there is a panel next to this call as the UV editor, which we saw in previous lessons. So this editor will show us our UV map and how it's laid out so that we can manipulate it better. So you will see for yourself how it's done. But now let's go ahead and grab this. And when I select the Q, I will go inside that object data properties. And you can see that under that, you can see there is called something called less UV maps. So this uv maps is the smartest empty because there is no UV map and say, and do it as of now. Let's go ahead and grab that I unselect, and let me go inside the edit mode. Now you have to select seems rate, which means edges. So those edges cannot be circular in object mode. That's why we go to Edit Mode. So when you want to unwrap something, we have to be in edit mode. So in edit mode, what I will do, I will start marking the seams. Now I can take this box as a reference where the seams are. The similar way. I'll go ahead and select the edges menu here, and I'll start marking the same. So this is going to be my first seam. I'll select that and I'll Shift to add more edges to my selection. I'll hold Shift and less than extra edge. And this one, this one, this will be unwrapped. I'll just say edge and come on down, mark scheme. And they will immediately that edge is highlighted in red, which means that edge is a seam. Now, I have marked these seems. Let me go ahead and again go into this shift key so that I can see the seam like this rate. Similar way. I'll mark the rest of the remaining seems martyrs. And I have one more scene here. Again, go inside edge and see Maxine. So yeah, we have marked all the necessary seams. And now let's go ahead and unwrap. Now I want your attention to the UV editor panel. Notice when I select all by pressing a and we don't have any UVs on the UV map layer yet, but we'll go and grab and select all. I'll go and say to the UV panel here and see unwrap. And immediately you can see something appears on the left with just the UV editor and the flattened version of that box is appearing here. Now, can you recall the shape? This was the shape that the cross shape has arrived to the same shape. Again, this is nothing but the unwrap of this. So we have all the six faces laid out in this six squares. So all the six phases as calm as you we islands and we can see that you we hear in the uv space, right? So I'll select on to show those UVs of my cube. So we have unwrapped RQ. Now let us go ahead and grab our cylinder. Next, I'll select the cylinder. And you might recall, since we are packaging designers, you know how a label goes on a, on a cylindrical surface, right? Examples of bottles, cans, duns, etc. Where we mark our theme at them back and we have a seal at the back and we kind of wrap our label around, right? Same technique works here as well. I'll select that cylinder. I'll again go into edit mode. And I can see the edges of this, and I'll go ahead and start unwrapping. This way. I'll select one of the edge. In this case, I'll go to the back of the cylinder and I'll select that edge. And I'll also select the top edges of the cylinder. And I'll just call and say edge C. And yeah, we've got that highlighted in red. And now I'll go ahead and select all by pressing a and everything is selected. I'll go and say the UV, unwrap. And there we go. We have got one linear island and we have got two separate islands. Eat separately. We can be saved as an island because wherever the surface is continuous and doesn't have the same can be said as an island. So here I have one island and we have three islands for the cylinder. All right, so we have the top gap and the bottom cap as split separate islands and we have the middle portion as a single continuous Island with just one scene. All right, So this is how we unwrap a cylinder. And you can see in the object data properties, the green one on the bottom. You can see that under the UV maps category you can see UV map. So we have successfully created a new remap for this. And similar way, let's go ahead and unwrap the corn also, I'll select the con and go inside the edit mode. And I'll select one edge on the side, and I'll also select the bottom edge. I'll go inside the edge and see Marxism. And we have that red line dilating would say is this is a scene and unselect all and see you and unwrap. Yeah. So you can see that we have got the cone and wrapped and its bottom face as a separate island. So there are two islands in this cone. We have got that successfully and grabbed. All right, So we saw how flattening, how easy is it to flatten a 3D object and remove that extra Zed coordinate and make it flat. In this way, you can unwrap any 3D surface by marking seams and making it flat. And then you can go ahead and apply the textures that you wish.
29. 03 S1C Mapping Textures: Okay, Now that we have UNDRIP, I'm again going to select the cube and let's go ahead and apply some texture and see how it works and how that texture appears on an Android app. And in this way, you can also learn about the UE interface of Blender, and we'll manipulate some UVs, we'll move them. You can scale them and see how it's effect comes on the texture that's been applied. So for this reason, I have given one texture under your exercise files. So I'll go ahead and do that first. I want to split my views because I'm going inside the material. I want to give this a material if I want the texture. So I'll go ahead and do that. I'll select my Q. I will go inside the material properties, the select that and say New, and we have got a new material. Let's give this material at lecture. I will split this view and to do, and I'll see you this as shader editor. And there we go. We have our principal. And I'm going to bring an image here. So I'll go ahead and say texture and image texture. Yeah, so I open and I'll navigate in my section 1 z under which I can see you, we underscore basic dot PNG. Select that and give open. And let us call this image on our UV editor as well. And that this, I'll see you the basic. And there we go. We have got a, B, C, D, four squares with an Alpha channel. I'll go ahead and connect the color in the base color. And to see this, we should not be in solid rate. Yeah, you guessed it right to see this, we have to go inside our material preview. Now. I'll go and set Z and say material preview. And there we go, We can see some texture of some colors which are coming on our queue. And so how do we control this? That's why we have something called as the UV editor in which we can control the mapping on how much that actually we want and where exactly we want. So let's see how it's done. I'll select that cube and go into edit mode. And I want to select all by pressing K and everything is selected. Now you can see the UVs and see how the UVs are laid out on the square. So my u is r are on top of this C. Can you see that on the red square? And that's why we have that red square here. And some are also on the yellow square, which is B. And that's where we have some, some yellow detail here. And I cannot see any B here, which is the green color because my eyes are not on that square. That's why I'm not able to see any BCE there. And similarly, only a small part of a is visible. So let's go ahead and select, come to the zoo we panel. And if you press P, It's very similar to the 3D view port. When you plus D, you are getting tools that are specific to the UV band. So I have the same move, rotate and scale. So I'll go ahead and select the Move tool. And here also you can select all by pressing a. And the same kind of selection tool works here as well. You have the marquee, you have the lasso and etc. I'll select all. And I can move this. And notice that we are getting two axis here instead of, instead of three, which is the x and y. I like when I move, notice on your right that, that picture is changing. So when I move and keep my textures on there, I will no longer be able to see that C and D much, but I'll be able to see a because that square is on a, yeah, there we go, we can see that. And I can also scale this UE. What I can do, I can just press S. And when I scale that do we? I am able to see all the squares inside. Basically what this means is when you manipulate you with inside the square, you can basically position your text exactly where you want. So by using this technique, we can exactly positioned labels and other graphic elements are now 3D element, which is why you re and wrapping is considered really useful when it comes to packaging visualization. So I can also rotate this and manipulate my texture such you can rotate it by 90 and scale that down to some Enter.
30. 04 S1C Unwrap specific faces: Okay, So we saw how and unwrap works right now, I'll give you a condition where on the six faces of the, of my cube, I want these four elements here and there, which is that a, it needs to cover my full face. So how will we do that? Right now we are having UVs like this and we're only able to scale it as a whole. With this way, we are not able to exactly position some elements on top of it. So what I will do, I'll tell you something called as phase-based UV unwrapping. Instead of unwrapping all this in one layer, what we can do, we can select individual phases and unwrap only that. Let's go ahead and see how it's done. So I will select the face mode for this. And I want the a, the a with a blue square on the top of my cube. So what I do, and the only select the top face of that queue in my Facebook and go ahead and see UV unwrapped. Now, only that phase has been unwrapped and which is here you can see that face is occupying the full UV space. And what you can do, we can scale this known by pressing S. And I will just move this position, that square on top of my eight. And as simple as that, now you can see only the square is occupying the full face of the top. So similar way, Let's do the rest of it. I'll select my side and I want this to be B. I'll only select that face and go ahead and UV unwrap the similar way it has occupied the full space. I'll just scale that down and position it next to B. I can also rotate this if you want the B to B on the other side or whatever, you can just play around with the UV and see how it's effect comes. So I'll just move like that. And here you can see that in B. And I'll go ahead and select ano, another face and see UV. Unwrap similar way and place it somewhere. Cool, right? So we have got a, B, and C on different phase of our cube. So this is another way to unwrap when you want specific parts and specific lectures to appeared on a specific phase, you can only select that face or you can also select number of faces, not only one, you can also select five phases which are continuous and say unwrap to apply texture on only that phase phases. And now I don't want, Let's assume I don't want any texture on one face. So how do we do that? So when I select that, you can see it's UE is somewhere along here. Let's say I want, I don't want the texture here. So what I can do, I can simply just scale that down, really, really down so that I can position it somewhere that doesn't have any texture. So I'm positioning this somewhere where there is no texture is only alpha channel. So I'll make that like really infinitely small and I can place it anywhere I want. So in that way, I will not get any texture on that. But I'm trapping this way. You must really have control because this is a very versatile way and offers you full flexibility to use UV unwrapping two, it's a 100 percent potential. But by doing so, you should also be careful and know where you are, you are, and play them correctly. But see guys, this is just a cube and it's pretty simple. Imagine when you're working on a complicated model, you need to understand where this will lead you to. And you just need to know that value U visa and keep track of it properly.
31. 05 S1C UV tiling: All right, So we saw how to place specific phase on the UV map. Let's talk about something called less dialing, which you need to be aware of when you're working with UV unwrapping. I'll tell you how it's done. So first I'll again, who had an select one phase here. This is the safest. And again go and UV unwrap. And now you can see that your only that phase has occupied your full UV space, right? You can make this tile. When I scale this up, what happens? I'll show you. I'll just scale this up and notice how, what is going on and that face. You can see there are, for instance, of the same UV space, which means this is getting tile across its x and y-axis. So whenever my islands are bigger than that UV space, what blender is going to do, it is just going to dial my image that number of times. So I'll scale this up. So here you can see it keeps on dialing and dialing and dialing endlessly. So this is something that you need to be aware of what is called as UV tiling. Now you can switch this off even here in our shader editor and add another image structure. You can see that we have guard or something or linear flat and next says repeat. So when I put that to clip, what happens even though I lend us bigger than my UV space? Still it doesn't get Tyler. So this is one way you can do that. But generally speaking, the best practice is you should never have your UVs. You we, islands that are bigger than the UV space. All your island must be inside this square space and not anything beyond that. Why are we going with the square is because 3D objects have different dimensions rate. So someone along it, some are small, some are big, and different proportions, etc. So everything fits well in a square, that's where we're going in a square. So it's advisable that only a UV maps needs to be n-squared to compute the textures properly without stretching or anything like that. So in that case, then how do we scale up or scale down a textural without getting the without adjusting the UV islands. There is a way for it. Again, put this back to its original size, which is roughly there. And what I will do here on my shader editor, I'll add two more nodes to do that. I'll call something called as shift a. And under the search, I'll call something called texture coordinate. Texture coordinate. Now this node is called a texture coordinate because this has science, the coordinate rate where the texture has to be. That's why it's called Les a coordinate. You can assume this coordinate to something called as GPS coordinate or something it just gives you a location. Write the similar way there's, this gives the location for the texture. That texture has to be. Now I'll call something called another nodes or less mapping under the search mapping. Now, this node is just going to adjust the coordinates from this to get our result. So let's connect the UV inside the vector and the vector inside my edge detection vector. And here you can see three values, x, y, and z. But we only have two, so we don't have to play on the third value. We just have to move the x and y to make changes. I, in this move, these values, I'll say enter a number 5. And then immediately our texture is good. And I will just say this clip to repeat. And there you go. Your newbies are getting tile again. Why? Because this texture is just being scaled up five times. And thereby you are getting that smaller squares here. And the same way this can also be scaled down. What I mean by scalar is any value that is more than 0 to one. So I'll just say something else is 0.1. And now you can notice that the texture has appeared really large here in this way. And in this way you can manipulate your textures and thereby adjusted scale.
32. 06 S1C tips and best practices: I hope you had fun in unwrapping some 3D objects. Now I want to talk a few things about UV unwrapping and gender. The first thing is UV unwrapping when it comes to images and especially the labels and artworks. The important fact is if this completely the solution dependent, right? So when you're feeding a Forky image inside it is, you're going to get high resolution textures. And when you're going to go on a 1k image, you're going to get low resolution textures and you cannot bring a vector image inside here and unwrapped, it's always a raster image that comes in here. It's always important that your texture that you are going to feed it needs to be in a decent resolution, especially when you're going and taking some close-up shots of your package. So I would recommend having a value of at least two k two foci. If you want to go much closer, it's always safer to at least have four K in his resolution. Now talking about resolution, I also want but a key and very, very important fact, which is the density, which is also called as the pixel density in CGI. So what does this mean is how much of a texture occupies inside your Forky image. Even though you have a phobia or even a 16 bit image, there is no point if the texture just occupies one small place. So in a way to describe this better, whatever is important in your 3D object of whatever texture is important, needs to have a much bigger islands size. And whatever is not important, can have an island size that is much smaller than its counterpart. So to illustrate this, when you're talking about a GAN or something, the top and bottom detail of the can, can have really small UV island. But that label area of again, needs to occupy much bigger while we're doing this because we're talking about pixel density here. So the bigger island we have, the more density it has. So this is a very key point which I want you to understand. The next point is organize your islands and organize your UVs. As I said, UV unwrapping is huge and it gives you tons of opportunities to exactly map your texture. But there is often an opportunity where one might get lost and might not know whether you guys are. Probably. What I would recommend you is to organize your UVs right before you start unwrapping, properly organized and keep them and have a good layout in near UV so that it's presentable. And you also would likely knowing the future that which you reside part of its face. And it just makes your workflow easier. Now imagine you have a thin or you have a box which you have modeled up and you can apply any graphics in the future if you're a U visa properly organised. The third thing, let's talk about observation. And here I talk about general 3D objects in general, even in real life. And you can go around and see how an object and wraps itself at any 3D object can be grabbed by marking CVS. And you can go ahead and take some objects around your house or a new studio and start cutting them and see how to unwrap them. This may be, this may include boxes or any cylindrical shapes or anything so that you understand that UV unwrapping in a broader sense. This will take you in a long way and really saves you from a lot of nightmares that people and experience in UV unwrapping. But if you follow all these practice and cool, then UV unwrapping will be a breeze for you and you can easily take it forward.
34. S2A tools for modelling: Hey, so I welcome you all back to the new section where we'll be talking about gender 3D model and how it really model actually works. So then we'll be talking about primitives, which are just objects that are like cubes and cones and spears, etc. And we'll be talking about how mesh editing works in general. We'll also see how edit mode and object mode works. And then we'll be concluding with non-destructive editing techniques. So let's begin. So here I have opened Blender and you can see it's an empty scene. I have basically deleted the camera, the light, and the q. And I have an empty scene here. Okay, so right now what I'm going to do is I'll start by setting up the unit which we discussed before. So I'll just come here to my right and go to the Properties menu in which I'll be selecting the scene properties. And inside scene properties, I will set the unit scale to 0.001. And then I'll set the length which is in meters to millimeters. There we go. So we have set up the units. Next thing what I'm going to set is the grid. Display. What I'll do here, I'll select the viewport All Layers panel, which is on the top. You can find this near your viewport shading menu. Right on that I unselect that overlays panel inside which I can see the scale. So I've already said that the 0.001, if yours isn't one, you need to actually put this to 0.001 so that our unit corresponds to our grid also. So what you can see is each box in this grid is actually one M phase. So we have got the file ready. Let's go to the next step.
35. 01 S2A Viewport clipping: So once you are here, I want to talk about the clipping menu, which is, I'll explain right now. When I press N, you can see that the sidebar appears and inside you have to select the View tab. And here you can see the first panel which says the focal length, which is this the cameras viewport camera's focal length next to it you can see the clip start and clip end. The display only shows distance value of 1000 millimeters, which is like one meter. So whatever is beyond one meter will not be shown in your view. So when I actually have a cube here, and notice when I go far, use the clipping distance. Yeah, so notice here when my clipping distance is just 20 millimeters, that cube has actually disappeared. But when I actually zoom in to go closer, the cube appears again and see how it's actually there is a gradient on how objects disappear in the back on right? So it's like kind of an atmosphere. So why this is useful is because if you have a slower system and you have lots of 3D models in your scene. So chances are that your 3D scene might be a little bit laggy. So that's why they have brought this clipping distance so that only objects that are closer appears and it just keeps your software late on your memory. But for the sake of packaging, we will generally keep a clipping distance of five meters because generally speaking, the packages are not that large, then mostly in small centimeters and even meters. So just for my sake of convenience, I will set this to five meters or late. So I'll just set the end to five and C, M, which stands for meter. So five and at this end, and there we go. We have gone to that clipping to find mentors. So right now we can see up to five meters in distance, right? So let's, this is the clipping panels. I'll go ahead and close that.
36. 02 S2A Add menu: Let's see about the Add menu, which is actually the heart or blender, which lets you add objects to your scene. So we need to add something right in order to edit it and in order to build on top of it. So let's go ahead and put something in our scene. So how do we do that? Notice there is a top panel here which is next to the object mode. You can see View select, add an object. I'll click on the ad and appears a submenu, which says mesh curves of his. Now you don't have to be worried about all these things right now we're just going to talk about the mesh. So inside of mesh, you can see plain cube, circle and USB and all these are basically primitive shapes which if you recall, we would have started in younger geometry class. So I'll just select the mesh and select cube for now. And see we have got a cubed over there. Press N on the sidebar appears. And when I select the item and see that the dimensions has come to, to a membrane, a membrane to OMIM. So this is the dimension of the cube. So whatever you select an add objects are all those objects are going to come in MM, which is why we said the units in the first place. Okay, So I have a cube. Now let's add one more. So I'll select Add mesh and I'll add you, we spill. So I've got a sphere, but the sphere lies inside of that tube, so we are not able to see that. I'll go ahead and move that and see that in the outliner reflects two objects, which is the cube and the sphere. So I'll select the cube and I'll select the transform tool, which you recall we have, we have seen in the past. So I'll select the move tool here, and I'll move the cube to my left. And you can see that two objects exist side-by-side. And I can move this as well. And I'll create one more primitive. I'll select mesh. And I can see that there is a cylinder objects. So we go, there is our cylinder here. So basically you can go through all these primitives and there are a lot more here and you can just add and have fun with it. But right now, I just want to say that there are a lot of permanent objects that can be greater than blender. Why are we creating primitives? Is because once we create a derivative, we can actually edit that shape to get the shape that we want. That's how you create a primitive in the first place.
37. 03 S2A Construction of a 3d model: Now let's go ahead and see how 3D model works and what is inside that 3D model. Okay, so I'll delete all. And I'll go and create a cube again. So let's create a cube and see how that works and what lies inside that cube. Okay, So I'll create the queue mesh. And Q. Now I want you to introduce 21 more menu. When you click Add Queue, you can see on the bottom left there is something called Les add a cube and which has arrow next to it. So anything in blender which has an arrow like this, which means it can be opened up. So I'll click that arrow. And there we go. We have got a menu there. And it says the size of that cube, which is two MM sense it's a q. When you said do MM here, everything is going to be all the sides are going to be doing them because in a cube everything is equal. And next to that you can see the location and rotation. So you can basically move that when you create itself and there. But I don't want to do that and the same way you can answer a little bit. So I'll go ahead and put 0. And here we can actually adjust the size. So I want my cube to be dynamic. This actually one centimeters on all the sides. So we have got the cube here. So let's go on and see what actually lies inside. So by doing this, we'll be learning about the edit mode and the object mode. So I can select the cube and I will select object mode, and next I'll select the edit mode. Now if you remember your elementary geometry lessons, you must have heard the term faces, edges and vertex, right? So the same way we have got these three basic components with which we can actually transform the shape of a cube and get the shape that we want. So right now we have got these edges and notice that there is a tool here. There is a three buttons which stand for vertex, edges and faces. I'll select the vertex. And you can see that all the vertex point of the cube are actually shot. The corners are actually called as vertices. So I'll select one vertex there and you can select this vertex option. You can actually select the vertices and just like you would select a normal 3D object, the orange light highlighting that that were takes us actually selected and same way I can actually select multiple by pressing, holding Shift and selecting multiple vertices at the same time. Alright, so let's talk about the edges. When I select the edge, you can actually select the connecting edge which lies between two vertices, can actually select that. And similarly, the selected edge is highlighted in orange. So the same way I can actually select more by pressing the Shift button. And next we talk about the face. And I select a face and I'm able to select the faces of the cube. Similarly, I can hold Shift and select multiple phases at the same time, manipulating the sub-object so that our cube shaped gets changed. I'll again go to the vertex select, I'll select the vertex. And in the toolbar on my left, notice that the same move rotate and scale still a place and use these to actually transform your sub objects around. So I'll select the Move tool and see the gizmo appears on the vertex that. And now I can actually move this for the shape that I want and see how my shape actually changed. Okay, so I'll select this vertex and put this next to it. And now we have got more like a wedge shape here. So in this way we can actually edit our edges also inside the edge and more. And that's it. This is actually a base of how the models actually work. And I have the face tool and I can manipulate the face as well. So by manipulating the soft objects, you can achieve the shape that you want. So this is the overall concept of 3D modeling, but we'll see little more in detail. So here I want to see some points which are important when you consider edit more than object mode. The first thing is when you're inside the object, more nanofibers of objects appear, like you will not be able to select the face you learn, we'll say the vertex and similarly the edges. All these three exist inside the sub-object level of the object itself. So without going inside the edit mode, it's impossible to actually select the sub-object. So I'll go ahead and select that and go to the edit mode. And then only we are able to select this. And another point which you need to make in mind is like when you have the face mode selected, you will not be able to select the vertex or the edge. And when I have the vertex selected, you will not be able to select a face. And similarly for the entities to make sure you're on the right more. If we wanted to select the right thing to get the right ship.
38. 04 S2A Selection methods in edit mode: Let's now see the selection methods available for the edit mode for this, selecting some objects the same way as we did for the object more the same day. I'm kind of selections exist here also. So then I collect the select box. You have the week, you have the lasso and you have the marquee. So since we have already talked about, I'll select the lasso, select the areas which a one. So similarly, similarly, you can actually select with mercury and select, and the same tools work in edit mode as well.
39. 05 S2A Extrude: Now I wonder dog on a tool called extrude. So I'll tell you what it does. So I'll go ahead and select the face and select the top face. And I'll just press E on my keyboard, which actually extroverts. Now, e is a shortcut which can also be edited by going inside the mesh menu. And extrude, which is here. And select extrude face, which also does the same thing. And e is just a shortcut to x2. Now notice that when I extrude, I'm actually adding geometry on top of the cube. Now. It's no longer a cube, but a cuboid rate law, since it's in dementia, has actually changed by using the extrude tool. So I can also select the side effects and extrude like this. And you can actually build a ship you want. So I can extrude it in any way. So this is just the basics of extrudes can actually select any plane and extruded along its face.
40. 06 S2A Inset: Now let's see a tool called inset, and I will show you what it does. I will again create a queue by going inside the air and mesh and select Cube. And I'll go inside the edit more object mode, select that and press Edit mode. And I'll deselect. By pressing W. I'll select the face more and select the top face. So I will select a face on top and press I and see how a new phase is created on the same blend. This does not extrude a face, just create one more square inside my existing sales. So it generally creates concentric shapes. So when you have a circular kind of creates a concentric circle inside. And here I have just created a concentric square inside. So again, again in said by pressing I and again in said and so on. So this is going to insert my faces. This can be accessed by going inside the face menu on top face menu here, and give inset, which is also going to do the same thing as I press I, but I works well and it's fast as well. So you can inset any face that you want and you can try one. So why are we in said increase? Once we inset this face, we can actually extrude that I blessing E and see how we have got a step inside our cubes. So this can be repeated again. Press E. So you can delimit this modelling to, you know, when you talk about billers somewhere where a pillar exists and there are insets and then extrudes. And you can even see buildings and church dorms and things like that which have concentric and whistling. So those kinds of models can be done using the extrude and Insert option.
41. 07 S2A Loop cut: So let's see another tool which is called as loop cut. So I'll again add a cube in this point of time, I want to show you a shortcut here as well. When I press Shift a, I can actually access the admin you on anywhere so and press Shift a and go inside the mesh and I'll put the cube. And there we go, we've got that. I'll go inside the edit mode. Select all. When I press Control R on my keyboard, there is actually a yellow line which carbs through my entire cube. And we just actually interactive. So it's not yet put there. When I move my mouse cursor, it's actually changing. And you can actually make a cut y-axis or the x-axis wherever you want. And I can make a cut on the Zant as well. So right now it's interactive. When I click, it's going to put that on there. I'll put it on this axis. And ironically, the mouse, once it does actually showing the line as an orange. And I can basically slide that along and put where I want. So I'll just put it here and then appears on. So I'll go ahead and deselect all by pressing W. And you can see that there is a cut in the middle, almost in the middle of this cube. I'll create the scene by pressing Control R. And I can create a card debt and click one more time. And these electoral and we have gone to court there as well. And generally what happens when I press Control R, it actually puts the cart right in the center of those two edges. So once you click it, once you have the option to actually move and notice the cursor changes to do arrows there, which means you can actually slide that to the point that you want. Sometimes you don't want the kids to be in the middle late, so you can actually slide and put the card wherever you want. I'll click that. So why are we actually cutting the mesh is because we have more resolution to work with. And once we got an ego Inside the vertex mode, you can see that that many number of vertices and present. So wherever there are cut, a new word takes a new edge, and as a result, a new phase has been added. So by doing this, we have more resolution and more geometry to work with. So having just a queue with, with less number of vertices is difficult to actually create the shape that you want, but adding more vertices and more points allows you to shape up the Q. And so I'll add one more and see how I can shape that with the face and select the face and E and see that the extrusion happens on where we have created the new set of faces. So by this way, you can actually increase the number of faces and thereby you can also increase the possibility of creating new shapes in your geometry. And I press control when I use my scroll wheel to actually increase the number of God. So when I use the scroll wheel, I can move up to actually increase my cuts and move down to actually reduce and see the number of yellow lines that appear, which means Blender will cut exactly that much of time on the given plane. So I want three carts there, so I'll scroll my wheel that I have three and when I mouse button and notice all the three are highlighted in orange and all the tree can be slide across and the place you want, I'll just let it be so I can do the same and I can increase the courts do whatever you want.
42. 08 S2A Non destructive modifiers: Let's talk about non-destructive modifiers. Water we didn't know is all the structure which actually changes the shape of the mission. It's difficult to get back to the original position, right? So non-destructive is like smart objects on Photoshop, so it's actually retains whatever is the original condition of the object and simply just puts modifier on top of that. And thus you can anytime delete the modifiers which you learn one and retain the original shape as is. To illustrate this, I like create a queue. I'll go ahead and shift E and mesh. I'll press Q. And then you have a cube here. And select the cube and go into my properties panel. And inside the properties panel, I'll select the symbol that has a range, kind of an icon which says modifier properties and select that. And this actually has, there is a drop-down next to that says Add Modifier. When I select that, I'm greeted with so much of modifiers which I can use. The first thing what I want to show is I will go ahead and select, and I will put a modifier called as bevel. So here I have modified coalescent bubble, and I select that bevel. I have got one modifier here. So this is actually a modifier which has an amount and segments. And see I have actually chamfers my cube here. I have, when I press the icon here which says displays this on viewport, when I click that, it can actually switches off the modifier at that period of time. I can again done that on to show and see that a cube actually is chamfers and a sharp. So when I turn that down, I'm going to increase the amount and see it increases the amount of the chamfer. So this actually creates a chamfer cube. And then I can add the segments next to it, which says one and I plus two. It's going to add a segment in between that. So from a chamfer, it's actually turning into affiliate. I can actually increase that to have more rounding on my cube, let us create a plane. And this plane is, as the name suggests, it doesn't. It only has four vertices and one phase and four edges. So I'll create an object by going inside the add mesh and playing. I've got a plane there. And I'll go and say the modifier properties is the wrench icon on the right. And the modifiers don't actually need to be in edit mode, which is actually non-destructive panel, so it doesn't need to go inside the edit mode. You can be inside the object model itself. So select modify properties and I'll add a modifier. This time, I'll select what is called a solid. If I put that solidify called as more simple and next to it we can see thickness which is 0.01 millimeter ID. So now I can actually add thickness non-destructively without actually the same effect can also be achieved by extruding. But this is like more kind of a nondestructive methods. So anytime I can actually switch of an thickness. So this is another example of how non-destructive modifiers work inside of Blender. Now to give you an idea, there are a lot more kind of non-destructive modifiers. So, so as of now, I just wanted to make you aware of modifiers and just knowing the bevel and solid if I will actually take you a long way in packaging initialization.
43. 09 S2A Pivot point: So let's go to the top panel and select something called as transform pivot point. This is a button which is really useful. This lets you change the pivot point on the fly wherever you want. So now I'll click that and I'll select the 3D cursor. And let's go ahead and see what it does. I'll select the spear here. So it's one cell selected and go inside the edit mode, clicking on the object mode and selecting Edit Mode here. And we have exposed all other subjects. And I'll just select the 3D cursor. And now I'll select the Move tool. And notice that gizmo goose and dare to the 3D cursor. So with this point, I can actually make edits to my object. So I'll undo that by pressing Control Z it, and I'll select the rotate. And with the point of 3D cursor, I'm going to rotate this object. So this object rotates around that 3D cursor, keeping that 3D cursor in the middle. So this is like an arbitrary rotation where I am rotating around that 3D cursor. So this is one way of using the pivot. Let's go ahead and see the next example. I'll undo that, go inside my object mode and select the next object which says individual audience. I go inside the edit mode and go to the object mode and select Edit Mode to export all its sub objects. And notice we have inset faces, so I'll select the inset faces. Now. I'll click on the Face Selection Tool here and select the Move tool. And let me just select the faces inside 234, I'm basically selecting all the inset faces, which are the concentric ones. I'm actually adding selection by pressing Shift. So now all my inset faces are selected over here. All right, let's go ahead and select the drop-down that says transform pivot point. And this time, instead of selecting 3D cursor, I'm going to select the individual origins. So when I said the individual audience, the pivot point has come back inside my queue. So once I've selected all the inset faces here, I'm going to scale them by pressing S on my keyboard as I'll actually scale your object has this plus S and my cursor has actually changed. When I just move that cursor, you can see that the inset faces are actually scaling down in size, but the shape has not changed in any way at all. So I'll just scale this down and I'll go back to my object mode. And notice it is still a queue. But what has actually changed is the inset faces, it has gone more concentric and the distance between the inside face, and I would say phase has just increased and nothing else has actually happened. So what this does is when I put bird point in individual origins, it scales on the mid point of all the different phases. So when I scale a face from its midpoint, it just, the face is simply just gets bigger or smaller, which is what is happening here. So let's take an next example. It says the median point. I will select that q and go inside the edit mode. And inside I'm again selecting the faces which are inset. I'll make sure that you have on the face more and I'll press Shift to actually add faces to my selection. Set this to median point. This is the pivot point which has come to median point O. Now let us scale this and notice what happens. So this is actually scaling your selected faces from the mid of the cube itself and not the individual phases late. So when I click on the Moodle, you can see where that MOOC is more actually appears. It's actually on the mid. And when I actually scale, it is actually scaling the faces from that particular point. So in this case, it is actually changing the shape of our cube. It's no longer a cube. So this is the primary difference between the individual origins and median points. So let us go ahead and talk about one more, a pivot point option which says the active element. So I'll select that object. I'll go inside the edit mode. And I'll select the vertex tool. And I start selecting vertices. I can actually hold Shift and keep on adding vertices to my selection. And one thing that you can see here is my last selected we're takes actually appears in white instead of orange. I'll do that one more. And you can see now, I'll select one and I select this. And I'll select this. So the third, what I selected is in white. And when I select the fourth, the fourth wine becomes white and the third weakens islands. So you have to know this, this here. So whatever is my last selected becomes my active point. So when I add this and this becomes my last electron and this becomes my actor, which is why in shown in white. So whatever is shown in white actually becomes your active element. Alright, so when I select the pivot point and say active element, and I'll turn on my mobile for your understanding. So I'm just adding selections. And notice the Moodle actually moves along with the point that I have selected. So whatever point I've selected at the last, the move gizmo comes to that point. So with the help of this, we can make quick effects such as folding and see how we have got that point there. And our MOOC is more actually appears here. So with the use of it, I'll simply go ahead and select the Rotate tool. And I can actually rotate this face, keeping that as a hinge. It actually acts like a crease now. And I can basically rotate along that. So this is really useful when we talk about packaging and you'll see how we use this in the upcoming lessons.
44. 10 S2A Tips and Practices: So now that we talked about two different modes in a 3D object, right? One being the edit mode and one being the object mode. Now, there are a lot of confusions, right? Let's see what are the do's and don'ts in these two modes. So to illustrate that, I'll just add a cube. Now you don't have to follow along, you just need to concentrate here. I believe that you, you can see there is something called as a cube here. And notice in the middle and this movers, and you can see that there is a yellow dot in the middle right? So this signifies the origin point of that cube. This can be related to centre of mass of an object or anything. Just the center of that object can be sent as an origin point for that object. Each object has an origin point when I create and also create a cone. So here you can see the cones origin point is somewhere around them. So cubes are some Miranda. Right now, what I will do, I'll just move this object back and it's in 0. When I select the cube, you can see that it's locations, right? X, Y, and Z and 0, which means that origin point is in reading and that origin is in 0. I'll move this to somewhere on my left. And you can see that we are getting some movement on the transform. Now this is done in object mode. The same what I will do. I'll duplicate that and put it in the center. Again. This is the same duplicate of that cube with this having the location as 0. Now what I'll do, I'll just move this in and edit mode and see what happens. I'll go inside the edit mode and I'll select all. And similarly, I'll just move this and put it back to my object mode and see that the origin point is no longer in the center of that cube, but the origin point has stayed on where it was. And hence the result of this, you can see that transformation nothing has actually happened. Now this is what happens when you transform the entire object in edit mode. It will not show the location of this. So never actually transform objects in edit mode like this, unless, until you know what you're doing. But that doesn't mean difference in moving object between edit and object mode. And we saw how moving works. And let's talk about deleting an object in an object model. And let's see what happens. I've got the same two cubes around here. I'll delete this one where I created null and delete that. And in this cube, I'll go inside the edit mode, and I've got the sub objects here. Now I can go ahead and delete as subobject. That works fine. It's not a problem as long as we want that shape. I can go ahead and delete any type of sub-object and get that butt. When I select all and delete, see the outline of that has an object which is called Q. I'll just select all of this of objects and C, X and delete. And now that all the sub objects has been deleted, which means there is no vertex, there is no phase, or there is no edges. What happened? And that object doesn't exist anymore. But still, you can see something on the outliner would still say skew, but we don't have the cube in 3D space. Now this is what happens when you delete an object entirely in an edit mode. So when you're deleting objects, never delete an object in an edit mode. We should always delete an object in the object mode if you want to delete that object altogether. But you can delete the some objects inside of the object mode, which is the vertex or anyone, but never do the whole. If you do it, and you'll end up having just empty origin points and also unnecessary data on the outliner. So I'll select that again. I'm just able to select, but there is no object, but still I can see that origin I'll select, and now I'll be in that object mode and press X to delete that. And now I can get rid of that object forever. Okay, now let's talk about scaling objects in edit an object mode. For this, I'll create a Blaine and show you what happens. I'll go over and get rid of this cone. And I'm an object mode of this cone. I'll just delete so that I got rid of that and create a plane. And that's the plane. And you can see the dimensions of this. On my end. If you're not able to see, you can press N and then you can see that I mentioned for this is to amend by doing them. And then you have the scale. Notice this is the part where I want you to concentrate, where it says one is to one is to one. Which means it's scale is one-to-one ratio. Notice what happens when I scale this object S on my keyboard. And I'll scale that. And this object is scaling on all axis proportionately so that the scale is now 2 through six on all axis. And now I will just go ahead and put a modifier on this and select that and add solidified. And I'll give the thickness as one MM. So we give it a thickness as one m. But note that on the dimensions, I'm getting the z as 2.47. But ideally it should be one, right? Because we have this given one MMSE thickness then why is, why am I getting extra? That's because whatever things you give here is being multiplied by this number. This number is this getting multiplied by 2.468 times. And that's where you are getting 2.4 because I'm getting one here. And that's why when multiplied this by 2.4, I am getting 2.4 here. So which is why scaling things in the object mode always creates problems in your non-destructive modifiers. So that's why scaling in a few scale in object mode, you should always apply the scale. How do we do that is because when I select that object and go inside the object and apply, which is here, and say skill. And notice that the scale has gone back to one, which means all or modifiers will work correctly and one of them would still using one MM here. But there is also one shortcut to this. You don't have to apply each time. The same, the same plane. I'll create one more mesh and Blaine, and I'll again give it a so identify and give that at 11. And yeah, we're getting one MM here, then our scale is set to one. Now instead of scaling in the object mode, now I'm just going inside the edit mode and select Edit Mode and select all this elements here, all these objects or I can also select a face and select this. And let me go ahead and scale this now. And whatever I scale in my edit mode, my scale property never changes. It's still set to one, and that's why my modifiers are still able to work. Inaccurate scale does not even affect your modifiers. It affects in lots of different ways. For example, your UVs might be stretched if your scale is not right, what I would advise is never scale in the object mode if at all you do so, make sure that you apply the scale and make sure that this scale parameter is always set to one if you want your UVs or if you want your modifiers. And all the basic things that do work properly, make sure that your scale is always set to one.
46. 01 S2B Setting up Background images: Hello. In this section, we are going to see how to create a box using our template, okay? For that first step, I'm going to press minus y here, and then I'm going to friend orthographic view. I will add image background. I'm going to navigate through the Excel files and section to be few C box underscore template. So I'm going to open this file. Double-click. We have a reference image imported. The next step is to set the dimension for this, we know the length of the box is 200 MM approximately. I'm going to match the dimension by adding plane, your ad mesh. And then plane B can see here we can actually add plane and enter the size here, 200 m. We have a plane creator, but not in this direction. I will go ahead select plane and then rotated in the x direction. If you see your, we can actually mentioned the angle here. I wanted 90 degree. Wanted to rotate it by 90 degree. Okay, once the plane and said, I'll go to wireframe mode. So if you see your reference image is very small and this is very big. So I named the reference image here by reference template. And I'll scale it and match to this plane. So the length of the box, I'm going to match it, the spleen, say approximately and then leave it and then do it. And move this and keep it. The origin point and move the spleen also. Get sleep. Now I'm going to match the template scaled out and then move more weight. This is almost matched. So right now we have actually matched our template with displaying height. So now we can start with the modeling for.
47. 02 S2B Getting started with the box: For modeling, Let's go in say the Edit mode, Let's select the blend and then go and say Edit Mode to Ivan, select this edge and then move it by using the Move tool in the x-direction. So in this way and select this and then move it, match it. So here we have our bill, so rectangle ready. So now let's go ahead and add loops. For adding loops. So basically we are creating edges over here. So we have three edges. For that. I'm going to add loops. So Control R. If you hold, press Control R, You can see the loops are getting added. No, you can actually drag it, slide it, and then please wherever you want. So I'm going to put one loop cured and then create one more loop. And then create the other loop over here. So right now we have the box, that rectangular form with all the edges. Let get started with the top flaps. For that I will select this edge and extrude along with the z-direction. Okay? Can E, and then you can press Z, will extrude it and only in the z direction. So now if you see we need one more loop over your hand down on the Lu Bu here. Okay, for that, I'm going to create two loops by pressing Control R. Lu, slide it and place it wherever you want. And then Control R. One more loop over here. So once this is created, let's go to the word x mode and then select these two words x's. And then move it. Similarly, select all three points away here, and then move along with the x-direction. So we have actually created one flap, the same way we are going to create all the other three flaps. So let's do it one by one. So I will go ahead and select H, extrude E, and then along the z-direction, I replace z now, so it's actually locked. And then place it the same way. We need two loops away here. Allied Control, R, loop, overhead and candor are another loop over here. So let's go to the vertex mode and then move all the points. Select all the three points over here, and then move towards the x-direction and match it to the line. Then select this dewpoint and more towards the x direction in this way. So it's very simple actually. How is we have made the flaps ready? The similar way we will meet the bottom side flaps as well. Select H, extrude along the z direction. And then I do loops, control loop boy here, and loop over here. And we'll go to the vertex mode and then select all this, these two points and then move towards the x-direction and select all these three points and mood towards the x direction. Okay? So if you see we have actually three flats. The finding most flat. Let's select age extruded along the z-direction. Had loops by control are over here and one here. Let's go to the vertex mode. And then select these two points, match it along the lines. And select these three points and match it along this line. So right now we have created all these for free apps. So now we need to read though, frank, top flap and the friend bottom flap. So for that, I'm going to select this edge, extrude along the same direction. And then add a loop over here. And then go to the vertex mode. And then slightly move this. Anyway, we are going to insert this. So let's do the boredom flat password. Extrude along the z direction, control our loop. And then go to vertex mode. And slightly move this insight.
48. 03 S2B Folding the Box: Now we'll go ahead and actually folded the flaps and then make it into a box. So this process is exactly how we make a box using a paper. We actually draw a template or printed template and cluttered and then release them and then make it and fold them. And then we will glue it, the similarity we are going to do it here with Esri. Start selecting it for doing that what we are going to do before. So for rotating this, we're going to actually meet the select into development. So for doing that here, if you see there will be an icon. You can select active element. I am going to rotate this flap as my friend flap and date all the other flaps and z directions, I would select what x points. These two points. By selecting shift, we can select this. Right now we have actually selected all the world points required for the full to happen. Okay, So I will set deselect, I'll hold Shift and deselect this point and select it again. Right? Now this is my active element. It will act as me, the word point. So for rotating it done this slightly make it in 3D view so that we can see in which direction actually true dates. I will go to rotate along the z direction. I will start rotating it. So we don't have to actually completely do it in the rate. We can actually eyeball it and just leave it rotated along this direction. Now, we can actually set the angle where your 90 degree 2. Now we have this flap, the site with the suffering. Know our side flat this rig. Same way what we are going to do is we're going to select all these points where X points. And then the select this, these three points, right now we have selected whatever points you want it. Now I'll make this by holding Shift, select this and select banking. Now this is my point. Now, we can rotate it along the z direction. Again, a lender angle as 90 degree is. So we have a box with oil the three flaps in place. So it's the final mostly side flap. So I will select all these points. Okay. I'll deselect all the unwanted point by holding Shift. Now I'll hold Shift and then the select and selected again to make the seismic activity element. And then rotate it along with the Z direction. Then enter it manually 90 degree. Right now we have the balls with oil, the four sites. Now we have all the flaps, top side flaps and doped bomb friend flat for doing that will select all these points. So this is my add 2. Now if you see we have to rotate this indeed y direction. So we had our dating and divide eduction will not religious exactly 90 degree two goods we wanted the flap to go in, say it nicely. So we are going to do, I had a value of 100 and 50 degrees. Similar where you can do this with this hazmat dewpoint. So this is going to be the pivot. Rotate along the y-direction. It is minus a 103 degrees here. Often enough, we can actually do it and a 105 degrees. Now, we can rotate this top flap. Me making this as an app development, we are going to rotate it in the x direction. So a strictly here. If I do it 90, then it will be there we go. Incidence. And now I do not clean modern, so I'll leave it as it is six. And then this flap, it's like attacking. So similarly we are going to rotate it in the extent action. We can just make the central needed. So now we have actually completed the top flaps. We have a neatly tucked in order inserted all the flaps. Its like we are folding it a virtual box. So now let's do it for the bottom one. So this way, we have made this point as an octave. So this will be, it will be a hard pivot point located along the y-direction, 95. Let's keep the value at 95. So let's go to this flat pen lender did this assessment. So this is Mac the point and then rotated in the y-direction. So it's minus 95.1 and strain. So let's do the final most flap. The x-direction alone. Ada degrees or 90. Select all these four points meet the SESAC div element, rotated in the x-direction. Now let's go and save this shaded mode and see how it looks here. If you see there is a lot of gap over here. So we can adjust that by going inside edit mode, select this edge, and then slightly move inside more long-term direction. So in this way actually we can write that out.
49. 04 S2B Adding Details: So here if you see when new folder box they'll be like glutenin, imperfections, radar be a thickness and other things. So we are going to add three loops over here and then slightly raise it. So I'll go ahead and add three loops. Control are 1, 2, 3. Safely, we can move this in the z direction. And then it's like a much more holistic way. We're showing the full detailing. So slightly select this. So select this point and slightly move towards. So actually we can create a curve or bend paper. Paper or bend people like folded people will have a kind of band. So right now we have actually blocked box out of our template drawing that we already had. We can start adding the second dv du, so sick and really tells us we have the box, everything was ready, but we need to add thickness and little bit Beverly fuel. See these edges straight. Know it's really sharp. So let's go ahead and add modifiers. For adding modifiers. Go inside the property panel, the wrench icon, click the wrench icon, modified properties I had modifier and solidify. So what distances it adds thickness to automotive? Go ahead and enter MM. So once this is done, we have added the thickness. After that, we can add one more modifier called bevel. It can keep segments is three and then ammonia as 0.8 nm. Notice the edges. There is surrounding effect. All right, so in paper or cardboard are going to thickness of the material and the Friesland, we can observe this kind of rounding effect. So now we have actually completed the box and our boxes ready, let's go ahead and see how predictions this box.
50. 01 S2C PBR for Packaging: Hey, So we have modeled our box, and now we want to put our label graphics on top of this box so that we can see our graphics on 3D. That's the fun part of blended rate. In this video, we'll do that. But before going inside that we need to understand the basics of material and how you do this work. And that's why I have a small slate for you to understand what is PBR shading. Let's go ahead and look into it. So PBS stands for physically-based rendering. What does this mean? It's like it's a computer graphic approach that attempts to simulate how light reacts with the surface of a 3D model to simulate or reproduce realistic looking results. So all you have to know is PBR is used to read for the realism. So when we're talking about packaging visualization, we are talking about photorealism. So we want the packaging visualization to be as accurate as possible. That's where we are going to use PBL rendering techniques. All right, so this PBR uses images, are textures often called less maps. To define value we started consistent in different lighting conditions and across different softwares. So you'll see what happens to it later. How do we define materials, the traditional way as soft now we saw like playing with the sliders and playing with the roughness and playing with the metallic values to actually change the look of the material, right? So this is how the materials was defined in the traditional way, just by giving numerical values and that appear right to you. We can create any kind of material, but there are some issues in defining materials this way because a packaging artwork often contains a lot of colors. Notice when we talk about the principled shader, there was just one color slot rate. So what if your graphic has multiple colors in it so you can't keep how one, just one color in the package rate. There is, there are labels and other colors, fonts, etc. And then a package offers various effects, sometimes such as u, we embossed detail or sometimes filing effects and on. This can't be just given by this one's later called roughness. So when you actually completely make the roughness as 0, the entire package is shiny. That is sometimes not true as a package will have a matte finish and some, some portion of it will have a glossy finish and so on. So and a package often has haptic effects, such as textured paper to actually give, simulate some effect. So those kind of things cannot be just done by using sliders. And hence defining a constant value with a number is not always ideal when we talk about packaging visualization. How does PBR solve this? This also categorizes the materials into metals and nonmetals in the first place. That's what we do in the metallics Merida. And by using grayscale images that are actually called us Matt, define those values. So how does this do it is if you have a grayscale image, wherever there are blacks Blender will consider it as 0. And wherever there is white, Blender will consider is a value of one and whatever grayscale value that you have will be taken as anywhere between 0 to 0.1 based on the intensity of that gray portion. So let's talk about some maps here. First I will tell you what is a metallic map. So metallic map is first of all, use to define metallic surfaces. This is best used when you're talking about filing in a package. Only certain portion of it may be the logo or maybe a sentence or just a font will be in metallic. So those kind of values can be easily achieved with the help of metallic map. So what does this do? Notice that I have created a metallic map here. And one says 3D model plus a metallic map will give you that result. So you can assume it like a foiling detailed data. So how is blended calculating this is first I am feeding a black and white map, which is called Lesson metallic map. So what blender is doing is wherever there are blacks, rendered treats it as a non-metal surface. And whenever, wherever that are whites, blended calculates it as a metal and lead. So the same is returned here aspect. So why it is one and black is 0. And metals cannot be mixtures, right? So you can either have a metal or a non-metal, so we don't have any grayscale values here. It's always a Boolean. It's either black or white. When we're talking about metallic maps. Let's see about a roughness map. Now if you remember there, we use the slider to control the roughness rate to actually make it 01 to make a mirror surface and rough surface. So this can also be defined using a map. If you see here we have got a plane, the same 3D plane, and then we have 12 roughness map. And then we come in the result where there is a little difference on the highlight. If you see that image, that highlight is not even and there are different roughness values present in that. So this can be used to actually define matte finish or glossy finish at somewhere. And this is really useful when we are talking in packaging. And this can also be used to simulate the UV effects. So you can be similar to easily with the help of a roughness map. So here also what is happening is wherever there is whites, it treats us a 100 percent rough, meaning it doesn't give any deflection over there. And wherever there is black, it treats us a 100 percent shiny surface, whatever in-between values out there. In case of gray, it reads the values between 0 to one. The water bump maps, bump maps are basically used to actually simulate haptic textures on a surface. So wherever there are textured paper or whether they're touched surfaces can be used with the help of a bump map. This is also useful when we are talking about embossing or debug things. So this also works the same way where if the value of one will be erased, value of 0 will be late dip. And wherever there is a value of 0.5, which is 50 percent gray, will stay as it is. So if you see here, we have a 3D model and then we have a bump map. So notice that bump map is again a grayscale image with those values. And then you end up with the same plane with having a haptic feedback here. So you can see that there is actually a texture of a brick wall that's happening just by using this bump map. So we can make use of bump maps to actually generate our emboss and DeVos details are non package. Then finally, we talk about a normal map. Normal map is also similar to a bump map because it also gives you the same textured finish it, it can be used to generate a haptic textures. So what does this do is, instead of defining values with the help of black and white or grayscale image. This uses color information. It uses red, green, and blue to define the x, y, and z values of a surface. So you must know right now that we just saw what x, y, and z axes mean. It's just the same 3D axes that we talked about. So by using a normal map, we get three extra colors. I mean, so the resolution of a normal map generally is much more than when we talk about bumps lab as Bump Map don't use colors, they just have values that are, that are limited. But with normal map, you have much more resolution when you talk about detail. So normal maps, dental give more detail sometimes than that of a bump map. But this is used best when we use to simulate surface textures like paper texture or cardboard texture and things like that. So now we see PBR in action. This is just one image which I wanted to show you. So here you can see the base color. So this is just a color map, which is like similar to what we did in the first lesson where we put a label graphic for a tin. This is very similar to that. So it just uses a brick texture to give that colors of a brick. Basically the this defines the Briggs color and mortars color and everything. Whatever color informations here has been defined by the base color map. And then if you add the roughness map, which is going to define the how shiny on how mad the surfaces. And then when you combine this with another map called as a normal map. And this can also be a bump sometimes. So when you combine this maps, you get a result that dissimilar to the right, you can see the brick wall that has been lied to a sphere object. Just by using simple maps, we can actually define as offices material, which is the power of PBR. And we'll be further looking this down when we talk about them later in this course. But I just want you to understand the PVS action as of now.
51. 02 S2C Creating maps: So now we have talked about PBR and gender. Let us see how we can actually convert Africa artwork to PBR textures. We can use them to define the MOOC, Dale's, the UBD, Dells, and, and any surface finish, etcetera. But here I've opened up GIMP, which is imaginary. Turn off my choice, but you can use Photoshop or even Illustrator. So this is my label artwork, which I'll be using on the box which we made. So this is simple walnut box in which I want to create some details and also I want to give some bump details which is nothing but embossed on repos. So I'll go with him was for this. So I just want to emboss the logo and then that wildland, which you see here. Notice that I have my Layers panel here and in which I have three different images. So I have given you all these images in the exercise files. So I'll just switch that on to show you and hear what I have done is I have colored the entire image with 50 percent gray, which means, as you might recall, so 50 percent gray will not raise our dip the surface, which is where I've gone with 50 percent gray for the entire color. And then I have put your weight on the walnuts logo and also on the walnut image. So what this is going to do is it will basically erase that portion of my packaging, which will actually end. That is similar to embossing. And if you want this to be the worst shoes and all you have to do is make this white to black, which means it will just deep insight. Then we'll talk about this UV map. What I've done, I wanted to simulate the surface roughness or the glossiness. I have put the same 50 percent gray on the outside, which means that 50 percent gray, neither a shiny surface, lot of rough surface. It's somewhere exactly on the middle. Which is why when growth 50 percent gray, you can go with a darker color if you want the shiny and package. And then I have basically colored the walnuts to complete black. So what does that blue is? By putting this complete black, I'm going to get a 100 percent shiny surface, which is similar to we coding effect, which is where I've done that. You should also notice that all these three images are in the same dimension and say View icon for all the three, you can see that all the three actually exactly layer up one on top of the other. So this is really, really important if you want these maps to work in the 3D scene. And one more thing, what do you have to note is that I have gone with the square dimension. So you should always go with the square when you are working with the 3D model, because that always gives you the best results. So a bubbler dimensions for this is two k, which is like 201400 2048. If you are planning to go closer to the object and should close ups, I would recommend you to go even higher before K, which is 4096 by 4096. So if you use for K-maps, all your textures are going to be pixel perfect and you can even go really close to have some shots. So here I have gone with that image and you just have to or lab everything together. My wildland and this logo actually overlaps on top of this, my primary graphic.
53. 01 S2D Texturing The Box: Hello. In this section we're going to see how to picture the books. So I have opened the same file we have modeled first, do important step is to, when we get into addiction history, how do you wrap the more likely you will go to Edit mode and then select all by holding a, this a. Now if you see there will be an icon uv. If you select, you can select unwrap. So now in this UVA, that band, and if you see, we can actually see unwrap that don't offer box, right? We first see how do I lender box, box with our image. We have the graphic. Mitch, open labs. This box that I fix diffuse and open this image, hold Control Space. If you see we have two are diffused image, image graphic isn't different, scale and I read more than the unwrapped. Do you mean zinc different scale. So for doing that, we actually 30AM to Elaine, do you we according to the diffuse imagery. Okay. For that, we will go ahead and select, Okay. Now we can scale it by pressing S. And then we can move it. If you come to this band here, we can select the Move button. We can move it. Since it slightly bigger. Scale down S and minimum. So what we're actually doing this, we have already created the image graphic according to that template. So our box, we're actually keeping the same. We are aligning this seem like edge to edge and the starting point to Boyne. So it is a kind of an alignment. So I'm aligning this. We as leaders, we can scale up little bit and then move it. So now it's somewhat, it's aligned. So this edge, we can actually may have to matching rate. So we will do it one by one. So before we do that overall scale, it should be proper. It slightly offset, we can do it drape, so that will get already a credit. Okay? So right now we can match it to the diffuse and human-based selecting and adjusting little bit here and there. So instead. So go ahead and minimize setback by control space. So now we can start with creating the materials. We would select the object we have and then go to property panel, Properties panel and then click material properties. So we have this band loop will now create new, select new, name the material as books. So now we have named created. And so we can go and say Mendelian preview mode by holding the set and then selecting material preview. Now you might be available for this BBR, may TGF Voc flowing on. So the same level if we are going to add the diffuse color for this package box and also the bump because that does them loosely deals and also to the UPF it. So let's do that one by one. For that I had heard and then go to actual image texture. So in this image texture, we can open the diffuse map, so forth. That diffuse map exercise files go to section to be maps. And if you see we find box graphic, diffuse B and G dot PNG. So click that and open image. Now we have dy. Diffuse map and connect the diffuse map color do DBs sql. Now we will see we have actually already got a graphic on toy box. Go ahead and connect all the either ethics we require that does though walnuts make gambles to deal in the left image as our UV effect. For doing that, I will press Shift a search image texture and then open image, the same place, maps, box, graphic, bump, map. Open this right. Once you open, we have to change the godless beans in non-color D1. So why we are actually changing this into non-color data is the information we are providing for the bump de did is actually in Gretzky. So we don't have to have the sRGB color space, so we are going to make that as non-color data. So now we will connect this bump map to normal by adding bump node for that shift, a search bump. Here, we can connect our colored to height and then normally do normally in this way, we can connect our bump. So if you see we have a slight Bomba word on top of the water. And as well this image, we can actually increase or decrease the effect by increasing the distance. So if you notice here, very move this. If I'll keep this three, we can have more, much more different Bump Value. So this is what I'm expecting. So this is the required bump. So let's keep this distance is three. So now we will add the UV effect. For doing that, we need one more textured. So shift E, search image texture, and then Open Maps, box graphic, roughness map, right? So here also I'm going to change the colors based on color. So this one in directly connect to the roughness. So now if you notice we have the woodland, the glossiness in the walnut decrease or increase the glossiness effect on top of the volume by adding color ramp node. Okay, for that, I'm going hit Shift E, search color ramp. Okay? So if you see here, we have a black and white value. So I'm going to change that black value little bit into grade. So if you notice your wall like this changing, do a mind slightly or glossier one and do much glossiness. Glossy. So the value can be defined slightly, we can adjust it. I'm going to make this black into a slight, mild degree. And then I also change the weight into a lighter gray. So in this way, we can actually play with the glossiness effect. Lighter gray. So if you'll notice here, here it is, it's much more glossier than the surface. So we have actually given the bump did and also the UBD did over here. So our box, we have actually diction or box we have more than 10 also, we have to make sure that it looks realistic. So if you see here, in this way, we can give the front ethics are not package.
54. 01 S3A UV Unwrapping: Hello. In this section we are going to see how to do. We are going to start with the UV unwrapping process. I'm going and saved edit mode. These select all and go and say, I want to do UV to be true. But oneness though, friend side of the two and the backside of the cosine. Cosine, or all over the edge. I will select the bottom most one and select one. And then what I can do is I can actually hold Control and then select. So what this does is when I hold control and select the tool, selected the connected a, just a sweat, Let's select all the edges along the center of the tube. So here is another one, candle hold, control and select, so that it will select the connected edges swim. So in this way we can actually selected the edges. I'm holding Control. And then the last edge, this one. So once we have selected or the direct red edges, we can go and say that the edge mode, and you'd find the option coil, Maxine punk scene was actually a snake go making a gut Klein kind of. So when you click and drag, but it will be due back. And also if you see we have some phases going inside. So here also we can select this circle by selecting control. Rotated select, Do you have selected an edge? Hold control and cover like a short, short distances hold Control selected. And then I'm going to completely select this. So once this is selected or the regrade edges, I'll go in and say D edge mode and then Mark seen. Once we drop this, we will get to but that friend and the back side and also ordering kind of structure. So basically what it does this seem, MSG is LIGO Kotlin. I already mentioned this. Select, select all by holding age and then go and enter. Now we will note this here. We have two part. This is the friend and by backseat and then we have a ring or sram, right? We can go ahead and create depth may be idiots, right? For doing that. I'm going and say the object mode. And then I have selected this and go to the Properties panel and select material properties. Here, new material. Now you will notice this may deviate Lisbon create the later lessons we can actually call a graphic texture rate. So we can go ahead and select Shift E, search image texture. But now open section 3. So if you go inside Section 3, you will find maps that too graphic style, open this image and then connected them basically. Now whatever you do before doing that, I blame the UV light can actually called this. And then we can see how do Alaina to uv over here. If we select this, we can actually map and maximizes you weirded out. By holding Control Space, we have to place the UV, unwrap the movie on top of the picture. What we have left board, we have imported. You go ahead and rotate it. Rotate it in this direction. I know the sister bottom face and the top. So I will forget it. 90 degree rotate minus 90-degree choose. So minus 90 degree sector, move it and the y direction. In this way, we can actually move this again. Now, let's align this, this string. We can actually place it anywhere, not image. So I'm going to move on, lead this ring for that. I'm going to sell it though. Go and say the face mode and you really don't, and then move it somewhere, we can place it. Actually also, we can scale it down by pressing S and that's gained out. And then we can keep mature. Yeah, so this is span. You can scale down a bit and then keep retailer. So in this way, now we know this is the flame and this is step back, right? So we can select the individually, but by pressing L. And then we can actually move this, make it like Gus in center, align it in center l and then move it. We can actually align our UV and grabbed up with them diffuse map. So now we can go ahead and say the material preview mode and see how our dictionaries working. So now if we see this medial preview mode, we can see how nicely our picture is wrapped around the mouse model because this is because we have actually created a nice UVs and we have I landed so there is no stretching happening. It's actually broken.
55. 02 S3A Mix RGB Node: Now I wanted to show you something with respect to the material shader editor node. There is one node coiled mix RGB. We can create that known by shift a mix RGB. So now if you connect this color to the base color mix RGB, and we can actually give two different colors over here. So 1, I'm going to keep it blue, and the other one I'm going to keep it green. So now you feel see what this nor does is it's mixing the green and the blue and needs producing a deep color sheet, right? So when this FAC value here, if you see there is a value called FEC factor. So if you reduce and increase it, it will be between greens and this will be between the blue. So it will make sure which one do I act in this way? Blue is dominant and infant this way, greenness, dominant trait. So if reducing 50 percent, it's, it means it's mixing up colors and color one in the 50 percent ratio. So in this way, we are going to actually mix our x-bar, which is in B and G format. We are going to mix that. Okay? So what we are going to do is it's going to act as a mask for this straight. So I'm going to put this alpha connect the sulfa and FEC. And if you see, once I connected my scholar one is slate, go in changeable shade where I can put blue, pink, and no, any other sheet I can experiment with its 10 now I can keep my color options open. I like create trade and 3D. So I wanted to keep that as right now and make EDL ways. I wanted to doing decrease the resonance a bit. So glossier.
56. 03 S3A Multi Materials: I'm going and say the solid shaded mode. So now with respect to the multi-material option, we are going to give a separate mediated for it, this c. So here, if you notice on the back pages we can see a stripe baton, right? So we are going to give that. For that, I'm going and say the edit mode. I'm going to select only those phases. So venue select and edit mode. Make sure if you're selecting lenses, make sure you are in wireframe mode. Because when you select only in the shader editor, you might not be able to select the backside of the model. So I'm going to select them the wireframe mode. So now if you didn't see it's actually selected, right? So one leaf for this, we are going to create a new media. So here and then click new material. And then may deviate do here. You can actually name it stripes and then assign. So once you have selected this, these spaces, you are going to assign it as medieval do with the same object. So in one object, we can actually create a number of years by selecting individually It's faces and assigning it, right? So we have assigned this material as stripes. Now, we can go ahead and give different may deviate or so here, as I said, are newer, I wondered stripes. So we are going to add shift a search image texture. So we need to add a stripe back then or some thing to create grayscale mode to create the bomb, the daily rate. So open. So it's dead in labs who can open this file stripe bump. Now we have to change this sRGB color space and do non-color data. So once we change this, you are ready to connect this here with normal. So whenever we are connecting our bump, map, bump exert due normally we have to add up a bump load rate. So I'm going to shift a search bump. So high I do hate and normal, normal. Now we can go ahead and seeing. So I'll let format material preview and object mode. Now if you see that is that is bumped the data lake gas tray detail over here. But if you notice one thing over your skill is really high. So we have reduced the scale of the bad penetrate. Hence, we are reducing the scale of the baton. We have. We are actually decreasing the gap in between the strips. So for doing that, we are going to do mod mood to work your coil, the mapping node, shift a reading that select mapping. So this mapping and one more node coil actual coordinate shift a and search deck should coordinate, texture coordinate. So now what we are going to do is we are going to connect the UV and rector. And then this week that point do the bump map vector. Why we're doing this is to adjust the scale value of the stripes. So here if you notice the scale value is y one in all the columns rate. So I'm going to select all my driving MIT. Or you can actually individually increase the scale by fi, five. And all right, So now if you notice, we can actually get a ceiling feel. It's like a grinder for bump detail for the seed. So also we can select the color of the details. So if I'm, since I have kept the base color white, I'm going to keep the soil. So write in this way we have actually created due May did here it's 12. So now we will go ahead and give me a deal for the Gap. And selecting the gap new material. I'm going to name my desk gap material. And I'm going to give Lake orange colored dark orange. And then I wanted this to be very close here, kept. The plastic may deviate. So if you see and still much glossy, I wanted a little bit might also, so I'm adjusting just the reference to get a mighty plastic field. So now if you see we have actually two with Stripe detail on dog and the label the day loan friend and back.
57. 01 S3B Texturing the Pouch: Hello. In this section we are going to see how they should approach. So here, mainly we are going to concentrate on how to give foiling effect and also fade the transparency effort. So let's get started. So here I am opening porch dot blend file from my exercise files. Section 3 b. Okay. That is my digit already created. That is normal map attached. So with the normal map we can add. So phase imperfections like if you see here in my diligent review some wrinkles and the surface imperfections to make this bouche much more realistic. So let's get started with the texturing process. First, we are going to connect the base graphic prediction. For that I'm adding image diction node by a shift in search image texture. And now I'll open section 3 B, maps, pouch graphic, diffuse. And you can make colored base color. So now if you see we have actually added base picture based graphic picture view. Now we'll see how do I D metallic or foiling effort for that. We have to add or metallic map on this metallic. So for that shift image texture. And then Open maps, pouch graphic metallic. So if we connect this and we have to meet the Schuyler's busy and do non-scholarly dot and then connect the color, do metallic solid. Now if you see, can see a metallic feed on this dashed line of the stroke would ship also special dark chocolate formed. This is also in metallic. Okay? So in this way, we can actually give the metallic free. So in these kinds of packages, we might mean to show or demonstrate how do, how would the product from inside. That looks great. So this is black area here you are seeing is still transparent area. So we are going to see how to fit this effort Q. So I'm going to create shifted a search. So we have do principled shader here. Now we will see how to mix it together and create one output. So for that, we need a node goal, mix shader, shift, select. So research mix shader. And we have the opportunity to mix do shaders and also unmask detail for the mask DD. I didn't go ahead and create image section or Open Maps, bulge graphic mask. So this time opening here and this color data to the upper value. Now we have two shaded nodes, empty rate, we are going to connect one shader over here and the shaded. And we have the shader to output medium and low. So now if you see here what is happening, the map in word form. So I'm going to just exchange and connected. Now if you see here, we have our graphic and also this white space indicates the transparency. We're going to add up image. So we're going to add our image of a chocolate chip. So for that, shift the image texture or when mats chocolate chip. So if I add this in base color, you can notice you see the chocolate chip. We have already discussed how to reduce the scale if we're using our image rate. So we can reduce the scale of this chocolate chip image by adding nodes. That does oneness shift a mapping. And another node is shift, is search for x shared coordinate. So now it will connect to you. We do big data and then make, do this vector. And then if you see we can change the scale. We have actually FEC, the transparency effect by adding bool differentiators with Mitch. Now, we can actually reduce or change the roughness of this MAY making this deafness much more reduced to her glossy field. We can actually mimic transparent sheet. This is how we have midst, do differentiators and then mimic or transparency effect. And also we have added a mechanic map for giving up foiling.
58. S4 Lighting and rendering in blender: Hi, and welcome you all back to another section in our course. And in this section let's talk something about lighting and rendering. Now I want to tell you that we learnt be looking deep inside lading because it's a really vast subject. But we'll just be looking at the basics of lighting and rendering with which we can extract decent looking at windows offered packages.
59. 01 S4 Significance of lighting: So let's open the file in our section 4 of our exercise files. Open section four. And I'll open why lading dot blend. And we have got that open and you can see that there is a box and there is a spear, and there is a plane. And we have a new object which we haven't talked about below, which is called as a point, which is point late when stands for it's a light source, which is like a point. So it emits from a point light, which is why it's called as a point over here. So now I just want to select the rendered viewport shading which we haven't discussed yet. I'll just select that here. And bam, notice that we have got some lighting information. And in this lesson, we're going to see why are we letting our model and what is the significance of lighting? Didn't know, we just took screenshots from our package and they were looking decent already. Then why are we letting? So I will tell you that lighting is a very basic element of 3D and is often very underrated because lighting will give your object to life. Lighting will basically bring out the details in an object by using highlights and shadows and mid tones. So here, if you see, I'm just going to tumble around a little bit to see what's happening. I've got my light source here, and I've got two objects here. And since the light sources there, you can notice that there is a highlight on the ball and then there's a midtone and there's a shadow. By using all these three different information and three different, you're able to see gradations of that color. So without lighting, this is how you would see the object and it'll go and go to solid view again. Here I am select flat. So without lighting, you can see that the whatever 3D shape you have still appears as a merely flat shape. So the light is going to give your shape. It's looks so that you can identify it as a 3D form. So there is a, there is a major difference between a shape and a form rate. As shape, we'll just have an enclosing space and it won't have any details such as shadows, lighting, etc. But a form is more like a 3D and it's normal 2D. So you can see a form is like a 2D primitive. So here I again select that my rendered view and you can see immediately the difference. So we are able to see the three dots, and thus we are able to see the details here. I'm just stumbling around to see how it looks. And I can also move this late to change my effect. And notice that we're getting shadows and late just like we would in the real world. So using these basic techniques, we are going to light and render our packages so that they look much more realistic. Just understand one thing is light without lighting here, packages might not look as real as they are.
60. 02 S4 Lighting Methods: Now I'll give you a basic broad idea about the type of lighting conditions inside Blender. We can use two basic types of lights in 3D in gender. That is, either by using physical lights. Physical lights are the lights that mimic real-world lights. So if you have some photographic experience or if you have seen a photograph of work, you must have seen the lights that the US rate the similar way. In blender, you can create physical late, such as point lights are area lights, etc, and even spotlights to mimic different effects. And there is one other technique which is, which will not involve any physical lights, which is a technique called image-based lighting. So why are we seeing image-based lighting is because it needs to be sliding is much simpler to use and it's really great for beginners. Even image-based lighting are easier and it gives good results when we're talking about packaging visualization. So for this sake, to keep the course much simpler, I'm not going in the same physical lights because they will really make the cause much difficult to grasp. So I'll just make it easier for you to understand by using image-based lighting. So what our image based lights, image based lights are basically lighting and seen using just the images and not using any physical lights. Let's see how that's done.
61. 03 S4 Using an image as light: So to demonstrate how an image based light work, I'll go ahead and open a file. File. I'll set open. You don't want to save this. And I'll open pouch and the school lighting got blend. I'll say Open. And here we go. We have the pouch. We saw how this was textured, and Claudia shown us a beautiful way to texture these things. Let's go ahead and see how we can light this by using simpler techniques. If you go inside your properties panel, you can see a property called as world properties, which is often marked by this symbol, such as a world. We can open that. And inside my world, I can see some settings here. So to demonstrate these settings better, I'm going to go inside the rendered view, which is right off here. I'll select that. And this is rendering our scene. And make sure that you have set your lender engine, elderly water and their engineers. In a way it has this select the render properties here. And here you can see that the render engine is set to cycles. Now there are two render engines inside of Blender. Render engines is nothing but the algorithm or the technique that you use to compute your lights and to render out your image. So cycles generally gives us more realistic looking result and often takes little more time to compute. And then we have something called as EV. Ev is much quicker than cycles and it takes really less time to render a scene, but it is often not that realistic when you compare it to cycles, we're going to use cycles for this course. I'll select the drop-down and select cycles. And then we have something rendering. And let's go inside the world properties here, I'll select the world. And here you can see there is a setting called as color and then strength, right? So I will click the color and change this color to white. And notice that we are getting some whitish tinge on our model, which is nothing but imagine that there is a world here and the entire world listen just white. So this is some world setting. To do illustrate this better. Let us go ahead and turn off the transparent in the film we did in the first lesson. So I'll go inside my render properties here and I'll scroll down the lifeline film. And inside of which I'll turn off the transparent. And now you can see that the world is completely white. So wherever you see, you're seeing the white, which is the setting that we set a here. So if we are able to set a color here, and notice we still have that yellow color option which says it can be a color data. So you can see in this world color to anything to actually give the world and scholar. So we're not going to do this right now. I will, instead of a color, I want to feed an image inside this. So you can see that there is a button, that yellow is a button. I'll select that. And I'm going to select something called as an environment texture. I select the environment texture. And we have, we're getting a pink looking. Well, don't worry. All this means is there is nothing feeded in saying that environment texture. So let's go ahead and feed and image inside. I'll set open. And under this section 4, we are seeing basic light dot EXE file. Now E Excel file is just an image file. It is similar to dot HDR. A Goffman contains high dynamic range information. I'll tell him some criterias of an image-based lighting file. This file is mostly in open Excel format or as an HDR format. And this has much more dynamic range than a traditional image, such as PNG or JPEG. Since they come in 32-bit images, or instead of 8-bit, they're often 16 or 32 bit and they contain much more exposure values than a traditional PNG or JPEG image. Here I haven't basic light, dark ESR. I'll just select that and say Open Image. I'll select that. And here we see an image-based lighting fail. And notice that we immediately have got some lighting in our scene. And yes, I can see some shadows and I can see highlights. So I wanted scenes, the slide so that I can explain it better to you. I'll go ahead and sell the shader editor. Inside the shader editor, I have got a tab here, a dropdown menu, and select this. And I'm greeted with a lot more menus here. So I'll select something called as well. And let me see that. And here we have the world setting, which is the environment which we setup here. And then you have the strength. So when I increase the strength, it's going to wash out. It's basically bleaching out. So I can have my strength back to one or I can further reduce it to Zerocoin one. So you have a Docker image. So all the way to 0 will give you a complete darkness and there is no light in the scene. So I'll just set it to one. So we have some lighting. And here we have the basic light underscore EXL, which we just now opened. Now I can just like how we manipulate the textures. We increase the scale in our previous lesson. Just like that, we can basically rotate this image so that we have some lighting difference here. The same way, if you have guessed it the same way we have to add a mapping node and a texture coordinate node. So I'll go ahead and Shift a and search as a texture coordinate. And I will also shift a and select mapping. And we have these two nodes connected and now we just have to connect. And since the world, we don't have UVs to the world, we didn't drop any world or anything like that. So I'm not going to connect the weeds just the way we did before. Now, I want to connect the generated here. I'll connect the generated here and the vector inside vector. And nothing happened, right? And now we have to change one more setting is the rotation value of the Z. So when I click here and rotate, you can see that your lighting actually changes, right? So in this way, we can set the lights that we want before we render our image. So basically we just have to have a highlight and a little bit of contrast will always give a good lighting for our final image, for the best-practice. While rendering our image, you just need to be sure that you have got some shadows, some highlights, and some mid tones when you have all these three are definitely going to have a decent looking image. So I set my lighting to something like that around 231. And one thing I wanted to say about image-based lighting is we have just used basic light on the dot EXE file, which is a simple light that I gave you about image-based lighting is not just mental. Do this, you can find much more lighting setups on the poly haven't dot com slash HDRI. And this is a free website that hosts lot of HDFS for you now run as free. And I would highly recommend you to go ahead and click the support as buttons so that you can donate some amount and they can continue doing this wonderful late SDRs. All of these edges can be downloaded, which is great. You can select anything in here, you can see it. And I'll go and see all the outdoor different images. And when you download this images and put it under here, you're going to see the world as that image. And you can literally see your product or package in any of the situation that you want. If you want, you can download the HDFS for your choice. But to get started, I have provided you a basic studio HDR, which you can use to get a decent looking package shock.
62. 04 S4 Camera basics: So till now we have seen how to light up our 3D model and use HDR hours and all. But now we want something to frame our short and tell that blender that this is the sharp that I want. How are we going to do that? If you guessed it right? Yes. We should have a camera in our scene, right, to frame or shot and say that this is what we want. So blender allows us to create virtual cameras inside scenes, and we can also simulate lens effects such as the real-world lens that is available elsewhere. I'm going to create a simple camera that I am able to explain it to you better. So let's go into the front view by pressing the minus y here. And we are in the front view. And I will add a camera the same way we can go to that shifting. And you have something called as a camera. Yeah, As I told before, you have the physical lights, you can experiment it on your own need when you have time. But now I want to have the camera and select the camera here. And there we go. We have got a camera in our scene. You can notice that in the outliner. And, but for some reason we are not able to see the camera right, because it is really, really small. You can increase the cameras size by going inside. When you select a camera, you have got a camera icon that comes in the properties panel. I'll select the camera icon and you have the focal length first, which is the focal length that the lens that you're going to use in your camera. And if you don't know what this means or if you have some, you do not have an experience and photography, I would recommend you to just keep it at 50 millimeters. But if you are a photographer, you can take some pictures. You can definitely go ahead and play around with this to get much more lens kind of an effects. And then we have the clip start and clip end. And the same way as we discussed, this camera can only see a meter of 1000 MM, which is one meter if you want, you have to increase this by five meter, just like what we did in the viewport camera. I'll send this as phi meter. So this camera can see up to five meters in distance. And then we have something called as the viewport display. Here, I'll select the viewport display. And this size is going to be reflected on your report. Right now the camera is just one millimeters in size, which is not which is why we are not able to see the camera view. I'll set the size to maybe five centimeters. Yeah. So that's 50 MM. And who we are seeing, an icon that is similar to a camera. Yeah. I'll position this camera. Something like that. And we have the camera, but we need to see, look into that camera to take a snapshot, right? So I'll go ahead and set my shader here and change that 3D view port again. So we have got to 3D reports. Why we're doing this is because we're going to set one 3D view port, ASA camera view. So here I will just go and select this camera and go insane view. And if you go and click inside the view, you're going to see cameras and say active camera. So now you're looking inside the camera and you're able to see what the camera sees. And notice that there is a box and that is highlighted and everything else is MUPUD and it's in gray, which means the camera only sees the square lot else. So when I move this camera on this View and go to the moon, move tool and I can move this. And we are able to position the camera just like we would in a real world. And imagine this is, this is the view port off your camera. And if you wanted to see only the view of your camera, you can also do that when I select the camera and go inside the camera and inside the Viewport Display you can see something called as bass part out. When I select the password out, when I take that off, that highlight is going when I select that. And I can basically use the slider to chain that highlight to give that gray. So when I put my slider all the way to one, you're seeing all stopped the images black, which means the camera is not seen these areas and only this area has been seen by the camera. And you should notice here that we haven't got a square composition. Why are we getting this? Because if you remember, we set our output dimensions as squared, right? So we can chain that even now, I'll go and select the output properties in my Properties panel and select that. Scroll up. And here we see our resolution set to bouquet at a 100 percent. So you can change this back to any other solution you want. So for example, when I keep full HD by 1920 and 1080, I'm getting a 16 is 2 9 compensation here, the composition immediately changes on the view port. So this is what you're going to see. So I'll send them back to 2048. I go for a square composition here. So we have setup that camera and we'll see how it looks in our vendor. So in this camera view, I'm going to set this view to render. And there we go. This is what we are going to get. So I can also rotate this camera in here. I can go to the rotate and change the rotations so that I'm able to compose my object to whatever I want. I can even duplicate this to have my Shift B and I'm just duplicating this. Keep one in the back and I'll rotate this set, something like that. And yeah, so it's up to you. You can compose different effects with this camera. I just wanted to demonstrate that there is a huge lot of scopes for competitions. And composition is altogether an entire topics which will be out of scope for this course. I will go ahead and undo that sector and delete this by pressing X and delete. Yeah, so we've got one camera setup and compost. Here. I want to change the focal length a little bit. I'll select the camera and go inside the camera and I want to simulate a wide angle lens effect. So I'll just reduce this vocal and to 35 mils. So I have a much wider angle lens effects. So that kind of makes my object look a little more bigger and mightier. So I underscore inside my shader editor. I'll change my UV editor to shader editor here, I'll click that and say shader editor. And I'll select world. And here we have the work. I'll tweak the lighting. Do I want so I have some lighting. Better lighting. Yeah. That looks better for me.
63. 04 S4 Rendering: So we have set up the camera and we have set up some lighting. And now we want to convert this 3D modeling 3D scene into an image, right? So that we will be able to share this image. So which is where rendering comes in. So we're going to render this image which we can go ahead and share. So let's see how we're rendering is done. And we have already discussed some basic parameters, such as the size, the dimensions of the Render, etc. So we'll select the camera and I'll make sure how it's looking in the Render. And we have that lighting. And now I want to go ahead and notice that there is a top panel next to the final edit and there is a render panel. I'll just select Render Image. And this is going to render my image. And now we are talking about cycles here. So we have said that two cycles, so it will take some time to give up a render here. Right now my computer is calculating the light bounces and the shadows, the highlights and the form, etc. And it's basically giving me an image. And this render speed basically depends on multiple factors, such as configuration of your computer and the number of models or the polygons you have in your scene, and a lot more. So if you have a faster computer with a better graphics card and a better processor, you will end up getting renders that are much faster. That's taking long to render, right? So this is where you have something called the resolution and the amount. So when you keep much more resolution for your N9, it's going to take much longer. When you have a lower resolution of the image rendered, it's going to do it shorter. So if you have a slower system, I don't recommend keeping the high resolution. And then for the first time, rendering is like an iterative process. You need to select the render and see your image. And if there is a change, you need to come back and read it again. So since we have to do much more iterations, I don't want to set the settings to a 100 percent at first, so I'll just set this to 25 percent, which will basically give me 512 by 512 by 512. I'll keep that and render again a lender and a lender image. So since this is at best render, I'm keeping this resolution so that my computer computes things faster. And if I'm happy, I can anybody take high-resolution short as defined? And yes, we have got the image rendered in a much shorter time than the, than at the fullest as at a 100 percent H because we just reduced in a solution of our end up. And yeah, we've got our effects that's coming out. Well, we can see the metallic effect here. And here we can see the wrinkles and everything that has come up there is a highlight and shadow in our image. And this is a pretty good handle as a test. Yeah, but notice that we are getting a white image at the back, which is nothing but our HDRI, which is the world which is getting shown here. And go ahead and setup and transparent so that we will be able to see only our object and not the world. And we can use this image wherever we want and set my world settings through transparent again. And select this, I'll select the film and click on transparent. And from now on I'm going to get an image with an Alpha channel. I'll again go ahead and render and say render. And we have got the Render button. And now I can go ahead and see this image and say image and save, save as. And here you can give a name and click Save Image and then you'll be able to see that image in your folder. Right? So we saw how we render in cycles, we are getting realistic effect, although that is a low resolution render, you can anyway bump up the resolution and blender to get a much crisper and final render. Okay, let's go ahead and see what happens when we rendered through EV. As I said, it's much faster. So instead turn the engine to AV. And I go ahead and set render and the lender image. And that's rendered in a couple of seconds. You can see that the time it took for this to compute, this is what we get from EV. Since the standard is fast, I'll just go ahead and bump up the resolution and a little bit so that we can get a much clearer render. I'll go into my dimensions and here you see that 25 percent is selected and make it a 100 percent. You know how to use, make use of the slider if you want to take SSL. So all you have to do is just reduce the slider all the way down and you can take a test result. And whenever you are happy with the results, you can go ahead and put it to the maximum and get a higher resolution render. I'll again go ahead and surrender and rendered image. And yes, this is a high resolution image and I'm able to zoom in closer. And yeah, we've got a nice metallic effect here with form that's happening. So pretty good result rates. I'll go ahead and save image. And Save As, and save something. Save as image. Now going to say, but it's up to you. And here you can see the file format that it is using. It's using PNG. And you can even say written as open ESR are much more information. You can move much more bits. So I'll just save it as PNG, but there's an option to save it as a DJ break even. But note that GPX don't support the alpha channel, so you will not be able to see that Alpha in your back as soon as PNG. And I can give a name and image and that render appears as an image in your file browser.
65. Project Assignment: I hope you have enjoyed everything that you've learned the no. And this course comes with an assignment called this project assignment. So I'm going to open my exercise files in which I can see a folder called as project underscore assignment. I'll just open that folder and inside which you can see various files. So first, I want to do navigate inside and choose the exercise dot PNG. And let me open that. And this is basically a worksheet so that you can display it on and connect the nodes. What I would recommend is just print this out or just grab your mouse, your favorite to retool, start connecting the maps to the principle VSD F and see if you're right. And this is just a fun worksheet to play around, so I'll close that. And then you have something called as project underscore brief. So let me go ahead and open that. And this is the brief that this class assignment asks you to do. So this is basically a box which we just custom-designed so that you can put the maps and apply your skills that you've learned so that you get a practical understanding of how you can go about 3D visualization and packaging design. We have the graphics and the description of what goes there and what needs to be done. So if I just zoom in and here you can see that DO which needs to be in emboss and which will have a new week loss. And then you have something called as Gould foiling, which will be in metallic foiling. And then the overall box needs to have a matte finish. And all you have to do is you have to model this box by yourself and generate maps accordingly. But to help you with it, what we have done, we have simply generated the maps on our own so that you can refer to even case you get stuck, which is under the project maps. I'll just open that. And inside you can see the various map that we have already generated. What we recommend you to do is generate maps on your own so that you can grasp the concepts to its fullest. And you can also apply these skills to your own graphics. So here there is no concrete requirement that you need to follow this graphic. If you have a better graphic or you have already designed something on your own, please feel free and go ahead and test them out and see how it looks in 3D.
66. Conclusion: Hi, So here we come to the end of our class. Thanks, are done for joining us. I'm finishing deal here. I really value and appreciate your efforts to learn a new skill. We are really keen to know what you thought about this class. Kindly shared your feedback and honest review as this would really help us make better content in the future. Do share your work on the class assignment as this would increase the community to push further and do more. For now, keep practicing and love what you do. See us.
67. Bonus Content: We know that Blender has completely customizable user interface, right? And that's really cool. But one fact that is annoying is like each time when you setting up a new file, you have to set up the unit and you have to adjust your panels and set accordingly and said clipping. And there are so many things, right? But we can basically automate this process. And so that blender always opens up with the same setting that we set before. So how do we do that? There's something called as startup file. And once you save as a startup file, every time you launch blender, you are going to get all those commands and all those controls, right, built inside of Blender so you can just start working once you find them Blender. Let's see how it's done. So once I'm happy with my screen orientation, again, move my interface patterns and I can stick to whatever works for me most of the time. And I have to set the units and everything that clipping. Next thing what I'm going to do is go into file inside here. And under my files I can see something called us defaults, which is under the second last of this. And just take the defaults. And there is something called as Save Startup File and lord factories settings. Lord factory settings is something that if you see a wrong startup fail and you no longer want that to continue, you can always go back to what blenders shipped with when it came. So right now I'm not going to do that. I'm just going to say Save Startup fate and just say select that. And it's going to ask another question. Where is it okay to save this as a startup fed? And when I click that, this is going to be my startup file. And every time I launch blender, I'm going to be greeted with these three panels with all my clipping settings and my unit settings extra. So we're talking in millimeters and we are always talking about units and we're making all are models that are physically accurate and it has the right dimensions, right? But that being said, I wanted to be nice so that if we have a ruler tool or if we have a measuring tool to say that, what does a measurement at any given point of time. So we blender also has a default measuring tool. We'll see how we can call that. To demonstrate that I'll create a cube. Thank you. I'll go to the top view. And in my tool section I'll call that by pressing P. And inside that we can see something called us measure. Here, I'll select that. And one selected, I can click anywhere on the 3D space and just drag to get my measurements on that. So this is two MM and this is throwing them. But for best results, It's always advisable to use this tool in some kind of an orthographic projection in front view, on, in back or side, whatever. As long as it's orthographic it works best. Other ways, lender won't know where to put that measuring tool. And it might put it in ugly places and you might not get the right measurements that you need C for here I'm getting incorrect measurements. So to do that right, you should always go to some kind of an orthographic projection and you are good to measure whatever you want.
Harshavardhan Saravanan, Co-founder | CGI Artist | Author
