Learn Architectural Design & Animation With Blender

1. Promo Vid V2: Hello, my name is Eddie Harding, and I'm a professional three D modeler and three D artist, working in the Sup jot industry now for 11 years. In this course, I will show you how to create your own architectural visualizations. I'm going to show you how to model it and texture it and set up your own lighting and make your own amazing renders and animations. And I'm going to show you how to do all of this using the super powerful and completely free software of Blender. I want to show you that making your own renders really isn't that difficult. I'm going to teach you how to simplify the process and show you what you need to know to get started and not what you don't so that you can quickly learn how to create your own amazing projects to impress potential clients in the future. In the first few lectures, I'm going to show you the basics of Blender. We're going to take things nice and slow so you never feel rushed or left behind. And we'll learn how to move and scale, and then we'll finish off by creating our own basic looking house. Then we will input our reference images that are included in the course and learn how to scale them and move them into position, lock them, and configure them so that they can be seen from one side and that they're semi translucent. After that, we'll start building our walls, using our reference images guides to make sure everything's done to the right size and the right scale. I'm going to show you how to use some of the more basic functions such as the loop tool and the extrude tool and the bridging tool. I'm going to show you how to model walls as efficiently as possible to save you time going forward and to keep the modeling measures simple as we can. Then we will start modeling our sofa. It is included in the assets pack, which is part of the course. So if you want to skip it, you can, but it is a great chance to learn to make upholster surfaces. We'll start by importing a person into our scene so that we can make sure that we build our sofa to the correct proportions. We will use the sculpting tool to make folds and wrinkles and bumps in our surfaces and learn how to apply gravity to an object to make it fall onto other surfaces to make super realistic pillows and cushions. Finally, I'll show you the most efficient way to make piping on seams or fabrics to further make your cushions and upholstery look even better. Next, we will learn how to apply textures, using the free texture maps included with the course. I'll show you how to UV map. I'll show you how to scale textures and apply extra details to the edges to add to the realism. Then I will show you how to light your scene and organize your lights to make them as easy to adjust as possible. After that, I will show you how to import assets into your scenes such as trees and furniture and fittings to make your house look as welcoming and as realistic as possible. So why not join me on this beginner intermediate course? When you finish it, you have all the skills you need to go forward and make your own amazing projects. Thanks for watching, and who knows? Maybe I'll see you in lecture one. Bye bye, Feno. 2. Lecture 1 Introduction: Hello. And welcome to VectureO on this beginners course on architectural visualization and interior design. So at the end of this course, this is what you're going to have. Or you're gonna have something similar to this. It might be that you decide to sort of take it your own way and do things a little bit different. And I hope you do. I encourage you to do so. But at the end of the course, you should have something looking like this, if not better, and it's my job to guide you through this process and get you all the way to the end. If for any reason you're struggling with any elements of the course, then please don't hesitate to contact me, and I'll do everything I can to help you through and figure out what the problem might be. It's in my interests to make sure that you enjoy this course and you get everything that you hope from it. So please don't hesitate to contact me. And thank you, by the way, thank you for purchasing this course, and I really hope that you enjoy it. I think you will. And I'm sure that you'll get a lot from it. Okay, so the reason for Lecture one, basically, is just an introduction. And just to show you what's included with the course and sort of give you an idea of what you're gonna do with it. So this is what the end result will look like, as you know. So what I need to do now is show you what you have to do with this. So the first thing I want to do is show you the reference images. So included in the course on the lecture where we start to import them are the reference images. I'll go ahead and bring those in. So we have three reference images that we will import into our scene and scale up to the correct size. We have some dimensions on these as well to help us scale to the correct size and use as a quick check. So this is the first floor plan view, as you can see. So we have bedroom one, as we'll call it, and bedroom two and a stairway and a bathroom and the outline of the pool and the outline of the property boundary wall. And we also have the front elevation showing us the overall heights of the property and, again, the boundary walls, et cetera. And we have one more, which is the plan view of the ground floor, showing us, again, the actual property walls and a few pieces of furniture, the outline of the kitchen, and the property boundary wall and the pool outline again. So these reference images are included in the course, and they're attached to the lecture where we start to import these into our blender. The other thing, two things which are included in this course, let me just bring this file in for a moment. Our texture sets, let me just make the view slightly better is our texture sets and our assets back. So if I go ahead and click on the texture set. So this is actually attached to this lecture right now, so you can go ahead and use this whenever you want. And these are textures I've created, and they're yours now, as well. So you can use them in this course and anything else going forward that you want to use them. So let's just click on one, and I'll click on Stone and Tiles. And within this one, we have floor tiles and marble, polished concrete, pool edge tiles, and rough concrete. So if I go ahead and click on one, maybe I'll click on this floor tiles one. And within this, we have what's known as a texture set. So a complete texture, as you see in blender, applied to a component or an object is made up of a texture set. And a texture set is made up of texture maps. So within this texture set, we have four texture maps. We have the base color, as you can see here. We have the displacement, the normals, and the roughness. All of those make up the texture set. And you'll find that in common with all the other textures that I've included in this course. Some might actually have five texture maps. Maybe there might be a metallic or an Alpha, but they will all have a set of texture maps. And the other thing that is included in the course is the assets pack, which, again, is completely yours now. You can use it wherever you want in any projects that you're on. So I'll go ahead and click on that. So here's a video of the assets pack, which is attached to this course, and we have a sofa and a headboard, and we have a hot tub and a day bed and a lamp set and a floor lamp. And all that, again, is absolutely included in this course, and you can use it wherever you want. Looking at the actual sofa, which is kind of gone again now, we will come back round to just a sec. But the sofa element is included in the actual asset pack. But I also cover in the course how to make this because I think it is an important element of the course to learn how to do soft furnishings. So we'll learn how to create these pillows and we'll learn how to create sort of piping details on upholstery and timber and how to create wrinkles and soft edges on items. So even though it's included, if you wish to sort of fly past it, I also show you how to make this. So, yeah, that's pretty Oh, actually, there's one more thing I want to show you. I'm going to bring this in. And this is called My Mood Board. I can't share these images with you because of copyright rules and regulations. So I can advise you to create your own mood board for this course. Even though the inspiration is here in our blender scene, it's a good exercise to go ahead and create your own inspirations. So you can see here that I've dragged and dropped images into this. And some of these images, you can actually see that I've used inspiration in this one. So that the software I used to create my moodboard is called PureRef. And you can go ahead and download that. It's absolutely free. And once you download it, you can go ahead and start dragging images in and just laying out a nice mood board some inspiration as you model your house. So I use Pinterest quite a lot because I find that full of nice images and nice ideas. And you can just literally just dragon drop with Pinterest directly into PRF. So this is something I wanted to show you. It's completely optional. You don't have to do this, but some of these images you can see that I do use or are inspiration for the house that we're going to build. This one here is kind of the keystone image that I used. I did reduce the height. I find this a little bit top heavy, so I reduced that within hours. But, yeah, you can see the inspiration. Go ahead and drag this out away again, Yeah, you can see the inspiration from that photo. Okay, so in the next lecture, let's start learning about blender. Alright, thanks very much. And I'll see you in the next one. Bye bye, Fino. 3. Lecture 2 User Interface Basics: O Hello, and welcome to Lecture two of our architectural animation course. And here we are. This is blender. This is what it looks like. And maybe you're looking at this user interface and thinking, Wow, what does all this stuff do? And it's quite scary and a little bit intimidating? Don't panic. Together, we're going to learn this, and it's going to be a lot of fun. And if you complete this course at the end, you will have developed and learned a whole new set of skills, which is just well, it's limitless with potential. And blender is a brilliant piece of software. Sometimes I just can't believe it's free. Search on YouTube, maybe you can find some amazing animations from very skilled people using blender. I suggest one called Charge. Maybe watch that. It's just amazing. I don't think I can show you on U Dim because of copyright laws, but yeah, go and check that one out. So, let's get on with this. When you open blender for the first time or you open a new project, this is what you're going to see. In the center here, you have what's known as the splash screen. So you have some previous projects there. So if it's the first time, then you won't have any of these and you have some basic settings. I don't really use it. So just click anywhere else, and it'll disappear. You're also every time you open a new project, you're going to get these three items on the screen. So you're going to get a camera, a light, and a cube. And what blends done is it set up for you a basic scene. This whole thing together, everything that you see is called the UI or the user interface. And that's a generic term used for almost all modeling software. So I don't want to go into too much detail or too much depth about what all these settings and functions and buttons and tabs are because I think the best way for you to learn this is to just do. So we'll pick all this up as we start modeling. We're going to start modeling at quite a slow pace. I'm going to go into a lot of detail and try and explain absolutely everything that I do. So don't think that I'm going to go tearing off and you're needing to stop and start stop and start to keep up. We're going to start at a nice slow pace. And as we progress through the lectures, we will slowly pick up the pace. So, the first thing I want to do really is just change the appearance of this UI a little bit just to suit my preferences. What I find is I find that the standard settings, everything is a little too small and makes it a slight strain on the eyes, especially if you're looking at this screen all day, which is what I do. So I'm going to go over here to edit and go down to the bottom to preferences. And on the interface here, in the displayed Pat tab, I'm going to change this. I'm going to use this arrow here to ramp this up to about 1:20. That's my personal preference. Now everything is nice and clear, a decent size, no longer a strain on the eye. That's pretty much what I want. You can tweak this to suit you exactly how you like it. So don't think you have to be 120. You can do whatever you want. Then you adhere to system. And within this tab, the cycles render devices, I'm going to make sure that my GPU is selected. So I'm going to make sure there's a tick in this box next to my GPU. In this case, it already is. You want to make sure that it's not the other way around and you just have your CPU highlighted or selected. You want to make it so you're sure it's your GP. You can have both of them if you want. I don't find a huge advantage to it, but you may, but that's my personal preference to have just this one selected. These are settings, which are dedicated to the type of GPU that you have, so I'm using it invidio, so I use Qa setting or I could use optics. If you're using a different type of GPU, then maybe you want to Google it and find out which one is best suited to your GPU. The other thing I want to do here is on undo steps in the memory and limits is just slide across and up that to the maximum, 256. And that's it. We're down in here, so I'm going to close that. The next thing I want to do is go to the bottom to hear what's known as the status bar and right click there and turn on scene statistics. This will show us the amount of faces on this cube. I'll just list them for us, the amount of vertices within this cube and the amount of tries within this cube. And there we go. So we'll do that. And then the last thing I want to do here and this one, if this one isn't visible, you can hit N on your keyboard to bring it in if it's not visible. So here with clips Start, I want to add an extra zero to the right of the decimal point. So I'm going to put it right there, add an extra zero there. That's it. And what that's going to allow us to do is when we zoom in on the item, it's going to make sure that we can see that item for longer before we clip inside it. I find sometimes a bit frustrating that as I get close to it, it suddenly vanishes, and I see inside the item. So that's what that's for. And now happy with the interface. That is pretty much how I like it to be. And so what I'm going to do is go to a file, and I'm going to go to defaults, and I'm going to save startup file. So I'm going to click on that and save startup file. Now, every time I open blender, my preferences will be saved, and it'll start up with my preferences in mind. Okay. What else? What's next? I want to show you this tab on the left hand side. Incidentally, sometimes if that vanishes, just press T, and it'll bring it back. This is actually known as the tab bar. I just at this stage, want to show you two things on the tab bar, which is this one and this one. This one here is called the selection box. So if I hold down the left mouse button and drag my mouse, I can create a selection box around that cube. There we go. Now that cube is selected. So I'm going to deselect by clicking somewhere else. And let's try that again. So hold down the left mouse button and drag across a square around an item, and let go, and that item will be selected. There we go. So that is the selection box, and that's its purpose. This one here is the move tools. I'm going to select that pretty much I leave this tab with this move tool selected. So if I select this cube no, we will see this thing here, which is called the Gizmo. Pretty much all three D software has a variation of the Gizmo and it's a really important tool within blender. And you can see on that there's three arrows, a blue one, a red one, and a green one. And you can also see these lines running through the scene as well. These lines are called the ax the red line is known as the X axis, and this allows us to move our cube or any object that we've got from left to right. So we can move it from left to right in the X axis. The green axis is known as the Y axis, and that allows us to move our object forward to backwards. And the z axis or the blue axis allows us to move our object up or down. If we move within an axis, we are moving solely within that orientation. We're not going slightly sideways or slightly up. We're going exactly backwards. We're going exactly left, exactly right, exactly up, exactly down. We'll also use this tool to rotate and we'll use it to scale. And learning the axis, learning which axis is which one. So the red being the X, the Y being the Y, the z being green being the Y, the blue being the Z is quite important for a lot of different reasons within blender. And you'll see that as we go through. So that is the gizmo and that's the basic functions of it. The next thing I want to show you is how we display within this. This is our viewport. So the screen we're actually seeing displaying our items, we describe as the viewport. The whole thing, the whole entire everything is the user interface, but within this section is our viewport. So these tabs here on this corner control how we display within our viewport. So here we have our wireframe display. Here we have our solid display. This one is our material preview display, and this one is our full rendered display. If I go ahead and click on the wireframe now, this is a very useful display mode. It allows us to see more of the geometry in one time and allows us to select a certain corner of the geometry whilst being in different angles. So let's say that far corner there. If I wanted to select that, but I wanted to display it from this angle, I would use the wireframe display. If I wanted to select maybe this corner and this corner at the same time, again, I could use the wireframe display. So this year is our solid display, and this is the most common display we will use in our viewport. And this is our kind of standard display within our viewport. Here we have our material preview display. So this will display our textures and our colors on our object, but in a more basic setting, it won't display in its absolute best, but in a lighter setting. And finally, we have a full rendered version. So in our full rendered version, it will show us exactly or not exactly, but it will show us what our finished model is going to look like. So a full rendered display is quite demanding on your GPU, because it's doing something called real time rendering. So every time I move my objects, it's reapplying my textures to those surfaces. When we get to a stage that we've kind of finished modeling our house, we'll use the rendered mode quite a lot to view our surfaces and to add lighting and shaders and start looking at HDRIs. And it's at that stage that we'll start using our rendered view. Next thing I want to show you here is called the outliner. So this lists all the items that we have here in the viewport. So right now, we have our cube, as you can see, we can select the cube, and it highlights within the outliner, or we can do that the opposite way around. We can select here, and it'll highlight the option within the viewport. So we also have the camera and we have the light. So you can see it selected those. We also have this little eyeball next to each of these items, so we can make that object vanish within the viewport if we just want to see something else more clearly. So bring those. There we go. That's our outliner. As our model develops, and we get more and more components, this list will get longer and longer. So we'll need to apply a bit of discipline to this. We'll have to rename all these items. So if we get more and more, make sure we got the wheels named as the wheels, the fenders named as the fenders, et cetera, et cetera. And then we'll also create sub files so that we can again, find items easier. Here we have what's known as the properties tab. So here on the properties tab, if I select this item to make it work properly, we have all these little tabs here, and we'll be using a lot of these different tabs. So we have here this is the modifiers tab. We have the particles tab, we have the materials tab, et cetera, we have the rendering tab. So we will adjust our properties in this area here. The final thing I want to show you is here is the item or the transform tab. So if I click on this item here, it will tell us the basic information about this item. It's going to tell us the location, and it's going to take that location from the zero point within the viewpoint. And the zero point from the viewpoint is where all our axes, our z axis, our X axis, and our Y axis cross. That's known as the zero point or the world origin is another term for that. We also have the rotation. We have the scale, and we have the dimensions. We can adjust the size of this item here, we can adjust its location here, and we can rotate or we can scale it all from here if we want to. And that's it for Lecture one, guys. Thanks very much. And I'll see in the next one. 4. Lecture 3 Moving: Hello, and welcome now to Lecture three. In this lecture, we're going to talk about how we view our component, how we can move around in blender, how we can pan around the item, how we can zoom in and out, and how we can look at item directly from the top or directly from the side or directly from the front. We're also going to look at how we can actually move the component itself, how, in this case, we can move that cube left, right, up down. We touched on it in the last lecture, but now we're going to look at it in a bit more detail. So let's start with how we're going to navigate ourselves within the viewpoint, how we're going to do this. So the easiest way, which I'm sure you've kind of already figured out is by pressing the middle mouse wheel, you can rotate the object. You can sort of fly around the object. The object is actually staying in the same position, and it's us which is moving around it. You can look underneath it. We can look on top of it. We can do everything just by pressing the middle mouse wheel. We can do the same thing here. We can actually just click on this XX TSA and just rotate. I never do that. I must admit. I've never used that. I've never found it very handy, but it is there if it's something you like. The next thing I want to show you is zooming in and out, so you can scroll with your mouse wheel and you'll zoom in and out. It's a little bit incremental. It's a little bit jumpy, as you can see, but that's the quickest way to zoom in and out. Now, if you hold down control and hold down the middle mouse wheel and then just push the mouse forward, you can zoom in with a little smoother and a little more control. There we go. So I'm now going to press the shift button and the middle mouse button and just pull the whole thing over. So I'm a bit more center. Now I'll hold the middle mouse, we'll rotate it. That's it. And then I'm going to press Control, hold down the middle mouse button, and push the mouse forward to zoom in with control. There we go. That's a bit more refined way of zooming in. And that's how we basically navigate. So, yeah, we can press shift, hold down the middle mouse wheel, and we can grab. We can hold down the middle mouse wheel and we can rotate the object. Scroll in or press control, press the middle mouse wheel and push the mouse forward. And that's how we basically can move around an object. Now you can see that I'm not rotating nicely around that cube. I'm off to the side of it. So if I select the cube, press the decimal point on the numpad, it'll re center for me. And now when I press down the middle mouse wheel, I'm rotating nicely to. There we go. Next thing we want to do, just to make it a little bit easier to understand which angle we are on the object because a cube, we can't see what's up or down, really. There's no clear way of understanding it. So I'm actually going to click on the item, and I'm just going to press Delete on the keyboard. There we go. And that's gone. The cube has gone. We might bring it back later, but for now. So I'm now going to press Shift A. And I'm going to go to mesh, and I'm going to go down to monkey. I'm going to bring monkey in. There we go, there's monkey. Money Monkey is the symbol of blender, and she's actually called Susan. I don't know who named her Susan, but that's the name of the monkey. It's a little bit faceted, so a little bit low poly. So just to make it look a little bit better, go to select the item. Gonna right click, and I'm going to shade Auto smooth. There we go. That's just smooth it out a bit for us. Okay. So what I want to do now is show you how to view the item from what's known as the orthographic view. The orthographic view just means that we're going to view it exactly from the front, exactly from the side, and exactly from the top, and then exactly from the bottom, which is really important when we're using photographs as a reference when we're modeling, which we will be doing that. So it's something we need to understand. So if I press seven on the numpad, I can view Susan directly from above, looking directly down on it. That's called the plan view. It's an orthographic view. We're looking exactly down on it, staring right down the Z axis. If I press Control and seven, I can view it right from the bottom looking up. If I hit one, I'm now viewing it from the Y axis. So I'm looking right down the Y axis, so I'm viewing it directly from the front. If I hit Control one, I'm going to view it directly from the back. I'm still looking down the Y axis, but I'm the opposite way of the Y axis. Orthographic view from the back. If I hit three, I'm viewing Susan from the right on the x axis. If I hit Control three, I'm viewing Susan from the left. On the x axis. This is the way that we move orthographically, how we rotate around an item orthographically, so we can view it directly from the top, the left, the right, the bottom, et cetera, et cetera. So that's a cool one to know. If you've got a notepad to hand, it might be worth you actually writing some of these downs. I don't know about you, but I find it easy to remember stuff if I actually write it down. And also, you'll have a reference. So if you can't quite remember something, then you can just refer to your notes on how did I move to view it from the top, the left, the right, et cetera. So yeah, there we go. We've learned how to view the item in many different ways. We've learned how to rotate, et cetera, et cetera. So now we want to know how do we move this monkey? How do we move, Susan? So we've touched on the one way, which is using the Gizmo. So, again, if I hover over this blue arrow, the Z axis, I can move up like this, moving just in the Z axis. If I press escape, I will cancel that command. And now we can do the same thing in the axes, so I'll just hover over this red arrow, and then I'll just move just in the Xaxis. There we go. And I'll press Escape to cancel the command. So that's one way of moving using the Gizmo. The other way of moving is using the transform bar here, as we've talked about, so we could move here in the X, move over there like that. Now I can just press Escape and come back, cancel the command. Same thing as moving the Z. There we go and press Escape to cancel the command. The final way of moving is to move using the G button to grab it and to move it. This way, we don't have to actually hover over the item when we're moving. So when the scene becomes more detailed, it's something that we'll be using. So if I highlight the item simply by clicking on it, and now I'm going to press G on the keyboard. And I'm going to press X, and you can see how the X axis is actually highlighted. That's confirming that we're going to move in X axis. And now I can simply just move the mouse, and you can see us moving. And then the transform bar is telling us how much we're moving. There you go. I'm going to press escape to cancel that command. So I could do the same in the Z axis, so I'm going to press G and Z. And now I'm just going to move the mouse to move up and the Z axis. As you can see, the cursor doesn't have to be anywhere near the actual component that we've selected now. So it's a really handy way of moving. G to press Escape to cancel. I'm going to do it one more time, of course, in the Y axis. So G, the green axis, which is the Y axis, go to press Y, and it's highlighted the Y axis, and now I can just move it. And this time, I'm going to left click and keep it there. Now, if I wanted to return to the zero, after I finished the command, yes, I could go here and I could type in zero. Another way of doing it is just going back one command. So to do that, I can press Control Z. And that's taking us back. That one command that's canceled off or just gone back one command. So Control Z. And that's how we move around in blender. That's how we move a component using the Gizmo or G, Z or GX or GY or using the transform. Okay, thanks very much, and I'll see you in the next lecture. 5. Lecture 4 Subdivision Modifier: Hello, and welcome now to Lecture four. We're going to talk about something called the subdivision surface modifier. And this is a really important tool within blender, and it's used generally in almost all mesh based modeling softwares. So whether it be three DS Max or Maya or blender, they all have a subdivision surface modifier or a variation of that. What the subdivision surface modifier actually does is it increases the complexity of the mesh of the component. So we have to sort of figure out how to use that without making the mesh of our item too much. And I'll show you that and show you how we do it. So let's left click anywhere to get rid of the splash screen. And then let's hold down the left button, drag a selection square over the light, and press delete, and do the same with the camera and press delete. So we've just got the cube left. So now let's actually select the cube, and let's just pull it to one side. Using the Gizmo, we hovered over the little arrow there and we left clicked, and then we grabbed it, and we pulled it over. Let's actually add a monkey now. So let's press Shift A and mesh, and the monkey. There we go. And the monkeys come in. Let's reselect the monkey. And now let's press Shift D. And let's press X because we want to move the copy we've just created using Shift D on the X axis. So we'll do that. There we go. Et's do that again. So we've still got that monkey highlighted. Let's press Shift D, and it's gone white to symbolize that the copy has been made. Let's press the X button to move the copy in the X axis, and then let's just slide the mouse over. We've got three copies of the monkey. Here we go. So I'm going to press down the shift button and the middle mouse button and just grab the whole thing and bring it over to sort of center ourselves. Okay. So let's select the cube. And it's a cube, isn't it? It's a very simple structure. It's got eight sides. I'm sorry, it's got six sides, and it's got eight corners. Let's press the tab button now. What that's done it's put us into what's known as the edit mode. And whenever we do any modeling, chances are we're going to be in the edit mode. In this mode, we can actually move the sides, we can add sides. We can do pretty much everything within the edit mode. We can do some basic things in the mode we were in before, which was object mode. We can scale and we can rotate. But anything beyond that, we will do here in the edit mode. At the moment, if you look at these three items here, we have this one here, which is the vertex selection. The vertex or the vertices, if it's the plural, is the junction points between the edges. So it's these little dots. So we have this edge, this edge, and this edge, the three edges, they're joining in the middle, and at that point, we get a vertices. This one here is edge selection, so let's press that, and then we can select an edge. There we go. I'm just left clicking on an edge to select it. And then finally, I'll go to this one. And this one, this is face selection. So now I'll left click on that and I can select a face. There we go. I'll go back to this one to vertices, and all I really want to demonstrate is the simplicity of the mesh on that cube. It's as simple as it can get right now. So let's hit the tab button to go out of Edit mode back into object mode. Let's select the item again, the cube. Let's go over here to the spanner, which is the modifiers. Let's add a modifier, and we will add a generate modifier and we will add subdivision surface. You can see what that's done. It's actually taken that cube and turned it into a very basic sphere. We could actually here we could go over to this levels viewport, and we could just click that up and we could make it an even nicer sphere. And what we could do then is right click on the item with it selected, and we could go to shade Auto smooth and we could smooth out even more. So that is what the subdivision surface modifier does is it takes all the edges and smooths them out as much as possible. But we need to learn how to control that because obviously we need to figure out how we can use that tool to model accurately to what we want to build. So to do that, what we're actually going to do is first of all, turn on this one on cage. So select that. And then hit the tab button on the keyboard. First of all, select the cube, then hit the tab button on the keyboard, and you can see we've got this mesh again. So how can we turn this into rather than being a sphere, a cube, but with softened edges, with rounded edges. So let's go here so we can select edges. Let's select this edge here and then press Control R. And that's put a set of extra edges in a loop of edges on that cube or sphere, as we can see it right now. Just press the leftmost button once, and that's applied to our cube. And you can see straightaway what that's done by adding some extra framework to it, it's restricted the amount of movement for the subdivision surface modifier. It's put some extra framework there, and the subdivision surface modifier has to listen to that and adjust the way the curves are being added. Let's actually just move the mouse up and take that curve closer to the top and then select that there. Let's select this edge here, press Control R, and then hit the left mouse button once, and then bring the mouse down. So that do it anywhere around about there and left click again, move away from the object and left click again to deselect that item. And there you go. You can see what we've done. So let's do that again. So let's select this edge now. Press Control R, and let's add an extra ring of edges there. So left click. And I'm going to move that over there like that. There we go. And going to select this edge. Gonna press Control R. Left click once, and then move the mouse over. There we go. And I'm going to drop that just there like that. Cool. Let's hit the tab key to go out of Edit mode. And you can see what's happened. So we have a cube now with some softened edges. Let's go ahead and apply that. So hit that button there and press the apply button. So we're going to apply the subdivision surface modifier. There we go. And that's soften the edges slightly more. So you can see now how we can actually use the subdivision surface modifier to our advantage to soften all the edges, create new shapes, but still have some say on what actually happens. So let's see what we can do with Susan now using the subdivision surface modifier. So first of all, with this first one, you can see that this is really faceted. It's really jagged edged and quite crude. And this is what we call low poly. So if we go ahead and select it and then hit the tab key, we can see what mesh has been used to build this monkey. So let's go up here to the vertices. Vertices selection one, press that, and you can see the vertices that we have within the monkey. It's quite basic, low poly. The more edges and the more vertices and the more faces we have, the more complex the model gets. And the more complex the model gets, the harder the computer has got to work to be able to model it. And then also to render it when we start applying textures. And we have to keep that in mind, because as we build our scene and our environment, if we make the mesh too complex, we're going to get to a point where your computer or blender just can't handle it anymore. It'll just get too complex. So we always have to keep the mesh as simple as we can whilst also keeping the model itself looking as realistic as possible. So it's a balancing act between keeping the mesh low but also keeping the model looking good. So what can we do? Let's hit the tab key again to go out of Edit mode back into object mode. And select Susan, right, click click on Shade Auto Smooth. Then you can either come down here to this little tab here, which says shade auto smooth or you can go over to the modifiers tab here and adjust the angle at this point. I'm just going to go ahead and adjust this over now to just find that nice smoothing point by adjusting the angle of the shade auto smooth. And I'll just keep on going with that until I find that kind of sweet spot when everything's looking nice. I think I'll leave that about there at about 74. So the shade auto smooth does not actually affect the mesh. We've not increased the complexity of the mesh at all. It's purely Blenders little visual trick. It's just lying to us a little bit about the surface. It's visually improved it, but it's not increased the complexity of the mesh. So that is a good way of actually just improving our model without increasing the complexity of the mesh. So let's apply the subdivision surface modifier to this. So I'll go there. We'll just select on the item. So left, click on the monkey. Go over to here, click on the spanner. Add modifiers, generate modifiers, subdivision surface modifiers, and we will keep that at its absolute basic. So we'll just keep that at one. So we'll leave that like that. Actually, let's apply it. So let's apply that subdivision surface modifier, and there we go. But then let's also add the shade auto smooth. So you can see straightaway the improvement between the models. So we have a standard model with just the shade auto smooth. Now for this one, we've applied the most basic level of subdivision surface modifier, and let's see what can do with this one. So let's click on this one, and let's add the modifier, generate subdivision surface modifier, and let's click this to the top. There we go. And then let's apply that So let's hold down the left button and pull a selection window over all three monkeys. Let's hit the tab key to go into Edit mode. And there we go. It took a minute because now we've got some differences in the mesh. We've actually loaded our computer up quite well now with quite a lot of polies. So at this one. This is the first one, which is the low poly version. You can see that our mesh is really simple. Our vertices are as minimal as possible. We're actually keeping a reasonable shape. And we've applied the auto smooth to that to improve the looks of our model, but we've not increased the amount of vertices or faces or edges. So here, we've applied the subdivision surface modifier at its most minimal level. And then we've applied the auto smooth, and you can see straightaway how much nicer this one looks, but you can also see that there is an increased amount of vertices, faces, and edges. Here we've maxed out the subdivision surface modifier, and it just appears black. It's not black. It's just that it's so dense with the vertices, edges and faces that it appears black. But if we zoom in, there you go. That is a lot of vertices. So that's my point that you cannot just just max everything out on subdivision surface modifiers. It will eventually just crash your computer or crash blender. Because if you think about this house we're going to build, we need to constantly consider the complexity of the mesh. So all the time, we have to consider the mesh that we're building and the complexity of the mesh and keep the items looking as good as possible, but at the same time, keep the mesh as low as possible. So low poly. Keep the vertices as a minimal level, keep the faces and the edges, at the least we can do whilst keeping our actual modeling looking good. So that is the subdivision surface modifier. I'm gonna delete this one straightaway and let my computer breathe. Thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 6. Lecture 4: Hello, and welcome now to Lecture four. We're going to talk about something called the subdivision surface modifier. And this is a really important tool within blender, and it's used generally in almost all mesh based modeling softwares. So whether it be three DS Max or Maya or blender, they all have a subdivision surface modifier or a variation of that. What the subdivision surface modifier actually does is it increases the complexity of the mesh of the component. So we have to sort of figure out how to use that without making the mesh of our item too much. And I'll show you that and show you how we do it. So let's left click anywhere to get rid of the splash screen. And then let's hold down the left button, drag a selection square over the light, and press delete, and do the same with the camera and press delete. So we've just got the cube left. So now let's actually select the cube, and let's just pull it to one side. Using the Gizmo, we hovered over the little arrow there and we left clicked, and then we grabbed it, and we pulled it over. Let's actually add a monkey now. So let's press Shift A and mesh, and the monkey. There we go. And the monkeys come in. Let's reselect the monkey. And now let's press Shift D. And let's press X because we want to move the copy we've just created using Shift D on the X axis. So we'll do that. There we go. Et's do that again. So we've still got that monkey highlighted. Let's press Shift D, and it's gone white to symbolize that the copy has been made. Let's press the X button to move the copy in the X axis, and then let's just slide the mouse over. We've got three copies of the monkey. Here we go. So I'm going to press down the shift button and the middle mouse button and just grab the whole thing and bring it over to sort of center ourselves. Okay. So let's select the cube. And it's a cube, isn't it? It's a very simple structure. It's got eight sides. I'm sorry, it's got six sides, and it's got eight corners. Let's press the tab button now. What that's done it's put us into what's known as the edit mode. And whenever we do any modeling, chances are we're going to be in the edit mode. In this mode, we can actually move the sides. We can add sides. We can do pretty much everything within the edit mode. We can do some basic things in the mode we were in before, which was object mode. We can scale and we can rotate. But anything beyond that, we will do here in the edit mode. At the moment, if you look at these three items here, we have this one here, which is the vertex selection. The vertex or the vertices, if it's the plural, is the junction points between the edges. So it's these little dots. So we have this edge, this edge, and this edge, the three edges, they're joining in the middle, and at that point, we get a vertices. This one here is edge selection, so let's press that, and then we can select an edge. There we go. I'm just left clicking on an edge to select it. And then finally, I'll go to this one. And this one, this is face selection. So now I'll left click on that and I can select a face. There we go. I'll go back to this one to vertices, and all I really want to demonstrate is the simplicity of the mesh on that cube. It's as simple as it can get right now. So let's hit the tab button to go out of Edit mode back into object mode. Let's select the item again, the cube. Let's go over here to the spanner, which is the modifiers. Let's add a modifier, and we will add a generate modifier and we will add subdivision surface. You can see what that's done. It's actually taken that cube and turned it into a very basic sphere. We could actually here we could go over to this levels viewport, and we could just click that up and we could make it an even nicer sphere. And what we could do then is right click on the item with it selected, and we could go to shade Auto smooth and we could smooth out even more. So that is what the subdivision surface modifier does is it takes all the edges and smooths them out as much as possible. But we need to learn how to control that because obviously we need to figure out how we can use that tool to model accurately to what we want to build. So to do that, what we're actually going to do is first of all, turn on this one on cage. So select that. And then hit the tab button on the keyboard. First of all, select the cube, then hit the tab button on the keyboard, and you can see we've got this mesh again. So how can we turn this into rather than being a sphere, a cube, but with softened edges, with rounded edges. So let's go here so we can select edges. Let's select this edge here and then press Control R. And that's put a set of extra edges in a loop of edges on that cube or sphere, as we can see it right now. Just press the leftmost button once, and that's applied to our cube. And you can see straightaway what that's done by adding some extra framework to it, it's restricted the amount of movement for the subdivision surface modifier. It's put some extra framework there, and the subdivision surface modifier has to listen to that and adjust the way the curves are being added. Let's actually just move the mouse up and take that curve closer to the top and then select that there. Let's select this edge here, press Control R, and then hit the left mouse button once, and then bring the mouse down. So that do it anywhere around about there and left click again, move away from the object and left click again to deselect that item. And there you go. You can see what we've done. So let's do that again. So let's select this edge now. Press Control R, and let's add an extra ring of edges there. So left click. And I'm going to move that over there like that. There we go. And going to select this edge. Gonna press Control R. Left click once, and then move the mouse over. There we go. And I'm going to drop that just there like that. Cool. Let's hit the tab key to go out of Edit mode. And you can see what's happened. So we have a cube now with some softened edges. Let's go ahead and apply that. So hit that button there and press the apply button. So we're going to apply the subdivision surface modifier. There we go. And that's soften the edges slightly more. So you can see now how we can actually use the subdivision surface modifier to our advantage to soften all the edges, create new shapes, but still have some say on what actually happens. So let's see what we can do with Susan now using the subdivision surface modifier. So first of all, with this first one, you can see that this is really faceted. It's really jagged edged and quite crude. And this is what we call low poly. So if we go ahead and select it and then hit the tab key, we can see what mesh has been used to build this monkey. So let's go up here to the vertices. Vertice selection one, press that, and you can see the vertices that we have within the monkey. It's quite basic, low poly. The more edges and the more vertices and the more faces we have, the more complex the model gets. And the more complex the model gets, the harder the computer has got to work to be able to model it. And then also to render it when we start applying textures. And we have to keep that in mind, because as we build our scene our environment, if we make the mesh too complex, we're going to get to a point where your computer or blender just can't handle it anymore. It'll just get too complex. So we always have to keep the mesh as simple as we can whilst also keeping the model itself looking as realistic as possible. So it's a balancing act between keeping the mesh low but also keeping the model looking good. So what can we do? Let's hit the tab key again to go out of Edit mode back into object mode. And select Susan, right, click click on Shade Auto Smooth. Then you can either come down here to this little tab here, which says shade auto smooth or you can go over to the modifiers tab here and adjust the angle at this point. I'm just going to go ahead and adjust this over now to just find that nice smoothing point by adjusting the angle of the shade auto smooth. And I'll just keep on going with that until I find that kind of sweet spot when everything's looking nice. I think I'll leave that about there at about 74. So the shade auto smooth does not actually affect the mesh. We've not increased the complexity of the mesh at all. It's purely Blenders little visual trick. It's just lying to us a little bit about the surface. It's visually improved it, but it's not increased the complexity of the mesh. So that is a good way of actually just improving our model without increasing the complexity of the mesh. So let's apply the subdivision surface modifier to this. So I'll go there. We'll just select on the item. So left, click on the monkey. Go over to here, click on the spanner. Add modifiers, generate modifiers, subdivision surface modifiers, and we will keep that at its absolute basic. So we'll just keep that at one. So we'll leave that like that. Actually, let's apply it. So let's apply that subdivision surface modifier, and there we go. But then let's also add the shade auto smooth. So you can see straightaway the improvement between the models. So we have a standard model with just the shade auto smooth. Now for this one, we've applied the most basic level of subdivision surface modifier, and let's see what can do with this one. So let's click on this one, and let's add modifier, generate subdivision surface modifier, and let's click this to the top. There we go. And then let's apply that So let's hold down the left button and pull a selection window over all three monkeys. Let's hit the tab key to go into Edit mode. And there we go. It took a minute because now we've got some differences in the mesh. We've actually loaded our computer up quite well now with quite a lot of polies. So at this one. This is the first one, which is the low poly version. You can see that our mesh is really simple. Our vertices are as minimal as possible. We're actually keeping a reasonable shape. And we've applied the auto smooth to that to improve the looks of our model, but we've not increased the amount of vertices or faces or edges. So here, we've applied the subdivision surface modifier at its most minimal level, and then we've applied the auto smooth, and you can see straightaway how much nicer this one looks, but you can also see that there is an increased amount of vertices, faces, and edges. Here we've maxed out the subdivision surface modifier, and it just appears black. It's not black. It's just that it's so dense with the vertices, edges and faces that it appears black. But if we zoom in, there you go. That is a lot of vertices. So that's my point that you cannot just just max everything out on subdivision surface modifiers. It will eventually just crash your computer or crash blender. Because if you think about this house we're going to build, we need to constantly consider the complexity of the mesh. So all the time, we have to consider the mesh that we're building and the complexity of the mesh and keep the items looking as good as possible, but at the same time, keep the mesh as low as possible. So low poly, keep the vertices as a minimal level, keep the faces and the edges, at the least we can do whilst keeping our actual modeling looking good. So that is the subdivision surface modifier. I'm gonna delete this one straightaway and let my computer breathe. Thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 7. Lecture 5 basic Modelling: Hello, and welcome now to Lecture five. And let's have a first go at modeling. Let's see if we can model something together, something very basic. Let's see if we can do a sort of a cabin, a sort of pioneer cabin. Let's see what we can do with that. So first of all, just click anywhere to remove the splash screen. And we have the camera and we have the light. And let's go ahead and delete those. So we just grab a selection box around the item by holding down the left mouse button. Pull over selection, and then just press X or delete. There we go. So now we just have the cube. So you've got hopefully this view up here. And if you haven't, press N on the keyboard to get it. There we go. And then go ahead here and click on item. So we want to look at this cube. Now, let's actually set the proportions of this house. So I'm going to make it in the Y axis. I'm going to make it 10 meters. I'm gonna press Enter, and there it is 10 meters. And then in the X axis, the red line, I'm going to make it half. It's Y axis. So I'm going to make it five and enter. And I'm going to make it in height 3 meters and click ter. So right now, the house isn't at ground level. It's a half and half. So let's press one on the numb pad of your keyboard. Come over here to the tab and go to move selection. There we go. And now just pull it up on the Z axis until it's level with the top like that. There we go. And there we go. We have our basic size for our log cabin. Okay, let's have a look here. So it is in the X axis, which is the red line, it's 5 meters wide. In the Y axis, the green line, it's 10 meters wide. And in the height in the z axis, it's 3 meters. I'm happy with that. But the scale is out now. So the scale should still read one, one, and one since we haven't scaled the item. We've just changed the dimensions. So let's fix that. So if you hold down Control and press A, you'll get this apply box up and come on down to rotation and scale and click on that. Before I do want to explain. So the rotation, actually, when we look at it is zero, zero, zero. So the rotation is correct. But I always just as a standard thing to do, always click on Rotation scale. In case there is an issue with the scale in the future of different items we work with, it's instantly corrected too. So rotation and scale, there we go. Alright, what to do now? Let's go ahead next and put some height to this. So the first thing I'll do is I'll tap into Edit mode. I'll hit tab on the keyboard. And right now you can see we've got vertices selected. So I want edge selection. So I can come up here and I can click on this like this. But I'm going to start using the keyboard for my shortcuts. So I'm simply going to press two on the keyboard, and now we have Ed selection. If I press one, we get vert C selection, two for Ed selection, and three for face selection. You can see it changing up there as I press one, two, and three. I want two, so I'll go there. I'm going to select this edge here, but hold shift so I can select more than one edge and select this one. I'm now going to right click and I'm going to press on subdivide. And that's simply divided that face into two halves. It's divided these edges into two, so it's divided the face into I can now select that edge there in the middle. Come over here, make sure we're in move, and just pull that up. And I can actually press one on the keyboard to see it from the exact orthographic view of the side and carry on pulling that up in the Z axis. I kind of want my ridge of my roof to be offset. So I'm going to pull it over in the X axis now to get kind of an offset ridge. There we go. And that's kind of our very basic log cabin shape. The next thing I want to do is actually grab a copy of this. So I'm actually going to just grab this face here. So I'll press three on the keyboard, grab this face, hold down Shift and grab this one. And now I'm going to press I'm going to make a copy of this. So to do that, I'm going to press Shift D. And now I'm going to press Z, and I'm going to pull that copy up in the Z axis. And there it is moving straight up in the Z axis. Now I want to take that and separate it from the model of the walls. So that's still selected, I'm going to press P, and I'm going to separate by selection because we have these items selected. So I'm going to press separate by selection. There we go. I'm now going to hit the tab button. To tap out of Edit mode back into object mode. And now we have two cubes. We have this one and this one, and you can see here in the outline this one and this one. So let's go ahead and name that. So here, this is I'm going to call this the walls. I'm going to come up here to this cube because that's the one that's selected here, so it's selected there. And double click on it. And I'm going to call it the walls. There we go. Whoops. Walls. That's got it. And now we're going to collect this one here and I'm gonna double click on it, delete that and call it the roof. There we go. So now the outliner is ordered for us. We have the walls and the roof. There we go. Let's have a look at the roof. And the scales are correct and the rotations collect, so we're happy there. So let's go ahead and give it some overhangs. So the first thing I'm going to do is scale it in the Y axis. I'm going to press S. Now if I scale just by doing that, it scales the whole roof. And I don't want to do that. I'm going to press escape to sup that command. Gonna press S again. And this time, I'm just going to press Y. So it just scales in the Y axis to give it overhangs on the side. That's cool. That's what we want. Now I want to make it overhang on the front and the back. A lot more on the front because I want to create like a stoop on this house. So let's tap into Edit mode with that, so I'll select it. I'll hit the tab button. I'll press two so it can go into edge selection. And I'll grab this edge here. Now, the gizmo is not lined up with the surface. So if I go ahead and pull out in the X axis, it's changing the angle of the roof, so it's not going to match up with the walls. We don't want that. So I'm just gonna press escape to cancel that command. And I'm going to come up here now to this one, transform, transformation orientation. I'm going to hit the drop down, and I'm going to click on normals. And now the gizmo lines up with the surfaces of this roof. With that done, I'm going to pull that out to create our stoop on the front of our property. I'm going to do the same with this one now, pull that out to create a little overhang on the. And here on transformation, I'm going to go back with Global so that now the gizmo lines up again with the X, Y, and Z axis. Okay, let's actually know. Change the angle of the stoop where it meets the roof point. So how do we do that? If we do it now, it's going to change that whole roof pitch, and we don't want that. So I'm going to press escape. G to select this edge here. Go to whole shift and select this one. I'm going to right click and I'm going to subdiv I'm going to go ahead to the transformation again and go to normals and go ahead and pull that down. Whoops, grab this one its own and pull that down until it's level with the wall. Maybe change the angle to see where that is, and that's good. So I'll grab this one here now. And I'm going to go back here to transformation to Global and just go ahead and pull that up to change the angle of the roof that. Okay, that's good. That's what we want. Let's tap devoted mode, and the scale slightly out. So let's press Control A and apply the rotation and scale. And now we're going to add our first modifier to this roof or to this first thing. So let's go over here to the spanner Add, modify, generate, and we'll come down here to solidify and click on that. And that's added a small amount of thickness to our roof. I'm actually just going to hover over this until we get this horizontal arrow and just drag this in the negative until we get a bit of roof thickness. So I've got 0.13, and I'll make sure that even thickness is applied. There we go. I'm happy with that. So I'm going to go ahead up here, hit this drop down and apply. There we go. I'm going to press three on the numpad now to get us an orthographic view. Actually, I'm going to press one to see this from the opposite side. There we go. Gonna grab my roof, and I'm going to pull it down until it's making contact with the walls. And there we go. That's looking good. So now let's go ahead and put some doors and windows in this. So to do that, really, we need to create some extra mesh. So that's our next step. Let's tap into Edi mode with the walls. Let's select this edge here, hold down shift and grab this edge. And now let's create an extra edge there. So we can either subdivide, but in this case, we're not going to. We're going to press Control R, and that gives us a nice edge between them. And now we'll go ahead and take that up like this. Let's actually view this in the orthographic view, so I'll press one. I'll press three. And now let's grab this edge again now. Hold shift and grab this one. And now let's press Control R. And I'm going to scroll the mouse wheel once to get an extra line in there like that. And there we go. Let's have a look at that. Let's grab this line here and take this one down quite a ways like this. Something like that. Let's grab this line and take this down. And there we go. Maybe let's take this one up a little bit. Something like that. Let's grab the bottom edge here of our house. And now let's press Control R again. Take the cursor closer. There we go. And now just bring that over until it's on the corner here like this. Let's do that again. So I'll press Control R and drag that over until we've got about a door's width, something like that. And now let's do it a little quicker. So let's press Control R. Bring the cursor close so you see the loop. Before you left click, scroll the mousewheel once to get two loops, and now left click and just position those something like that. There we go. That's good. So now let's go ahead and create our stoop on our property. Let's press three on the keyboard so we can select faces. It's changed to faces just there. Now, I could actually just hole shift and move along selecting these. But it's not too bad. We've only got a few faces, but let's do this. Let me show you an easy way of doing this for future. I'll select that first edge. Now I'll hold down Control, go on to the last edge. I don't want to select, grab that and it'll select obviously the first edge and the last edge, but all the other edges in between. Now I want to pull that out. But I can't just pull it out. If I do that, it's going to do weird things because that face is still connected to the other faces. Gonna press escape so it pops back to where it is. I need to extrude it in that X axis. So I'll press E, and now just bring that out to create the stoop to our property. That's good. That's what we want. Okay, now let's look at our door. So I'm going to grab this edge just here. I'm going to right click and I'm going to dissolve that edge, which means we're going to delete it, but we're not going to delete the structure around it. If I just go ahead and delete that, we have a hole there. That's not what we want. We don't want a hole. I wanted to keep that. So I'm gonna press Control Z to go back one move. You didn't need to do that, by the way. So I'm going to grab that edge again, go to right click and I'm going to dissolve that edge so that we keep that face in. I'm now going to press three so we can select faces, grab that face. I'm going to press E and just take that back a little bit like this. There we go. Now I need to have a door frame. So to do that, I'm going to press I to inset that face and just move my mouse a little bit till I get something like that. And now I'm going to press E and take that. There we go. And now I'm going to press I again to inset a second time. Take that in just a tiny bit like that. And now I'm going to extrude it again but this time back out. And there we go. Now we've got a bit of a door detail Okay, now let's work on the window. So let's grab this face like this and let's press E and just take that back like this. And now let's press I and inset this. And now let's press E and just take that. And there we go. There's our window in place. Okay, I think we just need some posts now on the front edge, and I think we're done. So let's now, actually, just press Shift A. And let's introduce a mesh, and let's introduce a cube. There's our cube. It's way too big, but let's bring it forward on the X axis. And now let's hit S and scale this down. Bring it up on the z axis. And then let's press three on the numpad to get the orthographic view. I'm sorry, let's press one. And let's bring that out like this. I'm going to hold down shift, press the mouse button, the scroll button and sort of move ourselves over. And maybe bring it forward. I think I'm happy with the scale, so there we go. Okay, the next thing I want to do is actually just take that top face up. So I'm going to hit the tab key so edit. I'm going to select that top face and just go ahead and pull that up until it's in our roof. There we go. That's that. That looks good. Okay, the only thing we want to do different maybe is just bevel these edges. But I want to just check that the scales correct. I'm going to tap out of edit mode, and the scales out in this case. So I'm going to press Control A and apply rotation and scale, and now the scales are correct. Go to grab this item, hit the tab key. Go to press two on the keyboard and now select these edges. So I'll hold shift and select one, two, three, and of course, number four, and I'll zoom in a little. And now with those selectors, I'm going to bevel those edges. So I could come over here and actually click on Bevel. But I'm going to use a shortcut. I'm going to press Control B. And that little lines popped up there to say that we're going to bevel, and I'm just going to gently just move the mouse now until we get something like that. Now, it's more hamford than bevels, so that's not really what I want. So to get more of a bevel look, I'm going to move the mouse wheel a couple of times. There we go. And that's just added some extra edges to those bevels just to add a bit more detail. Not going to do too many because we're adding more complexity to the mesh, but that looks good just like that. If you just left click once this little box comes up here, I'll click on this and out here's the properties of that bevel. So at this stage now, if I wanted to, I could increase these segments, and you can see there on the model, you can see the complexity increasing in that bevel and actually just going to put that back on three. And if I wanted to, I could change the width of the bevel, really make that a round post, or I can take that back. Oops. Get there in a minute. There we go. That's fine. And there we go. That's the bevel done. I'll tap out of di mode by hitting the tab key, and I'll look at that. And I can prove that a little bit further by clicking on it, and then right click and shade Auto smooth. And there we go. Okay, let's press one. I'm sorry. Let's press three on the numpad. Grab this and take this over. Now, to the edge like this. And now let's press Shift D. And now let's move our copy on the y axis. I'll hit Y, which now we can see that extra line pop up under Y, and I'll bring that over, and I'll just guestimate it. I'll use the grid pattern that we can see to estimate what I'm doing. There we go. So I've got middle of this cube here. And I'll press Shift D and Y and bring another copy over to let's say the middle of one. And I'll press shifty and Y, and bring another one over to the middle of this one. And shifty and Y, and bring another one over. And actually, I think I'm going to just distribute these by ice. I'll pull this over like this, grab this one and pull this over. And this one until we get something looking And there we go. I'm happy with those. So we could now, if we wanted to maybe just put a horizontal rail in there. That's one last little thing to do. So let's grab this one here, let's press Shift D, and we'll press Y, and we'll pull that one out into the middle. Now let's look where the gizmo is. And the Gizmo is right on the bottom edge of this. So if I rotate it, it will work for me, but it won't be the best. So what I can actually do is right click and I can set the origin to the geometry. And now the gizmo is recentered to the middle of that object. And we can see where the X axis is, and that's how I want to rotate. So now let's rotate it. So I'll hit R, and I'll press X because I want it to rotate in the X axis. And I'm just going to type nine and zero and hit Enter. And it's a little long, so let's just scale it down and just the Y axis, the green. So I'll press S and Y and just bring that down. And there we go. Let's press three so we can see that nicely. Let's grab this and press Shift D and Y and bring a copy over like this and press Shift D and Y and bring a copy over here like this. Let's increase the scale on this one, and we'll press S and Y and just increase the scale. And there we go. There's our log cabin, and that's looking absolutely fine. Okay, so now we sort of we know how to model. Basically, we're nearly ready to start doing our main project properly. So in our next lecture, we're just going to do some few more little tweaks to blender, just setting it up exactly how we want it, and then we're going to start modeling. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 8. Lecture 6 Blender Preparation: Hello, and welcome now to Lecture six. And in this lecture, I want to do the last kind of setups of blender so that we're ready to start modeling our house. But before we start that, there's something I forgot to show you, which is how to save your model. So let's just show you that so that you can save your model from the previous lecture. Come over here to file, and come on down to Save As. And I've already saved this once, but I'll just do a new save. So I have it in my Eudi course, take two blender. But you can here just enter any file you want so that you have a location for it to be saved in. And then down here, go ahead and name your save, and then just click Save As. And there we go. So here, why not? I'll just do a second one. So I'll call this House two. There we go, and go ahead and save that. So now it's saved. And there we go. You've saved your first model on blender. Okay, so let's carry on with the rest of the lecture. So I'm going to go ahead and close this. And I just quickly made this little thing, which is nothing really, but it has a purpose in what I want to show you. And what I want to show you is a different way of navigating within Blender, and it's called Blenders walk fly mode. And it's really good for navigating sort of houses or anything well, exactly what we're going to do. We're going to do a house with two storeys and different rooms, and it can be quite difficult to move around it. So we can actually walk around the house quite nicely. We can use the walk fly mode to do that. So what I'm going to do is actually just make sure that I'm directly over this little little model as I'm doing this. So what I'm going to do is press the shift Tilda key. And if you don't know which the Tilda key is, it's the one directly above your tab key. So if I press the shift and the Tilda key together, and there we go. I'm in the walk fly mode. And you can see at the bottom of your screen now, there's all the different functions being shown there to make life easy. But I'll show you the basic ones. And now you can move around just as if you're playing a PC game, a game on your PC. So if I press W, I can move forward. If I press A, I can move left. D, I can move right, and S, I can move backwards. If I press Q, I can move down. If I press E, I can move up, but I can also rotate my mouse to help me move easier. And there we go. I'm doing it. But this is flying. What I want to do is walk. So if I hit the tab key now, Blender will apply gravity, and now we're stuck to the floor. So if I press W now, we'll move up these ramps. There we go. We're going up these ramps, just as if we're going up a staircase in the house we're about to make. I'll even drop off here now, and there we go. We're back. So that's really handy way of being able to move around our model as we make it in blender. There we go. Okay, I'll press Escape to get out of the walkfly mode, and there we go. The next thing I want to do is put some add ons into blender. So add ons are little applications which can be added onto blender to improve it. So if we come up here to edit, I'll click on that, and I'll cling them down here to preferences and select add ons here in this left tab. And here, let's find the node wrangler add on, which is right there and enable that. So I'll just put a tick in the box, and that one's enabled. I'll close this, and there we go. So now the node wrangler add on is applied. And what that does is it makes it much quicker and much simpler to be able to apply textures and materials to our model, and I'll show you how much easier that makes it later on in the tutorial. The next thing we need to do is apply another add on called Blender kit, which we are going to use a lot, and it's absolutely brilliant. So what I'm going to do is drag my browser over to the middle screen and then expand that. And this is Blender kit's homepage. And what Blender kit is is a free asset library, which has been set up to work seamlessly with Blender. It is solely for Blender, and it's the easiest way to import high quality assets into blender. If I go over to the subscribe here, It can be absolutely free. And this is what I use the free version. And you can see here there are nearly 13.5 thousand models that we can import into our blender scene over 14,000 materials and around 1,800 HDRIs. So that's a huge free library of high quality assets that we can put into our model. Because if we took the time to model absolutely everything that's in our house, it's going to take a lot longer to do that. So professional architectural visualizers, they actually import a lot of assets into their models and we do exactly the same thing. And you can see here that Blender gee is free to subscribe to, and 85% of the subscription fee goes to asset creators. So it goes to people that work with Blender creating the assets. So it's absolutely brilliant. Also contribute heavily to Blender itself, giving money to Blender so the blender can continue to be a free software. So it is absolutely good. So I'll show you how to go ahead and download the add on. If you click on this Download Blender kit, roll right here, I go up here and download Blender kit. And it's saved to my downloads. There it is. It's gone in. So now I'll just go ahead and drag my browser out of the way and put that to one side. Come up here to edit, and I'll go to preferences and add ons we're in. And I'll come on over to this side, and I'll just hit this dropdown, and I'll click on Install from Disc I'll make sure I go to my downloads, and there it is my Blender kid download. So I'll click on that and Install from Disk. And there is BlendqitOline Asset Library. So I'll go ahead and close this. And now we have this new tab on the top, which is Blend kit. So if I type something into here, I'll type in Share. Click Enter. It's bringing up a whole load of chairs that we can bring in to our new model. And some of these are paid for. They have the pad lock there, and some of them are free. We want to be able to set up our browser or our blender kit browser so that we can find the free ones first. So I'll go over to this filter here, hit this dropdown and click on Free First. There we go. And now it's going to show us our free chairs first. So now all I need to do is just grab a chair. I can click on it if I want to. And there it is. It's in our model. I can left click on it, and I can get information on it, and then I can also rate this asset so that the creator of this asset can get some ratings. And there we go. I can actually go over to material preview. Click on that, and we could see what this looks like. There we go. Now we have blender kit installed into a blender, and we have the node wrangular asset, and I've showed you how to use the walk fly mode within blender. So there's just one more thing that I want to show you now, and that is I want to bring in an extra function on our outliner here. So if we go over to this filter and hit the drop down here. And if you come over to this little arrow and click on this, this is going to allow us to be able to lock things within our viewport in our outliner. So here, what's this? This is the plane. And as you can see, I can move this plane. Now, if I actually just click on this arrow that we've just brought in on this plane, now I can no longer select this plane. I can no longer accidentally move it around. So that is absolutely brilliant, so that when we are creating our house, once we've built our walls or built our floors or built our roofs, I can't accidentally grab it and move it and not realize that I've done that. So that's why I brought that in like that. Now, absolutely, everything is set that we wanted. Okay, in the next lecture, let's go ahead and start modeling our house. Thanks very much. Bye bye, Fino. 9. Lecture 7 Importing Reference Images Ref 2: Hello, and welcome now to Lecture seven. And in this lecture, let's go ahead and start modeling our house. Let's make a start on this. So the first thing we actually need to do is bring in our reference images to make sure that we have the correct dimensions on this house. We have something to reference from and to scale from. And to do that, you'll see that attached to this lecture, you have a resource pack. And in that resource pack, there are the images you need. So you can go ahead and open that file and go ahead and download and save to wherever you want to. So let's go ahead and make a start. So I'll click anywhere to get rid of our splash screen. And I'm going to make a selection box by holding down the left mouse button and just select everything and delete. So we've got absolutely empty screen, and we start building from here. This is my favorite bit. I love this because everything starts from an empty screen. I find that so cool that when we finish, we've got this amazing looking house, photo realistic, but it all starts from an empty screen. Love that. Sorry, I'm digressing a bit. I'll go back to what we're doing. So the first thing I actually want to do is go ahead up to the outliner and click on Collection. And I want to make a new file, so I'll hit the plus sign there on the file. I'll double click on this. And I'm going to rename this reference Images. There we go, and just click off. And make sure that it's in blue, that you actually have that selected. And now as we import our images, they'll drop straight into that file. So now that they've done that, let's go ahead and bring in our first image. So I'll press Shift A. I'll come down to Image, and I'll click on reference, and I'll find where my images are. And how slight references. And I'm just going to bring in the ground floor one to begin with and add empty image. And there we go. That's perfect. So it's brought it in on a bit of a funky angle, so I'll just deal with it quickly. So I'll press N. And here on the rotation, I'll just make that zero, enter, and zero, enter, and zero, Enter. And that's brought in now. Absolutely fine. But that scale is not correct. As you can see, we have some dimensions on this plan. But this plan is currently not a scale. It's not one to one, and that's what I need this plan to be one to one. So we can deal with that. So what I'm going to do now is bring in a cube, and I'm going to make that cube 6.75 meters by 19.85 meters. And then we'll scale the plan up until it's the same size as our cube. And then we know that that's absolutely correct. So let's do that first. Actually, before we do that, let's go ahead and name this. So I'll name this. Call this ground floor plan. There we go. And now let's go ahead and bring in a cube, so I'll press Shift A and mesh and cube. And we don't need to be in solid mode now. We can go ahead and make this wireframe for a while. But rather than going all the way up here and clicking on this, I'm going to show you a shortcut for that. So I'm just going to press Z on the keyboard and click on Wireframe. There we go. So I'll press seven to see this seven on the numpad to see this in the orthographic view. And now let's go ahead and scale this up. So first of all, let's work in the X axis on the red line here. So here on the dimensions, the X is right there. It's currently 2 meters, and we need to make it 19.85. So I'll delete the two, and I'll make 19.85 enter. And there we go. That's the correct length of the house, the actual one to one length of the house. So now we need to make it 6.75 in the Y. So let's do that. 6.75 enter. And that's it. That cube is now the correct size of our house. So I'll press seven again and then pad to get us in the orthographic view. I'll select our plan. And I'll just hit S for scale, and I'll bring this up. There we go. So what you can see here, this outer shape, that's the sort of the garden wall, the main border wall of the whole garden. This rectangular here is the pool, and this is our wall outline. So this is the thing that needs to be the same size as this cube. And then we need to line up with the cube, as well. So I'll hit S and I'll scale it up a bit more. I'll make sure that the move is selected, and I'll bring it over on the X axis. And actually, that's really good already. I'll bring it down on the Y. And there we go. That's good. That's actually perfect. That's great. So now, really, we need to know the height of this cube, and it's not shown on this plan, so we need to bring in another plan. So what I'll do is I'll press Chef A, and I'll bring in an image and I'll bring in reference image, and I'll bring in front elevation and click Add Empty. And there it is. And I'll make sure on the rotations, the X is in the zero, the Y is in the zero, and the z. I'll make that into zero, as well, there we go. Now I need to rotate it so it's standing up. So to do that, I'm going to press R and X to rotate it on the X axis, and I'll type 90 Enter. There we go. So now that's rotated 90 degrees in the X axis. Obviously the scales out. So I guess that's the next thing we need to do is we can go ahead and scale that. So I'll press one on a num pad to make sure that we see that orthographically, and I'll go ahead and press S and scale that up. I'll do it more. Until I need this line here and this line here to line up with our cube. So I'll bring that up, bring this over maybe scale it down a little bit more, and there we go. And what we can take note of now is the height of this ground floor, which is 3 meters and 40. So that's what I want to do next. I want to go ahead and make our cube 3 meters and 40 in the Z axis. So I've selected the cube, and here in the Z, I will press 3.04, Enter. And now that cube is the correct height. What I'm going to do is press one again on a numpad to see this from the front, and I'm going to prune the cube up until it's level with our X axis, the red line because that's our ground level, and there we go. So that cube is now absolutely accurate. And we can double check that, actually. What I'm going to do is go ahead and hide these images for a minute. So I'll grab this image, and let's go ahead and name this one first. So I'll call this front elevation. Plan. There we go. And now that I've done that, I'll go ahead and hide it. And I'll go ahead and hide this one as well. So we just have the cube for a moment. And now I'm going to show you the measure tool, which is it's a little bit tricky to get the hang off, but once you do, it's really good. So I'll click on the Measure tool, which is right here on the tab. And I'll go ahead and just hold down Control, and then I'll press the left mouse button. Which has made it snap to that corner, and then I'll hold onto the control and then snap to this one. And that is correct. I remember that from memory, 6.75 is the correct width to that cube. So that's absolutely perfect. We can do that again. So I'll go ahead and just hold down the left mouse button, create a line, create a measurement, hold control now, and snap it to this corner. I can actually just grab this corner again now, hold control and snap it to that one. 19.85, that's correct, as well. And I'll do the same thing one last time. I'll hold down shift, grab sorry I'll just press down the left mouse button. I'll hold down Control and snap to that corner. And it's 11 meters because it hasn't snapped to that bottom corner. It's doing weird things, so I'll grab it. I'll hold down control, and I'll snap it to there. And that's 3 meters and 40. So that's absolutely perfect. They can be a little bit tricky to delete, but if you just hover over the line and then left click and then press X for delete and press X again. Do the same and do the same. There we go. And I'll go over back to the move tool, and we're absolutely happy that that cube is the correct size. Let's go ahead and bring back our ground floor plan now, and we're happy that that's in the correct position. No more to be done to that one. But I do want to play around with how the image looks. So I'll come down here to data, and I'm going to click on opacity. I'm going to turn that on. And I'm going to bring this down, which is going to make our image translucent. Oh, we're in the front plan. I apologize. I want this one, which I've locked. I want the front elevation. I want the ground floor plan. Sorry. And now let's turn that on. And now let's bring this down. To about half like that. There we go. The other thing I want to do is I want to make sure that it's not visible from the underside, so that it's not so I can see it from this side, but not this side. So here on the side elevation there, go ahead and click on front. And now it's visible from this side, which we do need, but it's not visible from this side, so we can see through it from the back face. There we go. That's perfect. With that done, I'm going to actually click this little arrow here in the outliner on the ground floor plan so that we can't accidentally grab that plan. That plan is now. Okay, so let's grab this one now, and we'll press one to see it from the front. And let's see what we need to do with this plan. So I see I need to take it up. So I'll go ahead and do that. And that's actually working out really nice. I need to scale it down slightly in the X. So I'll press S and X. And yes, brewing the That's perfect, there. Whoops, slipped. There we go. That's absolutely fine. So let's go ahead and make this one translucent now, so I'll select this one. And let's bring the opacity down on this one, as I was doing a minute ago, accidentally. Let's do it right this time. So I'll bring it down about halfway. And now I don't want to see it from this side. I just want to see it from this side. But actually, yes, so let's go ahead and press front on that as well. So now we can see it from this side, but not from this side. Now let's press seven. And let's go ahead and bring this image back until it lines up with the back of the plan like this. There we go. That's perfect. And now that we've done that, let's go ahead and hit the little arrow on that to hide that one, too, to lock that one, as well. Okay, now that we've done those two, let's go ahead and just hide those. So I'll just press the little eyeballs on those. And actually, we can name this cube, as well. So I'll go ahead and click on this. And I'll call this reference cube or just reference cube Ref cube, there we go. That's a name. Let's go over to reference image here in the outline and click on that. And let's press Shift A and bring in a final reference image. And that is first floor, so I'll click on that and add image. And there we go. And let's sort out the rotations. So we'll press zero Enter, zero Enter, and zero Enter. There we go. So let's press seven to see that from above. And to scale this one now, we can actually scale this one off our ground floor plan, so I'll click on that one just to make that visible again. And let's go ahead and press S and scale this up. And let's press S and scale it up a little more. And what we basically need to do now is line up this garden wall with each other. And then when that's done, these scales are correct. So I'll bring this forward like this. And just bring it over on the X slightly. And it's already pretty close, actually. We'll scale it up a tiny bit. Maybe bring it down a little bit. And there we go. Let's take that up in the Z axis. And that's absolutely perfect. So I'll just press one so we can see that from the front view now, and I'll make sure that this plan is just sitting on top of our cube because this is the start of the first floor. There we go. That's absolutely perfect. And yes, the first floor is slightly larger than the ground floor, but that's intentional. That's the way the house is supposed to be built. And with that done now, let's go ahead and fix that one. So let's come on over to the opacity and with the plan selected, of course, just bring this down to around half. And on this side here, click front, so we can't see it from the underside. And there we go. And let's name this one, of course. So I'll click on it, and I'll call this first floor. Okay. Plan. And there we go. And let's go ahead and lock that. And that's reference images all in. There we go. Sorted. So let's go ahead and save our progress so far. So let's go with a file and save us. And you can go ahead and save it wherever you want in whichever file you want. And I'm gonna call this House. Whoops. I'm just going to call it one. There we go. And go ahead and save. So in the next lecture, what I think we'll do is I think we will start building our ground floor walls. We'll start putting those in. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Feno. 10. Lecture 7 Importing Reference Images: Hello, and welcome now to Lecture seven. And in this lecture, let's go ahead and start modeling our house. Let's make a start on this. So the first thing we actually need to do is bring in our reference images to make sure that we have the correct dimensions on this house. We have something to reference from and to scale from. And to do that, as you'll see on the Eudomi page, you'll see there on the course contents, you'll see that attached to this lecture, you have a resource pack. And in that resource pack, there are the images you need. So you can go ahead and open that file and go ahead and download and save to wherever you want to. So let's go ahead and make a start. So I'll click anywhere to get rid of our splash screen. And I'm going to make a selection box by holding down the left mouse button and just select everything and delete. So we've got absolutely empty screen, and we start building from here. This is my favorite bit. I love this because everything starts from an empty screen. I find that so cool that when we finish, we've got this amazing looking house, photo realistic, but it all starts from an empty screen. Love that. Sorry, I'm digressing a bit. I'll go back to what we're doing. So the first thing I actually want to do is go ahead up to the outliner and click on Collection. And I want to make a new file, so I'll hit the plus sign there on the file. I'll double click on this. And I'm going to rename this reference Images. There we go, and just click off. And make sure that it's in blue, that you actually have that selected. And now as we import our images, they'll drop straight into that file. So now that they've done that, let's go ahead and bring in our first image. So I'll press Shift A. I'll come down to Image, and I'll click on reference, and I'll find where my images are. And how it references. And I'm just going to bring in the ground floor one to begin with and add empty image. And there we go. That's perfect. So it's brought it in on a bit of a funky angle, so I'll just deal with it quickly. So I'll press N. And here on the rotation, I'll just make that zero, Enter, and zero, enter, and zero, Enter. And that's brought in now. Absolutely fine. But that scale is not correct. As you can see, we have some dimensions on this plan. But this plan is currently not a scale. It's not one to one, and that's what I need this plan to be one to one. So we can deal with that. So what I'm going to do now is bring in a cube, and I'm going to make that cube 6.75 meters by 19.85 meters. And then we'll scale the plan up until it's the same size as our cube. And then we know that that's absolutely correct. So let's do that first. Actually, before we do that, let's go ahead and name this. So I'll name this. Call this ground floor plan. There we go. And now let's go ahead and bring in a cube, so I'll press Shift A and mesh and cube. And we don't need to be in solid mode now. We can go ahead and make this wireframe for a while. But rather than going all the way up here and clicking on this, I'm going to show you a shortcut for that. So I'm just going to press Z on the keyboard and click on Wireframe. There we go. So I'll press seven to see this seven on the numpad to see this in the orthographic view. And now let's go ahead and scale this up. So first of all, let's work in the X axis on the red line here. So here on the dimensions, the X is right there. It's currently 2 meters, and we need to make it 19.85. So I'll delete the two, and I'll make 19.85 enter. And there we go. That's the correct length of the house, the actual one to one length of the house. So now we need to make it 6.75 in the Y. So let's do that. 6.75 enter. And that's it. That cube is now the correct size of our house. So I'll press seven again and the numpad to get us in the orthographic view. I'll select our plan, and I'll just hit S for scale, and I'll bring this up. There we go. So what you can see here, this outer shape, that's the sort of the garden wall, the main border wall of the whole garden. This rectangular here is the pool, and this is our wall outline. So this is the thing that needs to be the same size as this cube. And then we need to line it up with the cube, as well. So I'll hit S and I'll scale it up a bit more. I'll make sure that the move is selected, and I'll bring it over on the X axis. And actually, that's really good already. I'll bring it down on the Y. And there we go. That's good. That's actually perfect. That's great. So now, really, we need to know the height of this cube, and it's not shown on this plan, so we need to bring in another plan. So what I'll do is I'll press Chef A, and I'll bring in an image and I'll bring in reference image, and I'll bring in front elevation and click Add Empty. And there it is. And I'll make sure on the rotations, the X is in the zero, the Y is in the zero, and the z. I'll make that in the zero, as well, there we go. Now I need to rotate it so it's standing up. So to do that, I'm going to press R and X to rotate it on the X axis, and I'll type 90 Enter. There we go. So now that's rotated 90 degrees in the X axis. Obviously the scales out. So I guess that's the next thing we need to do is we can go ahead and scale that. So I'll press one on a num pad to make sure that we see that orthographically, and I'll go ahead and press S and scale that up. I'll do it more. Until I need this line here and this line here to line up with our cube. So I'll bring that up. Bring this over maybe scale it down a little bit more, and there we go. And what we can take note of now is the height of this ground floor, which is 3 meters and 40. So that's what I want to do next. I want to go ahead and make our cube 3 meters and 40 in the Z axis. So I've selected the cube, and here in the Z, I will press 3.04, Enter. And now that cube is the correct height. What I'm going to do is press one again on a numpad to see this from the front, and I'm going to pring the cube up until it's level with our X axis, the red line because that's our ground level, and there we go. So that cube is now absolutely accurate. And we can double check that, actually. What I'm going to do is go ahead and hide these images for a minute. So I'll grab this image, and let's go ahead and name this one first. So I'll call this front elevation. Plan. There we go. And now that I've done that, I'll go ahead and hide it. And I'll go ahead and hide this one as well. So we just have the cube for a moment. And now I'm going to show you the measure tool, which is it's a little bit tricky to get the hang off, but once you do, it's really good. So I'll click on the Measure tool, which is right here on the tab. And I'll go ahead and just hold down Control, and then I'll press the left mouse button. Which has made it snap to that corner, and then I'll hold onto the control and then snap to this one. And that is correct. I remember that from memory, 6.75 is the correct width to that cube. So that's absolutely perfect. We can do that again. So I'll go ahead and just hold down the left mouse button, create a line, create a measurement, hold control now, and snap it to this corner. I can actually just grab this corner again now, hold control, and snap it to that one. 19.85, that's correct, as well. And I'll do the same thing one last time. I'll hold down shift, grab alright, I'll just press down the left mouse button. I'll hold down Control and snap to that corner. And it's 11 meters cause it hasn't snapped to that bottom corner. It's doing weird things, so I'll grab it. I'll hold down Control, and I'll snap it to there. And that's 3 meters and 40. So that's absolutely perfect. They can be a little bit tricky to delete, but if you just hover over the line and then left click and then press X for delete and press X again. Do the same and do the same. There we go. And I'll go over back to the move tool, and we're absolutely happy that that cube is the correct size. Let's go ahead and bring back our ground floor plan now, and we're happy that that's in the correct position. No more to be done to that one. But I do want to play around with how the image looks. So I'll come down to here to data, and I'm going to click on opacity. I'm going to turn that on. And I'm going to bring this down, which is going to make our image translucent. Oh, we're in the front plan. I apologize. I want this one, which I've locked. Front elevation. I want the ground floor plan. Sorry. And let's turn that on. And now let's bring this down to about half like that. There we go. And the other thing I want to do is I want to make sure that it's not visible from the underside, so that it's not so I can see it from this side, but not this side. So here on the side elevation there, go ahead and click on front. And now it's visible from this side, which we do need, but it's not visible from this side, so we can see through it from the back face. There we go. That's perfect. With that done, I'm going to actually collect this little arrow here in the outliner on the ground floor plan so that we can't accidentally grab that plan. That plan is now locked. Okay, so let's grab this one now, and we'll press one to see it from the front. And let's see what we need to do with this plan. So I see I need to tick it up. So I'll go ahead and do that. And that's actually working out really nice. I need to scale it down slightly in the X, so I'll press S and X. And yes, bring the That's perfect, there. Whoops. Slipped. There we go. That's absolutely fine. So let's go ahead and make this one translucent now, so I'll select this one. And let's bring the opacity down on this one, as I was doing a minute ago, accidentally. Let's do it right this time. So I'll bring it down about halfway. And now I don't want to see it from this side. I just want to see it from this side. But actually, yes, so let's go ahead and press front on that as well. So now we can see it from this side, but not from this side. Now let's press seven. And let's go ahead and bring this image back until it lines up with the back of the plan like this. There we go. That's perfect. And now that we've done that, let's go ahead and hit the little arrow on that to hide that one, too, to lock that one as well. Okay, now that we've done those two, let's go ahead and just hide those. So I'll just press the little eyeballs on those. And actually, we can name this cube, as well. So I'll go ahead and click on this. And I'll call this reference cube or just reference reef cube there we go. That's a name let's go over to reference image here in the outline and click on that. And let's press Shift A and bring in a final reference image. And that is first flow, so I'll click on that and add image. And there we go. And let's sort out the rotations. So we'll press zero, Enter. Zero, Enter, and zero Enter. There we go. So let's press seven to see that from above. And to scale this one now, we can actually scale this one off our ground floor plan. So I'll click on that one just to make that visible again. And let's go ahead and press S and scale this up. And let's press S and scale it up a little more. And what we basically need to do now is line up this garden wall with each other. And then when that's done, these scales are correct. So I'll bring this forward like this. And just bring it over on the X slightly. And it's already pretty close, actually. We'll scale it up a tiny bit. Maybe bring it down a little bit. And there we go. Let's take that up in the Z axis. And that's absolutely perfect. So I'll just press one so we can see that from the front view now, and I'll make sure that this plan is just sitting on top of our cube because this is the start of the first floor. There we go. That's absolutely perfect. And yes, the first floor is slightly larger than the ground floor, but that's intentional. That's the way the house is supposed to be built. With that done now, let's go ahead and fix that one. So let's come on over to the opacity and with the plan selected, of course, just bring this down to around half. And on this side here, click front, so we can't see it from the underside. And there we go. And let's name this one, of course. So I'll click on it, and I'll call this first floor. But Plan. And there we go. And let's go ahead and lock that. And that's reference images all in. There we go. Sorted. So let's go ahead and save our progress so far. So let's go with a file and save us. And you can go ahead and save it wherever you want in whichever file you want. And I'm gonna call this House. Whoops. I'm just going to call it one. There we go. And go ahead and save. So in the next lecture, what I think we'll do is I think we will start building our ground floor walls. We'll start putting those in. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Feno. 11. Lecture 8 Ground Floor Walls: Hello, and welcome now to Lecture eight. And in this lecture, let's go ahead and start building our ground floor walls. Let's get those into position. I think that'd be a really good start. So I think the first thing I want to do is go ahead and hide our front elevation, so I'll hide that. And I want to hide our first floor. So I'll hide that as well. Well, there we go. So we've just got the ground floor. And actually, now we can go ahead and hide our reference cube. There we go. So we just have our ground floor plan. Now, this is just my preference, but I find this grid a little bit distracting. So I'm going to go over here to Viewport overlays. There we go. And I'll turn off floor. There we go. And then for now, we'll hide that grid. Okay, so what do we do next? Let's create a new file. So I'll click on here to collection at the top. And I'll click on this new file button, and I will name this ground floor. Walls. There we go. And that's it. That's our ground floor walls. Oh, I'm sorry. Hold on, hold on. I'm just going to rename that. And I'm just gonna call that ground floor. There we go. So I'll call that ground floor, and now I'm going to create a subfolder. So with this still selected, I'm going to hit this little icon again. And in this one, I'm going to call this ground floor walls. Let's keep this nice and organized. That's fine. So now with that actually selected, I'm going to press seven on the numpad to get us into the orthographic view. And I'll go back up to Viewport overlays, and I'll turn off grid, as well. There we go. And now I'm going to press Shift A and mesh. And let's go ahead and bring in a cube. And as you see, because we had the ground floor wall selected, the cube has come in in that file. So with that done? Let's just grab the arrow here on the red arrow and bring this over until it's over this wall just like this. Okay, I'm going to zoom in, and I'm going to press down shift, hold down shift, grab the middle mouse wheel and drag the whole thing over. I'll just send that a little bit more by eye. And I'm going to scale it down in the X axis, so I'll press X and X and just bring that down, scaling it down in the X axis. There we go. That's perfect. I'll zoom in a little bit and center that. And that's good. So now I could scale it up in the Y axis in the green axis until it flushes with this wall here and this wall here, so I'll do that. I'll press S and Y and just go ahead and scale that. There we go. That's cool. Let's zoom in on the bottom, so I'll scroll in, press down the chef button, and press the middle mouse wheel and just bring the plan down and then have a look at that there. And maybe I'll just grab that and take it up. So I'm going to press G and Y and then just take this up a little bit like this. There we go. We'll go to the top and see what we need to do, and maybe we just need to increase the size of this a little bit now. So I'll press the tab key, and I'll make sure we have vertices selected, which I have. I'll grab these vertices here. Make sure that we're in the move mode, grab these one here now, and just bring them up a little bit. And that's absolutely perfect. There we go. That's good. So I'll tap out of Edit mode for a minute. I just hit the tab key again. And I'm going to press one on the num pad to get us an orthographic view of it from the front, and I'm going to take it up in the X axis until it's lining up with our ground plane. I'll press G, and then Z, and go ahead and bring it down a little bit. And there we go. That's perfect. So is our height correct? I guess that's the next thing we need to do. So let's go over to our reference images to our front elevation, and we'll go and turn that back on again. And let's tap into heading mode. So I'll hit the tab key. And I want to grab this whole top face, so I could either click here on the face or I could press three on our keyboard. So I'll go ahead and press three. I'll grab this face here because it's wireframe, Blender actually to show us a little dot to represent the face, so I'll grab that. And I'll press one on a numb pad to get us the orthographic view of the front, and I'll go ahead and take that up until it lines up where the top. And as you can see, we're sort of over the line a little bit there, but I won't really worry. We're not drafts people. We're not creating technical plans. We're creating a rendering, we're creating a visualization of the house. So we're lucky enough that we don't have to be absolutely millimeter perfect. And for us, for the work that we do, that's absolutely fine. So there we go. That is our wall to the correct size. I'll go ahead and hide this front elevation again, and just have the ground floor plan on. Okay, so what I want to do now is create some loops in this. But now I think I need to go to a solid mode, so I'll press Z, and I'll click on solid. So we have that wall in solid now. So what I can do now is press two on the keyboard, so we can select edges. Or you can come up here and click on this a little bit, grab this edge here. And I'm going to press Control R, and then I'm going to just click on this loop and then bring it over until it lines up with our wall. Now, we can't tell properly from this angle. Is that lined up with that? The only way to actually know is in an orthographic view. So that's what I'm gonna do. I'm going to press seven on our numpad to see this in the orthographic view. Scroll in a little bit, and then just grab it and bring it down until it lines up. There we go. Now we can do the same on the other side, so I'll grab the top edge again, or any edge on this side. So, that one on the bottom, and press Control R and then bring that over close to that wall. I'll press seven again to get the orthographic view from the top. I'll go ahead and bring that until it's level with the wall. And that's absolutely fine. There Okay. That's cool. So now we need to be able to select faces. So I'm going to press three on our keyboard, or you could use this thing here, that little box there. I'll select this face here. I'll hold down shift so I can make more than one selection, and I'll grab that face there. And now that I've got both of those selected, I'm going to press seven on the numpad to get us to that orthographic view, and I'm going to extrude that out until it's level with that wall there. So I'll just press E and then just pull away with a mouse. Just pull those over until they're flesh with a wall. There we go. That's all I need to do. That's absolutely perfect. So we've talked about this before about keeping the mesh as simple as possible when we talked about subdivision surface modifiers. And as we go ahead and model, we'll do the same. We'll just keep the mesh as low poly as possible and as simple as we can. So with that in mind, I'm going to delete. Actually, I'm going to just lose some of these walls, these edges here, dissolve them is the word I'm trying to search for. So I'm going to press two so we can select edges. Gonna grab this one, Hold shift, and grab this one, grab this one and this one. This one, this one, and now the same on the other side. So this one, this one, this one, this one, this one, and this one. Once you've got all those selected, right click, come all the way down to the bottom to dissolve edges. And click on that. And there we go. Now we have the simplest shape possible, the minimum amount of faces that we can use. And that's perfect. So I'll tap out of Edit mode with that and take a look at it. Maybe it's time to sort of correct our scales. So let's press Control A, and then click on rotation and scale. And there we go. That's zero out scales back up again. So now I want to press seven on the numpad to get us the orthographic view again. And rather than remake it for this opposite side, I'm just going to click on this one. And I'm going to press Shift D and then I'm going to press X, and I'm going to bring this over in the X axis to this side. Now that I've done that, I'm gonna press R for rotate. And I'm gonna press 180, Enter. So we've rotated there 180 degrees. And I'll just pull it over in the X axis. Let's see what that looks like. There we go. I'll just bring that over until it's over the top of the wall. That's perfect. We know now as well that that's exactly the same width as this one over here. So the only thing that remains to do now really is to go ahead and take these faces back. So I'll tap into Edit mode with this one. I'll hit the tab key. I'll press three on the keyboard, so we can select faces. I'll grab this face here. I'll hold shift and grab this second face here. And now we need to go to the orthographic view, so I'll press seven on the numpad. And now I'll go ahead and take that back in the X. And I'll zoom in a little bit on that. So I'm holding down Shift and pressing the middle mouse wheel to reposition the screen, and I'll press G and X and just take this back until I'm happy, and there we go. So that's our walls. That's perfect. Let's check the scale on this and the rotation's out so we could go ahead and press Control A and fix the rotation in the scale. And there we go. So that's our walls done. Our ground floor walls are now complete. So in the next lecture, what I want to go ahead and do is start creating our doors for the frontier, and they're like, what they call pocket doors. So the doors actually slide into the walls. So we're going to create the apertures here in the walls, the holes in these walls for the doors to be able to slide into. And then if we've got any time left, I'll start making our doors. There we go. So we've made a start. Our walls now our ground floor walls, they're in place. So let's go ahead and make a quick save. So to do that, rather than come up here to file and do all that, you can just press Control S, and Blender will make a quick save on that. Okay, so that's it for this lecture, and I'll go ahead and see you in the next one. Thanks very much. Bye bye now. 12. Lecture 9 Pockets In Doors: Hello, and welcome now to Lecture nine. And in this lecture, let's go ahead and start work on our main doors, our sort of big huge sliding doors here on the front. But I think before we do that, I forgot to name these two components. So let's do that first. So I'll click on this one. And it's highlighted here in the outline for us, so I'll double click on this. Delete that. And I'll call this right ground for wall. There we go. Yup, so spell floor wrong. Get rid of that. Put that in. Do it do? There we go. And let's do the same with this one. There we go. So that's named our two walls, keeping our outliner always as organized as we can. So with that done, the next thing to do is create our pockets and our walls for our doors to sit into. So let's go ahead and do that. There's two ways we could do. We can either use the extrude tool and extrude a pocket back. But I want to take this opportunity to show you another tool. I want to show you a modifier called the Boolean modifier. So we'll go ahead and use that to create these pockets. So with that mind, let's press seven on the numpad to get us the orthographic view. And let's press Shift D. I'm sorry. Let's press Shift Day, getting ahead of myself. And then to mesh, and then let's go to Cube. Let's bring this cube down in the Y axis until it's kind of level with this wall here. Let's scale that down in the Y axis now, so press S and Y and then bring that down. And now let's make that bigot in the X axis. He'll press S and X, and just scale that up and do it some more SX and just scale that up to something like that. Let's go ahead now and just centralize that as much as we can. We get it. We'll zoom in on this. And now let's go ahead and scale it up some more on the Y. I'll press S and Y and just scale this up. And again, S and Y and see what we've got. Now let's press G for grab and Y again and bring that into the middle of that wall. Let's scale it down a little bit, so I'll press S and just scale the whole thing down a little bit. Okay, that's good. And now just scale it up again in the X. I'll press S and X, and just scale it up a little bit more again. There we go. Let's take a look at this from the front. Pull this up a little bit, and let's scale it in just the z. So I'll press S and Z and go ahead and scale this up. And then bring it so that it protrudes through the top of the wall like that. They, that's good. Let's press seven on the numpad to see this from above and make sure that it's reasonably centered on this wall. Maybe I'll bring it down just a little bit. So I'll press G and Y and just bring it down a little bit. That's it. That's all I want. And now let's make a copy of this. So let's press Shift D and Y and bring that up like this. Maybe just use the cursor now or use the gumball just to bring this up. There we go. Let's have a look at it on this one, and it doesn't look quite scented. So we'll press G and Y and just bring that down a little bit and just eye it for about center, and that looks about right. Okay, so now we have these two cubes. So we're going to use these to boolean cut our main walls. And often we call these cutters, and that's what I'm going to call these cutters. So let's select this wall now here and let's look at the scale. It's all good. If it's not correct, it's quite important that we do. And actually, let's check these ones, too. This one's out. So press Control A, and apply rotation in scale. Grab this one now and press Control A, and apply rotation in scale. Well, right, let's check the last one, this one here, and that one's good. So all those four items, the scale is correct. I'm going to select this main wall here now. I'm going to go to the spanner here and I'm going to click on Add modifier, slide down to generate and click on Boolean. So within this boule and make sure the difference is selected, and then come on over to this object, use this eyedropper, click on that. Come on over to here and click on this cutter that we've just made. And we saw that it changed there. We saw that there's a new outline, but just check that that boolean actually worked, select this one for a minute. Come on over to here. It's highlighted that cubers and just turn that off for a minute. And we can see now that we have a cutout shape in that wall, and that's just what we want. That's just exactly what we want. So with that in mind, we'll actually highlight that again so we can see it, select this, and we'll go ahead and apply this modifier. So I'll hit this drop down here and click on Apply. There we go. Select the wall a second time. Add modifier, generate boolean, make sure difference is on. Come down to object, grab this little dropper, and just drop it on this panel like this. I saw this time that the shape changed, meaning that that boolean has worked. So I'll go ahead and apply. There we go. I'll do the same this side now. So I'll grab the wall like this, add modifier, generate boolean, grab the little dropper, just select this one. Again, maybe we check it. Let's have a quick look. Oops wrong one. Grab this one. And there we go. That's go ahead applied. So I'll turn that back on, select this, and apply that modifier. There we go. Did I apply the modifier in this one? Let's have a quick look? I did. Okay, let's do this one last time. So I'll grab the wall, add modifier, generate and boolean. Grab the little dropper and select this one. And there we go. I saw that it actually changed, so I'll go ahead and apply that. Okay, that's it. We've got our pockets cut out on our doors, and that's just what we want. We've no more use for these cutters anymore, so I'll go ahead and delete those. There we go. Okay, the next thing we want to do is apply some bevels to these walls. And we're going to use the bevel tool quite a lot because you model stuff, very little has an absolutely 90 degree edge. You might see that maybe in engineering or something like that, but in modeling houses or modeling furniture or cars, almost everything, you always apply a bevel to an edge because also it makes things look so much better as well. If you have a perfectly 90 degree corner, when you apply textures to these, it just doesn't look natural. So we're going to apply bevels to our edges. So let's go ahead and do that. So select the piece and make sure you're in edded mode. I already was. And press two on your numpad Grab maybe just these outside edges now to hold shift and select the second one. So we get both these edges and just pan around so you can see over it like this. And now press Control B and just drag your mouse a little bit to create that beveled edge. So you can roll your mouse wheel to reduce or increase your vertices. I'm going to make sure it's about there. That looks about right to me. And with that done, I'll just left click once. Now we can come down to the bevel here and then just click on this drop down. And this is going to give us more control of this bevel now. So if we wanted to, we could go ahead and increase the width of this bevel. I'll leave it where it was at about six or we could actually increase or reduce the segments. So four actually is looking good for me. And with that done, I'll go ahead and just left click off. So now we have the bevels to do on this edge. I'll make these slightly smaller. I'll grab this one and this one, this one, this one. Oh, Chef carry on, this one, this one, at this one at this one. And I'll just get in the right position so I can see the bevel. And I'll press Control B. And again, I'll just drag the mouse over. Until I get something like that, I'm happy with that. And then looking at the bevel, so I'll see. I'm happy to leave that just where it is. There we go. We'll tap out of Edit mode with this one, and then maybe one last thing to do is to apply a shade auto smooth. So with the objects selected, right click and go ahead and shade auto smooth. And there we go. It's just flatten those walls off a little bit more. Okay, let's go over to the other wall and just repeat that process. So I'll select the wall, hit the tab heed to tap into Edit mode. Grab this edge here. Hold shift, grab this one, and go ahead and press Control B, drag the mouse a little bit until you get a similar edge. And that is about the same, I think, so I'm happy with that. And there we go. I'll just left click. So I'll select these edges now. Holding down the shift. One, two, three, four. Come down here and do the same thing. Six, seven, eight. That's all of them. Position ourselves and then press Control B and drag the mouse until you get a similar edge. And I think I'll reduce that just to. And yeah, I think I'm happy with that just like that. There we go. I'll left click and that's done. So I'll tap out of Edded mode with that and then we'll whilst it's still selected, right click and shade auto smooth. And there we go. So that's our pockets done for our doors. So in the next lecture, we'll go ahead and make our doors and then position them exactly where we want them. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 13. Lecture 10 The Doors: Hello, and welcome now to Lecture ten. Yeah, let's go ahead in this lecture, let's create our doors. Our actual pocket doors, that'll be recessed inside these pockets or recesses in the walls. So let's go ahead and do that. It's quite easy. Let's press. Well, actually, let's first of all, make sure that we have selected ground floor walls so that the doors when we create them now, just drop into this file. So let's go ahead now and press Shift E and mesh, and let's bring in a cube. Let's press seven on the numpad to get us that orthographic view. Let's bring this over, bring it closer to the walls, so we've got a visual reference as to what size to make it. And I'll hold down shift and press the middle mousewheel and drag over and just re center myself scrolling the mouse wheel. And then I'll press S, and I'll just scale the whole thing down. And we're gonna have to just eye this up on size until we think it's about right. Let's scale this up in the X. I'll press S and X. A bit more Sx. There we go. Maybe that's too long. I'll press Sx and bring that down to something like that. And it's too wide, so I'll press SY that looks about right. So we're not going to make these the full width of what the door would be because they're not gonna be seen ever. They're just going to be sitting here in the pocket. So we don't really need to worry too much about details, it'll only be the last sort of this area here which will ever be seen. So we'll scale it down a little bit more in the Ys per S Y. And see how that looks. I'll bring it over to, like, about here. I may need to do this again, but I'm just going to duplicate just to make sure that we have about the right width. But actually, before I do that, I'm going to name this cube. So because it's selected here, it's selected the outliner, so I'll double click on it, and then I'll call this ground four doors or door. There we go. And now that I've done that, I'll press Shift D and Y and bring a copy across like this. I'll do it one more time, shifty and Y and bring a copy across like this. And I think the first door is too wide. So let me just see reposition these slightly. And yes. So I'll delete that one, and I'll delete this one. I'll grab this one. And I'll scale it down just a bit more on the Y. I'll press S and Y, and just scale this down a little bit more to about that, maybe. Reposition. Now I'll press Shift and Y and bring a copy over. And I'll press Shift D and Y and bring a copy over and see what this looks like when we position them. And yeah, that's better. That looks better, I think. We could even go a little bit wider on that first one. I think I'll do that. So I'll hole shift, and I'll grab both of these, and I'll press delete. I'll take this one. I'll just scale it up again in the wide. I'll press S and Y, and scale it up a little bit more to something like that, maybe reposition it. And there we go. I'll pan round on this now. And I'll press one on the numpad to get the orthographic view. And let's get this the right size now in the vertical. So I'll drag this up on the Z axis to about the middle, and I'll press S and Z to scale this up in the z. And again, S and Z and scale this up. That's about right. And I'll just reposition this, just centralize this. There we go. That looks good. Okay, so I want to show you a new trick. I want to show you how to isolate an object. So I have the object actually isolated, so that's fine. And I'm just going to hit the forward slash key on the numpad, and that will isolate the object. Incidentally, it might not be a bad idea for you to start writing down some of these shortcuts, these commands. I can just you have a little written reference as to which shortcuts to use for which things. And I've always found that a good way of learning new software. But that's completely up to you, of course. Okay, now that we've got the door isolated, next thing I want to do is create the bevel. So we've done that before. We've selected all edges, and it's okay. But that's more usable, actually, if you're not going to select all the edges, if you just want to select some of the edges, but in this case, I'm happy to select all the edges. So I'm going to use the bevel modifier to do this. So let's select the object and look at the scale, and that's out. So I'll press Control A. And apply the rotation and scale. While it's still selected, I'll click on Ab modifier. Go down to generate, and we will use the bevel modifier. There we go. So it's bevelled every edge. And that's the quicker way of doing things when you well, when you're going to bevel all edges. So let's look at the controls here, and obviously that's far too big a bevel for our doors. So what I'm going to do is just add two zeros to the right of the decimal point. So I'll click just there. Two zeros and enter. And let's see what we got. That's more like it, but I think I want a slightly bigger bevel, so I'm gonna turn that one into let's try a five, see what that looks like. Yeah, that's about what I want. Let's add more segments to this. What's three look like? Let's see. That looks pretty good to me. I'll right click and I'll shade Auto smooth. And, yeah, that's perfect. I'll go ahead and apply this bevel. There we go. We've got our bevel done now. Let's press seven on the numpad to get us the orthographic view of the top. And let's hit the forward slash key on the numpad to bring everything back. Press seven again. And let's go ahead and duplicate these objects again now. So I'll press Shift D and Y, bring a copy across. And I'll press Shift D and Y and bring a copy across. That looks great. That's what I wanted. I don't want these doors to appear like they're all in the same position. So I'm going to grab this one that we've got selected anyway and bring this one forward like this to about there. Then I'll grab the middle one, and I'll bring that to a middle position. It looks kind of like that, and that's what I want. That looks good. I'll press seven again. And now I want to bring a copy now over to the opposite side. So let's select all three at the same time. So a hold shift and click on all three of them. Now let's press shifty and press X to move in the X axis and bring those over to the opposite side and wrap those there. Let's have a look at them. And that's fine. I'm happy with that. So now I want to hold down Shift and select the three over here now. And let's bring a duplicate now over to the opposite side. So I'll press shifty and Y and bring a copy across now to this side. Let's zoom in on that. And I can't see the gizmo. So what I'm gonna do is press G and Y and bring these up into position like this. And that looks good to me. I'm happy with that. So now you can see here in the outline Outliner, we've created 12 doors. So the outline has grown quite a lot, quite substantially now with this, which I mean, if we're just creating a small file, and we're doing a small project, that's not the end of the world. But obviously, this is going to get quite a large project with a lot of components, doors, floors, furniture, you name it, it's going to be there. So we need to control the size of our outliner and also keep our file small and consider the easiest way of doing things. So what I'm actually going to do is join all of these doors into one object in blender. So rather than having 12 doors, the outliner will just have one door. And we'll still have 12 doors here in the viewport, but they'll just be joined into one item in blender, so that when we go ahead and tap into Edit mode, we'll edit all of them in one go. So when we apply textures to these doors, it'll become a lot easier, and we'll keep the files smaller by doing this, and we'll simplify the outliner. So the easiest way to do it in this case is to select all these objects in the outliner. So let's do that. We know where they are. Here's the first one, so I'll click on this, and I'll scroll down to the 11th one, which is right there. I'll hold down Shift and click on the 11th one, and that's selected all of them. With that done, I'll go ahead now and press ControlJ and join all those up into one item. And now you can see we have ground floor door. So we just have those 12 doors have become one. So if I select on one, I select all of them. So there we go. That simplified the whole thing. Okay, so that's our doors done, and I think they look just fine. So what we'll do in the next lecture is we'll create, like, a track at the base, and eventually we'll put it on the ceiling, as well for the doors to run on. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 14. Lecture 11 Door Tracks: Hello, and welcome now to Lecture What are we on Lecture 11. And let's have a go at doing the actual track here on the floor, which the doors would run upon when they're closing. So let's go ahead and do that. Again, it's really quite easy. It's not difficult at all. So we'll press seven on the numpad to get us in the orthographic view. And let's go over to the outliner and make sure the ground floor walls is selected to make sure our new component drops right in that file. And now let's press Shift A, and we'll go over to mesh. And this time, let's bring in a plane. And we'll bring this over. And let's locate this close to the doors again, so we get that visual reference as to how big. And let's take ourself over there, and let's just centralize this to the middle door. Let's scale this down in the Y. I'll press S and Y and bring this down. And yeah, I think that's about right where that is, just like that. And I think the next thing I want to do is I'll go back to seven. Let's have a look at the scale. Let's fix that. So I'll press Control A. And let's apply the rotation and scale. And let's press Tab key to tap into Edi mode. Make sure edge is selected, which I have. So if you haven't either click on it there or press two on your keyboard. And just come over here, click on this edge here, and now press Control R to get a loop. There we go. There it is. If your loop doesn't appear, just bring your cursor closer to the object, and it should appear. I think I want this time, I want six. So I'm going to roll the mouse wheel until I see six loops, three, four, five, and six, there we go. And I'll click the left button, and there we go. Okay, you do get this opportunity when you've clicked off to adjust this. But as soon as you click on something else, this goes, remember? So again, now, if I wanted to, I could go ahead and add some extra loops, but six is what I wanted, so that's fine. Okay, so now I'm just going to select these first two loops, this one and this one. And I'm going to draw them closer together. So I'm going to press S and Y to scale them down in the Y axis until I get something like that. And I'm going to repeat this process through the other two, so I'll grab this one. Hold shift, grab this one, and press S and Y and bring those together and make sure they're center to the door or appear center and do it one last time with these ones, and press SNY. Centralize those. And there we go. That's cool. So now that we've done that, I'll tap out of Edit mode and check the scale still good. And I'm going to isolate that object. So with it's selected, I'm going to hit the forward slash key and Impad and there we go. And I'll hit tab and I'll tap back into Edit mode. I'm going to press three on the keyboard to select faces now. And I'm going to select these three narrow little groups. And I'll just get a bit more of an angle so I can see it from here. And I'll press E and take that down in the Z axis, too. I don't know. Something like that. There we go. That's fine. And with that done, we don't need these little faces here, so I'm going to delete those. So I'll grab this one. I'll hold Shift, I'll grab this one and this one, and I'll right click and I'll delete those faces. I'll go ahead and do the same on this opposite side. Grab this one. Hold Shift, grab this one and this one, right click and delete those faces. I'll press two on my keyboard to select edges, grab this edge, hold Shift, grab this edge, and I'm going to bring those down with an extrusion. So I'll press E, Z, and bring those down. Maybe something oh. Okay, so now we want to apply some bevels to this. So I'll just grab maybe this edge and this edge, this edge, this edge, this one, this one, this one, and this one, and this last one, as well. And last one. There we go. With those selected, I'll press Control B, and I'll put a slight bevel on those. Whoa, that's a bit much. That's fine. And I'll just scroll the mouse wheel once. Maybe twice, and there we go. I'm happy with that. Now let's do the same with these outer ones. So I'll grab this one now, and hold shift and grab this one. And I'll press Control B and bevel that edge, as well. And I'll scum my mouse wheel back because I just want one facet on that one. So it looks something like that. That's what I wanted. So that's two, actually, two segments. And I'll go ahead and click on that, and there we go. That's cool. So I just want to blunten those edges a little bit, so I'll grab this one, hold shift, and grab this one. And I'll do the same here now. I'll grab this one and this one, and I'll press Control B and bevel those as well. I'll scroll a mouse wheel. Make sure your bevels aren't overlapping like that because that's going to create some big problems with your surfaces. So again, just make sure they're not overlapping, and that's exactly what I want just like that. There we go. I'll tap out of demode, take a look at this, and I'll press I'll right click, and I'll shade Auto smooth. And there we go. That's looking kid. I'll press seven to bring everything back. Sorry, I'll press the forward slashk numpad to bring everything back, and then I'll press seven to go to the orthographic view. I can pull that over in the X axis. To about there like that. And now, obviously, we just need to stretch that until it's meeting the other side. So we can either scale it or we can tap into Edit mode, which I think I'll do. So I'll hit the tab key, and I'll press one on the keyboard to go into vertice selection. But also press S and go into wireframe mode to make sure we select all the vertices. I'll grab all of these here and just bring this over until it's in the right position on the opposite side. That's it. We can tap a Ata mode and press SD and go back to solid mode. We could press seven on the numpad to get the orthographic view, and we can press Shift D and Y and bring that over now to the opposite side as well. Let's zoom in on this. And let's put that in position as we want it, as well, which is about like that. There we go. So let's do one last thing. Let's have a look at our outliner. So obviously, we've got two new items. We've got plane one and plane two, and that the. So let's name plane one. And we'll call this door track. There we go. And let's select and let's select the door track one. And then once we got both of those selected, let's press Control J and join those into one as well, just to keep our outline neat and keep our file size small. Okay, so that's our door tracks done, and that's our number 11 lecture finished. So in the next lecture, let's go ahead and build this perimeter wall. Let's build this up so we can start to get a feel for the actual grounds, as well. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 15. Lecture 12 Boundary Wall: Hello, and welcome now to Lecture 12. And let's go ahead now and build our boundary wall around our house. So we get a sense now of the true scale of the whole project and how it actually feels. So, this isn't too hard. This is pretty easy. So let's press seven on a numpad to get the orthographic plan view. And let's press Shift A, and let's bring in a cube. Bring this back on the y axis. And let's work in wireframe on this one. So let's press S and go into wireframe. Let's tap into Editod. So hit tab with it selected and press one on your keyboard so you can select vertices. Let's grab these tap vertices here, and let's bring those down until they're flush with the wall and do the same here. And let's go ahead and grab these ones now and take these back like this. Grab these ones and take these ones back as well, like this. Alright, that's cool. Let's a start. Let's press two now on the keyboard so we can select edges. Grab one of these long edges here, press Control R, and bring this loop over until you're level with the return of the wall. There you go, just like that. Let's do the same thing again. So press Control R and bring this loop over until we're level with the return. Alright, let's pan down on this now. Let's press three on our keyboard so we can select faces. Click on this little dot, and hold Shift and click on this little dot. Let's press seven again now on our numpad to get our orthographic view back. And let's press E for Extrude and bring those down again, until they're level with the edge of the wall. There we go. That's cool. That's what we want. All right. So now let's make sure we're in edge selection, so I'll press two on our keyboard. Grab this edge here like this and press Control R and bring this loop down again till it's level with the return. There we go. Do the same with this one, press Control R, and go ahead and bring this down until it's level with the return. Cool. All right, let's press three so we can select faces, grab this face here, press seven again, and the extrude that until it's level with the pool and do the same on the opposite side. E and extrude that as well. Okay, let's look at the height. So we could actually get the height if we wanted to from the front elevation. But I think I'm just going to visually just determine what height I want. So I'll just grab this face here, hold shift, and grab this one, and hold shift and grab this one. And I'm going to pull this up. I want the retaining wall to be higher behind the house than the front of the house. So I'll just put that about there like that. And I think the front ones, I'm going to take those down just a little bit. There we go. And deselect the back ones. Whoops. And now I'm going to select these front ones here. This one and this one, and maybe this one and this one. And do we want to adjust the front? Actually, after selecting those, I think I've changed my mind. I think I'll just leave those exactly where they are. Yeah, we'll leave those alone. Okay, let's press two now so we can select edges. And let's go ahead and select this edge, and then this one and this one and this one here. And let's do the same here now, so we'll select this one, this one, this one, and this one. Do the same again. And one last time. And with those selected, right click and delete. Oh, sorry, dissolve those edges. Not delete, dissolve. Okay, we can work in solid now, so I'll press SED and go back to solid mode. We can take a look at that and see what it looks like. And yeah, I think I'm happy with that. So now we can go ahead and do something with a bottom face. I want to bring this down even further. So let's grab the bottom face. I'll press three on the keyboard, so we select faces, grab this face here. And I want to show you a neat little trick. Instead of going around selecting all those bottom faces, come up here to select, select similar and select coplanar. So it's selected all faces on exactly the same plane as that one. And let's just pull that down in the Z axis to give us a slightly taller wall on the outside. And there we go. That's cool. Maybe even more than that, it doesn't hurt at all. There we go. That's good. And now that we've done that, I actually just want to delete those faces. So I'll select that face again, and we'll go select select similar and coplanaRClick, and delete faces, in this case. That way we can reduce again, we can simplify the mesh and reduce the amount of faces. Okay, so let's tap out of Edding mode now. I guess the only thing that remains to do is go ahead and apply a bevel to this. So that's easy enough. Let's look at the scale. And the scale's correct 'cause we haven't scaled anything. We've just modeled this. We've just extruded, so scale's still accurate. Let's go ahead to the modifiers, now. So add modify, generate, and bevel, and's zoom in a little bit and see what we've got, and that's too much. So on the amount here, I'm going to add a disc more point. Maybe just one this case and see what we got, and that's not enough. So maybe we'll go for a five there again. And is that too much? Maybe that's too much. Maybe I'll go for four, seeing how that looks. And yeah, that's better. And I'll add maybe two more segments to that. And yeah, that's what I want. So I'll go ahead and apply that and let's go ahead and do a shade oro smooth. And there we go. That's cool. So all that remains really is to name that. So let's do that. And we'll call boundary wall. Well, you can call it wherever you want. I'll call it boundary Wall. There we go. Ah, that's that. That was a nice, easy lecture. Okay, and the next one, let's just carry on with this. Let's go ahead and build our swimming pool and put that in place next. Okay, thanks very much. And I'll see you in the next lecture. Belie for now. 16. Lecture 13 Pool Part 1: Hello, and welcome now to Lecture 13. And in this one, let's start building our pool, and we'll just see how far we get with this lecture. So first of all, let's go ahead and press seven to get us in orthographic view of the plan. And press Shift and mesh and cube. And let's bring that down a little bit to sort of the middle of the pool area. And let's scale that up. And something like that. Let's have a look. Oh, actually, I want to come to this edge with this so scale this down a little bit and bring this over like this and maybe scale up a little bit more. Yep, I think that's pretty much what I want. So I'll scale it up in the X axis. I'll press X and just bring this again, to the boundary. What it kind of level with these walls. So I'll just shift that over a little bit. And yeah, that works for me. That's fine. Let's see what this looks like more from the front now. Let's press one on the numpad to get us that orthographic view of the front and bring this down. In fact, let's press and go to wireframe for a minute. Let's bring this down to just below ground level in this case. Kind of go to about there like that. I think that's pretty much what I want. And let's have a look at the depth. Let's tap into Edit mode, grab this bottom face here and maybe bring this up to what looks like about the right depth for a swimming pool. Maybe something like that would be about right. Maybe a little bit less. And that looks right to me. Let's get this top face, click on this one, and let's right click and delete that face. We don't need that anymore. And I think now let's press two on our keyboard so we can select faces, and maybe we can grab this top face here. Let's press seven. And let's press E for extrude and Y and bring this over slightly to about halfway across the wall like that. And now let's press E again and Z and bring this down now to create that infinity drop that you see on some swimming pools. There we go. That's cool. That's what we want. Let's tap out of Edmode with that for a minute. And now let's press Z and go to solid and just see what we've got. And I think that's looking pretty good overall. I think what I want to show you is my preference, and this is completely up to you. I'm going to use something called CAP. So if I come on over here to the top here, click on this and click on MCCAP, sorry, and click on this one. And now click on the color. I can change my color. So I'm going to change. This is my personal preference. You can go wherever you can go for, like, quite a a sort of shiny surface like that, but I don't think that's looking great. Or you could go for, like, a light brown, like a coffee colour, which is okay, actually. That's not bad at all, but my personal preference is this one. So this is what I generally model in this sort of clay red color. This is my preference. So from now on, I'm going to do this, but that's completely up to you. You don't have to follow me with that. Whichever visually works best for you. Okay. Now we've done that. Let's actually just grab this item here and hit the forward slash key on the numpad to isolate it. And I'm not going to put a bevel on all surfaces, but I just want to put a bevel on these two little edges here. So let's fix the scale, so press Control A and apply rotation in the scale. Now let's tap into Edit mode. Let's just grab this edge. Hold shift, and grab this edge. Come in a little bit, maybe, and press Control B and just see if we can bevel those edges just a little bit. That's enough, I would say. I'll add one more segment, and there we go. That's all I want to do. I'll tap out of Edit mode with that one, and that's our pull pretty much done. So we could name it in the outliner, so I'll double click on it and call it the pool. There we go. Whoops, caps are on. Turn those off, and pool, there we go. Okay, let's bring everything back. So I have the forward slash key on the numb pad, and let's have a look at that and see what we got. And yeah, that's looking fine. Okay, the next thing I want to do is work on, like an edging tile to go around that top edge of the pool. So I think we'll do that next. So let's press seven to get the orthographic view and press Shift A and mesh and cube. Let's bring that cube into play, drag that over like this. And let's press and go into wire frame on it. And let's press S and scale this down to maybe something like this. I'm going to bring this back a little bit. I want it to overhang the pool a bit, but not too much. And I would say that's about right. Let's go ahead and scale this up in the X now, so I'll press SX and bring this out. Until it kind of lines up level with the edge. And maybe we'll just go a little bit more. Maybe we talk about there for a moment. We'll leave it like that. And now that we've done that, let's go ahead and name it. So we'll go pull edge. There we go. And now that we've done that, let's press Shift D and Y and bring a copy out like this. Now let's rotate that, so I'll press R, 90, Enter. And let's bring this over on the X axis until we've kind of got that where it wants to be. It's not looking too bad. Maybe we'll just take it over a little bit on the X. I'll press G and X and just shift it this way a little bit more. There we go. And now let's take it down on the y axis until it's flush with this. I'll press G and Y, and just bring it down until it's level like this. Okay, that's cool. That's kind of what I want. So the next thing I want to do is make a copy and bring that to this other side down. So I'll press shifty and X, and just bring a copy over. And for now, just drop it on the other side. We probably won't use this one. I just need to get a length for this back piece. So now we'll just press G and X and just bring this over until we're happy with the location. All right, that's cool. Let's tap on the longer piece now, and let's tap into Edit mode using tab and press one on the keyboard to select vertices. And let's bring these vertices until they're in line with the one we've just positioned, something like that. And let's do the same now on this opposite side. That's cool? That's what I want. Okay, let's tap out of Edo Mode with that one for a minute. And now, this one, I'm going to go ahead and delete that one, and we're just going to work this one. So now let's tap into Eta mode with this one, grab these vertices here and pull this up. Until we're kind of level with our boundary walls. Something like that should be just about right. Okay, now that we've done that, whoops. Let's press two so we can select edges, grab this edge here, and press Control R, and roll the mouse wheel to divide this surface up. IT I'll go maybe two more and maybe just move those back just a little bit. To something like that, that should be good. I'll tap out of Edit mode with that one. And I'll grab this one now and tap into Edi mode with this one. Maybe grab this edge here. And press Control A, and we'll do the same thing. We'll just scroll a mouse wheel to divide this with loops. I think maybe one more. And I think I'm happy with that. Cool. That's good. Okay, so let's tap out of Edit mode with that one. And let's go back into solid mode, so let's press S and go solid and let's have a look at the height of these. And maybe we grab both of these now, and we press one on the numpad. And let's press Z again, actually, sorry, I go into wire frame. And let's bring those down to pretty much ground level now. That's cool. That's what we want. And let's tap into Edit mode with both of those and press three so we can select faces. And I'll just select just this one, and then we'll go over to select and select similar. And let's select Cplaner. And now let's press one again on a numpad to get that orthographic view of the front and now bring that up to get a thickness for these edge tiles. And I think about that should be good. That's cool. So now we have them at the right height and the right thickness. Okay, so now we need to start applying some bevels to these. Let's tap out of Edit mode for just a minute, actually. And let's just select maybe just this longest one here and let's hit the forward slash key on the num pad to isolate it. And maybe now we're working solid for a while, so I'll press the Ed and go over to solid. Let's hit the tab key to tap into Edit mode. And what shall we do? Okay, yeah, we've got this bottom edge here selected, so that's what I want to do, actually. So I'll just do it again to help you do the same. So I'll select this one, and I'm going to hold control, go to the other end and select this one. And that's selected all of them. Then I'm going to right click and I'm going to delete those faces. There we go. So the next thing I want to do is select all of these edges here. So I'll select this edge. Sorry, I'll press two so I can select edges, grab this one. Now I'm going to actually go over to select, select similar and select the same length. So it's selected all those edges, and that's what we want. Maybe I'll hold down Shift and just deselect this one. And maybe I'll do the same here. Just hold shift and deselect this one. And I think actually I'll deselect this one and deselect this one. Yeah, that's what I want. We can do the same now here on the side. I'll grab this one and go over to select, select similar and length. Maybe we'll hold shift and deselect these and we'll do the same on the other side. There we go. That's done what I want. All right, with that done, let's zoom in a little bit, get ourselves a bit closer. And we'll just hit the tab key to tap out for a minute. Check the scale, and it's out. So I'll press Control A and apply rotation and scale. It's taped back into Edimode using the tab key, and they're still selected. And now let's press Control B and just create a slight bevel on that edge. Maybe about that much. And we just want to have three segments. I'm sorry, two segments. That's all I want to see just there like that. And that's cool. So the next thing I want to do is select that inner that inner loop. So we'll hold Alt and just grab that one like that. And I'll hold Shift and Alt and grab this one. This will be a little bit tedious because we need to go all the way along. So and this one. This one. I'll stop talking for a minute and I'll just carry on. Are we nearing the end yet? Hopefully, it'll take us by surprise in a minute. Are we go just keep going and E, that's the last one. That's cool. Okay, now that we've done that, Let's have a look at what we're working in here. Let's go up here and go from global to local and make sure here that we're in individual origin. And once we've done that, let's hit S and scale those in. And that's what I want. That's looking good. Now we can go ahead and actually just maybe grab that top edge only and do the same with the rest of them. And maybe I press G and Z and maybe just take those down a little bit. And that's cool. That's what I want. So the last thing you want to do is just select this edge here and goes the other end and hold on to Control and select that top edge like that. And should we do the same with the bottom? No, I think I'll leave that. So once we've got those, let's press Control B and bevel that edge, as well. Maybe scroll a mouse wheel once on that. And, yeah, that's cool. That's exactly what I want to do. Okay, let's tap out of Edit mode on that. And yeah, that's looking really good. Let's do a shade auto smooth and see if that helps. And, yeah, that's exactly the effect I want. Okay, let's the forward slash key and bring everything back. And there, that's looking good. So I think we'll leave this lecture at this stage now. And the next lecture, we'll just do these little returns the same way, putting these little joints in these edging tiles on these little returns. And then maybe after that, we'll start looking at putting some paving slabs down over the rest of the pulls the area at the outside. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 17. Lecture 14 Pool Part 2: Hello, and welcome now to Lecture 14. And in this lecture, let's go ahead now and finish our swimming pool. I think that'd be a good thing to do. So I don't think we need our ground floor plan for now, so I'm gonna go ahead and hide that just here in the outliner, and then I'll compress our reference images. I think what I'm going to do is rather than use this piece here now, I'm going to make duplicates of this long piece here because we already have all our nice grooves in it. So let's utilize this. So I'll just go ahead and delete this one. And I'm going to make a copy of this, so I'll press Shift D and Y and bring a copy over like this. And let's go ahead and put our orientations back to Global. And here as well on our pivot points, let's put that back to median. And now that we've done that, let's go ahead and rotate that on the Z axis, so I'll press Z nine, zero. E. And let's bring this over as well now and line it up at the end. Let's press seven on an umpad so we can see this orthographically from the top. And let's go ahead and bring this down. And let's take a minute now to line this up. So I'll press GNX and just take this over. And now I'll press G and Y and bring it down. There we go. That's cool. Okay, so we've got a duplicate of that edge, and that's saved us a lot of work, but obviously, it's too long. So what I want to do now is put an extra control loop just here so that we can delete all the material this side of it. So let's do that next. So let's grab it and let's tap into Edit mode. And maybe let's go into orthographic view from the top, so I'll press seven on the numpad. And make sure you're an edge selection, grab an edge, press controller, bring a loop in, and then bring this loop down, so it's pretty much flush with the wall. There we go. Something like that. Let's press and go into wireframe and press three on the keyboard so we can select faces. And then I'll just select all these faces here. Let's zoom in and see what else we need to select. Whoops. Let's select all of these, as well. Whoops, not going well here. Give me a second. Let's grab all of these again. And these. And if we got all we need, I think that's it. So I'll press X, and I'll delete faces. And there we go. That's where. Okay, so the next thing I want to do is just create a face on the end here. So let's do that. So if I press one, we can select vertices. I'll grab this vertice, hold shift, grab this one, right click and new edge ace from vertices. Let's click on that. And that's created a new edge there on the base for us. Let's press two so we can select edges now, and I'll hold down Control, and I'll select this one as well. And now it'll hold Shift and just grab this last one. There we go. So with all the edges selected, I'll press F, and that will fill that. So it'll put an extra face on the end there. Cool, that's that done. Let's press now and go back to solid mode and see where we go. Okay, so next thing we want to do is sort this out here. So what I want to do is put an angled cut here on the back edge. We could go straight if we wanted to. But I think I'm just going to go angle. I think it'll just look better. So let's do that next. So what I'm going to do first is press seven and get an orthographic view from the top. And I'm going to press Shift A. And I'm going to bring in a plane, and I'll bring this plane over like this. Now, I'll rotate it in the Y axis. I'll press y90, Enter. And then I'll bring this over now to this side. Let's get a bit closer to the action. Let's bring this down. Until its origin is on the corner just there. And then with that done, let's press R and rotate it until it's lining up with this internal corner just here. And that looks good to me. Okay, so we're going to use the Boolean cutter now to try and cut an angle in this piece here. So let's do that. Let's grab this piece here. Actually, let's just have a look at this, and let's clean up the rotation. So let's press Control A and apply rotation and scale. And now let's select this piece, add modifier, generate and boolean. Make sure that you're in difference here, and then grab the dropper and click on this. And there again, that's cut that through exactly where we want it. So I'll go ahead and All right. Cool. So now we need to do the same with this one. So let's grab this piece here now, check the scales. Let's correct those. We'll press Control A and apply rotation in scale. Add a modifier and use the Boolean modifier, grab the dropper, and click on this one. And we have a problem. It's actually deleted the wrong side for us. There's a reason why it's done that. And it's this cutter that we've got here. The normals on this cutter are facing the wrong way. So what are normals? So what I like to think of normals as is, if you think of a cereal box. Now, on the outside of the cereal box, you've got all the nice, glossy writing telling you to buy it and how nice it is. And on the inside, it's just gray cardboard. We have the grey cardboard facing the wrong way to make this cut. So, blenders listening to which way this panel is and cutting in that direction. So how we can check this if we come up here, click on this little drop down and click on Face orientation. And this normal is correct because it's blue. And if you look at everything else, you can see that our normals are good so far. But this one here is wrong. It always had to be wrong for one side or the other, so it's correct for this side, but not for this side. So we need to correct. So what we can do is grab it, tap into Edit mode with it, come up to mesh, come down to normals and flipper. And there we go. So now that's automatically cut that panel for us. We come back to this panel now, and we'll tap out of edimde, come back to this one, and now that boolean has worked correctly for us, so we'll go ahead and apply that. There we go. Let's get out of this normals indicator face orientation setting. And let's work on the other one. So because now we have a face on this, the opposite side of this is open. We have one face. So we can't just bring a duplicate a duplicate over and flip it anymore because it'll be incorrect. So we actually need to mirror this piece. So I need to show you how to mirror. So what we need to do is bring the pivot point for this object to the center of the swimming pool. And the pivot point right now is way over here, so that's not right for us. So let's work on this. So I'll do first is grab the object, right click and set its origin to the geometry. And there we go. So we brought the pivot point back to the center of the object. But that's not technically where we want it. Still not right. We want the origin, the pivot point of this object to be dead center of the swimming pool. So we can do that, too. So let's grab the swimming pool. And let's press shifts. And cursor to the selected. So we've brought the cursor now to the middle of the swimming pool. So now let's bring the pivot point of this object to the cursor. So grab the object, right click, set the origin to the three D cursor. There we go. So let's make our duplicate, so I'll grab the object. We'll press shifty. It's turned white to tell us there's two of it. Let's right click twice, and let's mirror in the X axis. And yeah, that's worked. There we go. That's cool. So we brought a copy over here now, and that's looking good. Okay, so the only thing that remains for us to do now is to go ahead and put a cut on this one. So let's do that. So let's grab our cutting plane, and let's press seven. And let's press S and get a wire right. Bring this over now to the opposite side. And let's go ahead and rotate that. Oh, let's actually put it in the right position, so I'll bring this closer to the edge like this. And I'll press R, and I'll rotate this round. And let's take a look at that. And let's press R. Bring it back a little bit. And yeah, that's looking good. Let's press Z and go back to solid. Let's grab this one, add modifier, generate and boolean. And then let's grab our dropper and click on this. And that's worked so I'll go ahead and apply that. There we go, we can delete this object, and maybe we just do a little tidying up on this. So maybe I'll grab this one then, and I'll tap into Edi mode. And I'll press one for vertice selection. And I'll go ahead and grab maybe just these vertices here. I'll press seven and maybe just pull that over like. And that's looking good. That's looking fine. Let's have a look here. And yeah, that's looking good. Okay, so let's check these ones, make sure they're named, and they are. So we could actually join these three together then, so let's do that. Let's grab maybe this one, this one, and this one, and we'll press ControlJ and join those into one object. And we can actually rename this object too. We don't need the OT anymore, so we'll delete that little bit, and there we go. And there are different color just here. So I think what we have is a normals issue. So let's see if we can just check on that. Let's tap into Edit mode. And let's go ahead up here and do face orientation. And yeah, that's incorrect. So let's press A. Let's go over to mesh, normals and recalculate outside. And there we go. That's sorted that out for us. Okay, let's tap out of Edit mode, and there we go. We'll just turn off the face orientation again. And that's it. That's done. So in the next lecture, let's start looking at creating a ground, well, some external ground, some paving, I guess, around the swimming pool and around the house. Okay, thanks very much. I'll see you in the next one. Bye bye for now. 18. Lecture 15 Paving Slabs: Hello, and welcome now to Lecture 15. And in this lecture, yeah, let's see if we can do these paving slabs on the outside here around the pool and around the house. It may take more than one lecture. We'll just see how we do. We're not gonna rush it. So, where's to make a start with this? Let's start by putting the cursor back at the world origins. And if you remember rightly, the world oranges origins oranges. The world origins is exactly where all the axes meet right in the center. And so let's start by doing that. So we'll press Shift S and cursor to world origin. And there we go. Soother cursors smack back there again. And that's what I want. Okay, let's press seven on the numpad to get us back in the orthographic view above. Let's press Shift A, and let's bring in a cube. And let's bring this down like this. And let's take this over to the edge of the swimming pool. And I'm actually going to use our edging from our swimming pool to indicate the size of our slabs, as well. So I'll go ahead and press S now and scale these down, and I'll take it over, and I'll hit S again. And now bring this into position just like this. And I'll scale it down a little bit more, and maybe position this. Maybe scale it up now. Maybe take it back a little bit. Maybe scale it up a tiny bit more. I think that's pretty good. It's gonna maybe take a little bit of playing around with this. But I think that's pretty good. I'll take it up a little bit just to put a slight gap between the edging and the paving slab. Okay, let's press seven. Let's press one on the number bad get us that front view. Maybe let's press s and go to wireframe or grab this box here and now take this down. So that it's maybe down a little bit lower than the edging to the swimming pool, and that is a little bit lower. So I think that's right. Let's go ahead and tap into Edit mode now, so I'll hit the tab key. Let's press three, so we can select faces. I'll grab this face now. I'll press one again on the numpad to get us that front view, and now bring this up to about paving slab thickness. Something like that, I'd say. There we go. That's good. And now, with that face also selected, I'm just going to press X, and I'm going to delete that face just again to reduce the amount of mesh we're using. Okay, I'm going to grab the top face now. And with that selected, I'm going to press two on the numpad so that we convert to edge selection. But now, also, these edges are all selected, which is what I want. And I may need to check the scale before we bevel this. So I'll tap out of Edit mode, press Control A, and apply rotation in the scale, and that's corrected that. Let's hit the tab key. And with that done, let's bevel this edge. So let's press Control B and just apply a slide bevel to this edge like that. And I'll put segments at two. There we go. Let's go back to solid mode now, and just check that that looks good. Let's press seven to see this orthographically, and see if there's anything we want to change. So let's tap out of edit mode on this one. And maybe just take it down just a tiny bit in the Y, there we go, just to reduce that gap a little bit, maybe a tiny bit more. And there we go. That's good. Okay, let's name this. So I'll name this paving slab. There we go. And the next thing I need to do is actually apply a new modifier we've not used before to this. So with the items selected, let's add modifier and go down to generate. And this time, we're going to use the array modifier. Now, the array modifier duplicates the amount of items in the necessary direction. So at the moment, it's duplicating the X axis in the red axis. And you can see it's actually shown two now because the count is two. And here is simulating the gap that we have in between them. Let's zoom in on these a little bit. And they're basically touching each other, so it's one. It's exactly duplicated it's own space once. So I want to create a slight gap between these. So I think here in the X factor, I'm going to add an extra zero, then an extra five and click Enter and see what we get. And that's created a slide gap for us. And let's just see how that works. So what I'll do now in the count is I'll just increase this. Until we get to the other end and see what we've got. I think I need to increase that gap. So we'll do that. Let's try increasing that gap to 1.009 instead of five and see what that looks like. And yeah, that's pretty good. I mean, gaps here aren't quite lining up. But that's not too bad. Maybe I could go 85 instead of nine. Enter. And yeah, I mean, I think that's close enough. I think that's absolutely fine. We'll go with that. So I'll apply that now. And that's the array modifier we're using. Okay, so let's use the array modifier again now, but this time in the Y axis to fill up the gap to the door. So we select the item, add, modify, generate, and array. And of course, in the X, we don't want it to do this. We don't want it to send the equal number again over on this side. So let's turn X into zero. Enter. And in the Y, let's make this one and enter. And you can see what it's done there. Now it's duplicated that number for us. So let's see if we can apply that same number again. So we'll go 1095 Enter. And that's given us the equal gap now as well in the Y axis. So all that remains to do is increase the count and see how that works out up to the house. Let's see how that looks in relation to the door track that we've fitted and see that looks nice. And it does. That actually looks really good. That height is perfect. So that done? I'm going to go ahead and apply that. Okay, so that's a fair portion of the paving slabs already done. So now we need to sort of carry on in this direction. But this is one lump now. The array modifiers, turn this into one lump. And that's pretty good, but we need a spare paving slab now so we can start working this way. So let's get one from this. Let's tap into Edit mode. And let's press three so we can select faces. Well, grab this face here. Anyone will do, really. And I want to show you a new trick. So I want to expand on this selection of this paving slab. So I'll hold down Control and then start tapping plus on the numpad. And you can see there that it's expanding on the selection. I can carry in plastering, but it won't go any further because it's reached the boundaries of that component, so we've selected all the faces now of that component. So with that done? I'm actually going to press Shift D and X and bring a copy. But I want to separate that copy from these ones because at the moment, that's still a part of this group, and I don't want it to be. So to do that, I'm going to press P for separate, and then I'm going to separate by selection. And now that I've separated that out, it's created here in the outliner, a different one. We have paving slab and paving slab a one. Let's tap out of Edit mode. And this one here is paving slab a one, and this one is paving slab. So now this is a separate item. And I think what I'll do is I'll just make a duplicate this again so we don't have to do that. But the origins is way over here, so that's not right. So let's right click and set the origins to the geometry to bring that over. And now let's press Shift D and X and bring another copy out of the way. Over here. Okay, now what? I think what I'll do next is let's bring a paving slab up here to this corner, level with this one. So let's press seven to see this from above. And then we'll bring this up. It doesn't matter it's under the house. No one will ever see that. And we'll just eye this up at this corner. Let's zoom in on that, see how it looks. And then we take it up on the Y, so I'll press G and Y and bring this up. And yeah, that looks good to me. Okay, so now that we have that paving slab in position, let's go ahead and apply another array modifier to that. Let's click on the item. Add modifier, generate, and array. And I don't want to go in the X just now. I want to come down here on the Y. So let's delete the X. So I'll just put a zero in there. And here on the Y, let's just click in the negative to bring this down. Let's have a look at that and we still need to do a little bit more. So I'm actually going to add a zero and put a five and Clic enter. And maybe we make that a nine. See how that looks. Enter. And maybe we make that a ten. So I'll dilate that and add a ten and click Enter. Ah, that doesn't work. Okay, let's try that again. Let's make that a 995, click Enter. And there we go. I think that's close enough for us. Okay, so with that done, now, let's carry on just adding to the count. And we'll bring that always the bottom and see how it fits. And yeah, that works out just fine. And again, I'm not worried about it going into this wall here cause we'll never read that. Okay, so with that done, let's apply that now. And let's apply straight away another array modifier. Let's press seven on the numpad to get us that orthographic view. Let's grab this one, add modifier, generate and array. And let's just go ahead now and have a look at this gap, and maybe we just add a zero to the end of that zero and a five and clack Enter and see how that looks. And maybe we just add turn that into a nine and enter. And, yeah, that's good. I think that's just fine. So let's go ahead and increase the count on that now. Until we come to the end. And yeah, that looks fine. That's absolutely what we want. Okay, so let's apply that modifier, as well, now. And let's go ahead and duplicate this now to the opposite side. So again, we need to put the pivot point for this one here in the origins in the middle. So let's right click and let's set the origin to the three D cursor. And with that done, we can grab the object, press E, right click twice, and go ahead mirror in the Yaxis. Ah, the Yaxis is wrong in this case. So here in this tab, just click on X and then delete the Y, and that's put in the right place for us. Okay, so we just need to close that up a little bit by the lock in. That's fine. So let's go ahead and set the origins now back to the geometry, and let's just bring that over slightly. Let's zoom in a little bit on that gap. And let's press G and X and bring that in just a little bit more to about that. I think that's fine. Alright, so what to do now? I think the next thing I'm going to do rather than using a ray modifier again, is I'm actually gonna make a copy of this one and bring it over. So I'm going to select this object like this. Gonna press Shift D and Y and bring a copy over now to the back. Let's focus on this area for a minute, making this gap look good and we'll press G and Y and then bring this down until the gap looks about right. And that looks good to me like that. Okay, so now what? Let's actually tap into Eddy mode with this one. And let's make sure we got face selected and I have. I'll grab this face. I'll hold shift and grab this one, this one, this one. These ones here. And I think, in this case, actually, I'll take this one and this one as well. And with that done, I'm going to expand on that selection. So I'll hold down Control and press Plus until we've got all the faces of those paving slabs, and now I'll press X, and I'll delete faces. And that's fine. We can just see them there like that, but that's fine. You'll never see that when we've got this staircase in place. So the next thing to do is to select this face, this face, this face, and then this face. Let's press seven again on the numpad. Let's hit actually, let's just press Control plus and make sure we've got all our selection on those. Press seven again. And now bring these down until we have these in the right position. And that will be something like that. There we go. Okay. That's cool. That's what we want. So the next thing I need to do is actually to make a duplicate of these two here. So I'll do that. I'll select this face and this face. And let's hit Control plus to select all those faces. I'll press seven again to get us the orthographic view, and I'll press Shift D and X and bring us a copy out like this. Let's check our gaps, make sure they're reasonable. And they're a little big, so I'll just bring the back a little bit like this. And let's grab these ones again. Control plus on those. And let's press P, and let's separate by selection. Okay, let's tap out of edit mode with that. Let's grab these ones now. And let's go ahead and do another array modifier. So we'll add modifier, generate and array. And let's go the opposite way in the X. So I click this until these come over in the opposite way. And I'll see what that looks like. And it looks like I need to add maybe an extra zero here and a five click Enter and see what that looks like, and that's too much. So let's turn that five into a three click Enter. And let's turn that three into a two and see what you look like. And let's try one. And, yeah, that's. So with that done, we just increase our count here and see where we get to now on this side here. And there we get that's done. So we could grab this one here, and we could press Shift and X and bring a copy over now to the opposite side here like. It doesn't quite line up just here, but that's a corner that I'll never be seen, so I'm not overly worried. And we can actually just line these up here now, so we'll press G and X and just bring this over like this. And let's tap into Edit mode now and just delete these couple of paving slabs. So we'll grab this one, hold shift, and grab this one, this one, this one, and we'll expand on the selection on those, and then we'll press X, and we'll delete those faces. Okay, so let's tap of Edit mode with that, let's just see what we've got here. And as you can see, we've got a lot of paving slab groups here in the outliner. So let's see if we can join all these together all into one. So let's grab them. And that's all of them. And with all those selected, Oh, let's deselect the boundary wall. We don't want that. And with all those selected, let's press ControlJ and join them all into one like that. And we could go ahead and rename this. So let's just well, let's just lose that 006. The rest is just fine. And this paving slab here, we don't need this now, so we'll delete. And as you can see, this area here is a completely different color. So again, that's a normals issue, so let's sort that out. Let's grab it and let's go ahead and have a look at our face orientation. You can see the issue there. Let's tap into Edit mode with this. More press A four. Come up here to mesh and normals and recalculate outside. And there we go. That's sorted that out. Let's go back into object mode, and let's go ahead and turn off our face orientation. And there we go. There's our paving slabs in place, yep, they're looking really good. Quite a long lecture, I'll admit, but yeah, we've made some really good progress. Okay, thanks very much. Time for a well break, and I'll see you the next one. Bye bye now. 19. Lecture 16 StairCase: Hello, and welcome now to Lecture 16. And in this lecture, let's have a go at making the staircase. Let's see if what we can do with that one. Okay, so let's make a start. So first of all, let's press seven on the numpad to get us in the orthographic view. And let's turn on our images again or just turn on for now ground floor plan. Let's just turn that on and see what we've got. Okay, so there's our staircase. So let's just make a cube straightaway, so let's press Shift A and mesh, and let's make a cube. Let's take the cube over. And let's go into wireframe. So I'll press and wireframe. Let's scale this cube down, now, until it fits in the Maybe scale it up a little bit. There we go. That's what I want. So now that I've done that, I will take that back right into the corner. And let's see what that looks like from the front. So I'll press one on the numpad. And we'll see where that is. And let's take the base of the cube up to floor level. So that is just there like that. And now we need to establish the height of this. So to do that, let's bring in the front elevation plan. And we kind of need to make the top of this cube level with the finished floor of the first floor. So let's tap into Edit mode with this cube. We'll grab this top face and then I'll press one again to get us that orthographic front view. And let's just pull this up now. Until it's level with the finished floor of the first floor. Which is there, just like that. Okay, so we've established the height now of our staircase. And the next thing I want to do is put some loops in this. To be honest, I've previously worked out how many loops we need to do this, and it's 15. So I'll press two on the keyboard, grab this etch, and then press Controller. I'll just roll the mouse a couple of times on the wheel. Then I'll left click once, and I'll left click again. Now we've got our little tab open here so we can make some adjustments. And here, I'll just take this up to 15. There we go. That's what we need. Now that we've done that, this bottom loop straightaway, I'm going to dissolve that. I just wanted that one in there to get the correct spacing. So now that we've got that, I'll press two so I can select edges. I'll hold Alt and grab this one. I'll right click and I'll dissolve that edge. There we go. That's cool. Okay. So now what? Let's maybe go back to solid mode for a minute. Let's tap out of Edit mode, and let's maybe fix the scale. So I'll press Control A and apply rotation and scale. And maybe let's isolate this object for a moment. So I'm going to hit the forward slash key on the numpad. And now let's tap back into Edit mode with this. And we don't need much of this anymore. I don't need a lot of these faces. I'll press three on the keyboard, grab this one. I'll hold on to control and select down here like this. And then I'm going to right click and I'm going to delete those faces. I'll do the same here. Right click and delete those faces, and I'll do the same here. Right click and delete those faces. And we don't need the bottom either. There we go. So we've just got this left. That's all we've got left of that cube. Okay, let's bring everything back, so I'll hit the forward slash key again. And let's go into wireframe. So we'll press set and go into wireframe. I'll grab this face here. I'll press seven on the numpad. And I'm going to go ahead and extrude that now all the way to this wall over here. So I'll press E and bring this over like this until it's touching the opposite wall. Now, the tab has appeared here, and in this, I want to click on Dissolve orthagonal edges. And there we go. That's done. Okay, let's do that again. So I'll just grab this one here now, and I'll press seven, and I'll press E, and I'll bring this over until it's level with that step there like that. And now we just keep on repeating the process, remembering each time to click on Dissolve orthagonal edges. There we go. So let's do the next one. Grab this one, press seven, and press E and bring this over like this. Click there and Dissolve orthagonal edges. Keep on repeating the process all the way to the top. Remembering, of course, to just click on Dissolve OthagonalE dges. Okay, so let's carry on doing this. So I'll press seven and I'll press E, and just keep on bringing these over and dissolve orthagonage. Okay, so what this sort of sort of zig zag line here means in the plan it's called a break of scale. And what that's telling us is that this staircase actually continues. But the information in the plan stops there, but the staircase continues. So what it would have actually done is gone up onto the first floor, which is why it's not seen on this ground for elevation. So we're just going to make a kind of a few assumptions on this, no. So we'll grab this next one here, no, and we'll press seven, and I'll press E, and I'll just bring that sort of make a guess at about there and go ahead and dissolve. And we'll go again. We'll press E and bring this forward to something like this, I think, and dissolve orthogonal edge. Okay, so there's our sort of start of our staircase. And let's take a look at it. So let's press and go over to solid. And that's looking pretty good. Pretty happy with that. Let's tap out of Edit mode for a moment. And let's go ahead and isolate it and see what we've got. Okay, so the next thing I need to do is just create an extra step just here. So let's see if we can do that. So I'll tap into Edit mode again. And I'm going to go ahead and just grab this edge here now, I'll press two on the keyboard, grab an edge like this and press Control R and get a loop going through like this. And now I'm going to actually just grab this edge here like this and I'll press Control R and just bring a loop over to about there like that. Okay, I'll press three on the keyboard so we can select faces again. I'll grab this face like this. I'll press seven, and then I'll press E and just bring this out like this. And there we go. That's our staircase, almost complete. So what we could do is go ahead and put some bevels on these edges just to soften these angles. So let's do that next. So we'll press two so we can select edges. And we'll just grab these edges. This one, this one. Well, all the way up the stairs, really. All the way to the top. And I'll zoom in so I can just inspect my bevel, and I'll press Control B, and I'll just apply a little bevel. And that's kind of all I want is about that. I'll roll the mouse wheel once to get an extra segment in there, maybe twice. There we go. That's that. That's done. Let's tap out of Ator mode. And yeah, that's looking good. I'm pleased with that. Yep, that's looking good, all the way to the base. Let's bring everything back now. So I'll hit the forward slash key on the numpad. And there's our staircase in position. Okay, so there's one more thing we could do. We can actually build this wall which goes in front of the staircase. So let's do that quick. So let's grab this wall here. Let's tap into di mode. Make sure we've got edge selection, grab this edge and press Control R, and put a loop on this like this. Bring this kind of over in position, and now press seven and go ahead and now take this over until it's kind of flush with the staircase, maybe even sort of living in the space of the staircase, just a tiny bit like that. There we go. Now let's repeat that process. Let's grab that edge now and press Control R and take this one over. And now let's press seven again. And now let's take this one over until it's in line with the wall. Like that. There we go. And with that done, let's press three so we can select faces. Let's grab this face here. And now let's press seven again and let's press E and extrude this out until it touches the staircase. Like that. And let's see what that looks like. And that is exactly what I want. Maybe I'll just bring that forward just a little bit more. So I'll press G and then Y and just bring that forward just a little bit more, and there we go. That's exactly what I need. So what I'll do is just put a slide bevel on that edge. I'll grab this edge here, hold shift, and grab this edge, zoom in a little bit. Maybe we'll see it from the top. Maybe that's a better place to see it. And now let's press Control B and just try beveling those edges. Maybe something like that'll be fine. And that's good. There we go. That's that wall created, too. Okay, so that's great. We're starting to make some really nice progress now. So in the next lecture, let's start building the first floor. Let's start looking at putting the floor in and creating some structure on the first floor. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 20. Lecture 17 First Floor Walls Part 1: Hello, and welcome now to Lecture 17. And let's see if we can make a start on the first floor. Let's see what we can do with this. This may take a couple of lectures, but again, we won't rush it. We'll just take it nice and slow. So we don't need to see for now, the ground floor view. So let's turn that off. And I don't think we need to see the front elevation straight away, so I'll turn that off as well. And let's bring on first floor plan. Okay, so I think for a minute, as well, I'm going to hide the ground floor. So I'll go ahead and hide that, too. So we just have the first floor plan showing. And that's the point. Let's create a new sub file for this first floor now. So let's go over to collection. And let's add a file. And there it is. Let's double click on it. And let's call this first floor. There we go. And let's go ahead and high or sort of compress the reference images and the ground floor for a moment and just have the first floor selected. With that done, let's press seven to get the orthographic view. And let's press Shift A and mesh and cube. And let's go ahead and name this cube. And we'll just call this first floor wall. There we go. That's cool. With that done? Let's go ahead and scale this up. And hill. Let's actually go into wireframe. And let's tap into Edit mode with it and press one for vertice selection. Grab these vertices and take these to the edge. And I think I'm just going to let these just fly over the edge just a little bit, maybe something like that. And now let's do the same on this side. Just bring them over like this, and that's a little too much. So I'll take this back until it's just flying over just a little bit. Let's have a look at the backside. So I'll select these backside vertices now and see where they're at. And they're actually really good. So I'll leave those alone, and let's have a look at the front, and those are a little too far forward. So I'll grab those. And I'll press, G, and Y, and just take them back a little bit like this. There we go. That's cool. So that's kind of now the footprint of our first floor. So let's go ahead now and have a look at reference images again. And let's bring in front elevation. Let's press one on the numpad so we can see this in the orthographic view. And let's bring back for a moment the ground floor, too, because I want to see where the ground floor wall ends. So now I'll grab these lower vertices, and I'll bring these up. And now let's roll in, get a bit closer to the view. And see where we're at. And I'm going to press G Z, and just bring these down until it's touching the ground floor wall. There we go. Let's grab the upper set of vertices now. Oh, yeah, we'll just grab those. And let's take those down till we get those level now with the staircase. Zoom in a little bit and more press. G and Z, and just bring those down. Let's get even closer so we can have a good look at this. Press, G and Z, and just bring those down. Until it's flush with this staircase. There we go. That's what we want. And that's sort of the actual size now of our first floor. Okay, now, what shall we do next? Let's tap out of Edit mode for a minute, inspect the scale. And that's wrong. So let's press Control A, and apply rotation and scale. And let's go back to solid for a minute, just so we can see what we're doing. And what do we need and what don't we need? Okay, we don't need this front elevation plant, so we'll hide that. And we don't need the ground floor again now, so we'll hide that. And I just need just these two items. That's actually about it for now. Let's press seven so we can see this in the orthographic view. And let's go ahead and go into wireframe again. And let's start applying some control loops to our wall. Let's grab the wall now and we'll tap into Edibode and we'll press two on the keyboard so we can select edges, and we'll grab an edge here maybe. And we'll press Control R. And we're going to bring a loop flush with the back wall here. Let's have a look what we're doing. Take that back a little bit more. And yeah, that's good. Let's do the same now on the front here. Let's do that. So we'll grab this one here, and we'll press Control R, and we'll bring a loop across here, on the front like this until it's level with these columns that we have. So we'll bring this back like this. And yeah, that's what we want just. Okay, so let's do one now for this internal wall here. So I'll grab this edge here, we'll press controller, and we'll bring a loop over now until it's flush with that interior face of the external wall. Just like that. There we go. Let's do the same now on the opposite side. So we'll grab this one, and we'll press Control R, and we'll bring this edge over. Try that again. Grab this edge here, and we'll press Control R, and we'll bring this one over like this. Again, let's zoom in and just pull that into position, exactly. That's it. That's what we want. Okay, now let's continue with this. We shall we go next? Let's have a go at doing a wall or a set of loops for this wall here. So I'll grab this one here again, and I'll press Control, and I'll bring a loop over. But that. Let's have a look that's zoom in. And that's fine. And let's do that again now. So we'll press Control R, and we'll bring a loop over like this. Take it a bit further, and there we go. Okay, let's do the same for this one, so we'll grab this edge here, and we'll press Control R, and we'll go ahead and bring this back like this. And we'll do the same here. Control R, and bring a loop back like this here. Cool. We'll just keep on working these until we've got all these walls covered. So I'll press control up. Bring this one back like this. And grab another one here and press control, and bring this one back, as well, like this. Maybe bring over a bit more. There we go. That's cool. Where else do we need to go? Um, maybe one here now to catch this wall. Do we need to do that? I don't. Yes, we do, 'cause we need an edge there. We do, indeed. I'll grab this one, press control, and bring this one over like this. And maybe bring this now level with that one. There we go. And we'll do the same here. Press control and bring this one over, as well. And make that level with that column, as well. That's it. And do the same for this one. So grab here, we'll press Control R, and we'll bring this one over like this. And do the same again. Control and bring this one over like this. Cool. And now we're going to do this wall here, this bathroom wall. So I'll grab this one, and we'll press control. And we'll bring this over like this. And I'll see where that's landed. Maybe over a bit more. There we go. And we'll do the same again. Control. Bring this over. There we go. And this should be the last one, last two, and one more here. And last one. Control. Ah, and bring this one now over to here like this. Alright. That took a few minutes, but you'll see the impact of this in just a few minutes when we extrude this. Okay, so what's next? I think the next thing I want to do is press three, so we select faces. I'm going to select one of these faces on the underside. Gonna go over to select, select similar and coplana. Once I've got all those faces, I'm just going to hit H just to hide them at this stage so that we don't accidentally select them when we're selecting the top faces. Now let's press seven again. And let's start selecting all the walls. So this may take a few minutes, so bear with me and then just follow along. So we'll grab this one, this one, this one, this one, this one, follow along and see what I do. Takes a bit of thinking to which ones you need and which ones you don't, but take your time. Okay, we need these little pillars, so I'll just select that on its own. And we need this pillar here. And do we need anything else? Is that all of them? I'm just taking a sec just to see. And I think that's all of them. I think that's all we need. So that's cool. So let's just roll that forward like that. And let's press one. And with that done, let's just press E and extrude those up in the Z axis like that. And that's cool. There we go. Impressive is that? In one hit, we've got all our walls built. Let's press S and go back to solid and see how that looks. And admittedly, we still need to cut our doors out, but that's really cool. And the thing is, by doing this now, this entire first floor is just one component with absolutely minimal mesh. And we'll take a few minutes in the next lecture to sort of just tidy up some of the unnecessary edges that we don't need anymore, just dissolving those as we go, just to keep this edge this mesh, excuse me, this mesh as simple as possible. So I think there's just a few more things that I want to do before we call this lecture done. So let's just grab one more. Oh, before we do that, let's bring back the front elevation. Then select a face just on the top here that we just extruded. Go over to select again. Select similar and coplanar. Let's press one, and let's bring that to where we need it to be, which is just level with the roof line like that. Does it want to be anymore? Let's just zoom it a little bit and maybe take it up just a tiny bit more, two, About like that. Okay, so what's next? So I think we'll go over to wire frame. So let's press and go to wire frame. And let's press two soy select edges. And let's select an outer edge, maybe. And we'll press one on the numpad to get the orthographic view. And let's press Control R. And now let's bring this entire loop up till it's level with the top of the windows. And that's fine with me like that. And now let's do the same with this pillar here? Let's press one. Let's press Control up and just bring this up, as well, until it's in the same position. There we go. That's cool. Okay, so now let's do the same on this side. Let's grab this edge here and press one. And let's press Control up. And let's bring this loop up until it's level with the window, like that. There we go. And now let's grab this pillar. Let's press one again on the numpad to get the orthographic view. And let's press Controller and bring this one up as well till it's level with the window. There we go. That's cool. So now let's go back to solid modes. I'll press Z and go back to solid. And I'm going to show you a new trick. I'm going to grab faces this time, so I'll press three on the keyboard so we can select faces, grab this one, hold shift, and grab this one. And we those two faces selected? Right click and bridge faces. And that's just created an instant column, you can see over there, an instant structure over there. Let's do the same again here. Grab this one, hold shift, and grab this one, right click and bridge faces. And we'll continue this. So we'll grab this one. Hold shift and grab this one, right click and bridge faces, and add the last one, this one here, this one here, right click and bridge faces. And there we go. That's our entire first floor, walls all completed. That was really you can see how easy it is sometimes to model and blend it. It really doesn't need to be that complex. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 21. Lecture 18 First Floor Wall Part 2: Hello, and welcome now to Lecture 18. And let's carry on with our first floor. Let's see what we can do just to refine this a little bit more. So I think the first thing I want to do is let's go ahead and hide our ground floor. So let's turn that off php so we just have the first floor. And let's tap into Edit mode with that and see what we've got. And if you remember, in the last lecture, we hid this bottom surface. So let's go ahead and bring that back. So to do that, I'll press ltHe and that will bring back all surfaces. And now with that back, I'm actually going to go ahead and delete, believe it or not. So I'm gonna press three on the numpawGrab a face. Come over to select and select similar. And coplana. I'll press delete and delete all faces. There we go. Okay, so next, I just need to just remove as many of these unnecessary curves now as possible. So let's go ahead and start doing that. So I'll press two and grab this one and just go around there grabbing unnecessary edges. And then once you've got a nice amount selected, right click and dissolve edges. And then we've cleaned up that face down a lot. So let's go ahead and do the back now. So this is a big one, so this might take a few minutes. Okay, so now I've selected the back. I'm going to do the same thing. I'm going to right click and I'm going to dissolve edges. And then we go, That's clean that up as well. So I'm going to pause the video and continue this, and then you guys can do the same. Just go ahead and dissolve all edges which are being used. And then let's meet back here when we're all done. Okay. I'll see you in a few minutes. Okay. Hi and welcome back. And it's looking a lot lot better now. We've cleaned up the mesh. Everything's nice and super simple, and that's the way it should look. There are a few edges here that Blender just won't permit me to dissolve, and I'm not gonna worry about these little bits here. It's really not an issue at all. Okay, so what else do we need to do? I need to sort of put a surface here and actually close this up next because this is essentially the ceiling for our ground floor, so let's do that next. So let's make sure an edge selection and grab these edges. Here we go, just grab all of those and then just press F to fill that. And now we have this enclosed, so that's good. Okay, the next thing I want to do is, well, let me just show you on the first floor plan. We have a balcony here. We need to put this in. But I think what I'm actually going to do with this put this balcony just flush with these columns here. I don't think this one needs to be doing this. I don't see any point in that. So yeah, I'm going to put it just flush with the column there. So I'll hide this first floor plan again. And I'll select this edge here like this. I'll right click and I'll subdivide. And I'm going to put two cuts in it. There we go. So we haven't seen those yet, but if I press one so we can select vertices, we can see those now. So I'm going to select this one over here. And I'm going to press one on the number pad to get the orthographic view. And I'm going to bring that over till it's in line with the one above it just there on the column. Yeah, that's what I want. That's fine. And then I'll do the same with this one. I'll just grab this vertice here and bring it over so it lines up with the column. Okay, there we go. Now I'll grab this vertices here, hold shift, and grab this one. I'll right click and I'll connect vertex Path. There we go. That's done. And then I'll do the same here, grab this one, hold shift, grab this one, right click and connect Vertex path. I'll press three on the keyboard now so we can select faces. Grab this face that we've just created, and I'll press E, and I'll extrude this out. Just like that. I guess we need to know how far it needs to project. So I'm going to go ahead now and bring in the first floor plan again and I'll press seven, and I'll just bring this forward until it lines up with the edge like that. There we go. That's cool. That's exactly what I want. So I guess now I can actually go ahead and press two and just grab this edge here, hold shift, and grab this edge here, and we can right click and we can dissolve those edges that are not needed. And there we go. That's looking good. So in the next lecture, what we'll do is we'll cut the hole here for the staircase. We'll do that and then we'll start applying some bevels to some of these edges. All right, thanks very much. And I'll see you in the next lecture. Bye bye for now. 22. Lecture 19 First Floor Walls Part 3: Hello, and welcome now to Lecture 19. And in this lecture, let's cut out the first floor for our staircase and make sure that it looks good. And now and then let's also apply some bevels to these edges. Alright, so how are we going to do this? I think for now, we don't need for this plan. So let's go ahead and turn off the first floor plan or hide it. And let's bring back the ground floor. Let's bring that back. And I don't need all of it. All I really need is the upper floor and the staircase. And with those two items selected, I'll hit the forward slash key on the numpad. There we go. So now what do we do? So I think the next thing I need to do is for a moment, let's press seven. And let's go into wire frame so that we can see everything. And now let's press Shift eight, mesh, and cube. And let's bring this cube into position. And let's go ahead and scale that down. And I want to make it absolutely flush with these walls. So this here is the staircase, and we're not too worried about that right now, but I am wanting to line it up with these walls. So I'll bring it forward also till it's level with the corner of these walls. And I'm going to just pull that forward a bit more. And I think now to do this, I'm going to tap into edit mode with it. And I'll press three to make sure I'm in surface selection. And I'll start maybe with this one here. And I'm gonna pour that level with the wall here. I'm going to take a moment to make sure I am really nice and close to it as close as I can get, which is about there, I think, maybe even a bit more. Okay, I think that's good. And I'll do the same now with the other side. I'll grab this one. And I'll pull that into the wall and really take my time to make sure that it lines up nicely with the ball. There we go, something like that. And I'll do the same with this one. I'll grab this. And I'll take my time to check that's lining up, so I'll press G&Y and bring that forward until that's level with the wall. There we go. Okay, I'll press Z, and just check that in solid mode now. We can't even see it yet. Where's that cube? It's there. Let's take that up. Let's tap out of edit mode and take the whole cube up like that. And let's see what that looks like. And it's looking pretty well, it's looking really good. I think that's good. So the next thing I'm going to do is tap into Edit mode again with this cube, and maybe grab this face here. Opera seven again. And now that we've checked it, let's go back to wireframe. And now let's prowl this face over until it's level now with the wall, which is just it gets a little confusing, I must have been with all these, but I'm pretty sure that's the wall there. I'm not sure that one's correct. I think that's too far over. Let me press seven again. And let me press Gx and just take that over to I think actually it's this one. I think that's better. Pretty sure that's the line we've been after. And GMX, take it back a little bit. And it's worth taking a few minutes to just make sure this is where you want it to be. Let's have a look at it in this line. And there we go. Okay, I think that's it. So I'll press SD and I'll go back to solid mode. And I think that block is now correct. So let's see if I'm right or not. So what I'm gonna do now is tap out of demo, and I'll grab our first floor walls, add modifier, generate and boolean. I'll grab our dropper and I'll tap onto the block we've just been working with. Now, I saw those lines change, which tells me that boolean has worked. So I'll go ahead and apply that. And then I'll grab our cutting block, and I'll go ahead and delete it. There we go. And let's see what that looks like. And that's looking pretty good, actually. So the next thing I want to do is play around with the top of the staircase. So now I'll tap tap into Edit mode on the staircase, and I'll press seven to get us in the orthographic view. And I'm going to press one so we can select vertices, and I'll grab these vertices here, and I'll pull those back. And I'm just going to take them forward until they just touch the finished floor level. There we go. That's cool. And then after we've done that, I'm going to press set, and I'm going to go into wireframe. And I'm going to grab these vertices here and just maybe now just take them over a little bit more, just take those back to the wall, and there we go. Alright, so let's press now and see what that looks like. And let's bring everything back. So let's hit the forward slash keel in the numpad and see what that looks like. And the upstairs looks great, but the downstairs, there's a few tweaks that we need to do. So let's tap into Edy moode now with the ground floor. So I'll grab this one and tap back into Edy mode. Press three, so we select faces, and maybe grab this face here, and I'll press seven. And I'm going to take that wall over. Maybe I'll press. Got a wire. And also, just take this wall over till it's kind of level with the other one. There we go. I think that's it. It's kind of tricky thing to do this, but we're getting there. Okay, let's go back to solid mode again and see what we can see. And yeah, that's looking fantastic. Yeah, that's looking good. So we could check the other side now. So if I go down the stairs and zoom in. I just want to see it from this angle now. And it looks like I just need to bring this wall in a little bit, just a bit. So I'll select this one. And I'll need to select this corner, as well, this bevel. And with that done, I'll press seven, and I'll go into wire frame. And I'm just gonna take that I think it's this way I need to take it just a little bit, too. Or is it here? There's where I need to take it just there like that. That's it. Perfect. Okay, let's take a look at that, now. And let's go back into solid mode and see what that looks like. Yeah, that's absolutely fine, now. I'm happy with those. Okay, so that's our staircase cut through, and that's looking good. I think the only thing I don't like is I'd like to bring this forward. This is called the bulkhead on the staircase. And I'm not happy with the position of it, so I think I'm going to change that. So let's tap out of ded mode with the down floor or the ground floor, let's tap into Headed mode with the top floor now, select this face and now this face. And let's press seven on the numpad. And now let's just bring this over until it's level with the first step. Okay, there we go. And I know we've got now this area here, which is essentially nothing, but I didn't want to take this wall over as well, because this is where the bed will go. The headboard of the bed will be here, and I didn't want to lose this wall. So I've left that where it is and created a sort of dead area here, but that's okay. I can live with that. That's right. Alright, so that's our staircase cut in now, and I think that's absolutely fine. So the next thing I want to do is have a look at the bevels on these faces. So let's tap into Edit mode on this top floor, on the first floor. And I don't want to use the bevel modifier because I don't want to bevel every edge. I just want to decide which edges in this case to bevel. So let's press two so we can select edges. And let's select the edges that we want to bevel. So I'm gonna bevel this one and this one and this one. This one and this one, there's gonna be quite a few, so I'll have to take a few minutes to select all of these. And this one and this one. I don't think I'm gonna bevel any of the edges between the floor and the walls a lot of time we'll have, like, a skirting board, so we won't need to, so I'll grab that one and this one and this one. And this one. And I won't grab any of the top edges because I think the roof and the ceiling will be covering those. But I'll grab those and this one, this one, this one, this one, that one, and that one. And this one and this one and this one, those and this one, and those. One. And that one and that one, and one that one. This corner, let's do. And let's do this one, as well. I'm not going to worry about the back because we'll never see the back of this. We're not going to be focusing on the back. Let's grab this corner and this one. This one here, and let's have this one and this one and this one. That one and this one and this one. And this one. Is that all we need? Ah, maybe a few in the bathroom. Not many, though. So this wall is gonna be timber clad, and so I'll just do this one here and this one here, and this one. And we can do this corner here and this corner here. And we can do this corner here and this corner. And I think Whoops. I think that's all we need. Just taking a moment now just to check. We could do this edge here, actually, just because it might be Bzival from the inside. And is that all we need? Are we happy? Maybe this one as well here. And this one? And I think that's all of them. I think that's all we need. So let's zoom in on those so we can inspect what we're doing. Sorry, my computer's just frozen for a second. Okay, we're zooming in. There we go. And I'll deselect this ed. We done with that one? And now we're nice and close to that corner to inspect it. Let's press Control B and apply a bevel. And I'm going to go for something like that. Now I'll roll the mouse wheel to I think that like that. I think that's about what I want. And I've got four segments, and that's the kind of bevel that I want to apply. And I wanted to select I wanted to do all the bevels in one go to make sure that we have a consistent bevel everywhere. And there we go. That's done. That's our bevels in place and our staircase cut. Okay, it was a little slow this lecture in the way we had to do things. We just had to really take our time and set our blocks to make sure everything looks nice, but I think that the results are worth it. Let's bring everything back. So we'll hit the forward slash scale and pad. And we've got a staircase in place now. I'll just hit the decimal point to re center. And we can just see what we've got. Okay, this is looking good, and we have our staircase, as. Well, I think everything's looking great. Okay, so that's it. That's this lecture. So in the next lecture, what we'll start doing and start building our windows here on the front on the upper floor. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 23. Lecture 20 First Floor Windows: Hello. And now, welcome to Lecture 20. And in this lecture, let's go ahead and see if we can make our windows here in the front of the first floor. But before we do that, I want to start organizing our outline a little bit because we're going to quickly get a lot of items in here. So we need to try and make sure that it's easy to find things in here. Let's turn on the ground floor, and let's open that up. And you can see we're starting to develop quite a few items in there. So I think what I want to do is create a sub file for all the exterior items on the ground floor. So let's do that. So let's click on the ground floor, and then let's add a sub file. And there it is. And I'll name this. And I'll call this outside. There we go. And now I'm just going to grab the paving and the pool edging and the pool, and also the boundary walls. And when I've got all those items selected, I'll press M, and I'll go down to collections, and I'll go to ground floor and I'll click on outside. And now all those items have been allocated to this outside sub file within ground floor. That's started to organize that a bit for us. Okay, I'll compress that and I'll compress the ground floor, and I'm going to turn off the ground floor after doing all that work on it. Let's do that. Let's hide that. I don't think I need this plan anymore for now, so I'll turn off ground floor plan, and I'm going to turn on front elevation plan, and there we go. I also want to start adding some sub files to this to our first floor walls or our first floor file. So I'll grab the main file here, and I'll add a sub file to this. I'll add another sub file, so I'll click it again and click on this. There we go. So it's these two here, first floor one and first floor two. So I'll click on the first floor one, and I'll double click until I can rename it. I will call this bedroom one. There we go. And I'll call this one bedroom two. And actually, why don't we go a bit further while we're here? So let's also click on first floor again and do that again. Let's call this bathroom. And let's call this Veranda. So let's click on it one more time, add folder and click on this. And how do you spell Veranda? Is that right? I don't know. Let's just if it's not spelt right, let's just keep it between us, okay? Okay, right or wrong. That's what I've called my veranda. Okay, so what now? Let's start work on a window and this one. I think that's the next thing to do. So let's press one to get us the orthographic view on the front. That's one on the numpad. And let's get a wireframe view. So let's press and got a wire frame. Let's bring in a plane. So let's press Shift A and mesh and plane. And let's rotate that plane on the X axis. So x90 enter. Let's bring this up and bring this over. Et's bring it down a little bit, and let's scale it up sort S and just scale this up a little bit. And I think now let's just tap into Edit mode. Press one so we can select vertices. I'll grab these ones here. Bring these over until this fits nicely into this hole that we've got for the windows. That's something like that. Let's grab this one, too. Bring this over. And let's do the same now with the base and the top. On the top, as well. Take that up. There we go. That's cool. Okay, so let's tap out of Edit mode. And let's press seven so we see this from the top. And now let's bring this forward so it's sitting where it needs to be, which is about there, I'd say. Um, it doesn't seem to meet that corner, so I'll tap back into edit mode, grab this one here and maybe just bring this over that last little bit to And that looks better. Okay. So now what, let's go back into solid mode and see what that looks like. And yeah, it's looking good. So let's tap out of Edit mode, grab this on its own and hit the forward slash key on the numpad to isolate it. And let's press one so we see this from the front. Ah, I did want to keep the plan at the back. So I'm going to unisolate. And this front elevation plan, I'm going to turn on. So I'm going to turn it on so that we can do things with it so I can select it again, grab that, then grab this one, the two together, and then hit the forward slash key to isolate. Let's press one so we get that orthographic view. And now straightaway, let's lock that front elevation again so I can't accidentally move it. All right. Let's press Z and go back into Wireframe. And The next thing I want to do now is divide this window so that we have these verticals in it. Let's grab it and let's tap into Eddy mode. Let's press two so we select the edges, and I'll grab this top edge, and I'll press ControlR, put a loop in, and then I'll roll the mouse wheel until I have these verticals like that. And that's fine. That's just what I want. I think I'm going to trust Blender to center them. I won't look at the plan behind, try and center to that. I'll just trust Blender that it's centered them absolutely perfectly, and it will have. And there we go. All right. Let's go back to solid mode now. Ah, there's my window there. And I think now I can go ahead and turn off this rear view. I don't need that anymore, so I'll go and hide that. So we've just got this. And the next thing I want to do is be on Slack faces. I'll press three on the keyboard. I'll grab this one, whole shift, grab this one, this one, this one, and this one. I want to inset this now, so I'm gonna press I and now just insert those slightly. Like that. That's what I want. But I wanted that to have separated at these points. So if I come down here to individual and click on that, it'll do that for me. And there we go. That's done. An issue I do have, though, is these center verticals are twice the width to these outside ones. So I think I'm just gonna adjust that by hand and by eye. So I'll press one, so we see that from the front. And I'll press two so we can select edges, and I'll grab this edge, hold shift, and grab this edge. And I'm going to press S and X and just bring those in until it looks about the same width as this one, roughly. So I'll grab this one and this one, and I'll press S and X and do the same. That's better. Do the same with this one. S and X. And last two. S X, and bring those in too. All right. Cool. That's good. Whoops. Okay, so now let's press three so we can select faces. And let's grab let's press A for all. And now let's extrude that in the Y axis. I'll press E and Y and go ahead and take that back to get some thickness to this like that. Now I'm going to grab these faces, one, two, three, four, and five. And I'll extrude those in as well. So I'll press E and Y and take those in to something like that. And I'll grab the faces on the back. This one. Well, all of those main faces, which will be the glass in the end. And I'll press E, then Y and take those in. If I go too far, then it'll turn that color to say that I've gone within the limits of the other extrusion. So I'll just bring it back a little bit to set the thickness of the glass. And there we go. That's cool. So there's our basic main window frame, and I think that looks fine. But I can take this a little bit further. Let's tap out of Edit mode for a moment and take a look at this and let's hit the forward slash key to bring back the frame. And how we're going to make things look really realistic is to have details on them. And if you look at any window, really, there is a seal between the glass and the frame. So I think the next step is to create that seal, which will be like a black rubber material when we start applying textures. But I think that's quite important detail to put in. So let's do that next. Let's grab it and isolate it again. And what shall we do next? Let's grab this, and let's name it. So we'll name it window. And let's put this into bedroom one. So I'll just pick it up and drag it over into bedroom one. There we go. And now let's tap into Eddy mode with it. And I want to select. So let's grab these edges here, so I'll grab this one and this one and this one and this one. Once I've got those edges, I'm going to press shifty and wide to bring them out nice and straight from the window like that. Okay, so I'm not going to separate those from the window just for now, so I'll press P and separate by selection. And there we go. Let's tap out of Edit mode and see what we've got here now. And the first thing I want to do now is convert this to a curve. So I'll right click and I'll convert to a curve, but Blender won't let me. Show you a neat little trick. So with this selected, I'll come over to here and I'll rename it. And what shall we call it? Well, let's call it what it's going to be. Let's call it window seal. There we go. Window seal. And now that I've renamed it, Blender will now let me convert it. So I'll grab it again, right click and convert to a curve. This allows me to do things with this, and it's really cool what allow me to do. So I'm actually in the right file. I'm in data right now, object data properties, so click on this one. And I'll just close these. So first of all, within geometry, expand that. And in bevel here, just make us depth on the bevel. So that first one, let's see what that does. That's kind of cool already. That's what I really want. Is that too big? So you can see what it's done. It's actually where that curve was. It's created a tube, and it's followed the path of the curve. And it's a nice, easy way. I should explain myself there rather than just piling past. And that's what it's done. So this bevel here on object properties, allows us to convert a curve into a shape. Let's increase the resolution. To about seven, I'd say. And there's also extrude here. So I'm going to actually click on Extrude and just make that a little bit oval in shape. And now let's grab it and let's right click and set the origin to the geometry. Let's press seven, and let's take this back until it's within the window. Let's press S and go back to wireframe for a moment. And let's bring that to the center of the window like that. And that looks too much. So I think on the extrude here, I'm going to add an extra zero click Enter and see what that looks like. And I think that's going to look better. Let's go back to solid mode now and see what that looks like. And it's looking pretty good, actually. I think I might just increase the extrude from a one, two or two and see what that looks like. That looks slightly better. Yep, we've got a nice rubber seal now either side of that glass, and that's going to look really good. I'm pleased with that. Okay, so now that we're happy with that, let's select the item. Let's right click again and convert it back to a mesh. And there we go. That's cool. That's a super quick way of creating a seal on that glass. Let's press one to get us that front view, and then let's grab that seal, and maybe we'll go back to wire frame. And now let's go ahead and press Shift D. And let's press X and bring a copy over now to this window like this. And let's go ahead and just scale that slightly in the X. So I'll press S and X and just make that slightly bigger like that. Okay, let's grab this one now. And let's press Shift D and X and bring a copy over again. And let's see what that looks. Maybe scale this down slightly in X. So S and X. There we go. Sort of center that. That's fine. And we'll go again. So shift D and X and bring a copy over again. And let's have a look at that one, and that one's better. One last time, we'll press Shift D and X and bring this over as well. And I'd say this one's too big. So I think we'll scale this down in the X, so S and X and bring this down just a bit like that. Bring it to the center. And there we go. That's cool. Okay, let's go back to solid mode and have a look at this and see how it all looks. And yeah, that's looking good. Okay, the next thing I want to do, actually, I think, is I want to try and apply a bevel there to this. So let's see if we can do that. So let's click on let's click on modifiers and Add modifier and generate and bevel. Let's tap out of Edit mode for. Oh, actually, we're okay. Let's go ahead and fix the scale on this. So let's press Control A, and fix rotation and scale. And let's reduce our bevel. So let's actually add a zero here and click Enter. And I think I'm going to do that again. So I'll add another zero. And click Enter. And then I'll turn that one into a five. Click Enter. And yeah, that works out just fine. Maybe a four. Maybe make that four glgena. And let's turn our segments to three. And there we go. I think that's fine. That looks good. So with that done, let's go ahead and apply that bevel. And that looks really good. So I think the final thing I want to do now is join those rubber seals into the main window group. So if I select these rubber seals, one down to four, and now select the window. With all those items selected, let's press ControlJ and join them back into the window. So now we have simply one item again, and that's what we want. Okay, let's press forward slash to bring everything back. And let's bring a copy over to the opposite side now. So let's press one to get us the orthographic view of the front. And let's grab this window, and let's press Shift D and X and bring a copy across like this. Bring it to about the middle. And obviously we'll need to scale this up a little bit. We'll press S and X and just increase the width of this window a bit. Maybe bring it back over a little bit, press S and X and just increase the size a little bit more. Okay, there we go. There's our two windows in place. I think they're looking, really good. I'm pleased with those. Okay. Thanks very much. I'll see you in the next lecture. Bye bye, Fina. 24. Lecture 21 Bi Folding Doors: Hello, and welcome now to Lecture 21. And yeah, let's make a start on making bifolding doors here in our bedrooms. I did notice here, though, that this window that I made a copy of from this one, I need to send that over to bedroom two. So I'm just gonna grab it here, Windows 001, and just dragon drop into the bedroom two file. There we go. Alright, now what to do? I think I have to make sure that when we create this door again, we make sure it goes into bedroom one, so I'll click on bedroom one like that. And then I'll press Shift A and mesh and cube. And let's bring this up like this. And let's press seven to go into the orthographic view. And let's go ahead and go into wireframe now, let's it S straightaway and scale this down till we get a sort of frame size, something like this. Maybe scale it up slightly in the X. So S and X, bring this up like this and scale it down the Y. So SY, bring it down. I think that's pretty good. I'll take this over now until it's kind of sitting where I want it, which is something like this. There we go. That's good. And now let's go ahead and scale it up in the Z axis. So I'll grab it and I'll press SZ and just expand on this and go again some Z and just pull this up. Like that. Alright, let's press three on the numpad to get us in the orthographic view, and then let's tap into Edit mode with it. And I'll press one on the keyboard to get me the vertea selection. And let's just drag these vertices down now to where we want them. And I don't want them on the finished floor. I'm going to stop them a little bit above. And the reason for that will become clear later. We'll leave it at that. And on the top here, let's do the same. Let's pull these up now until they are flush with the top no caps. There we go. That's what I want. That's cool. Okay, the next thing I want to do is I'll press two on the keyboard so I can select edges, grab an edge like this, and I'll press Control R. I'll roll the mouse wheel once to get two loops like that. Now I'll go ahead and scale them up in the Z, so I'll press S and Z, and just pull those up until I, Is that too much? Not enough. I think that's about right. I think that's good. Now that I've done that, I'll tap out of edit mode for a minute. And I'll grab this, and I'll press Shift D and Y and bring a copy across now to the opposite side. To make sure it's in the right position, I'll press three on the numpad. I've got to admit that's confused me. I'll press I'll press Control three and see if that makes more sense. And it doesn't. What's going on? Oh, I see it now. It's just here like this. We were seeing we were seeing information from this side, which was confusing me. Let's just stay in the perspective view for a moment. And we'll get this over. Maybe Opres seven. Maybe that helps. That helps now to bring that in position. That's what I should have done in the first place. There we go. And that's good. Let's grab both of these now. Let's press Control J to join them together into one again. And now let's tap into Edit mode. Let's press three so we can select faces, grab this face here on the front. And let's grab this face here. And let's right click and let's bridge faces. And there we go. Let's do the same down here. Now, grab this one and this one. Right click and Bridge faces. Okay, let's go back to solid mode now and see how we're looking, see what it looks like, and I think it's looking okay. Tell you what I'll do now is let's just isolate it. So I'll hit the forward slash key on the numpad and see if I'm happy. And I think these verticals are a little too wide. I'm seeing that now. So I want to do something with that. So I'll tap into Edit mode, and I'll grab this face here, and I'll just take that back a little bit. To get that more like it, that looks slightly better now, I think. And I'll do the same with this one, take that back a little bit. They're just looking too thick a profile. There we go. That's better. Okay, now that we've done that, let's select this face here and I'll hole control, and I'll select this bottom face here, and I'll select all the faces in that loop. And now I'll do the same here. I'll hole control and grab this one and just grab these last couple. There we go. I'll right click and I'll delete those faces. We don't need those faces anymore. And now let's select edges, I'll press two, and let's just grab some of these edges. I don't know if we'll be able to dissolve all these surplus edges, but we'll give it a ghost. Let's grab those ones, right click and dissolve edges. And yeah, we can do those. And we'll just see. We may not be able to dissolve all of them. We'll see. Let's grab those four, though, right click and dissolve edges. And that's right. And these ones, as well, right click and dissolve edges. And it's left is too there. It wants us to keep those, so we'll do that. And we'll grab this one and this one, right click and dissolve edges. And I wonder if we can do these too. I'm not sure. Let's right click and try. And Blender wants us to hold on to those edges, so we'll do that. Okay, so now what do we want to do? I want to put some more details on this, I think. I want to put some sort of grooves in place for the doors to be able to run on. So I think we'll do that next. Let's grab this one here, and let's press Control R and put a loop in roll the mouse wheel once to get, like an extra loop in there. So we've got like that. Let's hold Alt and grab that whole thing. I'll shift and Alt and grab this one. I didn't need to deselect it, really. I'm not sure what I did. And let's scale that down in the X. We'll press S and X and just bring those closer together. Let's do that again. And bit more again. There we go. Yeah, I think that's good just like that. And now that we've done that, I think the next thing I want to do is grab a face. So I'll press three and grab this face here now, and I'm going to press E for Extrude and take that down in the Z axis. There we go. That's cool. Let's have a look at that this way and see what that looks like. And yeah, that's looking good. Let's do the same on the top here. We'll grab maybe this face here. And more press E for extrude and take that up in the z axis like that. Okay, so now that we've done that, let's grab this one here, now, this middle one here like this. And this time, I'm gonna extrude outwards or into the middle of the frame. I'll press E and Y and just bring this out a little bit like this. And now on this point on this tab, I'm going to click on Dissolve orthagonal Edge and there we go. And let's do the same on the opposite side here now. So let's grab this face here. And let's press E and bring this out. And now let's dissolve orthagonal edge. There we go. That's cool. Okay, let's tap out of Edding mode, and the scale is all right. Let's do that. So Control A, apply rotation and scale, and that's looking good. Let's see if we can apply a bevel to this now and see how it looks. I'll zoom in so I can see what's gonna happen. And let's add modify it. We'll grab it first. Add modify, generate and bevel. And the bevel doesn't want to work, surprisingly. I thought he would, but no. So let's see if we turn off geometry clamping. Clamp overlay. Let's turn that off. And, of course, all turns to a mess, but that's okay. Let's add two zeros to the right of the desal point. Click Enter and see what we. And I'm not sure where the issue is there, to be honest with the bevel. It could be in this corner here that it's not happy, but it's so minimal that I'm not gonna worry about it. So here in the segments, let's turn that into two, and I think that's just fine. So let's go ahead and apply that bevel. And let's go ahead and do a shade oro smooth on it and see what we get. And there we go. That's our frame done. Let's grab it and find it, and there it is, it's called cube. So let's call it bifolding doors. There we go. Let's hit the forward slash key to bring everything back and see what a frame looks like. And yeah, I think that's looking just fine. So while we're here, we can actually make a copy of this, drag it over to the opposite side here, and we're going to need to do a little bit of work on it, but let's do that. Let's grab this now. And let's press Shift D and X and bring a copy over now to over here like this. Let's press seven on the mumpad to get us that orthographic view. Let's go into wire frame. Let's right click and let's set the origins to the geometry and now bring this over again, till we're middle of that column. Let's tap into Edit mode with this one. And let's press one so we can select vertices. Let's grab all the vertices on this side here and pull them over now until they're fitting. There we go. That's what we want. Okay, let's go back to solid mode and see what we've got. And yeah, that's fitting just fine. So there's our frames in place now for our bifolding doors, and I think they've worked out well. We could actually name this one, so let's have a look at this and where it is. It's currently in bedroom one, and we don't want that desk, so let's put it into bedroom two. So let's grab it and just drag and drop into bedroom two, and there we go. Okay, so that's the end of this lecture. And in the next lecture, let's start work on the actual doors, which I'll be running in this track and sort of concertining to a flat and then coming out again. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 25. Lecture 22 Bifolding Doors Part 2: Hello, and welcome now to Lecture 22. And let's carry on with our folding doors, and let's start making actual doors to go inside the frame. Yeah, let's give this a go. So let's grab the frame itself. I think that's all we need. So let's hit the Forward slash key on the numpad to isolate the frame. And next thing to do is perhaps shift A. And let's bring in a plane. Let's press one, so we see this from the front and then rotate this bring this plane up on the Z axis. And now let's rotate it on the X axis. So RX 90t. Let's get this the right size to begin with. So let's bring it to the middle of the door like this, and that's far too wide. So let's scale that down in the X, SX bring that down to about that size, and then bring it over to about this point like this. Let's go into wireframe. And let's go ahead and scale this up now in the z axis only. So S S, bring this up. Let's bring it down on the s axis. Maybe let's tap into edit mode now and grab the top vertices and take this up until it's just a little bit below the top of the door frame like that. Let's do the same with the bottom. Let's bring the bottom vertices down it's just above the top of the base of the dor frame. And we get that's kind of what I'm after. Let's grab these vertices now, and, am I happy with the position? Actually, I think I am. I think I'll leave those just where they are. Okay, so let's tap out of Edit mode now and have a look at our frame, and I think that's fine. So the next thing to do is let's go into solid mode. Okay, so let's click on the item and look at the scale on the rotation, and they're both out, so let's press Control A and apply rotation and scale, and that's fix that. So let's tap into Edit mode with that. And let's select the face. And let's inset. So let's press I and inset a frame. Oh, I'd say something like something like that should be good. And now that we've done that, Let's press A for all. And let's go ahead and extrude that. So we'll press E and extrude this out nicely to get some thickness to this frame like that. And that's cool. Now, let's grab this center panel on its own. And now let's press E and take that back in like this. There we go. And let's make sure that dissolve orthagonal edge is on like that. There we go. Let's grab this other one, and let's press E and take that in as well, and make sure that dissolve orthagonal edge is on. And there we go. It's really easy to create our door. It's almost as simple as that. Obviously, this is the glass in the middle, and this is the outside frame. So the next thing we need to do is create that rubber seal to go around, but I don't think I will. I think I'm just going to make a copy of our existing one and then make it fit this. So let's bring everything back for a moment. And let's tap into Edit mode with our window here. Let's tap into Edit mode with this. And let's select one face of our rubber seal. And with one face selected, hold down Control and keep pressing plus until all faces have been selected. Once we've done that, let's press Shift D and Y and bring a copy. I'll bring it forward for a moment in the air in the clear where I can see it, and then I'll press P, and I'll separate by selection. There we go. Let's tap out of Edit mode, grab this here now and just rename this, and I'll call this seal so we know roughly where it is. Whoops, my caps were on. Let's do that again. Click Enter. There we go. Okay, so let's grab this now and take this over to the door. The origins is over here, so let's reset the origins to the geometry. That's better. And then take this over to the door. And now let's isolate these two items again, so we'll take the door and the door seal, and let's hit the Forward Slash. Let's grab the seal on its own, let's tap into edit mode with that. Make sure vertice selection is on. And now let's scale this and fit it to the door. So I'll grab these top seals like this, and I'll bring those down on the z axis like this. Until they're about half and half. There we go. And I'll do the same with the bottom. I'll grab these bottom vertices. And just take those up until they're about half and half. There we go. That's cool. Let's grab this side, you know, let's press G and X and take those over again until they're about half and half. Let's have a look at that. Move in a bit closer. And again, I'll press G and X. I'll kind of line it up with this angular curve here as well, so that looks good. And let's see what it looks like at the top. And that's worked out nice. Let's just do the same on this one, now. Grab these ones. We'll take them over just with a gizmo, get them close. Zoom in a little. And actually, that was really not too bad. But I'll press G and X and just bring those out a bit more like that. There we go. That's cool. Okay, let's tap out of Edit mode with that. And let's take that over so it sits within the door. And let's go back into solid mode and see what we've got. And maybe I need to reduce the thickness of my glass or I can increase the scale of my seal. What shall we do? Maybe I'll increase the width of my seal. So I'll press S and Y and just do that. Bring that out a little bit more in size. There we go. That's. Take this over a little bit more now in the Y axis. And we'll get this right in a minute. So I'll press G and Y and just bring it over a little bit more. Until we got equal amounts showing either side, maybe a tiny bit more. G and Y, bring it over. There we go. That's cool. Okay, that's what I wanted. So that door is nearly finished, believe it or not, so I just want to apply a bevel to it, so I'll grab the door and let's modify it and generate and bevel. And of course, that's too much. So I'll add two zeros to the right of the decimal. Enter and see what that looks like. And that's not enough. So let's put that at about three, and we'll see how that does. There we go. Is that too much? I'm gonna say that's too much. I'm gonna take that to a two. And enter, and I'll increase the segments two or three. Oops. And there we go. That's cool. So I'll actually go ahead and apply that modifier now, and we can do a shade oro smooth on this as well, and see how it all looks. And yeah, I'd say that's absolutely fine. Let's join our door seal now to our door. So I'll select the seal first, then the door, and then I'll press Control J and join the two together. There we go. That's cool. Let's bring everything back for a minute and see how we're looking. And let's go ahead and take that back in the Y axis like this to kind of where it wants to be, which I'd say is about there. Maybe even back a little bit more. I'd say that's about right. And I think the next thing we actually need to do is now bring in a handle. So again, I'll just isolate this panel now that we have that in position. So I'll hit the forward slash key pad. And I think it's time to bring in our first item from Blender kit. Let's see what we can find. So I'm going to tap on this panel here. And actually, before I do that, I'll make sure that I'm in bedroom one file. And I'll come down to the Blender kit tab right here. Click on this. And here in input settings, sure that we reduce the Max resolution quite low. I'll go down to 512, 512. We're going to import a lot of items. The majority of the furniture in the kitchen is going to come from Blender kit, so we need to control our file sizes. So we'll keep that quite low. If you've got a super powerful computer, you can take that a bit higher if you want. I would leave it at 5:12 for now and see how you cope. Okay, now that we've done that, let's press seven. So we get this in the orthographic view. Let's click on here. And I'm going to click for Door handle. And click into and see what you get. Now, we're getting some come up. That's good. Okay, what have we got we've got one like this, a sort of stainless steel handle. And again, it's your preference. You can kind of right click on it and you can get a little bit of information how big the file sizes are. This is quite important that we do this. Make sure that we're not importing anything really too big. And, of course, when you import an item, go ahead and leave a review. All these people are working really hard to make these assets for us, so let's leave ratings for them. I don't think I'll go for that one, though, having said that, I'm gonna see what else we've got. What's this one? I think I like that one. I'm gonna left click on that one and bring it in. Maybe I should have just checked the size on that and see what it is, 3 megabytes. That's absolutely fine. That's nothing too bad at all. Okay, let's take a look at this item, this handle that we've got here. I'll just collect the whole thing, and I'll hit the desk and we'll point to the numpad to center on it. And this thing here is called an empty. And Blender calls it an empty because it contains no information. It has no faces. It has no vertices or edges. It's just an empty piece of information. It's an empty thing. It's just an empty piece of geometry. So why do we have it? We have it to be able to control these assets. Because these components here, you can see these broken lines which show us actually. These components are parented to this empty, and that's the purpose of this empty. So what parenting actually means is that if I go ahead and rotate this D so I'll rotate it on the Z axis. I'll press Z. You can see that I'm rotating all the other components. So that's basically what parenting is. This is the parent, and these items are the children or the child. So if I move the parent, the children will follow the item. That's why it's called parenting. If I move the child, it won't move the parent. But if I move the parent, it will move the child. And it's a really handy thing to do to be able to control multiple objects from one point. So I'll use this straightaway. So let's go ahead and rotate that in the X axis. So we'll press RX 90, enter, and we'll be parenting a bit as we go ourselves. Let's press seven and go to the orthographic view and then take it over to the door. And zoom in a little. And let's rotate that. So let's rotate that press 180, Enter. And now let's take that over and put that on the edge of the door. Something like that. I bring it back a little bit. And let's have a look at that. I don't think it's right in the z axis, and it's not. It needs to go up. So we'll do that next. Let's take this up in the z axis. And let's press Control one so we can see it. That was Control one the manpower. And just visually just check the height. Okay, so now we've got the handling position. I think in this state, I'm actually going to delete this empty, but I can't just delete it because These handle is actually parented to it, so I need to deal with that. So I'm going to grab the handle itself. So let's find it. Black door handle. There it is. Let's grab it. And there's got to be more to it than that. Let's actually do this. Let's grab all these items. And with that done, I'm going to actually right click. And I'm going to go down to parent, and I'm going to clear and keep transformations. And let's do that. Now I can actually take the parent item here and I can just delete it. And we've kept the items in the position that we needed. With that done, I can actually just select all these items now, so I'll select the handle, and I'll go all the way down to the bottom, which is this one here. Holding down Shift, I'll select those, and I'll press Control J, and I'll join them into one item, so make life easier. So we just have one item there now. Okay, so now that we've done that, we need to make a copy of this handle set, and we need to mirror it to the opposite side of the door here. So let's do that next. So do that. Grab the door, tap into Edi mode, and grab this top edge here and press shifts and cursor to the selected. There we go. We can tap out of Edit mode now. Grab the door, and we can right click and we can set the origin to the three D cursor, and there we go. Now we can grab the handle set and we can press Shift D. Right click twice, and mirror in. I think it's the X axis. Let's do that. And it wasn't. Let's try the Y, and let's turn off the X, and there we go. That's the handle set in the correct position. And that's cool. Alright, so I think we'll leave this lecture just there. And the next lecture, let's create duplicates of the doors, and let's position them in the correct angles all the way along so it looks really realistic. And then we'll make a duplicate set and put them on the other side as well. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 26. Lecture 23 Bi Folding Doors Part 3: Hello, and welcome now to Lecture 23. And yeah, let's continue with our folding doors and see if we can finish them in this lecture. So the first thing I notice is I think the handles should actually be on this side of the door. I think I've got that wrong. Apologies for that, but we'll soon fix them. So let's grab the door here. And let's press Shift and bring cursor to the selected. There we go. So we've brought the cursor to the center of this door. Then let's grab these handles. And let's right click and set the origins to the three D C. So there we go. Now we can grab the door and we can grab the handles, and we can go ahead and rotate those. So let's press z180, Enter, and there we go. That's brought the door around the way I think I want it. The next thing I want to do is effect the pivot point of this door. If I currently rotate it, it's going to rotate from its center point. And from now on, I don't want it to do that. I want to rotate from this end here. So let's do that next. I'll grab this door. And I'll tap into Edit mode. Make sure you got Ed selection, grab this edge here and press shifts and cursor to the selected. And there we go. Now we can tap out of Edit mode. Grab the door, right click and set the origin to the three D cursor. Now when we rotate that door, it's going to rotate from that point. Okay, so the next thing to do is go ahead and set the origin of these handles, as well. To the three D cursor, select both of them, right click and set the origin to the three D cursor. There we go. Let's grab this door now, and let's press seven to see it from above. And let's just rotate it ever so slightly like this. I don't want the doors to be completely flat. I want them to have some sort of rotation to explain what they do. Now that we've done that, let's go ahead and press Shift D and Y and bring a copy over like this. And now let's rotate that maybe bring it over a bit more and rotate it again and bring it over a little bit more. So G and Y. Bring it over and rotate it again until we get these ends here, sort of meeting up. So I'll bring that down a little bit more. Hopefully, this will be the ones, rotate. And there we go. And I'll bring those to the kind of just touching. Just touching like that. Now that I've done that, I actually delete these handles. I don't want them on this door. And now I'll grab this door and I'll press Shift D and Y and make another copy again and bring it out like this. Let's go into wire frame so we can see what we're doing and now rotate this one until it's nearly at 90 degrees. Maybe a little bit off, but not much. There we go. Let's press shifty. And why bring another copy down again. And now let's rotate that one until it's touching this door. I'll bring this in a little bit. And there we go. That's cool. Maybe in actually just a little bit more. Maybe I'll rotate a tiny bit, bring it in a little bit more. And let's make another copy again. So we'll press Shift D and Y. Bring a copy out like this. And rotate that one a little bit. Something like that. I'll bring it over, so it's touching the door at this end now. There we go. And now let's grab maybe this door here and I'll press Shift D and Y and bring a copy out like this. There we go. Let's see what this looks like and see what we've got. Let's go back into solid mode now and see what all this looks like. And, yeah, I think that's looking really good. I mean, if we wanted to, we could bring some of these panels further out and put some more angles on them. But I think that kind of suggests what's going on. So I'll grab all the doors like this. And I'll just take them over a little bit more on the way. So they're close to this rail like that. And yeah, that's looking good. And we have one, two, three, four, five, six. I think that would be about right. If they were closing up, they would cover that distance. Okay, so our doors looking really good now, and I think the next thing we need to do is go ahead and make duplicates of all these doors here and put them on the opposite side there. So I think the first thing I want to do is go ahead and join these doors together. So I'll grab the first one, then all the others. And there they are there. And I'll press Control J and join them all into one like that. That's good. So now let's go ahead and name that. So I'll just name that bi folding doors. I just put two on that because it's kind of the same description as the one above. And now that we've done that, let's go ahead and bring everything back. So I'll hit the forward slash key on the numpad. And what shall we do next? So we're going to mirror these doors onto this side as well. So to do that, we need to change the origins of these doors. Let's grab this frame here and then this frame here. And with that done, let's press Shift S and cursor to the selected. So the cursor will come in dead center of these two doors. And with that done, let's grab this one here, right click and set the origin to the three dcursor and there we go. And let's do the same with these doors now, as well. So we'll grab these and we'll right click and we'll set origin to the three Dcursor and we'll also do the same with the handles. There we go. Right click and set the origin to the three dcursor. There we go. That's cool. Okay, once we've done that, we're going to make a duplicate copy of these and mirror them over to the opposite side. And to do that, we normally press Shift D. But in this case, I don't want to do that. I'm going to press Alt D. And there's a very good reason for doing that because when you use Alt D instead of Shift D, the two components share the same information. So when I apply textures to these doors, the same textures will be applied to these doors. So it's going to save us a lot of time in applying glass textures and wood textures to these doors because it'll automatically do it on the opposite one as well. And also, if we it will also help reduce the file size, too, keeping our file size as small as possible. So that said, let's grab these doors and the handles. And with all those selected, let's press Old D. Et's try that again. Press Alt. And I'm going to right click twice. And I'm going to go ahead and mirror in the Y axis. Let's see what happens. And that was actually wrong. So let's try the X axis. And now let's cancel the Y axis, and that's put the doors in exactly the right place. There we go, That's cool. Let's see if we can find these doors, and there they are folding doors, too. Let's drag this down into bedroom two and put that right there like that. And there's this one, as well. Yeah, that's okay, actually. We are our handles? Do we have two sets of handles in this case? Let's find this handle here, and there it is. So let's bring that handle down into bedroom two. And let's find this other handle here now. And let's bring that into bedroom two, as well. And there we go. That's cool. And I think what I'll do here in bedroom two and bedroom one is I'm going to create, like, a subgroup for all the bifolding door parts. So let's do that. So I'll start with bedroom one. Let's grab this and let's create a subfolder. And let's call this bifolding door. Yeah, let's put bifolding do. Parts. There we go. And let's go ahead and grab this one and put it in there, and this one and put it in there. And the keyhole, let's grab this as well and put it in there. And there we go. We've reduced that one as well, and just kept that down to a minimum. So that's just simply simplified that. Let's do the same bedroom, too. Let's grab it and let's create a subfile and let's name it. We'll call this bifolding door parts as well. I'll call it two, bifolding door parts two. And now I'll grab these items. And I'll go ahead and drag them into that subfolder. And there we go. That's cool. Let's helped things out a little bit, though. Okay, so that's it for the folding doors, and they're looking really good. So in the next lecture, let's go ahead and start putting our polished concrete floors down in our bedrooms and on our veranda. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 27. Lecture 24 Floors: Hello, and welcome now to Lecture 24. And in this lecture, let's do our polished concrete floors in our bedrooms and here on the veranda. So let's start with bedroom one. So let's click on bedroom one. And now let's press Shift A and mesh. And let's bring in a plane. There we go. Let's press seven so we see it orthographically. And let's go into wireframe mode, and we'll pull it over like this and just take it back to the wall see where it's at. Take it back a little bit more. There we go. And I'll tap into Edit mode with that press one for vertice selection. We can grab these vertices here and take them over a little bit more, maybe to about there like that. And then we can grab these ones and take it back. And we can grab these ones here and take it. There we go. Okay, so let's extrude that. Let's press three so we can select faces, grab this face here, or press E, and just take that down. A little bit like that. There we go. That's the first one. So now we can actually extrude those bevel, those edges, so we can grab this edge here. I'll grab this one, too, in this case, because we're going to make a uplica of this one. And now that we've got those edges selected, let's sort of zoom in a bit, and let's press Control B and apply a bevel to those edges. And I'll apply something like that with What's that three segments. And that's just what I want. Okay, I'll tap how mated mode with this one and take a look at that and that looks pretty good. So I'll press seven. And I'll press Shift D and Y and bring that copy over. You may be wondering why now I'm not using Old D so that I can apply the same materials to these surfaces. And the reason being because I don't want these surfaces to be exactly the same. So if I use the Old D, then I'd have exactly the same surface on each one, and I get something that's called tiling, which is when you get a repeat surface on each one. So by making them separate components, that means I can play around with the texture on each surface and make each one slightly individual. So I'll pull that in that little bit more now. There. That's good. And I'll press seven. And I'll press Shift and Y. Maybe just bring this one over here like this. And I think I'll tap into this one again now. And I'll press one for vertice selection. Grab these vertices here, and maybe just take this over a little bit more like this. I'll tap out of edit mode with this one, grab this one, and tap in. And I grab these vertices here, take this one back. And now let's go ahead and take these ones to the window. There we go, just like that. Okay, so let's tap out of Ed mode with this and see what we've got. And what these sort of grooves in this will represent is when you get these polished concrete floors, you usually get what they call an expansion joined between them. So that's what we're showing in this instance is the sort of expansion joined between the floors. I might take this over a tiny bit more to something like that. That's good. And there we go. Okay, so let's join these into one components. I'll grab all three of those. And we've got all three. There they are there, press control, J. And join them into one. And let's go ahead and name that. And I'll call that floor one. And there we go. Okay, so that's that one done. Let's compress bedroom one. Let's click on bedroom two now. Let's press seven. And let's press Shift A and mesh and plane. And let's kind of repeat this process. I'll bring this over like this. Bring it into the corner. I'll tap into Edit mode with it. I'll grab these vertices here and pull these over. And now grab these vertices and pull these over as well. There we go, something like that. Okay, let's press three, and let's grab the surface, and let's press E and extrude that down to get some thickness in it. And now let's press two. Grab this edge here. Hold shift, and grab this edge, as well, zoom in a little bit, and press Control B and bevel those edges. To get something like that. I'm happy with that. Alright, let's press seven. Let's tap out of to mid with this one. And now let's press Shift D and Y and bring a copy over now. Let's bunch it up to the other one. And I'll just go into perspective you to see how close they are with each other, and that's kind of what I want. And I'll press seven again. And I'll grab this one, and I'll press shifty. And why? And I'll bring a third one over now to something like. I'll tap into Edit mode, press one, so I can select vertices, grab these vertices here and take these back until they're touching the window or even a little bit inside the window. I'll grab the N vertices here, now, and I'll take this over, so it's inside the wall like that. And there we go. I think that's that one done. Let's zoom in on this and see how these surfaces look, and that looks fine. Okay, let's grab these three panels here now. And let's press Control J and join them together. And let's call this floor two. There we go. And now let's press one on the numpad and then go ahead and bring this floor down until it's touching the finished floor. Here we go. That's in place. Okay, so that's bedroom two done, and that's sorted. So let's compress bedroom two file. Let's click on Veranda. Let's press seven. And let's press Shift A mesh and plane. And now let's bring this plane over like this until it's kind of living under most if not all of the bathroom wall to something like that, I'd say. And now let's tap into Edi mode grab these vertices here and take these over like this. There we go. And then we'll grab these who C two and take these over as well until they're touching the bifolding. Okay, that's good. Let's press two. Or actually, before we go ahead and press two, let's just tap out of Edit mode with this one, and let's press Shifty and Y and bring a copy out like this. There we go. Now, let's grab this one, tap into Edit mode with this one. Let's grab this edge here and press Control R to bring a loop in. And now bring that loop up to that corner like this. Let's press one so we can select vertices. Grab these two vertices here now and press E and extrude this out in the Y axis. I'll hit Y and just bring this forward until it's kind of level with the wall. There we go. That's complete. Okay, so now what? Let's tap out of Edi bud with this one. Let's grab this one now. And let's zoom in a little bit. Let's press G and Y and just bring this in like this. Let's grab both surfaces now, and let's hit the tab key to go into Edit mode. Let's grab these two top surfaces. I'll press three and then grab this surface. Whole shift, grab this surface. And this one and this one. Oh, actually, I could just press A for all. And now let's go ahead and extrude these. I'll press E and just bring these down to form a slight extrusion. Something like that will be fine. Okay, I'm going to grab just maybe a couple of edges. I'm gonna grab this one whole shift, grab this one and this one. This one. Whoops. Let's try that again. So I'll grab this one and this one and this one and this one. And with those selected, I'll press Control B and go ahead and befle those edges. That's a bit too much, so I'll zoom that out a little bit, reduce that. And I'd say that's more like it. Maybe even one less than that. Okay, so let's tap out of Eddimde with those two now and see what we've got. And let's press seven. And maybe just take that up a little bit more, so it's close to the other one. There we go. And maybe now, let's tap back into Edit mode with this one. And let's press seven, and let's press one, grab these vertices here and just bring this back a little bit more. Two, maybe something like that. Okay, let's tap out of Ed mode with this one. Okay, so now that we've done that, let's bring in our last plane. I let's make our last plane. So let's press Shift Day. And let's bring in a plane. Let's bring it forward like this. And let's make it touch the other surface. Just this one here. That's it. Something like that. And now, straightaway, let's tap into Edi mode and press one so we can select edges or vertices. Bring this one forward. Until it's kind of just touching there like that. Let's grab these two now and bring these over. Until that's just on the window like this. And let's do the same on the other side, grab these ones, bring these over. Until that's just touching the window as well. There we go. That's good. Okay, let's press two. Grab this edge here. And let's press Control R, and let's bring a loop forward like this. There we go. That's cool. Now that we've done that, let's grab this edge here like this and press E and X and bring this back until it's just shy of the edge of the veranda. Now grab this other one here, right click and dissolve that let's do the same on this side. Let's grab this edge here. And let's press E and X and then bring this one back. Let's grab this one now, right click and dissolve that edge. All right. That's cool. Let's go back to a solid mode for a while now. And let's select these faces. I'll grab this one and whole shift and grab this one. And I'm going to press E and just take down a slight extrusion. I like this. There we go. Let's press two, so we can grab edges, grab this edge here, whole shift and grab this one and this one and this one. And with those three edges selected, let's press Control B to bevel, and let's just bevel that edge slightly. Until we get something like that. That's Okay, so let's tap out of Aiding mode with that. Let's grab all three of these floors. Let's press one so that you see that they're all in the same height. And it looks like this one is actually a little bit higher. So actually, I'll just grab this one here on its own, no, this one, and press one again and maybe go to wireframe mode. Maybe I'll just bring this down in the z axis until it's level at the top, like that. There we go. Let's go back into solid mode now then. Let's go ahead and grab all three of these floors, and let's press Control J and join them all together. Let's press one. Then let's bring this down until it's sitting on the floor. There we go. That's cool. That's exactly what I want. Yep, that's bottom. Let's just have a look at this, and it's still called plain, so let's name it. And we'll call this floor three. And there we go. That's done. Okay, so there's all polished concrete floors in position. And I think with the next lecture, let's start putting in some doors, which one will be here, and one will be here for the bathroom. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 28. Lecture 25 Other Doors: Hello, and welcome now to Lecture 25. And in this one, yeah, let's start putting some single doors, one here for the bathroom, and then one here for the hallway. So let's see if we can do something with that. So let's go ahead and have a look in Blender kit. But before I do that, just come over to these filters. Click on this one, and turn on free first. There we go. And now let's click on this and just type in doors. And clcano. And let's see what we get. And we got some nice looking doors, but they don't really these ones don't suit what we're doing. This is too old. This is more like a completely interior door. That one's quite nice. I think that one would probably suit what we're doing. Oh, that's a little too gold and black, and that one's okay. Obviously not, no, no, no. And they go on and on, so you can kind of search through and see what you like. But I think I'm going to go back and choose this sort of this door here. So I'll left click on it and bring it into the model, and there we go. I think I'm just gonna bring it forward for a moment on it's empty, just to sort of have a look at it and see what it looks like and make sure it's what we want. I would say that's the right orientation, so that's good. Let's press one and then grab the door empty here. Oops, I'll just grow it, there we go. No. We'll Find it in a minute. There it is. And I'll press one. And now I'll bring this down and just drop this on the finished floor level like this. There we go just like that. I'll take it over on the X axis. And we will put it. Sort of this is where I'm thinking something like that. Okay, now that I've done that, I think the next thing I'm going to do is bring in a cube. So I'll press Shift A and mesh and cube. I'm going to bring this over the door like this. And I'm going to go ahead and scale it down the X. I'll press S and X, bring this down like this. Maybe scale it down a tiny bit more on the X. SX, bring it down a tiny bit more. To something like that. Centralize that. And I'll bring this down on the z axis, and now scale it up on the z so as said and go ahead and take this And just place that s. Okay, so now we have the cube, the size that we want it. Well, I wouldn't call it a cube anymore, but now that we have this item that we want it, I want to just pull it back a little bit, and I'll look at the scale, and it's out. So I'll press Control A, and apply the rotation and scale, and now I'll pull it back into the wall like this. Okay, so now, let's go ahead and cut the wall with this. So let's grab the wall. Let's add modifier, generate, and we'll use a boolean modifier. Grab the little drop a tool and click on this like this. Let's see if that worked to. We'll find this item. It's here in veranda and just hide it for a moment. And yeah, that cutter has worked. I won't apply that cutter for a moment. I'll just leave it just like that in case we need to expand that. And then I'll grab the dough and I'll go ahead and bring the whole door back in the white axis like this. Maybe I'll press seven to see this from above. And I'll go ahead and take this back in the white axis like this. Perfect. That's what I want. Let's have a look at it on the other side and see how it looks. And yeah, that's looking fine to me. That's kind of what I'm looking for. Okay, the next thing I want to do is just have a look at this door like this and see where its pivot point is. And it's right there in the corner, so we could actually just press Az and just open the door slightly like this. Just sort of leading then into the hallway. I'm not going to open it all the way. Just want to put a little bit of something there. There we go. So that's our door. So let's find this door. And it's here in the veranda, so I'll compress this file here, and this is probably where it should be, actually. And I think I'm happy with that. I think I'm done with that. Okay, so now we're happy with that one. Let's think about doing the bathroom door next. And because we're gonna have really quite a large hot tub here, I don't think we're gonna have a lot of space for a traditional hinge door. So I'm thinking about using, like, a sliding door for this one. So let's see what we can do. So, let's type here and Blender here. Let's type sliding and see what we get. And we've got a sliding door there. I'm going to right click on that and see what it looks like. That's the kind of thing. That's the kind of thing. But that one's a bit nicer. I think I'd prefer that one bit more traditional, a bit more what I'm looking for. Or there's that one there as well. Let's right click on that one, see what the file size is. It's 25 megabytes. What's this one? Whoops. Let's just see what the file size is. It's 7 megabytes. I accidentally downloaded it, but I'm happy with that 7 megabytes, so I'm going to go ahead and use that. So I'll grab it empty, and I'll press one and bring the door down like this. And I'll take it over. And I'm going to close this so we don't need that now, and bring the door over a little bit more like this, maybe just bring it down a little bit on the z axis until it looks something like that. So I think I'm going to use the cube that I cut this one to cut this door, as well. So what I need to do first is go ahead and apply this boolean modifier before I move that cube over. So I'll do that. Let's go ahead and apply this. And let's turn this cube back on. Well, grab it and take it over like this. Let's press one, so we see this from the front again and see what's happening. Maybe bring this over something like this. Yeah, I think that's fine. That's exactly what we're looking for now. So with that done, let's apply modifier to the walls again. So I'll pick up the walls, add modify, generate, and boolean. Grab the dropper, and just click on this like this. We could hide this cube again for a minute and just check that's actually worked, and it has, so that's good. And then we'll grab the empty for this door and go ahead and take this door back into position like this. And we'll take this back a little bit more maybe. And that's what I'm looking for. That's absolutely fine. And that's our door done. So let's just check where it is, and it's right there, and that's good for me. And this cube here, let's just grab this wall, and let's go ahead and apply this modifier for this boolean for this bathroom cutout. And let's go ahead and apply it, then. And then the cube, we can bring that back, and we can go ahead and delete that. And that's Okay, I think there's one more thing I want to do, and that's to apply a bevel to this edge here. And it looks like the cube that we used to cut out for this doors just taken a little cut out of the floor, as well. But it's really not the end of the world we've got some wooden boarding for the flooring in the bathroom, so that'll cover that just fine. Okay, let's tap into Edi mode with this and maybe grab this edge here. Hold shift, grab this one and this one, this one, and this one. That should be plenty. Let's zoom in a little so we can see it. And let's press Control B. And we'll just apply a slight bevel to that edge like that. Maybe increase our segments to maybe four, and there we go. That's done. Let's tap out of Edit mode and see what we think. And yeah, that's looking good now. Okay, so that is pretty much us done for these two doors. I think they're looking fine. So let's check what these look like in the outliner. And we have wooden sliding door. Let's turn that off and turn it on, and that's just there. And there's the main door. And they're both in place, and they're looking fine. Okay, so on the next lecture, let's start looking at putting a roof on our first floor. Alright, thanks very much. And I'll see you in the next one. Bye bye for now. 29. Lecture 26 The Roof: Okay. Hello, and welcome now to Lecture 26. And let's see what we can do with the roof in this lecture. Let's see if we can put a roof on this. So make sure that first floor is selected so that the roof drops into this group. And let's press Shift e and mesh and plane. Press one on the keyboard to get the orthographic view of the front, and then let's bring this up until it's a little bit above the roof for now. We can always lower it down when we're ready. Let's press seven to get the orthographic view of the top, grab this plane that we've just made, and bring it all over to the center. And now let's press S and scale it up. Let's go into wire frame. And let's scale it up a little bit more. And let's do the rest with edit mode. So let's tap into edit mode and press one so we can select edges. We'll grab these edges first and bring them past the edge of the walls to get a roof overhang. And this is too much here, so we'll grab this one, and we'll bring this back a little bit like this. And I'll grab this one and this one now, and I'll deselect this one. And I'll bring this forward as well to create a roof overhang. And there we go. That's cool. Grab this one here and this one, and bring this one forward. Until it's level with the inside face of the bathroom wall. Something like that. That's good. Let's press two so we can select the edges now, grab this edge like this. And let's press Controller and roll the mousewheel once to get two loops and then bring them back until they're about there like that. Now just grab this one on its own and bring this one further back until it's just in front of this bathroom wall here. By what would be, I think, in the real world, about 15 centimeters. That's what I want just there. Okay, once we've done that, let's tap out of Edo mode. And let's go back to solid mode for a moment and see what we've built. And I think next thing to do is to make a copy of this. So I'm going to press shifty and X and bring a copy over now to the opposite side like this. Once we've done that, I'll press seven, and I'll go back into wire frame mode, and I'll tap into Eda mode with this one. Let's press one so we can get some vertices selected. We'll grab these vertices here and take it back until we have an overhang on the roof. Something like that. And these two will still be parallel. This back one will still be parallel. So let's just grab these ones now and just pull them forward a little bit like this. Okay, let's go back into solid mode for a moment, and let's tap out of EDA mode. And let's fix the scales on these. So I'll press Control A and apply rotation and scale, and I'll check the scale on this one, and this one's out. So Control A, and apply rotation and scale. Did I fix the scale in this one? I did. It's all good. Okay, so let's grab both these items together, now. And there they are, plain and plain h one. And let's press Control, J, and make them one thing. I think we should name this now, so let's double click on it. And just call it the roof. That'll be fine. And click Enter. And my caps were on. Sorry, folks. Let me try that again. Problem solved. That didn't happen. That's just between us. Okay, so now that we've done that, let's tap back into Edit mode for a moment, and let's press three so we can select faces. Press A so we can select all. And now let's extrude in the Z. So let's press E and Z, and take this up. And let's take a bit of time now to establish I'm not sure that was actually in the Z. I'm gonna press Control Z to go back on that move, and I'm just gonna press that again. So E and just bring that up in the Z access. That's better. Hopefully, you didn't do that what I did then. But if you did, just press Control Z and redo the move. Am I happy with that thickness of roof? Do I want a little bit more? I think I'll go a tiny bit more. I think that's about. Okay, so with that done now, want to select this face here, whole shift, and grab this face here, and then right click and go ahead and bridge those faces. And there we go. That's cool. Let's tap out of Edo mode now for a moment, and let's grab this. Hit the forward slash key on the numpad to isolate the object, and then tap back into Edy moode. Let's press two so we can select edges and grab this edge, and this edge, this edge, and this edge, and then right click and dissolve those edges. There we go. That's cool. Let's see if we can dissolve these ones. I'm not sure if we can or we can't. Let's just try. And yeah, the lettuce. That's good. And let's do the same here and right click and dissolve those edges. And then these ones as well. Right click and dissolve edges. All right. So now what? I think the next thing I need to do is to work on the underside or the inside face. So I'll press Control seven to get us the view of the underside of this. And I'm going to press three, so we can select faces, and I'll grab this face like this, and I'll press I and inset. Until I get something like that. And now I'll press I and I'll inset again. Until I get something like that. So I got two sets of insets on those. Once I've done that, I'm going to select that complete outer set. So I'll grab this one, and I'll hold down Control, and I'll come over here. Oops, that didn't work. Let's try that again. Ah, sometimes it doesn't want to work. Okay, let's press Control and just grab these going all the way around. We'll have this one and this one. Grab this complete out of set and then we get, I'll roll this over so I can see it from maybe this point. And now I'll press E and Z and take this up to something like this. And I'm going to dissolve orthagonal edges. And there we go. That's good. Yeah, that's what I wanted. Okay, so let's repeat that process now. Let's grab these faces. And once we've selected all of those, let's get a sort of a zoom in on this as well. And now let's press E and just bring a copy of this or just bring this face down just a little bit like that. And that's cool. That's the effect I'm after. And this is looking good. So I think the next thing you want to do is tap out of Edit mode on this. Let's check the scale and the scales still good. And let's see if we can create a bevel on this. So I'll zoom on this corner here. And now that we've zoomed in, let's go ahead and add modifier and generate and bevel, and let's see what we've got. Let's increase the segments to around about three segments, and maybe even four. Let's zoom in a little bit and see what it looks like. And I think that's looking good. I'll go ahead and apply that bevel. And let's do a shade oro smooth on this. And there we go. There's our roof all done. So let's go ahead and bring everything back now. So I'll hit the forward slash kill and numpad, and let's press one to get us that view from the front. And let's go ahead and bring this roof down now until it's in the right position. And there we go. So there's our roof in position. I think that's looking good. So in the next lecture, let's see if we can tackle this handrail, which goes around the edge of the veranda. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 30. Lecture 27 handrails Part 1: Hello, and welcome now to Lecture 27. And I just brought everything back for a moment just to see how we're doing, and I think it's looking really good. We're making really fast progress with this. So, yeah, that's good to see. So for now, let's hide our ground floor. We don't need that again. And actually, we don't need much for a moment. Cause what we're going to do now, sorry, is we're going to do the handrails around this balcony. They should said that rather than just starting. So let's grab the floor, and then let's grab the walls, and let's isolate those. I think that's all we need for a moment. And with that done? I think the next thing we could do is just click on the Veranda file here, and let's make a sub box. And there it is, what's it called? It's Veranda three. Let's double click on it. And let's rename that handrails. Let's rename it handrails. That will be good. There we go. Okay, now we've done that. Let's bring in a cube. So let's press Shift A, mesh, and cube. Let's press seven. And let's bring this forward. Now straightaway, let's go ahead and scale this down. So I'll hit S and scale this down a lot to something like this. Maybe bring it forward. Now we've done that. Let's press one on the num pad to get us to the orthographic view of the front, and let's go ahead and bring this up. Now let's scale it up in the Z, so we'll press S and Z and start bringing this up. S and z again, and we'll just look at the height of our post. What we could do is we could bring back our first floor reference images to see what the height of that is. Where is that first front elevation plan there it is. Let's bring that back. Oh, we're going to have to bring everything back into view, let's hit the forward slash key, and we'll press one again. We need to go into wireframe, so I'll press set and go into wireframe. And let's see what the height of those posts were. And it's a little bit high. I'm going to tap into Edi mode with those. I'm going to press one so I can select vertices. Just grab these vertices and bring these up like this. That's cool. Now I'm going to tap out of Edit mode with those, and I'm going to press S for scale, but I don't want to scale it down on the height now. So I'm going to press Shift Z to eliminate the Z axis scaling. And now I'm just going to scale it down in just the X and the Y. And then that's kind of similar looking at it to the posts we've got here. Okay, now we've done that, I can go ahead and hide our front elevation plan again. We don't need that. And let's go back to solid mode. And we've got a post like that. And there it is. Let's see if we can find it. It is in the handrail file. So we could rename this. What shall we name this? We'll call it posts. Oops. Click Enter. There we go. And I'll press seven, and I'm going to bring this over until it's on the tight to the side like this. Bring it close to the edge this way and bring it forward a bit this way, as well. And that's cool. Now that we've done that, let's just grab just the walls again and the post, of course, and the floor and let's is slide. So we've just got those items. Alright, so the next thing I want to do is put some loops in this, I think. So let's do that next. Let's let's have a look at it. The scales out, so let's fix that. So we'll press Control A and apply rotation and scale. And now let's go ahead and tap into Edit mode. Press two so we can select just edges, grab an edge like this, and press Control and go ahead and add four loops to this. There we go. Maybe bring those loops up to something like this, and now hold alt and select this loop and bring this one up to about here like this. Deselect that. Hold and grab this one, hold shift and Alt and grab this one, and now bring these down. Deselect that, and now hold alt and grab this one, and maybe bring this one down as well. Until it looks about the same spacing as the one above, which I would say is something like that. Once you've done that, grab this top loop here now, this top edge and press Control R, put two edges on that like this. And now scale that down in the Y S and Y and just reduce the width between those loops to maybe something like that. And we can do the same this way now. So we'll grab this edge here and press Control R, and we'll scroll the mouse wheel once to get two loops on there, and then we'll scale it down in the X axis. And there we go. Alright, so now we've done that, we can tap out of Edit mode for a moment. The next thing to do is apply an array modifier to these. So let's grab it and check the scales are still good, of course. Add, modify, generate, and array. And it's arraying in the right direction. It's arraying in X, and we can see that it's just duplicate that number to two. So let's increase that code, I think to four. I think I want four posts across this front edge, and then let's increase this X factor. Actually got five, so I'm gonna reduce that to four. There we go. And I'll carry on just sliding this across. I know you just need to scroll around to see where that's going and carry on scrolling that. Whoops. And what's that? 19.1. Let's take off that one, so it's just 19 and see what that looks like. And I'll go 19, maybe 0.05 enter. See what that looks like, and maybe make that 055 enter. And I think that's good. I think that's exactly what I want. Okay, so with that now done, let's go ahead and apply that modifier. And there we go. Okay, so let's tap into Edit mode again with these. And I think the next thing I need to do is to select faces, so I'll press three. And I'm going to grab this face here, whole shift and grab this one, come on over to this side here. And I'll grab this one. Hold shift and grab this one. There we go. We got those four tabs like that. And with those selected, I'm going to press E and Y, and I'm going to press 0.07 Enter, and there we go. That's brought that out 7 centimeters. Okay, so now that I've done that, I'm going to grab this one, hold shift and grab this one. And I'm going to grab this one. Whoops, not that one. I'm going to deselect that one, this one here, and then this one. And, of course, this one here and this one. And with those selected, I'm going to press E and X, bring those out by 0.07, Enter. Okay. Now, of course, we need to go in the opposite directions. I'll grab these ones here. So this one here, and this one. And this one here, this one here. This one and this one. Is there any more? Or is that it? I think that's it. So are those selected. I'm going to press E and X. Bring these out by 0.07, and then press minus Enter. There we go. Okay, so those are looking good. So the next thing I need to do, I think, is apply a bevel to these. So I'll tap out of Edit mode. And let's zoom in on these so we can see what we get. Okay, the next thing we want to do to these is, let's just check the scale, and that's good. So let's add modify and generate and bevel. And not much is happening. So there must be an issue with the geometry here for bevels, but I'm just going to check what this looks like. So I'm going to go to geometry here, and I'm going to turn off clamp overlay, and obviously, that's just one crazy things. Let's add two zeros to the right of the decimal point and see what we get. I don't see much wrong with these bevels, really. That's looking okay. And that's looking fine. I think I'm going to go ahead and run with this. I want to increase that, though, if I can, so I'm gonna turn that one there into maybe a four. See what that looks like and increase my segments to maybe a four, as well. There we go. And see if I've got any issues with these bevels. Is there any strange looking geometry which just doesn't work at all? I don't see any real issues. Have a look at the corner. Maybe that's got some problems. And it all looks good to me. Try reducing this to three. I think I'm going to go ahead and accept that. So I'm going to go ahead and apply that bevel modifier. Gonna go ahead and do a shade oro smooth on these, and there we go. They're done. And they look good. Okay, so in the next lecture, what we'll do is we'll create our glass panels between these posts, and then we'll just make some copies of these outside posts here and just put them here so that we can have got something for the glass to end to at this point. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fen. 31. Lecture 28 Hand Rails Part 2: Hello, and welcome now to Lecture What are we on? We're on Lecture 28. And in this lecture, let's carry on with our glass railing or a hand railing, I'm sorry, on the veranda just here. So, let's grab our posts. Let's grab our floor and our walls, and let's hit the forward slash killer to isolate those. And the next thing I need to do is I need to put some posts sort of ending here in the corner so that we've got some glass safety rails here, too. So let's grab the actual handrails, and let's tap into Eddy mode. And let's make sure we have face selection. I'll grab any face on there, and I'll hold down Control and hold down plast until we've selected all faces. Once I've done that, I'm going to go ahead and spin around on this. And I'm going to press shifty and Y. Make a copy and bring it out until it's kind of level with the front edge of this column. Okay, once I've done that. I'm actually going to rotate this on the Z axis. So I'm going to press z90, and I'm going to hit the minus key because it's rotated the wrong way. Enter, and there we go. That's done. Okay, I'm going to do the same now on this opposite side over here. So I'll grab this one here, so I'll just grab the top edge here or any edge, really, it doesn't matter, and hold down Control on plus and just select all of it. And we'll press Shift D and Y and bring a copy out Let's rotate that, so I'll press A Z, nine, zero, Enter. And now bring it back, as well, until it's kind of level with this column. Bring it back some more. Incidentally, if you ever find with Blender, that it feels like it's all running very slow like this now and nothing doesn't seem to be working fast. It's like the whole thing's running slow. Just press Shift B and then snap a selection window around what you want. So I'm just going to hold down the left mouse button and just grab a window over that post, and I'll re center and everything will be responsive again. Okay, so now that we've done that, and we're happy, let's just bring this over a tiny bit more. Two, are there like that, and that's fine. Alright, with that done now. I'm going to grab this face here like this, and I'm gonna hold down Control and press Plus until I've selected all the faces within that square in the base. So within that framework there, I've got all those faces. Then I'll press X, and I'll delete those faces. Let's do the same down here on this base one here because we don't need these little tabs here, so I'll grab this one, hold down Control and plus plus until we've got all those faces like that, press X and delete those faces. Now I'll select edges by pressing two. I'll grab this one, whole shift, and I'll grab whats. I didn't want that one. I'll grab this one, whole shift, and grab this one, this one, and this one, and now I'll just tap F, and that will fill that hole for me. Let's do the same up here. So I'll grab this one, this one, this one, this one, and I'll just tap F. There we go. Let's work on the other side, So let's zoom in on this. There we go. And it's starting to go slow like what I was talking about, but I can get away with it here. So I'm going to press three so I can select faces. Hole can down control, press plus until we've selected all those faces, and I'll press X, and I'll delete faces. Once you've done that, let's grab those edges. That one there, whole shift, grab this one and this one and this one, and type F. There we go. Let's do the bottom one. So I'll press three, grab that face. Hold in control and press Plus until I've selected all those edges faces, press X and delete faces. Press two, and then grab this face, this edge, this edge, this edge. Wrong one. Go too fast. This one, this one, this one, and this one. And no type F. And there we go. That's the posts. Absolutely done. Let's tap out of Edit mode on those, and there we go. Okay, so the next thing I need to do is start looking at glass and putting glass panels in these. So we can do that. Let's make sure that we have the handrail file here selected. And now let's press Shift A and mesh and plane. Let's bring that plane up on the z axis, and let's rotate that now on the X axis. So x90, enter. And let's go ahead and bring that forward until it sits kind of where we want it. It doesn't matter exactly right now. And now let's press one and the numpad to get us the orthographic view. And let's go ahead and position this. Something like. I'm going to put it about there like that. I think that works. Once I've got it, I'm going to tap into Edit mode and press one for vertice selection. Grab these top vertices here, and I'll bring them down till they kind of flush with the top of the posts. I'll grab these two vertices here now, and I'll bring those out a little bit, and I'll do the same here, and I'll bring those out an equal amount. There we go. So that's the size of our glass panel. That's done. Let's press three so we can select faces. And let's grab this face here and we'll press E and Y and just bring this out to get an extrusion. And there we go. That's done. Okay, well, tap out a vote mode with that. We'll actually make sure that we're happy with the position of that. Oh, I am. I think that's fine. So let's look at the scale and the rotations out. So I'll press Control A. And apply rotation scale. Once we've done that, let's go ahead and make a bevel on this. So let's add modifier and generate and bevel, and there we go. So let's put two zeros to the right of the decimal point. And see what we get. And let's make that one, a three and see how that looks. And let's increase our segments to maybe a four. And that looks good to me. Okay, I'll go ahead and apply that. And I'll do a shade auto smooth, as well. Alright, so there's our glass panel. Let's press one so we get the orthographic view. That's one on the numpad. And now let's press Shift E and X and bring a copy across to here. And now let's do the same for the other side. So I'll press Shift D and X and bring a copy across to here. There we go. And now what I'll do is I'll press seven, and I'll press Shift D and Y and bring a copy out like this. And now I'll rotate it on the z, so I'll press R and Z, nine, zero, enter. We'll take this over. And we'll take this back in the iron till it feels like it's in the right position, pull it back slightly until we just center it on the post. Maybe take it this way a tiny bit. And that looks good. Now, I'll tap into Edit mode with this. And I'll press I'll press and go into wireframe. I'm sorry. And I'll get these vertices here, and I'll pull these back. Sorry, I will brain freeze for a minute then. Just absolute brain freeze. Nothing was going on upstairs. Then I'm okay again now. I'm back with this. Okay, so we're done there, so I'll press d again, and I'll go back to solid. There we go. And I'll tap out of Eddy mode. And the next thing I want to do is just make a copy and bring it over this side. So I'll press Shift and X and bring a copy over to here now. And I'll pull this over a little bit. And I just need to bring this column over a little bit for some reason, but that's okay. We can do that. So I'll tap out this one now, and I'll grab the posts, and I'll tap into Edi mode with those. I'll grab a face on this one and hold down Control and press Plus till it's all selected. Zoom in a little. And now just reposition this post until it's correct for us. There we are. That's cool. Let's tap out of Edit mode with this. And it does look like this glass here needs adjusting, so we'll tap into Edi mode with this one, and maybe we'll just go into wireframe again. And now let's just press one so we can select vertices and we'll just grab these vertices here, and now we'll pull this back until it's in the correct position. There we go. That's cool. Does that mean the other one the other side is in the wrong position? No, that one's okay. Oh, I think that post is slightly further back than this one. That's the issue that we had. So what I could do actually is just correct my problem there, so I'll tap head of Edime and I'll grab this one now. And I'll tap into Edi mode with that, and I'll press three. Grab that face in the middle. Hold it control and press Plus. And I'll just zoom out a little bit so I can get a reference for the other side, and maybe just pull this back just a tiny bit. That looks about right. We'll tap out of Edit mode with this one. Grab the pan again. And now let's just grab the vertices on this and now just pull this over. And there we go. That's correct, no. Okay. So let's go back to solid mode and see what we've done, and we can tap out of Edit mode, and it's all there now. We're happy. And the next thing we should do is maybe just join all of these together. So there's the planes, which are the glass, so let's grab them. And once we got those all selected, let's press Control J to join them into one, and let's call that glass. And there we go, that's done. We can actually compress our handrails now the handrails are completed. Alright, let's hit the forward slash key to bring everything back. And I'd say everything's looking really good now. So in the next lecture, what we're going to do is we're going to do this sort of roof structure which sits in the middle. It doesn't really have a lot of purpose. They adding a little bit of shade during the day. But the main reason that I've put it in there is to actually create some nice dynamic shadows in this area, just to put some nice shadowing detail around. Okay, there's one more thing that I want to do, which is not really anything to do with modeling. What I want to do is create a new save. So we already have obviously one save. We've been saving as I've been saving as house one. And sometimes it's nice to have a sequence of saves so that if for any reason, you decide that you want to change something, if you have a set of saves at different levels of progress through the job, you can always go back to a previous save. Another reason if for any reason, you absolutely lose a file, you haven't lost everything. You've just lost the progress that you had since the last save. Still not happy, but at least you haven't lost everything. That's something I've learned through professional modeling. Day job is, do more than one type of save. So I'll do that here. I'll come up to here and I'll press File, and I'll click Savas. And here, I'm just going to hit the plus sign and turn this to House two, and there we go. Once you've done that, go ahead and press Save As. Okay, so I think that's it for this lecture, and I'll see you in the next one. Bye bye now. 32. Lecture 29 Middle Roof: Hello, and welcome now to Lecture 29. And in this lecture, let's have a go at doing this sort of roof structure in the middle. I'm not sure what you call it exactly, but let's see if we can do this next. So let's just click on the first floor file like this so it goes in the right place. And Alex's just grab our roof and isolate it on its own. And now let's press Shift A and mesh and cube. And let's bring this cube up like this. And let's press one so we see it from the orthographic view. And let's just bring this up and kind of center it a bit. Alright, let's scale it down on the z, so let's press S and Z and bring this down like this. Let's scale it down a bit more in the set S and Z, maybe take it up a little bit. And there we go. I think that's about what I want. Let's scale this up in the X. Now, let's press S and X. Put this in position like this. And let's have a look here what we've got. Maybe let's take this over in the X. I'll press G and X and take it over to something like that. And now let's maybe tap into edit mode with it. And let's press and go into wire frame. Let's grab the vertices here, and let's take these over until it's kind of level with this face, as well. And that's cool. That's what I want. Alright, let's go back into solid mode for a while. And let's tap out of edit mode, and now take this back until it's sort of touching this bit here. And there we go. That's good. Now that we've done that, let's tap back into Edit mode again and press three so we can select faces, grab this face here, and take this over. And let's get an angle on this so we can see what we're working with thickness wise, and carry on taking this back until it looks like that, and I think that's fine. Okay, let's tap out of Edit mode with that. And let's look at this scale, and it's definitely not right. So let's press Control A. And apply rotation in the scale. Once we've done that, let's zoom into a little bit so we can see what we're working with here. And let's add modifier, generate, and bevel. Okay, let's add two zeros to the right of the decimal point. And let's turn that one into three and click Enter. Let's increase our segments to three, and there we go. I won't go ahead and apply that bevel modifier just yet. I'm going to leave that active. Let's just zoom in, see what it looks like. And I'm going to use the Shift B function to just grab it again because my computer is kind of Blender is kind of going a bit slow, so there we go. And just see what we've got. And yep, that's what I want. That's just right. Okay, so now that I've got that, the next thing I'm going to do is just make a duplicate of it. So I'll press Shift D and Y, bring a copy out like this. I'll maybe set the origin back to the geometry now. And I'll rotate it on the Z axis, so I'll press z90, Enter. I'm going to press seven on the numpad to get us the orthographic view, and I'm going to go into Y frame, and I'll take this back until it's kind of touching that panel on the roof. That should be about there like that. And now let's go ahead and take that back. So press G and Y and bring that back until it's flush with the other one we made. Whoops. Which is about there. Okay, so let's tap into Edit mode with this one. And let's select vertices. Let's grab these vertices here now, and we'll go ahead and bring those forward until they kind of flush with this frontage, which is about there like that. Okay. Let's go back into solid mode for a minute and just eye up what we're doing. And yep, that's looking good. That's what I want. Okay, I'll tap out of Edit mode with this. That board is now sitting on this, which in the UK building terms, this is called the facia. But I'm sure all over the world, you have different names for this. But in the UK, this is the facia. So let's make a copy of this and we'll chuck it to the other side. So let's press Shifty and X and bring this one over like. And let's press seven again. And we'll press and we'll press Z, and we'll go into wire fry, and we'll pull this one over. Until it's flush with this facia here. And there we go. So we've got those sort of framing boards in now, so that's a good start. Let's go back to solid mode. And I'll grab this one here now, and I'll make another copy of this. I'll press Shift D and Y, and I'll bring this over like this. How are you? That's cool. All right. The next thing I'm gonna do, I think, is let's set the origins of this to the geometry. And now let's rotate this slightly in the X. I'll press R and X and bring this over like There we go. That's cool. Make sure that here in the transforms that you're in global, that's quite important for this next move. And grab this piece here and press Shift D and Y. Bring this copy over. Before you actually set it, just type 0.275 Enter. Now, with that done? I want to repeat that exactly. So to do that, I'm going to press shifta. And that Blender will just repeat my last command. And I'm going to keep doing that until we go right over to the other side. And maybe that'll work out. Let's see if that number will work out. It looks like it's going to. And yet, that works really nice for. Okay, so there's kind of our roof in place. That's done. So what we could do now is maybe just grab that first one and move all the way down here in the outliner to cube 23, whole shift and select. So we've got all those roof pieces selected. And let's go ahead and press Control J to join those together. And where is it? Let's find it. There it is. And what shall we call this? We can call this What? Middle roof. Let's call it back. Middle roof. There we go. You can call whatever you want. It's all good. But that's going to be my phrase for it. Now that we've done that, I think we're good now to go ahead and apply this bevel modifier, so we can apply this, and there we go. That's our sort of middle roof structure done. Okay, let's hit the forward slash and bring everything back and see how that looks. And yeah, I'm pleased with that. So when we start applying some lighting to this, that should cast some nice sort of shadow details down into this middle veranda. And that's cool. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 33. Lecture 30 Skirting Board: Hello, and welcome now to Lecture 30. And in this lecture, let's have a go at putting a trim board between the floor and the wall. In the UK, we call it a skirting, but I'm sure again, there's different terms for it wherever you go. Okay, so well, let's first of all, let's hide the roof, and let's hide our middle roof. Let's hide that, too. And we'll just close the ground floor for now. We'll hide that. And let's go ahead and make a start. So I think I'll click on bedroom one like this. And this is bedroom one, actually, isn't it? We'll do this one first. And with that Dan I'll press Shift A and mesh and cube. I'll bring that cube up in the zer axis. And I'll scale this down considerably, so I'll hit S and just bring this down. And I'll press one so we can see it in the orthographic view. And I'll get an idea of the size of this. And I'll hit S, and I'll just scale it down a little bit more. And I'd say that's about right in the Z axis. So let's look at it now in the Y axis. And let's scale it down the Y. So S and Y and bring this down until we get something like this. There we go. That's cool. Once you've done that, let's scale this up in the X. So we'll sorry, we'll press S and X, and go ahead and scale this up to give us something like this. Let's fix the scale on it, so let's press Control A and apply rotation and scale. And let's add a bevel modifier to this. And let's put our two zeros to the right at the decimal point. And let's increase that one, two, a four. Let's see what that looks like. Increase our segments to three, and there we go. I think that's right. Again, I'm not going to apply this bevel for now. I'm just going to leave it open. Now we've done that, let's press seven. And let's go ahead and take this over to this room and then take it until it's to the back wall. And, yeah, that's where I want it. Let's find this. It is in bedroom one. There it is. Bedroom one, and there it is cube one. So we can call this Well, you can call itever you want. I'm gonna call it skirting Lord. And there we go. Now, I'll press one so we can see this from the front. And I'll bring this down until we're at ground level. I think for now, I'm gonna hide the window. We don't need that either. And let's bring this down until it's touching the floor, which is Alright. Maybe I'm going to tap into Edit mode with this now, and I'll press set and I'll go into wireframe. I'll press seven to go into the orthographic, and I'll go ahead and take this back until it's into the wall. Or just touching the wall, maybe. There we go. Something like that. Let's do the same with the other side. Let's grab this and take this over. And there we go. That's good. All right, I'll tap out of Edit mode with that, and I'll press Shift D and Y and bring that forward. Now I'll press R and rotate it 90. I'll take this back like this. Maybe zoom in a little bit more so I can see what I'm doing and go ahead and take that back the last little bit. And now I'll press G and Y and take it over some more. There you. That's good. So this now let's tap into Edit mode. Grab the vertices and take that all the way into the corner. I guess we don't know where the window is, so I guess I need to bring the window back. And let's carry on bringing this over now until it's kind of touching the window frame. There we go. Something like that. Okay, so let's tap out of Edit mode with that one, and I'll grab this one again now. And I'll go ahead again, press Shift E and Y, ring a copy forward, and I'll hit and rotate it 90, Enter. And now I'll go ahead and bring it over like this. Grab it and press G and Y and take it into position like this. I'll tap into Edi mode with this one now. I'll grab the vertices, and I'll take that back. Kind of need to find out where the edge of the room is, and it's there, so I'll bring that forward like this. Actually, I might bring that forward some more here. I think I have a slight change of plan. I'll bring that forward to that. I'll press two so I can grab some edges. I'll grab an edge there. I'll press Control, and I'll bring a loop in and bring that loop to there like that. And I'll hold shift and grab the end here, and I bring the whole thing back. Until it's kind of level with the wall. I might go a little bit further back than that, something like this. And now I'll hold hot, grab this one again now, and maybe just bring this forward. And yeah, I'd say that's about right. Maybe back a little bit. That's about right. Maybe grab this one now, bring this one forward, a tiny bit. There we go. And now I'll press three, and we can grab this face here and I'll press E and X and take this back like. And there we go. That's done. Let's tap out of Edo Mote with this now. Let's press and go back to solid and see how that looks. And yeah, that's looking fine. We could actually just maybe take this back to the wall a little bit more. So I'll press G and X and just touch the back into the wall a little bit more. And there we go. That's fine. No. So I see a little issue there. We need to take that floor over a little bit more. So we need to deal with that sooner or later. Just taking that flow into that sort of reveal just there. In fact, we could deal with that now. Let's grab this floor, tap into Adi mode, press one, so we can select vertices. Grab these vertices here, these vertices here. And whereas those other vertices? Can we see them? They must be there. Let's press SED, actually, go into wire frame, make sure we got all of them. There we go. Those. And now let's just press E and X and just bring those forward until that's covered up that gap. There we go. That's good. Let's press S and go back to solid mode. And let's tap out of Add mode with those. We have a color issue there, which I'm going to say is probably the normals, have flipped on that one, but we'll figure that out later. We'll correct all the normals in one go. Okay, so I think that's it. We have got a little corner here, but it's so concealed by the door that I'm not gonna worry about it. Okay, so now that's done, and we have our skirting done in there. We could actually just grab one piece first, and we could press shifty and Y and bring this over like this, and we could take it through to the other room. Now that we have that last piece of skirting which just one here, we can drag it into bedroom two here in the outliner, and there we go. Now we can grab these skirtings here, this one, and this one and this one. And we could press Control J and join them all into one. And there we go. Okay, so let's close bedroom one because that's the skirting finished in there. And let's go over to bedroom two, and let's open our file here for this one. And there's our skirting board now copied in here. So let's put it to this back wall here. So I'll press seven. And I'll grab the skirting board, and I'll just take it back like this. And let's take that over now to the door. So I'll grab it on the X axis and run this through a leaf like this. Zoom in a little bit, so we can take a look at it, and that's fine there. Let's press seven again. And let's make sure it is actually against the wall, and I think it is. We can take it back a tiny bit more, maybe. We need to just correct this here, so tap into Edy mode, we'll grab all the vertices there and take it back like this until it's inside the wall. And there we go. That's fine. Okay, let's tap out of Edi moode with this one. And let's go ahead and press Shift D and Y and bring another copy forward like this. And let's rotate that on the Cal axis. We'll press Z, 90, enter, and let's press seven, and let's take this over until it's touching this wall here. That's good. Okay, let's take it this way now. So we'll press G and Y and take the skirting back like this. There we go. And now let's go ahead and take this back to where it needs to be. So let's tap into Edit mode, and let's grab all the vertices here and let's take them back. And let's try and figure out where that should stop. And I would say about there like that. And now I'll press two. We can grab this edge here and press Control and bring this loop over like this. Let's zoom in on this. Take it over a little bit more to something like that. And now we can press three so we could select faces. We could grab this face here, and we could press E and X and take this over like this. And there we go. That's cool. All right, let's tap out of Edit mode with this one, and let's see what that looks like. And that looks fine to me. So I'm just going to grab this last piece note. So I'll grab this one here, and I'll press Shift and Y and bring this over like this. Rotate it in the Z, so I'll press rz90, enter. And now let's go ahead and scale it down in the Y, so we'll press S and Y and just shorten this. And now we can press seven and we can take this back into this little corner here. We can press E, go into wireframe. We select the item, and we can tap into Edit mode and press one vert Z selection, grab these here and bring this to the right length like that. And we'll do the same this side now. We'll just grab this here and take this into the window. Just like that. That's it. Alright, let's see what this looks like now. Tap out of Edit mode and see what we've got. And there we go. That's done. That's our skirtings done in there. So what we could do now is go ahead and join these all together. Grab all three and press Control J, and join them into one. And there we go. That's our skirting's completed. Okay, so in the next lecture, I think we're going to start work on our bathroom because the bathroom is mostly clad in wooden boards in cedar in this case. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 34. Lecture 31 Bathroom Timber Cladding: Hello, and welcome now to Lecture 31. And in this lecture, let's have a go at the bathroom. Let's have a go at the timber cladding on the floor and on the walls in the bathroom. And for the first time, I'm going to sort of have a look at the mood board that I showed you in Lecture one, just to show you what I'm planning for the bathroom. So I'm going to drag this over. And, of course, I'm sorry, I can't share this with you because of the sort of the legal issues with sharing photos, but there's nothing stopping you sort of making up your own mood board using pure ref. Let's zoom zoom in on this image here. And this is how I'm basing my bathroom. So it's going to look kind of like this. I'm going to have a huge skylight on the one side, making it feel almost like it's outside bathroom. And then timber cladding and then a mirror in the background, which should give the feeling of a little bit of infinity, a little bit of just going on and on. So let's see what we can do with that. But I think before I do that, I'm actually going to have a look at the normals because I think there's quite a few things with incorrect normals right now. We've got some strange colors going on. The floor looks a little dark. And we have this patch here that we got in the last lecture, and I think even the windows look a little bit dark. So what I'm going to do is press A for all. I'm going to tap into Edit mode with everything. I'm going to press A again to grab everything, and I'm going to go over to mesh. G to go over to normals. And I'm going to go recalculate outside. Okay, I'll tap back out of Edit mode, and that's already looking better. So we could actually come up here to this one, hit the drop down here and click on Face orientation. And now absolutely everything is blue, which is what we want. If we could still see some reds, then we'd still have some normals incorrect, but that seems to have fixed everything. Okay, let's go back and turn off face orientation, and there we go. We're ready to go. Okay, so let's lay some boards in the bathroom. I think the first thing I want to do is reposition the cursor. So what I'm going to do is tap into Edit mode with the wall selected. Press three so we can select faces. I'll grab this face and now this face, and I'll press shifts and cursor to the selected. There we go. I'll tap out of edit mode now, and there's the cursor just. Okay, so let's make sure that we're in bathroom now. So I'll compress bedroom two, and I'll click on bathroom. And now with that done, I'm gonna press Shift A, and I'm going to bring in a cube. Alright, let's press seven so we can see this from above. Let's go into wireframe mode. And let's go ahead and scale this down. With that done? Let's recalculate. So we'll press Control A, and let's apply rotation and scale to zero those again. And here in the Y, let's make this 0.095 enter. And there we go. That's good. Okay, with that done, let's go ahead now, and let's tap into Edit mode with this. Let's grab this bottom face and bring this up like this. So we get a thickness on these boards, something like that, I'd say. And now let's grab this end here. Let's press seven to see this from above. And let's bring the edge of this board right to the wall. Let's get a bit closer so we can see where that is, and just drop that just like that. Let's grab the other end. And let's take that over to this wall as well. Once you've done that, tap out of Edit mode, and let's go back to solid so we can see it. Okay, the scale, that's out, so let's press Control A, and let's apply rotation and scale. And now let's go ahead and add a modifier. Let's add the bevel modifier. And let's add two zeros to the right of the decimal point. And let's make that one into two and click Enter. And I think I think I will leave this sharp, little bevel detail on there just as it is. So I'm gonna actually leave that as one segment. But I'll leave this bevel modifier on there as well. Alright now we've done that. Let's press one so we can see this from the front. And let's press Z and go into wireframe and let's take this down to the floor. And this time, we're not going to set it on our polished concrete floor. We're going to take it down to finish the actual original floor height, which is about there like that. So that this board is flush. Let me just go back to solid now so that this board ends up flush with our floor. So we'll take this over like this. Maybe just take this back now until it's touching this polished concrete floor. And there we go. Maybe we could just take it a little bit more. So I'll press G and Y and just sneak this back, that last little bit to something like that. Okay, that's good. That's what we want. So now that we've done that, we could either array this across or we could actually just copy. But I think in this case, I'm going to go ahead and array. But before I do that, I'm just going to steal a copy of it. So I'll press shifty and Y, and just bring a copy out over here like this, just on its own. Now, let's grab our board, and let's add modifier, generate, and array. Okay, so on the array, we don't want this in the X. I'll go ahead and press zero on that. And in the Y, let's start adding. Let's start bringing this across and inspect our gap. Zoom in on this so we can see what we've got, and maybe I'll bring this back a little bit. I think that's actually absolutely perfect. The boards just touching like that. So we have that groove appearing there in the middle. So with that done? Let's go ahead and increase our numbers on this to bring this across to the other side. And there we go. That's it. That's done. Okay, so we're done, so I think I'll go ahead and apply that modifier. And there we go. So there's a sort of timber floor in position. So what we need to do now is start thinking about sending these up the wall as well. So let's make a copy of this one. So pus shift and Y and bring a copy over. And now let's lift this up slightly. And now, let's rotate that on the XX, I'll press rx90 and t now we'll go ahead and take that over. Let's press seven so we can see this from above. Whoops. Let's go ahead and take that over now to the wall. Like this. That's what I want. Let's tap into Edit mode with it. Let's press one so we can select vertices. And let's go into wire fright mode. Grab these vertices here and bring these back until they're level with the door opening. Maybe a tiny bit forward, but not much, maybe just that much forward of the door opening. Okay, let's go back into solid mode now. Let's see what we've got. Let's type out of edit mode. Let's go ahead and take that up. And now let's take a look at it, maybe take it down a little bit. Am I happy with that? I think I'm happy with that, just like that. Okay, now I've done that. Let's look at the rotation and the scale, and it's out. So let's press Control A and apply rotation in scale and then let's add and modifier. So add modify, generate, and let's add the array modifier. And let's cancel the X. We know we don't want that. And in the z, whoops, still up that. Don't want that. I'll click into. There we go. And let's increase the z, and there we go. Let's bring that up and get an idea where we want that to be. Sort of position as we want it, and let's bring it down in the set until they're touching, and that's absolutely perfect. So let's increase our numbers on that until we're kind of level with the top of the door. And we're getting to that stage now. Sometimes it's going to be tricky to see what you're doing when you're working in these confined spaces, but we'll do our best. So let's increase this until we're running to the top of the door. I think that's about as good as it's going to get. So I could, in the spacing, I can actually put this at 01.001 enter. And that's done something, but has it done enough? I don't think so, so I'm just going to turn that one into a five and click Enter and see how that looks. And we're sort of going the right way with this. So I'll turn that into a six and click Enter. Am I happy without having that much space between the boards? Yeah, I think I'm happy with that. So there we go. We're done with that one. We can actually just bring the whole thing up just a tiny bit. So let's press G and Z and just bring it up. So I'll press G, and just bring this up a tiny bit to about there like that. Okay, so with that done now, we need to make a copy of this, bring it to the other side, and then edit the length. So with the array modifier, still active on this one, go ahead and press shifty and X and bring a copy over like this. Let's go ahead and tap into edit mode on this one, and make sure you got vertice selection on. And let's work in wireframe mode. So because we have the array on it, we only need to sort of edit the original wooden strip. We don't need to edit all of them. So now I'll just pull this bottom one over and the rest will follow. Let's zoom in on this and try and figure out if we've got it in the right position. Maybe we bring this slightly over, and there we go. That's it. So let's grab the other end of the board now and bring this back until it's flush with the floorboards. There we go. That's cool. That's what we want. Okay, so let's go back to solid mode now and see what we've got. And now let's tap out of Edit mode. I think for now, I'm just going to go ahead and leave that array modifier on those boards. Okay, so I think the next thing I need to do is make another copy of this board. So I'll press shifty and Y. Bring a copy over a little bit, bring it up in the z, and now rotate it in the X axis. I'll press RX 90, Enter. And now let's go ahead and take that over. And I think the next thing I'm going to do is I'm going to press Control one to get us the orthographic view of the back of the house and go into wireframe mode now. And now let's go ahead and bring this up and then position this where we want it. So I'm going to bring it down, so I'll press GNZ and I'm going to put it about there like that. There we go. So now let's apply the array modifier to this one. So we'll add modifier and generate an array, and let's cancel the X straight away. And in the z, let's just slide this up. Oh, I see what our issue is. We actually need to fix our rotation on this. So let's press Control A, and apply rotation and scale. And now, in the, let's slide this up. There we go. And I think I'm going to make this 1.09 and enter. And we'll see what that looks like, maybe a little bit less. I'll make it 1.05 and enter. And let's see what that's gonna look like. Okay, so let's increase the count on this now. Let's press Control one again to get us that nice square view of the back so we can see where we're going to. And let's see if this is going to work. And I think I'm going to leave it just there. We've got this gap here, but remember, we've got the boards running along the ceiling now, so I think that'll work out just nice. Okay, so I think I'll go ahead in this case and apply that one. We're done with this one, and there we go. So the next thing you need to do is bring in the final board, which is this one here. So I'll grab this one, and I'll bring it up, and I'll press Control one to see this from the rear and position this just above the last board. Something like this. I'm not worried about this little gap here between the top of the board here and the top of the wall because when the ceilings on, you'll never see that gap, so I'm not worried about that. Once you've done that, let's go back to solid mode. And let's see what we've got here. Oh, of course, we need to bring that over now, so let's press seven, and let's grab the board and take it over now. And just bring this over like this. And now let's go ahead and apply our array modifier to this. So add modifier and generate and array. So let's cancel the X again. And let's move this over in the Y. So we'll move this just to one. There we go. And then we'll just increase our count. And try and figure out how much we want to be having a skylight. Maybe take this to maybe 15. And I think that look maybe 14. There we go. I think that's just what I want, just like that. And we can go ahead now. Let's have a look inside, see what this looks like. See what this gap is like, that's good. Yeah, that's the timber effect that I was looking for in the bathroom. So I'll go ahead and apply that modifier. And I'll apply the array modifier on this panel. And this one we have done. And what about this little one here. Apply this array modifier, as well. And the floor, the floor is done. Okay, let's take this one and this one, and let's grab this little one here as well. And with those three selected, let's press Control J and join those together. And let's call that wall clad. Whoops. There we go. What's this one here? Let's see what this one is. So that's the ceiling, so we can call a ceiling cladding, and we can call this one here ceiling cladding. And we have got here flooring. And there we go. So that's our starting. So we've started nicely now, in the bathroom. Okay, so I think that's good enough for this lecture. So in the next lecture, let's put a mirror on this wall here. And then let's start building our bed frame in bedroom one here. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for. 35. Lecture 32 Bedroom 1 Head Board: Hello, and welcome now to Lecture 32. And in this lecture, let's put a mirror in this bathroom, which is quite an easy job. And then let's start building all the headboard and so ceiling feature panels for the bed here, in the bedroom one. But first things first, I've got a little confession. When I brought the ceiling back in, which I'll do now, let's have a look. Let's find our ceiling. Here it is. And I go into the bathroom. These boards that we've put here don't line up with the ceiling. Completely my fault, so we need to just add some extra boards to this. So let's tap into Edit mode with this one here. Let's make sure we've got three selected so we can select faces. Grab this board here and press Control plus until all faces on that board are selected. Then let's press seven to go in the orthographic view, press and go into Y frame. And now let's go ahead and press Shift and Y and bring a copy over like this. To about there. And when you've got that in place, press Shift R and Shift R again. And that should be enough in total. Let's go and have a look underneath now. And yeah, that's worked out. And there we go. So that's done. Let's have a look inside, how that looks now. And yeah, that's better. That's sort of covering up the edge of the ceiling, which is what we wanted. Okay, so let's bring the cursor to this wall now. So let's grab the walls, and let's tap into Eddy mode. And let's select this wall here. And let's press shifts and cursor to the selected. And there we go. Then tap out of Edo mode with this. Okay, so now we've done that. Let's press Shift A, and let's bring in a plane. And let's rotate that on the y axis. I'll press I Y, 90, enter. And let's tap straight into Edit mode with this. And let's make sure we got edge selection on. Let's grab this top edge here now. I'm gonna take this up until it's just on the ceiling like this. Let's grab the bottom one and take this down until it's just to the floor level and do the same with the other two sides. So grab this one here, take this over. And grab this one as well, and go ahead and take this over. All right. Let's press three now. So we can select faces, grab this face here. Let's press E and X and go ahead and extrude this out slightly like this. There we go. That's cool. That's what we want. Once we've done that, let's tap out of Eddy mode. And let's name this. And let's call this the mirror. And once you've done that, let's check the scales, and the rotation's out. So let's press Control A and apply rotation and scale. And let's add a bevel modifier to this. And let's have a look at that bevel modifier. And I'd say I'll leave that alone. I've got a slight bevel on that edge. Maybe it's too much. Let's increase this. Let's put an extra zero to the right to the decimal point. Click Enter. And let's go for another one. And let's turn this one into a three. And there we go. That's kind of good. And I'll just so this is what I call a shamford edge mirror. So I'm going to leave this at one segment so that it looks like the edge has just been taken that sharp cutting edge off it and put a hamfor on it. And that will do for me. So I'll go ahead and apply that. Okay, so that's our mirror in our bathroom. That's easy, and we've fixed the issue with the ceiling. Okay, so let's leave the bathroom alone now. Let's take the roof away for now. Let's hide the roof again. And let's compress the bathroom file, and let's click on bedroom one and expand it. Okay, so now we'll work on sort of the roof sorry, the framework that we have behind the bed. And it's also like a ceiling panel which comes across. So let's see if we can work on that. So the first thing I need to do is put a block in at the right size to be able to use us just simply as a reference as we build our headboard. So let's press Shift A ash and cube. And then that's coming on the bedroom one. That's what we want, and we'll bring this over like this. And I'll press seven to get this in the orthographic view. And I'll just centralize this in the room as best as I can. That looks pretty good like that. Okay, so dimension wise, in the X, I want this to be 3.8 meters. So I'll delete that. And I'll call it 3.8. And click Enter. And there we go. So that is the actual size of our headboard, and it's nothing else but a reference for that. Okay, so we could scale this down the Y. I'll press S and Y and then just scale this down and then bring this over like There, yeah, that's done. So we can actually maybe reduce it in the z as well. So press S and Z and just bring this down so that we don't see much of it just enough to give us a clue how big this is going to be. So we can hide our window. I don't think we need to see that in our bedroom right now, so hide that. And there we go. So the next thing I'll do is I'll bring in another cube, so I'll press Shift A and mesh and cube. And this time, let's bring this over. And let's scale this down. So I'll hit S and scale this right down. So maybe we actually adjust the dimensions in this. So in the X axis, let's make this 0.1 enter, and there we go. That's the kind of width that I want, which is 10 centimeters. And in the Y, let's make this 0.02 enter, which would be 2 centimeters? And that's the kind of thing. Oh, do you want to make it bigger? Let's make it bigger in the Y axis. I'm sorry. Let's make this 0.05 enter. And am I happy with that? Yeah, I think I'm happy with that. That's the kind of size that I want. So once I've done that, let's go ahead and scale this up in the z. So I'll press S and Z and just go ahead and bring this up. And let's do it again. So it has some Z and just bring this up. Let's press one so we can see this in the orthographic elevation and now bring this over until it's level with the edge of our cube like this. There we go. Let's tap into edit mode with this. And let's press one, so we can select vertices. Let's go the wire frame, grab these bottom vertices, and then bring this down to just on top of the skirting at the top here, let's take it up to the ceiling height, which should be around about here like this. There we go. And that's the kind of size of our framework. Okay, let's tap out of Edit mode for a moment and go ahead and take this back. Let's press seven so we see this from above, and now take this back to the wall. Maybe just leave a very small gap, maybe something like this. And there we go. That's done. Let's have a look at the scales, and let's adjust that, so let's press Control A, and apply rotation and scale. And now let's press one again to get the orthographic view, and let's tap back into Edit mode. And let's press two so we can select edges, grab an edge, and press Control R. We'll bring this up in the Z axis. Until we've got it, something like that. There we go. Once we've done that, press three, grab that face there. And let's go ahead and Well, let's press seven first. And so we can see how far we're going with this. And now let's press E and Y and extrude this on the Y axis to I think about level with the edge of our folding doors, something like something actually a bit further, maybe pure guestimate, about like that. Okay, so that's done. Let's go back to solid mode now so we can see it. Yeah, I'm happy with that. That's fine. So let's see if we can remove some of this extra meshes Operas two, and let's see if we can get this one and this one and this one. And this one and this one. Let's see if we can dissolve these, so I'll right click and see if we can dissolve those edges. And there we go. That's cool. Okay, let's tap out of it mode now, and let's apply a bevel to this and see if it works. And, of course, let's go ahead and add two zeros to the right of the decimal point. And let's straight away, let's turn the one into a five and see how that looks. And is that too much? I think that's too much. I'm gonna take that to a four. Atlanta. And on the segments, let's take that to a four. And I think that's pretty good now. I'm happy with that. But again, I'm going to go ahead and leave that Actifon Okay, so now that we've done that. Let's press one so get the orthographic view again. And let's grab a piece, and let's just name this. So we'll call this headboard. Let's call it headboard. There we go. And let's go ahead and add array modifier to this. And it's actually working out. X is working out right for us. And let's increase the gap between these, let's grab this, and let's make this 1.2 and click Enter and see how that looks. And yeah, I think that's what I want. Maybe 1.2 or maybe even 1.3. Let's try 1.3 and click Enter. And yeah, I think that's about right. So once we've done that, let's press one again to get that nice orthographic view, and let's just increase the code. And take these now all the way to the opposite side. See where that lands. And I'm going to take that back one or shall I instead? No, excuse my indecisiveness. I will leave that, like that. We could actually just take this over a little bit until we're kind of central with our cube again, and I think I'm happy with that like that. And there we go. So that is our sealing detail for our bedroom in our main bedroom. We can go ahead and delete this reference cube. Now, we're done with that. And there we go. That's it. D. Alright, so that's it for this lecture. And in the next lecture, what we'll do is we'll start working on the headboard now in bedroom T. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fine. 36. Lecture 33 Bedroom 2 Head Board Part 1: Mm. Hello, and welcome now to Lecture 33. And in this one, let's have a go at doing the headboard now in bedroom two. I think we'll probably spread this over two lectures. It's slightly more involved in this headboard, but there's nothing we can't handle. I think the first thing to do is, let's go ahead and apply the modifiers on this headboard here. So when you apply modifiers, as a general rule, always apply from the bottom up. So apply the ray first, and then let's apply the bevel. And there we go. That's that one. So in bedroom one, we could actually bring back the window now, and let's compress bedroom one file. And let's click on bedroom two and open this one. Again, we could hide the window. We don't need that for now, and there we go. Alright, so let's make a start. So I think the first thing we might as well do is bring the cursor over. So I'll tap on the walls, tap into Edit mode. Press three so we can select faces, grab this face here, and press Shifts, and bring cursor to selected. And there we go. We can tap out of Edit mode, and there we go. There's the cursor out in the right. So let's make a start. So this the headboard is about 2.6 meters, maybe even a bit more about 2.2 0.7 meters, I think. We'll make the headboard. Something around there. So let's see what we can do. So let's start off by bringing a cube. So press Shift A and mesh and cube, and there we go. So let's work it straightaway in the dimension. So let's work it first of all, on the Y. Let's make it 2.7 meters. 2.7 enter, and there we go. That's correct. Now, we could work the other two dimensions as well. So in the Z, we could make this let's make this 0.15. So 0.15 whoops that's 1.6, 1.5 enter, and there we go. And in the X axis, let's make this 0.35. 0.35 enter. And there we go. That's our sort of main or, that's the start of what we're doing. Yeah, that looks good as a size for these. So the next thing I'm going to go ahead and do is, let's go ahead and put a bevel on this. Let's check the scale, and it's out. So let's press Control A and apply rotation and scale. And now let's go ahead and put a bevel on this. So generate and bevel. And let's do the whole two zeros to the right of the decimal point. Click Enter, and let's turn the one into a five and see how it looks and click Enter. And, yeah, I think that's okay. We'll increase our segments to about a four, and there we go. Let's leave this bevel modifier active for now on this, and let's see what's next. Alright, let's take this up to the ceiling and see how we look. So I'll take that over maybe a little bit. Maybe just take it back in the X until it's just up to the ceiling like this. I'll press seven to see this from above and make sure we're reasonably centered in the room. And yeah, I'm happy where it is right there. Okay, so now we've done that. Let's make a duplicate of this one. So I'll press Shift D and then X and bring out a copy. I'll rotate this copy on the Z, so I'll press z90, Enter. And I'll press seven to see this from above. I'll bring it out on the X until it's sort of level with this like here. And I'll bring it out on the Y until it's level here, too. That's it. And once I've done that, I'll press Shift D and Y and bring a copy out like this. Bring it out a little bit further, and there we go. That's good. Okay. So the next thing to do is grab this block, and I'm going to tap into Edit mode with it. And I'll press and I'll go into wire frame, and I'll press I'll just grab this, this face here, and I'll just take this back. Zoom in a little bit, and just stop when it's snug up to the other one, like this. There. That's cool. I'll do that on the other side as well. And I'll bring this back until it's snug up to the other one. There we go. That's cool. So I'll tap out of Edit mode with this, and then I'll press Shift E X and bring a copy over now to the opposite side like. Okay, that's cool. So let's see what we've got now a solid mode, so I'll press and go back to solid mode. And I'm going to grab all four of these pieces. So I'll this one, this one, and this one, and now I'll press Shift S, and I'll go cursor to the selected. Now that I've done that, I'll press seven to get the orthographic view, and I'll press Shift A, and I'll go for plane. And I'm just going to scale that plane down just a little bit. So I'll press S and just scale this in like. Until we get maybe something like that. I think that's just fine. Okay, so we could tap into Edit mode with this one, now. Make sure we got face selected, and let's extrude that up in X. In the Z, I'm sorry. So let's press E and Z, and then just bring this up like this until we get a little bit of thickness in this. There we go, and tap out of Edit mode and take it down just a tiny bit. Okay, there we go. So let's look at the scale on this, and it's out a little bit. So let's press Control A, and apply rotation and scale. And now let's apply a bevel to this. And let's have a look at what we got. So let's add our two zeros. And let's try the five. Let's see if we can just put a five there and see how it looks. And there we go. I'm happy with that. I'll increase the segments to maybe just a two. In this case, I'll go ahead and apply this. All right. That's cool. That's done. We could do a shade or smooth on this, and there we go. Okay, so next thing we can do is actually go ahead and apply or let's join these together first. I'll grab all four of these and we'll press Control J and join those into one block. And then we'll also go ahead and apply the bevel to this. There we go. All right. So now that you've done that. Let's do a shade auto smooth on this. Oh, there we go. That's that one done. I think, actually, I'll just bring this one forward a little. It's not quite so level with the others. So I'll tap into Edit mode with it and grab a face on this, hit Control and plus. Now let's press seven to see it from above. And I'll just bring it out a smidge on the X axis. So I'll press G and then X and just bring this out, and that's better. That's what I want. Okay, let's tap out of Edit mode on that, and we're nine. Okay, and I think that's all we need to do for one lecture. If I tried to do all of this in just one lecture, it'd be really long. So I'm going to break this into two nice short lectures. All right. Thanks very much. And I'll see you in the next one. Bye bye for now. 37. Lecture 34 Bedroom 2 Head Board: Okay. Hello, and welcome now to Lecture 34. And let's just pick up where we left off with this bedroom two headboard. So I think the first thing I'm going to do is tap into Edit mode on the walls. So I'll hit the tab key, and I'll press three on the keyboard so we can select faces. Grab this face here, press shifts, and cursor to the selected. Okay, let's tab out about Edit mode with that. And with that done, let's press Shift A and mesh, and let's go ahead and bring in a cube. Let's scale this down in the X. I'll press S and X and just flatten this out quite a bit. Bring this out a little bit like this. And let's go ahead and scale it down a little bit more. So I'll press SX scale this down to something like this, maybe. That should be good. Alright, I'll press seven like this, and I'll go into wireframe mode, and I'll tap into Edit mode with that. And I'll press one for vertice selection. And I'll go ahead and grab these vertices here and just pull those over to something like that. So not all the way to the edge of the frame we made in the last lecture, but close. And here, I'm going to grab these ones and do the same thing. I'll pull these over until they're kind of there like that. That looks about right to me. Alright, so now what? Let's grab these top vertices here, and let's press one so we see this on the orthographic view and go ahead and bring those up to something like that. And let's grab the bottom ones, and we'll pull those down to something like that. Okay, so let's tap out of edit mode with that and then bring the whole thing back a little like this. To about there like. All right, so the next thing I'm going to do is, let's go ahead and set the origin back to the geometry like that. And now let's press shifts, and let's bring the cursor to the selected. And with that done, let's press Shift A, and let's bring in another cube. Let's scale it down. We'll just hit S and scale it all the way down like this. And we could press seven to see this from the orthographic view, and maybe we'll actually enter these properly. So I'll fix the scale, so I'll press Control A and apply rotation and scale. And in the Y axis, let's make this um, 0.075. 0.075, Enter. And in the X axis, let's make it 0.010 0.01 and click Enter. And that's not enough. I think I need more than that. So I'll make this about five, I think. Let's delete that one and click five and click Enter. And we'll see what that looks like. Okay, so I think that's it for that way. Let's tap into Eddy mode with that now. And let's press one so we see this from this angle. Let's grab these vertices here and now pull those up until we are where do we want to be? I think it's I think it's about there should be about right. And we'll grab these ones here, and we'll pull these down now until they're just off the floor. Something like here, I'd say Okay, so let's tap out of Edit mode with that. And let's press three, so we see this from the side. And let's go ahead now and pull that over until that's sort of level with this. Actually, I need to take this up higher. It needs to go up here. So I'll tap into Edit mode, grab these ones, and bring these up until it's there like that. That's better. I'll tap out of Edit mode with that now and take that right to the edge like this. Let's see what that's like at the bottom, and see if I got that right. And I did, that's better. So let's press Shift D now, and let's press Y, and let's bring a copy over now to the opposite side like this and just bring that over to I'm going to say about there like that. Once we've done that, let's make a copy, so I'll press Shift D again and Y and bring that over like this. I'm going to rotate this on the X axis. So x90, enter, and I'll bring this to the middle here like this, to the middle of that cursor. I'll now scale it down the Y, so I'll press S and Y and just bring this in something like that, and now take it up like this. Let's zoom in on this and go ahead and take that up some more until it's about there like that. Okay, so let's tap into Edit mode with this one, and we'll grab these first vertices here and we'll take those over until it's level with the vertical piece one we just made. There we go. And we'll do the same with this side, too, grab these ones, and take them over until it's sort of level or flush with the verticals we just made a minute ago. There we go. That's done. Once we've done that, let's grab these vertices here and take these over until they're sort of level with the internal edge. There we go. And we'll do the same with these other ones here, grab these ones and take these over until they're level with this other edge. And that's what we want. That's cool. Let's tap our di mode with that one, and we'll grab this one, hold shift, and grab this one. And now let's tap back into Edit mode. And we can grab this one here, hold shift, and grab this one, and now take both those down. Until we've got this angular joint here. You can take those up a little bit. And that's about what we want. That's fine no. Okay, let's tap out of Edded mode with that and grab this one now. Let's press Shift and Z and bring a copy down a little bit like this. And now let's rotate that, so let's press x180, Enter, and now bring this one down to the bottom, no. Until we are level with the two vertical pieces again. Is that about right? It looks like we want to take it over a tiny bit to about here and bring it down a tiny bit. And let's see if that's working, and it is. So let's grab this one now, and we'll grab this other vertical one, and we can tap into da mode with those. We could grab these vertices and no these vertices and take those up. And now let's bring them down a little bit until they're looking about right. So I'm gonna press G and Z. And I bring these down. It says something like that. And I'm just gonna adjust these by hand, so I'll just grab this one and just tweak this one in. There we go, bring it in, bring it in until we're looking good. There we go. That's good. And we'll do the same this other one, too. We'll just grab this one and just bring it down a little bit, bring it over a little bit. And there we go. That's good. Okay, so let's tap the edit mode with that. Let's go back to solid mode and see what we've got. And sorry, whoops. It looks like my mistake. It looks like I've built the entire structure inside the wall here. Sorry about that, folks. Let's sort this out. So I'll press set, and I'll go to wireframe. And let's press seven, and let's grab this entire thing like this. Whoops. Let's just grab these items here, sorry. So we'll grab these ones. And let's bring those forward out of the wall. Whoops, sorry about that, folks. As press said, let's go back into solid mode, and there we go. That's that's looking good. So what we could do now is maybe just grab these items, this one, this one, this one, this one, and the last one here. And let's hit the forward slash king and numpad to isolate those items. Okay, let's just individually check the scales on these, and this one's out, so press Control A, and apply rotation and scale, and let's just repeat that. Around the bottom one as well. Okay. So now let's grab these four items here. There we go. And let's press Control J and join them together. And now let's go ahead and add a bevel modifier to this. And, of course, that's a little much. So let's add our 20. And let's see what that looks like. Yeah, I think I'm happy with that. I don't think I'll go anymore. I think I'll increase my segments to maybe three, and I'll do a shade oro smooth, as well. And yeah, I'm more than happy with that. That looks great. So I'll go ahead and apply that bevel modifier, and there we go. That's done. Okay, so with that done, let's head back. Let's hit the forward slash key to bring everything back. And let's grab that center panel. And let's grab this one. And let's press Control J and join them both together. And let's grab those and bring a copy over to the opposite side. So I'll press Shift D and Y and bring a copy over like this. I'll press seven to see this from above, and I'll just scoot this over until it's level with the outside edge of the stuff we made before. And there we go, that's done. Okay, so that's a headboard finished for this room, too. So there's quite a few items here. So I think what I'm going to do is create a sub file in here in bedroom two. So I'll select bedroom two. I'll hit the file, and there we go. And here it's bedroom 2.2, so I'll grab this. I'll delete that heading and I'll call it the headboard. There we go. And then I'll grab these items. I'll grab this and then the plane there in the middle, and I'll grab this one and then this one. And then I'll press M, and I'll click on collection and go to first floor and then go to bedroom two and then go to headboard, and there we go. So that's dropped all those items into this subfolder here. I'll compress that, and I'll compress bedroom two. And there we go. So that's the headboard finished in bedroom two. We can actually bring back whatever's missing. So we can click on the middle roof and open that up and then this one. And that's open bedroom two and bring back the window open bedroom one. And I've already turned the window under this one. So I'll compress bedroom one, compress bedroom two, and compress the first floor, and there we go. So our outliners still looking super neat when everything's compressed, minimal amount. Alright, so we could turn on the ground floor. And that's it, I think for modeling on the first floor, I think we're already on the first floor for all our textures. But I think before we do that, let's carry on now with the ground floor in the next lecture. So in this one, we need to apply a floor, and we need to make this feature wall with a TV, et cetera, on this wall, and we need to do a little bit on this side, as well. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 38. Lecture 35 T,V Wall Part 1: Hello, and welcome now to What lecture are we on? Lecture 35. And in this lecture, let's start our feature TV wall, which goes just here. So let me actually just bring in my Pure F board so you can see it again. Drag it on over from my other screen. And I'm sort of using this is my inspiration here. This is vaguely what I'm going to do. I'm gonna skip the fire here, this alcove, but the rest is going to be vaguely what we're going to do. Alright, let's push this to one side again. We don't need that. And let's make a start. So first things first, we don't need the first floor, so let's go and hide that. So we just have the ground floor. And we don't even need all of the ground. Oh, we do because we're going to put a floor in first. I'm getting ahead of myself. We do need a floor in. So let's go ahead and open the ground floor file. And I think I want to create a separate file in here now, because ground floor walls isn't comprehensive enough. So I'm going to click on the ground floor file and hit subfolder. There it is there. I'll click on it, and I'm just going to call this interior. There we go, and click into. But for now, I'm just going to click on ground floor walls. So the first thing we're going to do is go ahead and bring the cursor back to here where all the axes cross. And this is called, I did say, I think, at the foot in Lecture two or Lecture three, but just to remind you, it's called the world origin. So let's bring it back to there, so I'll press Shift S and cursor back to world origin. There we go. Now that I've done that, I'll press seven and I'll press Shift A, and let's bring in a plane. Okay, let's just tap straight into edit mode with this. And let's press two so we can select edges. Let's grab this edge here and pull this over until it's slightly under the wall. Do the same with this one, pull this over until it's slightly under the wall, and just repeat this process. Pull this over, and this one as well, of course. There we go. So we can tap out of Edit mode with this, and let's have a look at it and see if we're happy enough with the height. I'll just zoom in a little bit. And I'm just looking really what it's doing in relation to this track for the doors. And I think I'm absolutely happy with that. So let's just select it again and let's name it. And let's call it the floor. There we go. Alright, so I'm going to compress the ground floor walls file. And then we're just going to click on the interior file there. Okay, so now let's go ahead and bring the cursor over here. So let's grab this wall here. Well, actually, let's hide some of this stuff because all we really need at this stage is the walls and the floor. And I think that's about it. So for those two selected, I'll hit the forward slash k and the lamp pad to go and herd and isolate them. And now let's tap into Eddy mode with these walls. And let's press three so we can select faces, grab this face here, and press Shifts and cursor to the selected. There we go. Let's tap out of edit mode with a wool. We're done with that now. And let's work on creating the sort of vertical strips first. So let's press Shift A and mesh and cube. Let's press seven to see this from above. And let's go ahead and scale that down significantly. So we'll hit S and just bring this down to something like that. I'll bring it right now to the edge of the wool. And just bring it flush with the edge of the wall and, of course, forward until it's flush with the wall, as well. And let's have a look at that and see maybe I'll, first of all, scale it in the Z to get a better idea of the proportion of this. And I'll do that again and Z, and just bring this up. And I think it's too big. So I'll press seven again. And I'll scale this down in the Y, so I'll press S Y and just bring this down like this, now to maybe something like that, and then bring that over again. And let's scale it down slightly in the X S and X, bring this down like this, and now touch it to the wall again. And let's have a look at that, see if we're happy with the sort of proportions of that one. And I think I'm going to tap into Edit mode with it and grab this face here now and take this back a little bit and do this rather than repositioning it each time we scale. Let's grab this one now, and let's take this one back a little bit. And that, I think, is more like what I'm thinking. I might even take this face back a little bit more, and there we go. I'll grab this top face now, and I'll bring this until it's kind of flush with the top of the wall. I just press three, so I see this from this angle orthographically. And now just bring this up until it's just just under. The wall edge, there we go like that. Now, let's grab this one here. Then I'll press three again, and I'll take this up until we kind of have the right kind of spacing, which is, I'll bring it over again for a minute, and you can kind of see it's about two thirds here to about a third of the bottom. But I think I'll make mine a little more equal top and bottom on these. So let's take that back and I'll take this up a little bit more. To maybe something like that, I'd Alright, so I'll tap out of Edit mode with this, and I'll fix the scale because that's got to be out. Let's press Control A, and apply rotation and scale. And then let's right click on it as well and set the origin to the geometry. There we go. Okay, so now let's apply a bevel modifier to this. Generate and bevel. And, of course, let's put our standard two zeros to the right of the decimal point. And let's turn our one straightaway into a four and see how that looks. Is that too much? Am I thinking that's too much? Yes, I'll turn that four into a three and enter, and let's increase our segments to about four. And yeah, I think that's good. I think that's what I like. I'll do a shade auto smooth on this. There we go. But I'll leave this bevel modifier active for now. Okay, now we've done that, let's just add a modifier again straightaway. So add modifier, generate and array. Okay, so we don't really want this to array in the X, so we will turn that to a zero. And so there we go. In the Y, let's go ahead and scoot that over and see what we get. I'll press three again on the numpad to get us that orthographic view so we can see what's happening here, zoom in a little bit, take that Y up to about maybe, let's see. So 1.3, I'd say, looks good to me. I think I'll leave that at 1.3. And now I'll go ahead and increase the count, bring this across. Two, I would say about there. Yeah, I'd say about there. Looks good for me. Okay, now I've done that. I'm gonna leave this bevel modifier active. And I'm gonna press shifty and Z and bring a copy down. And I'll press three again to get it in the orthographic view, and I'll go ahead and carry on bringing those down, too, I'd say about there like that. I'll tap into Edimode, grab that face there, press three again, and now bring those down. And this is the big benefit still keeping the ray modifier active is if I change the first, all the others will follow. So I'll bring this down like this to get us the size of the marble panel which we'll go there. And I think that's good now. Okay, I'll tap out of edit mode with that and check the scale and everything on that, and that's okay. So I think the next thing I'm going to do is look at putting our first panel in there. So let's do that next. So let's press Shift A and mesh and cube. And let's press seven, and let's scale this down and bring this over like this. To kind of get our gap right. So something like that, I'd say. And now let's scale it down in the X. So SX maybe bring this forward like this, scale it down a tiny bit more in the X of s x. And there we go. That's about right. Okay, so let's press three and then I'm pad to get us in the orthographic view, and then let's go ahead and take this up to the top like this. And there we go. That's good. So let's tap into Edit mode with this. Let's press set to go into wireframe, grab the bottom edge here now and go ahead and bring this over like this. And there we go. That's good. Maybe I'll just reduce the width of this panel. So I'm gonna bring this over a little bit like this. Yeah, that's good to me. So with that done? I'll go ahead and tap out of veto mode, and I'll go back to solid, as well. And I'll fix the scale on this. So Control A, and apply rotation and scale. And let's go ahead and add that bevel modifier to this, as well. Two zeros. A two maybe, a two on this and increase our segments to two, and there we go. And again, I think I'll just leave that bevel modifier active Fino. Okay, so I think if I push on this lecture is going to be too long for just one lecture. So we'll split this into two. So in the next lecture, we'll carry on placing our panels across here, put a base here at the bottom, and put our marble backing panel in as well. Alright. Thanks very much. I'll see you in the next one. Bye bye, Fine. 39. Lecture 36 T,V Wall Part 2: Hello, and welcome back. No to Lecture 36. And yeah, let's carry on with our TV feature wall. So let's grab this block here, let's press three again in the numpad. Let's press shifty and Zed and bring that copy down, and just bring it so it's kind of level with the top edge with the top edge of the other little strips. And there we go. Alright, let's tap into Edi mode. And let's press three. Sorry I didn't tap into Edit mode. Let me try that again. There we go. And let's press three, and let's take this up again until it's kind of level with the bottom. And, yeah, that's it there like that. Alright. So let's tap out of Edit mode again now. And let's grab this top one. And let's press Shift and Y. Bring a copy over like this. And let's have a look at our gaping compared to the others. I'll take it back a tiny bit like this. And now let's tap in let's go into wireframe mode. And now, let's tap into Edit mode with this. And let's grab this one and bring this down now to the bottom edge. This one is a full panel. And there we go. That's cool. And I'm gonna increase the width on this panel slightly to about maybe a bit more, maybe about there, like that. That's it. Tap out of Edo mode, and I grab this panel again now, and press Shift D and Y and bring a copy over like this. And let's inspect the gap, make sure that it's kind of even like the others. It's too wide at the moment, so I'll bring it back this way. Let's tap into Edit mode with it, grab this edge here. And now pull this back to leave a slight gap to the wall. Like that. There we go. That's cool. Okay, so let's go back into solid mode now to see what we've created. And I think that's fine. We have the bevels on everything. We do, indeed, and there we go. That's cool. Okay, so the next thing we need to do is create a big marble panel, which goes here. So let's do that next. So again, it's just a cube, so let's press Shifte and mesh and cube. Let's press seven, go into the orthographic view. And let's scale this down in the X. I'll press SX and bring this down to something like that. Let's make sure it's flashed with the back edge of those others like this. And I think I'm going to scale it down a bit more in the X. I'll press SX, bring it down a bit more to something like this. And now take it back to the that. All right, so let's tap into Edit mode with this, maybe. And let's press three to go into the orthographic view. And let's go into wire frame, grab this edge here now and bring this down until it's kind of almost touching those vertical strips, and let's do something similar on the bottom here. Take this up, zoom in a bit, and now bring this down like this. That's good. And I'll grab it here and take it back to level with this one like this. And I'll just press G and Y and take it a bit more. There we go. And now let's grab the other one and take that back until it's flush with the edge of the wall. Something like that should be good. Okay, let's go back into solid mode on that and let's tap out of Edit mode. Let's look at the scale, and it's out. So let's press Control A and apply rotation and scale. And well, let's go ahead and add our excuse me. Let's try that again. Let's go ahead and add our bevel modifier to this. There we go, and add two zeros as normal. And turn our one into I'll keep this edge quite sharp, so I'll go for a two and click Enter and then put maybe three segments on there, and there we go. That's what I want. Okay, so that wasn't so hard. So the next thing I want to do is put a capping on this one here just to clean this wall up. And then also just to put a base in as well. But I think I'm going to bring everything back now so that I can see when I put this capping on how it's going to look against the steps. So let's hit the forward slash key to bring those items back. Okay, I'm going to press Shift B and just snap onto this area because it's running a bit slow, there we go. And let's go ahead and bring another item. So I'll press Shift A and mesh and cube. And I'll press seven, and I'll bring that cube to the end like this. And I think I'll just tap into Edit mode with it straight away, and I'll go into wire right mode. And I'll grab this edge like this, and I'll bring this over like this. And put it right on the edge of the wall like that. And here, as well, let's bring this over to give us our final thickness for our kind of capping piece of marble, something like that. And I grab this one, take this back, and I'll have it a little bit proud of the TV wall, maybe something like this. And, of course, this one, as well, let's take this over. There we go like that. Okay, so let's grab this edge now, press three and take this up. And let's grab the bottom one now. Bring this down, set it on the step. And let's see what that looks like. Let's go back to solid mode. And let's see what we have. And yeah, I think that's exactly what I wanted. So let's go ahead and put our bevel on this, now, so I'll tap out of di mode. And the scale is correct. So let's add our bevel modifier to this. Two zeros. And turn that one into a two and turn our segments into maybe three. And there we go. That's done. And in this case, I think I'll go ahead and apply that one. Okay, so now that we've done that, we need to bring in next a baseboard, so we can do that next. So let's press shift, eh, and mesh and cube. But when I mean a baseboard, I don't know if that's the right term, but I'm going to put like a base in it here to go just for everything to sit on. And eventually, I'll put, like, a plant here in the corner that all sit on it as well. So let's bring this down. Let's press three, and let's press the head and go into wire frame, and just make sure this is sitting on the floor. There we go, something like that. Oh, it's tappened at Edit mode with this. Grab the top face here, bring this down until it's just under the strips of wood. Oh, yeah, like that. We'll grab this end here, and we'll take this over like this. And we'll grab the other end, and we'll take that over, as well. And let's see this from above, so I'll press seven and see what that's doing. Of course, this is a bit crazy right now, but we'll sort out. We'll grab it here and bring this over. Take it back a tiny bit to about there and grab the front edge now, and take this over. And I'm going to make it go to about there like that, I'd say. I think that's about right. Okay, yeah, that works for me. So let's press it head and go back into solid mode. And let's tap out of Edo mode with this, and let's add the modifier on this. Add our bevel modifier and put our two zeros on and enter, and let's turn the one into a three and see what that looks like. And that looks good, but let's turn our segments into a three as well. I'll go ahead and apply that bevel on this one. And there we go. So that's our TV wall complete. And let's take a look what we've got here with our modifiers. So let's apply our modifiers on this. Apply from the bottom. So I'll leave the smoothing modifier on because that's not really anything. So let's apply our ray modifier, so apply that and let's apply our bevel modifier. There we go. Let's do the same with this one, apply our ray modifier and apply our bevel modifier. And there we go. Let's take these two items, and let's Control J and join them into one. And I think here in interior, I'm going to click on this. And I'm going to make another sub folder for this. And I'm going to call this TV wall. There we go. And this cube 04, I'm going to call this vertical strip. There we go. And then we got these panels. So let's apply these modifiers on these panels. And this one here as well. And let's take all these panels, and let's join those. So I'll press Control J and join those into one. And now let's go ahead and call those panels. There we go. So now we have the marble here. So let's apply the bevel on that. And we'll call this marble back panel. There we go. And what's this one? Let's see. So I'll call this marble base, marble base. There we go. And now we just have this here, so I'll call that the marble capping. There we go. That's. Okay, so let's take all these items. So one, I'll whole shift and go all the way through to panels. There we go. And I'll just drag them into the TV wall, and there we go. So then we can compress the TV wall, and the outliner is looking quite neat again. Okay, so that's our TV wall complete. So on our next lecture, let's start work on our sofa, which is something I'm looking forward to doing with you because I can show you how to do cushions and put wrinkles in and all that kind of stuff. It's gonna be very cool. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 40. Lecture 37 Sofa Part 1: Hello, and welcome to Lecture 37. And in this one, let's have a go at starting our sofa. Let's see what we can do with this. So I think the first thing I need to do is bring back our reference images, so I'll turn those on and open that file. And I don't need the first floor plan, and I don't need the front elevation. I just need Oh, let's turn off this reference cube. We don't need that either. So that's all I kind of need. I think I need to hide my floor here. So on the ground floor, let's open the ground floor walls, and let's hide the floor. So now we have a visual reference as to the size of our sofa. It won't look exactly like this, but it'll look kind of similar. Alright, so I think the next thing I want to do is I want to bring in, like, a low poly model of a man to put here. So we've got a reference as to the size and scale of the sofa, so I'm going to do that. So we'll use Blender kit, so I'll type into this low poly man. Oh, low polywoman whenever you want, Rule. Click Enter. Let's see what we can find. And let's right click on this and just make sure it's a reasonably low file, and it's 2 megabytes. That's fine. So I'll go ahead and left click and bring that in. There we go. It's in. So I'll just grab this and bring it over. And then I'm going to press one to make sure that we're exactly in the orthographic view and bring that down to the floor like this. There we go. That's good. And I think all I really need now is this reference image, but I can't select it. So the ground floor plan, I'm going to click on this so it can be selected, and then I'm going to select the ground floor plan and this low polyman. And with those two items selected, I'll hit the forward slash key. Just to isolate those two objects. That's all we really need now. Okay, so we're good to go there. I'm just going to hit this little cross to close that Blender kit window. We don't need that now. And let's see what we can. So on the ground floor, let's just select this. And let's compress this ground floor walls bit. And let's compress the interior. But select the interior and let's hit a sub file. Let's open this again. I shouldn't compressed that. On interior, too, let's call this sofa. There we go. And we'll keep that selected so that we can add objects to it. Alright, so we kind of need to just make sure that the scale is right on this guy. So let's bring in a cube, so I'll press Shift A, and mesh and cube. Let's press one and bring the cube down to the ground level. And bring him over like this. And on the height here in the z, let's make it. So the average height for a man is about 1.8 meters. So let's do that. And then we'll bring that down to the ground plane again and see what we can see. So he's a little bit short, so we'll scale him up a tiny bit. So that's There we go. That's about right. Okay, we can delete this cube now and we can make a start on our sofa. Okay, so I kind of kept that cube, actually, but never mind, so I'll press seven, and I'll press Shift A and mesh and cube. And the cube is coming there on the sofa. And I'm gonna call their sofa base. There we go. And I'm going to go ahead and bring that over like this. And I'm going to go straight into wireframe mode, and I'm going to tap into Edit mode. I'll grab this at here and bring this to about here like this and grab the back and bring that to A here, something like that, I think. Okay, so let's press one so we can see this from your orthographic view. Grab the top now and bring this down. Until we get that kind of thickness, I think, can be quite a chunky wooden sofa this. Okay, I'll tap out of edit mode, and I'll grab this guy, and I'll bring him over so he's closer to the sofa for a minute. Because I want to set the seat base level with the knee. So I'm going to go ahead and I'll set the origins of this to the geometry, and now bring this down. So the top edge of this is level with the knee. And that's about right something Okay, I'll take him away again. We don't need him for a while. And I'm gonna go ahead now, and I'll just grab the item, and I'll press seven again. And I'll press shifty and X and bring a copy over like this. And with that done, I'll just press Shift R to repeat that operation. And that size was actually perfect. So I just wanted to duplicate those for a moment just to make sure that my guest size for that board was correct, and it's actually worked out really well. So I'll delete those now for a minute now that I know this block is the right size, and I'll grab it and I'll tap back into Edit mode. I'll grab this here and I'll take this over like this. And I'll grab the front here, and I'll take this over. But I'm going to differ a little bit from the image you can see beneath. I'm going to actually take it a little bit further over like this. Okay, so let's go back to solid mode now. And I think the next thing I want to do is add a bevel to these edges. So I'll tap out of Edit mode, and I'll look at the scale on the rotation, and they're still fine. So I'll add modifier, generate, and bevel. I'm just going to go for it, and I'm going to say this needs to be zero, 03. So I'll go zero, 03, and click Enter, and I'll see what we got. And yeah, I'd say that's about right. So I'll increase the segments now to three, and there we go. Okay, with that done, I'll press seven. And I'm going to go ahead and press Shift D. And X and bring this copy over like this. And I will put it right next to it, something like that. And with that done, I'm going to press Shift to repeat my last action, and there we go. So there's our three boards there for the base. And with those done now, I'm going to actually join those together, so I'll grab this one and this one and this one, and I'll press Control J to join them into. All right. So now let's press seven to get that orthographic view again. So let's grab this now, and let's press Shift D and X and bring this over a little bit. And now let's press r90, Enter. Let's take this back until it's flash on the back edge like this. And now let's take it over on the X until it meets up with the other one like this. And let's take a look at these and see what we got. And I'll press G&X and just bring them over until they're touching, which is just like that. Okay, so I can actually tap into Edit mode with this now, press Z, and get a wire frame, grab these faces here on this edge and just bring this back now until it's kind of where we want it, which I'd say is about there like. Okay, so there we have our seat base done. Let's press and go back to solid mode and see what we got and see if we're happy. And, yeah, that's what I want. Okay, we could join these two together so we can press Control J and join those into one seat base. There we go. Okay, so let's make a start on the sofa back. We definitely won't be able to do everything in this sofa in one lecture. I think it's probably going to take three or four lectures to do the sofa. But we'll we'll do a few more minutes. So let's select the item, and let's press Shift S and bring cursor to the selected, just to get the cursor kind of where we want it. Let's press Shift A, and let's bring in a cube. So we could press one on the numpad to get us to that front view, and then we could press S and scale this down. Bring it over, bring it up a little bit, and maybe scale that down. Well, a bit more. I want it to be a little bit thinner, less thick than the thickness of the base, so I'll hit S, and I'll scale this down. I would say to something like that. Let's just have a look. No, maybe a little bit less again. Hit S, scale down. Tiny bit more again. That's all it as. And yeah, that's about right. I think I'm happy with that. Now that's done, I'll tap into Edit mode with this, and I'll press set and go into wire frame. And I'm going to grab this top edge here and I'm going to take it up like this. And I'll grab the bottom edge, and I'll take it over like this. And there we go. So let's tap out of Edit mode with this and grab this guy and bring him over again to kind of compare him to the back of the sofa. Is that about right? I would maybe just go a little bit higher, tiny bit higher to about there, and I think that's happy. Okay, I'll tap out Vedam mode with that, and I'm happy with that. But now I'm going to set the origin back to the geometry, so it's in the middle, and I'm going to press R and just rotate this back a little bit more like this to get the angle of the back of the sofa, and now I'll take it back again to about Okay, let's tap into Edit mode again with this now. And let's press one so we can select vertices. And we'll grab these vertices like this. And I'm going to go here in the transformation to local. And now I'll pull this down on the z axis like this. And I'll do the same here until it's meeting at the same sort of angle as the sofa base. Those angles are the same, and that's what I want. Okay, I'll tap out of Edi mode with this, and let's press seven and see what we've got there now. And let's press S and Y and scale it up in the Y. So S Y, and scale it up. And let's do that again. So S and Y and go ahead and scale this up. In fact, let's just tap into Edi mode, and let's do this properly. Let's grab this here like this and pull this back until it's about there. And this slide, I'm actually going to fly past the sofa, so I'm going to go to about the oh. There we go. That's in position. Let's go back to solid mode so we can see what we've got, and see if we're happy. I'll tap out of Edit mode and just make sure that that sofa back is about the right height, and I think I'm happy with that. Okay, now that that's done, I'll grab this item, and I'll go ahead and turn the transform properties back to Global, and I'll press shifty and X and bring a copy forward like this. And I'll go ahead and rotate that in the Z axis. So I'll press Z, 90, enter. Okay, I'll take this back in the Y axis. And now I'll take it over in the X axis like this. And see what we've got. So I think I need to take it forward a little bit, though things may change, but I'll take it forward a tiny bit like that. And I'll do one last thing. I'll do one more for here. So I'll grab maybe this one, and I'll press Shift D and X, and I'll bring a copy over again. And then I'll rotate this one or maybe actually I'll set the origin again, set the origin to the geometry, and then I'll rotate that on the Z 180. So z180, enter. And now I'll go ahead and take that back in the X axis like this. To something like that. And now let's slide this over on the y axis until it's just a back a little bit from the seed base. That's about right for me. Something like that. Okay, so I think we'll leave it there for this lecture, and we'll pick it up again in the next one when we start cutting all these panels so that they make nice joints in the corner. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 41. Lecture 38 Sofa Part 2: Hello, and welcome now to Lecture 38. And yeah, let's carry on with doing a sofa. So the next thing I want to do is split these panels at this joint here to form a nice neat joint going down the corner. So let's press Shift day. And let's bring in a plane. Let's rotate that on the y axis, so I'll press, I'll press y90 enter. I'll go ahead and bring this over like this. And I'll press seven to see this from above. Then I'll pull this over like this. I'll bring it to the middle of this joint, and I'll rotate it. I just line it up with this joint as best as we can. Zoom in a bit and see what we got. Bring it down a little bit, and rotate it a tiny bit And there we go. Let's see what that looks like now. And it's a little bit off on that corner, which is not really what I want. It's not hugely off, but it's a little bit. So I think it's this one then that I need to take over a little bit. I'll do that. I'll just bump this over just a tiny bit like this. There we go. And let's go ahead and look at this again now. Maybe just take this over now in the X. And let's see what that looks like here now. Okay, let's do a bit more on this, so I'll grab this again and now just pull this back a little bit. There we go. And now let's do the same here. Just pull this over in the X. And there we go. That's cool. Let's see what that looks like. And I'm happy with that now. That's close enough that you won't see that. Okay, once we've done that, let's check this plane, and we can fix the rotation on it. So let's press Control A and apply rotation and scale. Let's select this piece here now, and the rotation and the scale is out. So let's press Control A. And apply rotation and scale. Okay, now that we've done that, and we still have it selected, let's go to modifiers. Add modifier, generate, and let's add a Boolean modifier. Grab the little eyedropper and click it on the plane. And there we go. That's work for us. And yeah, I think that's good. I'm going to go ahead and apply that. There we go. That's cool. Now let's select this one. Let's check it. It's out, let's press Control A and apply rotation and scale, and let's apply the Boolean modifier again. And it's not going to work, but I'll do it just to show you. I'm going to grab that little drop her, and I'll hit the plane. And this is what's happened. It's deleted the wrong side for us. What that basically means is that this plane that we have here, currently, the normals are the wrong way round for cutting that. They always had to be wrong way round for one of these two. We had a 50 50, so it worked for this one, didn't work for this one. If we flipped it, it wouldn't have worked for this one, but it would have worked for this one. So we always had to deal with this. So what I'll do now is I'll select this plane, and I'm going to go over here now and click on this one, and I'm going to click on face orientation, and this is showing the blue means that this is the correct side of the normals. The red is the back side of the normals. As you can see, it worked this way because blue is facing this one. So now we need to flip this. So we can select it, go into Edit mode, and then press A for all and go over to mesh and click on normals and flip. And there we go. And now it's actually worked. I'm going to go ahead and turn this off because I find it distracting. And we can have a look at this, and yeah, all is looking good. So let's grab this one now. Let's tap out of Edi mode, grab this one and go ahead and apply this boolean. And there we go. Okay, so let's drag this over now on the Xaxis like this. Let's go ahead and rotate that on the z. So I'll press R and Z. I just bring this round like this. Let's see what we've got here. Maybe we rotate this again on Z, so I'll press R z and just try and line this up as best as we can. And I'll pull it on the Y. And I think I'll go into Y frame mode for a moment, and I'll press seven, and let's see what we can see. And I think I'll rotate it again, so I'll press R and rotate it to about there. And I need it to line up with these two intersecting points here. So I'll pull it back a little bit now. And there we go. That looks pretty good to me. Okay, so let's press and go back to solid mode. And let's see if that's looking good, and I think it is. So let's grab this piece here and add modifier, generate, and boolean. And let's get the little dropper and select the plane like this. And the orientation is wrong on that, so let's go ahead now and just flip the normals. So I'll select the plane, tap into Edit mode, press A for O, go over to mesh, normals and flip. And there we go. That's work now. So I'll select this panel now. And I'll go ahead and apply that Boolean modifier. Okay, that's done. So now we're just on to the last one. But we know we need to flip this, let's flip this first. Let's tap into Ed mode, press A for all, and mesh, normals and flip. There we go. We'll tap out of Edimde with this, grab this one, and let's fix the scale on this. Press Control A, and apply rotation and scale and modify and generate and boolean. Grab the little dropper and select the plane. And there we go. That's done. So I'll go ahead and apply that. Okay, we can delete this now. We're done with this. And we can have a look at our handiwork and see what we've got. And that's looking fantastic. That's a really nice looking corner. So now we've done that, let's grab each one of these and apply a bevel modifier to it. So add modifier, generate, and bevel. And let's do the whole two zeros. And I'll turn the one into three and click Enter. And let's increase our segments to three. And there we go. That's done. So I'll just go ahead and apply that now. I don't see a reason to keep these active now. And I'll go ahead and do the same with this one now. So I'll add modifier and generate and bevel, and we will go for 003. And we will increase the segments to three and go ahead and apply it and there we go. And I like this detail. This is going to add some real realism to this. The fact that we have a slight bevel here, it's going to really highlight the fact that these are separate boards, so I like this. So let's do the last one here now. So tap on it, check the scale. It's all good. Add modifier, generate and bevel, and we will go for 003. And click Enter and increase our segments to three and apply that. There we go. Okay, let's select all three of these now. And let's press Control J and join them together. Okay, so we can select this again now, and we can name this. And we'll call it Sofa Back. And there we go. So we have sofa back and sofa base. Okay, the last thing we want to do now is just put some legs on this. So let's go ahead and do that next. So I'm just going to press Chef A and mesh and cube. And I'll press one. And I'm just going to tap into edit mode with it straight away and press and go into wireframe and press three so we can select faces. Grab this face and take it down like this, until it's nice and neat on the underside of the sofa. And I'll do the same at the bottom now. Take this here, back up to our floor. And let's grab this one now and bring this one over like this and grab this one here and bring it over like this. Let's press three now to see this in the other orthographic view. And let's go ahead and grab this edge and take this back like this and grab this edge and just take this one back a little bit. So I'm kind of looking at this edge here, and this edge here is a reference now. And there we go. So let's go back into solid mode, now, and check that that's looking good, and I'm pleased with that. So I'll tap out of Edit mode, and the scale and rotation is still correct. So let's go ahead and add our modifier to this. Bevel modifier, and two zeros and a three. And there we go. And segments will take up to three. Okay, so with that done, let's press one again. And let's go ahead and press shifty and X and bring a copy over like this. To, I would say about about there like that. No, I'm going to go for the middle of this one here. So this is the board coming towards us on the Y axis, so I'm going to go for the middle of that. Once I've done that. I'll press seven and I'll look at it from the orthographic view, and I'm going to right click and set the origin to the geometry to re center that. And I'm going to press and rotate it like this. So I'm going to put this one on a slight angle like this. I'll take our transformations to local and I'll poly back in the Y. And there we go. That's kind of what I want. Okay, so with that done, I'm going to grab another one now. So I'll grab this one here, and I'll press seven again, and I'll press shifty and X, bring it over like this. And we'll rotate that in the ZT I'll press z90 I'll right click on it, and I'll set the origin of the geometry just to reset it, and I'll bring this over like this and just put this in position on the end just like this. Maybe over a little bit further at about there like that. Okay, so I think three legs will be enough because everything is very solid in this. And I guess that's it. So let's grab all three of these now. And let's press Control J and join them. And let's name this. I'll call this the feet. And there we go. Okay, so I think that's the hard surface modeling section of our sofa completed. In the next lecture, it's going to get fun because we're going to start now doing something completely new. We're gonna start doing soft surfaces. So we're going to do our upholstery, our plows and our cushions, and I'm going to show you some really cool tricks in Blender to apply that. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 42. Lecture 39 Sofa Part 3: Hello, and welcome now to Lecture 39. And in this one, yeah, let's make a start on our soft surface modeling now on all our pillows and cushions that'll be on this sofa. And like I said, this is a really fun state. This is when things get really creative and Blender can really show what it can do. So yeah, let's make a start. To begin with, how we start, is going to appear like any other thing we've done really. So we'll just start with a cube. So we'll press Shift and mesh and cube. And we'll bring this in like this. And let's press seven to get us in the orthographic view. And let's go ahead and scale that down. Bring it into position a bit, take it back. And let's scale it down a bit more. So I'll let S and scale this down. And I kind of want the front edge of this cube to be overhanging the base. Not that much, though. So I'll let s and scale it down a bit more. Take that in like this and maybe a bit more. Take it back. And yeah, that's kind of what I want. So I'll take this back like this now. And with that done, I'm going to press shifty at X, and I'm going to bring a copy over now to the corner and see how that fits there. And that looks good to me. I'm liking that. So now I'll actually make another copy, so I'll press shifty and Y and bring a copy across. I'm making all these copies right now just to get everything scaled and see what size we want these seat cushions at. And there we go. So let's see what we can do here in the middle. So I'll grab another copy, shifty and Y, bring this over. And it's a little big this time. So I'm going to scale it down in the Y, I'll press S Y, and go ahead and scale this down until you have a very small gap, something like that, I think. Okay, so let's press shifty and X and bring this over a little bit. And let's rotate that, so I'll press R, 90, Enter. And I'll take this back now. And I'll centralize that again. And I'll scale this down in the Y, I'll press S and Y and just bring this down again until it's got a tiny little gap, either side, maybe a tiny bit more on the scaling, so SY, bring it down a tiny bit. And I think that's about right. I'm happy with that. Okay, so what we know is now. Obviously, they are two big slot on the hype, but that doesn't worry. We have three blocks the same. This one, this one, and this one are the same. So in this case, I'm going to delete two of those. So I'm going to maybe keep this one, and I'll delete this one, and I'll delete this one. These two are different, so I'll keep hold of those. Okay, so now that we've done that, let's actually just grab all three of these and let's tap into edit mode. And let's select the faces on top. And let's go and pull those down until we get a kind of seat base height. And I'm going to say something like that. Let's do the same on the bottom. Now, grab this one, this one, and this one, and let's pull those up until they're kind of sitting on the timber sofa base on the wooden sofa base. There we go. That's cool. So, am I happy? Is that good enough Is that thick enough for my seat bases? Well, I like to go a tiny bit thicker. I think I'll go a tiny bit thicker, are these? I'll grab these and take them up just a tiny bit. And there we go. That's cool. Okay, so with that done, we can actually isolate these now. So let's tap out of di mode. And let's just grab these three cushions. And let's hit the forward slash key, which is gonna bring everything back for a minute, but that's okay. And there we go. It's brought everything back. And that sofa looks good, actually, isn't it? I'm liking that. Anyway, sorry, I'm getting distracted. So let's hit the forward slash key again, isolate those three cubes. Alright, so now we're going to start doing something that I talked about a long time ago, actually, and what lecture was it? It was I'm just looking. Lecture four, the subdivision surface modifier. We talked about that, and since then, we've not actually used it, but it is an important modifier within Blender. So I'm pleased that we're going to use this and get a chance to learn with it. So yeah, let's do this. Let's grab these three blocks, and let's correct the scale on them. So I'll press Control A and apply rotation and scale, and let's do the same on the others. And this one, too, can control A and apply rotation at scale. Okay, so I think the next thing I want to do is grab this one and this one, and I'll just hide those for a minute. So we're just dealing with this first one. And I'll go ahead and tap into Edit mode with this. And I'm going to press two so we can select edges. And I'm going to grab this edge here. I'm going to press Control out, and I'm just going to put one loop on it in the middle just like that's all I need to do for now. Once I've done that, I'll tap out of edit mode. I'll select the object. I'll come over to our modifiers, add modifier, generate and subdivision surface modifier. Let's click on that. And it does crazy things to it. Just like it did in Lecture four when it turned the cube into a sphere. It's kind of done the same thing here. So I'm going to max us up on this. So I'm going to hit this four times and see what we get. And for a minute, I'm going to turn off optimal display, and I'm going to go into Edit mode. And I'm going to turn on cage, and we can see the sort of mesh that we're creating. And believe it or not, it's actually going to get more dense than this. And through the whole process of modeling the house, this is exactly what we've avoided. But for upholstery, it's just a necessary el. You need more mesh to do nice looking upholstery. So we just have to sort of just deal with this. Okay, so I'll turn on optimal display, so we don't need to see all that mesh for now. And the first thing I'm going to do is grab this edge here and I'm going to press Control R. Get three loops, and there we go. I'll just grab those like that. And now I'm going to hold Alt, and I'll grab this one like this. Now I'll hold shift Alt and grab this loop like this. And I'm going to scale those up in the X. I'll press S and X, which I'll just take those a bit closer to the edge like that. Alright, so I'll grab this one here now. I'll press Control. Roll the mouse wheel twice to get three loops and put those in place. And again, I'm going to hold down Alt and select this loop. I hold Shift and Alt now and grab this loop. And now let's scale those up in the Y. So I'll press S and Y and take those closer to the edge like this. And there we go. That's looking good. And I think that's all we really need to do. Let's turn off optimal display now and see what our mesh looks like. Let's turn off optimal display for a moment. And yeah, actually, I'm going to. I'm going to put one in there, so I'll press Control up, and I'll put a loop in there like that. And I'll grab this one now and press Control up, put a loop in there like that. And I'll do the same on this axis now. But this one here, Control R. Put this one in like this. And I'll grab this one here and press Controller and put one in here like this. Okay, let's turn off optimal display again and see what that's done. And that's just made the mesh here on the top surface a bit more dense again, which is what I was just trying to get. It does seem crazy, seeing the mesh this dense, and it feels a little bit against what we've learned so far, but it's just what we need to do. Okay, so I'll tap out of Edit mode with this, and I'll go ahead and apply this modifier. There we go. So let's bring back the other two cubes now, and let's select this one here and we'll hide this one. And let's repeat this process, or select this object. I'll tap into di mode, actually, let's hide this one again. So let's hide this. And let's grab this one and tap into di mode. Grab the edge here and press controller and put a loop in like this. Okay, I'll tap out of Edo mode, and we'll add modifier and generate and subdivision surface modifier. And we're going to take this up to four, and we're going to turn cage, and we're going to tap into Edit mode. So I'm going to grab this edge here now. I'm going to press Control R, and I'm going to roll the mousewheel this time 44 times. I think that was it. And I'm going to press S and Y and just scale these out closer to the edge like this. There we go. So I'll grab this one now and I'll press Control R, and I'll roll the mouse wheel, one, two, three, and four and click enter. There we go. And I'll scale this time a little bit, as well in the X. So I'll press S and X and just bring those closer to the edge. Like this. Okay, so let's have a look at this now. So let's turn off Optimal display and have a look at the mesh. And, yep, that's what I'm looking for, believe it or not. So let's tap out of any mode with this, and let's go ahead and apply this mesh, and there we go. Okay, so let's bring back the other two cushions and see what we haven't done, which is this one. And let's go ahead and hide the other one. So I'll grab this one and this one, and I'll go ahead and hide those two. So we just have this. The scale's okay, so let's tap into Eda mode. Grab the edge here, press controller, put the loop. And let's tap out of Edit mode. And let's go ahead and add our subdivision surface modifier. Let's turn on the cage, and let's tap into Edi mode. And let's grab this edge here and press Control R. And let's put four loops in. I click Enter. And let's scale those up in the X axis, so SX and just pull those out closer to the edge like this. Oh, let's increase our level view put to four. There we go. Let's grab this edge here and press Control, and let's scroll this up to four as well. And click Enter. There we go. Let's also scale those up and the Y, I'll press S and Y and increase those to something like that. Okay, let's turn off optimal display, and yep, that's what we need. So let's tap out of a mode with this and go ahead and apply it. Okay, let's bring back the other two now and just check we've got them all. And I think the next thing I want to do is tap into Edit mode with all three. And let's make sure we can select faces this time, so I'll press three. I'm going to try and select a face about middle of the underside of the seat pad. Once I've done that, I'll hold down Control and start pressing plus to expand that selection until I get that close to the edge, but not actually the edge. I would say something like that is what I'm after. Once I've got all of those, I'm going to right click and I'm going to delete those faces just to reduce unnecessary mesh, just to help it a little bit. And let's repeat that process. Find one about in the middle and hit Control plus and expand that selection, get close to the edge with it, and right click and dissolve and delete those faces. I'm sorry. Do it one more time. Bring that close to the edge like this and right click and delete those faces. Okay, let's tap out of Edit mode with those, and there we go. That's us. We've made a good start. So in the next lecture, we'll start using proportional editing tools and then also sculpting tools to get some really cool shapes on these. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 43. Lecture 40 Sofa Part 4: Hello, and welcome now to Lecture 40. And yeah, let's start making our upholstered seat bases look more like upholstery. And this is going to be fun. This is going to be really fun. So, the first thing I want to do is just grab all three items, and let's tap into Edit mode. And let's make sure that vertices are selected. And now come over here to this one, which is called proportional editing and turn this on. And make sure when you hit this drop down that smooth selection is on. So these are sharper selections of the same tool, but we're going to start with a smooth Now, for a minute, don't follow along. I just want to show you what this proportional editing tool is all about. So I'm just going to grab a vertice somewhere here in the middle. And I'm going to press G. I do that, I get this circle appearing. Now, what proportional editing does is it selects a group of vertices as close as possible to the vertice that I've selected. And by increasing or decreasing this ring, it reduces or increases the amount of vertices selected. So if I pull this all the way in like this, and now just pull up, we're using the mouse, I get this effect because I've got a small area selected, and I reduce the size of that ring by simply scrolling my mouse wheel. So I'll press Control Z, and I'll go back, and I'll show you the exact opposite. So I'll press G again, and now I'll scroll the mouse wheel back to increase this selection. And now I'll go ahead and just pull this area up, increasing this as I go. And you can see there the exact opposite reaction. Because I increase the selection window, well, almost to its extent, I get this completely different effect. So this is what proportional editing does. It allows me to select a lot more vertices in one go and pull or push those. So let's press control Z, and then let's do this together. So I'll leave that vertice selected there, and I'll hit G again. And obviously, I'm going to scroll the mouse wheel and bring this forward. And I just want to kind of just bring the seat down in the middle a little bit. So now that I've got selected, I'll just pull that down like this. And I'll do the same here at the back. I'll press G and just pull this down. I'll do the same at the front, as well. I'll just grab it here. Press G. I'll scroll this mouse wheel and a bit more, and now just pull this down. I want to do it quite subtle, because it's very easy to get carried away using proportional editing and the sculpting tool, which we'll use next. So I'll do the same here now. I'll press G, and I'll scroll up a little bit, just increase this, and now go ahead and pull that down. And I'll do the same at the back here. Press G, and just pull this area down a little bit, and do the same here at the front, press G, and just pull this area down. And there we go. That's it. That's all I really want to do is just sort of give the impression that these seats have been sat on a bit, there's a bit of a depression in the middle of each one. Give the impression there's a depression. Okay, let's finish off with this one, now, so I'll press G and scroll the mousewheel up a bit and pull this down like this. Do the same at the back here and do the same slightly less, but a bit at the front. And there we go. That's it. That's all I really want to do. So let's tap out of Edit mode with those. And let's start with this one right here. So I'll select this one. And I'm going to go I'm gonna right click and I'm going to go shade Auto smooth. And I'm going to increase the angle up now to about 45. Maybe even 50. I'll put it at about 50. A roundabout. There we go. Nothing too accurate. And let's grab this. And over here in object, let's go all the way down to sculpt. Now, the first, these are your brushes here that we can use. And if I right click, I can increase the radius of the brush, the size of the brush, and I can reduce the strength. And I can put a little bit of auto smooth on there as well. So I'll put a little bit of auto smooth on there with you. And the first brush that I want to use is called the inflight brush, which is here. So I'll grab this brush. And I'm just going to work the brush. I'm going to increase the radius a little bit more to about there like that. I'm going to work the brush around the edge of the seat. To kind of just round off that edge and give the impression that there's some upholstery foam in there. And you can see what we're doing there straightaway. And we'll just do this along here, too, so that we do actually close these up a bit. I think what I'll actually do is I'm going to tap out of Edit mode for a moment. I'll go back to object mode. And I'm going to go grab these two, and I'm going to press H and hide them. There we go. And I'll grab this one again and let's go back into sculpt mode. Let's carry on with the inflate tool and just bring it around the side of here as well, just so that we close these cushions up a bit. And there we go. That's what I want. Okay, I'm also going to use this same tool now on the back here. So I'm going to bring this around the back of the cushion. Jazz to sort of create a bit more of a divot in the middle. There we go. And, yeah, that's looking good. That's the kind of thing that I want. Jazz graduate this in a little bit more. Just using the inflate tool to just pick up the edges of the cushion like this. And, yeah, that's cool. That's what I want. So the next brush I'm going to use is the crease brush, so here it is here, so I'll click this one. And I'm happy with the strength, and I'm happy with the radius. And I'm just going to apply some creases on these corners to sort of make it look again, more upholstery like, I'm going to right click and I'm going to reduce my radius. Quite a small radius and then go again. And just put some creases in the corners off these seat beds. And then you can easily go too far. So I'm going to try and hold back a little bit to make sure I don't go too far with these brushes. And again, here now, I've put a few more in here like this and maybe some from the corner like this. This is looking good and maybe a few more. And see what we've got going on. And maybe a few more here. And just roll the seat around to get some reflection and see what's going on. Maybe put some of this corner. And now we could just try increasing the strength a little bit, and just so we've got some irregular kind of divots and pulls. There we go. And that's starting to look more like upholstery, something a lot more random. Okay, so the next thing I want to use is the grab tool here. So, here it is the grab tool. And I'm just going to start pulling this around a little bit. And I'm going to right click and I'm going to increase my radius. And I'm just going to pull the chair down, the seat cushing down a little bit just to sort of suggest that there's something that it's just irregular, that there's nothing too uniform about this. And there we go. That's kind of what I want. Do a bit more there, maybe, and just pull this up a little bit here, maybe tuck that over a little bit there. And yeah, there's no hard and fast. I just encourage you to play around with the sculpt tools and get the effect that you want to see. So maybe I'll tuck this in a little bit here. But the thing I will say to you is it's easy to go too far. But if you do, don't sweat it. Just press that Control Z button repeatedly until you get it back to where you like. Okay, so I want to show you another button, which is this one here, another brush, which is the smooth one. I don't think I need it too much, but I just want to show you what it does now. It's going to smooth out the sculpting that I've done a little bit, just to try and soften some of those effects if needed. So I could reduce the strength and go again and just try and smooth out some of these effects. And there we go. So the next brush I want to show you, I really like it. Again, easy to go too far with it, but it is the coolest of all the brushes. And it's here. It's called the cloth brush. So I'll select that. And I'll look at the strength, and I'm going to right click, reduce the strength a bit. And I tend to use a figure of eight movement with a cloth brush, and I'll show you what it's going to do for me now. Look at that. So I can swirl this round and figure it out and get this really cool cloth look. Okay, I'm going a bit far now, I know, but I just want to show you really what it's capable of. So look at this. By sort of creating a figure of eight shape, I can get a really cool looking upholstery or cloth, there we go. So obviously, that's far too much, but how much fun is that? Look what we've created. Blender is a super cool thing. It's really powerful. It's amazing that it's free. Okay, let me just control Z, 'cause I've gone far too far. And I'll go back a bit. And I'll try that again, and I'll rein myself in. So I'll click right. I'll right click, and I'll reduce the strength, and I'll reduce the radius. And I'm going to work the cornice, and I'm going to do sort of a figure of eight I find works well. Kind of a very subtle figure of eight to get something like that. And that's more than enough, maybe. So I'll do the same here, and I'm actually going to reduce my strength and reduce my radius some more and go over this corner. Cool. Is this too much? Is might even be too much. I'm gonna hit the Controlse and go back again. And I'm going to try this again now. So I'm gonna reduce my strength again, and I try this. And there we go. That's kind of the effect that I'm after. Just something subtle going on on the corners. And, yeah, that's cool. So I'm gonna increase my radius, and I'm gonna increase my autosmooth. I bring a bit of autosmooth in and now just apply that to the top, as well. There we go, do the same here. And there we go. Is this too much? So I'm going to use the smooth tool again, and I'm gonna reduce the strength and just touch this around a little bit, just to try and soften the effects that I've put in. There we go. And, just play around with Blender. I mean, play around with the scope of tools. It's an awesome set of tools within Blender. It's really fun. And just see what effect you can get. So I'm kind of liking what I've got there now. I don't want it too wrinkled, you know, I tried to do quite a nice sofa, so it could be that that's even too much. So maybe I'll soften this off even a bit more. Maybe increase my radius a bit more and just soften this up. And there we go. I think I'm happy with that now. Just bit more on the front, and there we go. That's cool mode. Sorry, I'll tap on sculpt mode, and I'll press Altag and bring the other two back. There we go. And we can kind of see the difference now between the two. And I think I'm really liking that. I think that's a nice effect. Let's apply a shade or smooth to it, and then let's go into sculpt mode. There we go. In fact, I'll just go back into object. And I'll grab this one and this one, and I'll press H and hide them, and then I'll go back into sculpt mode, select the item, and that's it back into sculpt mode. There we go. So I'll start with the inflate brush. It's right there. And I'm going to right click and I'm going to reduce the radius and reduce the strength, and then run that brush along the edges like this on the front edge as well. And there we go. That's cool. So I'll run this now along the top edge now as well. Maybe increase our radius and create sort of a rise there on the edges like that. Maybe reduce my radius a little bit, and there we go. And that's looking good. I think I'm pleased with that now. Okay, so now let's go ahead and grab our crease brush. And let's reduce our radius. Leave the strength about where it is, and now just start applying some creases to this. And that's too much. I'll press Control Z. Take that back and reduce my strength and reduce my radius, that will you. And I'll try that again. Put one there and put one here like this. Put one here like this and do one here as well. And maybe one right across the middle. And now let's put a couple of creases in the top here. And we'll do some more now on this side, as well. And maybe one so sneaking through. And let's see what that looks like, and maybe this one as well, snaking through a little bit. And there we go. Now that we've done that, let's grab our grab tool and let's just increase our radius a little bit, and let's turn on some auto smooth. And let's try just pulling this corner down a little bit. I'll increase my radius a bit more. And there we go, Let's try this now. And this is just going to just grab the material and just sort of manipulate it a little bit. Just pull it around and make it a little less regular. That would be good. Could do the same on the top, create some little divots here and there. There we go. Something to just take the regularity out of it. Okay, I think that's looking good. Maybe I'll just pull this one down rather than up. Maybe they don't all need to go up, so maybe in some areas they can go down. There we go. And that's looking good. So now let's grab our cloth brush again and let's see what we've got. Let's right click and reduce our radius considerably. And let's go ahead and apply a little bit of this to our corner here. See how that looks. That's looking good and do the same here. Kind of like a figure of eight, but very loose figure eight pattern seems to work for me. And there we go, that's looking good. Maybe that's too much. But I'll smooth that in a minute. So now I'm going to increase my radius. And maybe I'll increase my auto smooth, and now I'll try here. And there we go. That's cool. And then put one in here as well. And, yeah, that's looking really cool. So I might just try the smooth tool a little bit, and just try softening some of these effects up a bit. Maybe just a tiny bit here, and a tiny bit here. Maybe this one here in the middle. And there we go. I'm really liking the way that one's looking. So we increase the angle of our smooth and our auto smooth here to maybe a 50. And see what we've got. And there we go. I'm going to leave that one just like that. So I'll go here back into object mode. And yeah, that's looking really cool. So let's press Old age and bring them back and compare it to the other one, see what we've got. It's a little more wrinkly than the other one, but that's okay. That's fine. It would suggest that maybe this one's been sat in more than this one. Okay, so let's go to the last one now, and let's do this. So the first thing we're gonna do is right click and shade auto smooth, and then turn the angle up to about 50. A. Now, let's go ahead and hide the other two. So I'll grab this one of this, so I'll hit H to hide them. Let's grab this one, and let's go into sculpt mode. There we go. So let's start with the inflate brush around the edges. So let's find the flaate brush, and there it is. And let's look at the strength and the radius, and I think I'll turn the radius down slightly and then run it along the front to get the effect that I'm wanting and along the sides as well. I increase the radius and then run this along the top, as well, sort of create that sort of feeling that the seat pad has been sat on, and there we go. That's looking good. So now I'll grab the crystal, where is here, and let's look at the strength and the radius. E's right click, turn on Autosmooth and bring that up. And let's reduce the radius quite considerably. And let's try that now. Maybe reduce the radius some more and try that. And just put some greases in. There we go. There's that side. Maybe a few through the middle. I'll reduce the radius even more, and there we go. Increase the radius a bit. I think it went too small. There we go. And that's cool. And maybe just a few on the top. And a few on this side, too. Try increase my radius, try increasing my strength, and just put a few more in, and there we go. So I could grab this grab tool and I can right click and increase my radius slightly and turn up my auto smooth. And maybe just grab areas now and just put some rises and dvts just locally on the surface. Increase my radius and carry on doing that, pulling up and dropping down to get something cool. There we go. That's cool. So let's go over to our cloth brush now, then. And let's see what we're gonna do. Let's right click, bring our radius down, take our strength up a tiny bit, and let's apply this to the corner and see what effect we get. There we go. That's cool. Let's do the same here to get the effect that we're looking for. And maybe a couple on the top now. A couple more this side. And that's too much. I'm gonna hit the controze. Take some of that away. That's pretty much all of it away, actually, but that's okay. And let's try that again. So I'm gonna reduce the radius, and I'm gonna try that again. That's better. And now some on the top. I'm going to use the smooth tool now to soften that effect. Increase my radius. Maybe there. And there we go. I think I'm happy with that, so I'm gonna go back into object mode. I'm going to go ahead and press Aldag. And there we go. So there we have our first upholstered surfaces looking really, rather good, I think. So on the next lecture, what we'll do is we're going to put a piping detail on the edge of these, as well, just to finish those off. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 44. Lecture 41 Sofa Part 5: Hello, and welcome now to Lecture 41. And let's just pick this up where we left it, doing our upholstered seat bases. So we have our upholstery now looking really quite nice. I like what we've got here, but I do want to put a piping detail on these seat bases just to add a little bit more realism again. So, let's show you how to do that. So let's grab this first one here and let's tap into Edit mode with it. And let's press two on the keybod so we can select edges. And I want to select an edge that about that height. So yeah, about that. So I'll hold so I can select a complete loop and select that loop just like that. Yeah, that's a nice height. I'm going to go with that. Once I've selected that, I'm going to press shifty and I'm going to press Z, and I'm just going to pull that copy up like this. All right. I'm going to press P now, and I'm going to separate by selection to separate away from the actual other component. Okay, let's tap out of edit mode now, and let's grab this. And let's right click and convert to a curve. Okay, come down to this one here to data and click on this. And on the bevel here, let's increase this. So that's too much. So let's put an extra zero to the right of the decimal point and enter. And let's increase that one to something like a three and see how that looks. That's looking better, but I think it's still a little small, so I'll increase that three to five and see how that looks. And, yeah, I would say that's about. Once you've done that, increase the resolution to about an eight, and there we go. So right click on it and convert it back to a mesh, and then right click on it again and shade auto smooth. And then right click on again and set the rig in to the geometry. Now, let's go ahead and pull this down until it's back where it was, and just have a look at it and see if it's actually sitting in the right place and see that it looks good. And I like that just where it is. Yeah, it looks good. So I'm going to do the same now for the bottom edge here. So I'm going to tap into Etiode again. And I'm going to hold Alt, and I'm going to select a loop, and I'll select it about the I'll press shifty and Z and bring it up. And I'll press B, and I'll separate by selection. Okay, I'll tap out of Edo mode now, and I'll select it again. Right click, and I'll convert to a curve. Let's go down to the bevel settings, and let's put that where it was on the other one. So I'll add an extra zero to the right of the decimal point, and I'll turn the one into what was it? A five. Let's go for that. And let's increase the resolution to eight. And there we go. So now we've got some right clicking to do, so let's select the object and right click and convert to a mesh and right click again and shade auto smooth and right click again and set the origin to the geometry. Let's pull that down into position and see where it wants to be. And let's have a look at it there and see what it looks like. And I'm pleased with that. So once I've done that, what I'm going to do is join all three of these together. So I'll grab maybe the two pipings and then the seat last, and I'll press Control J to join those into one. And there we go. So that is that upholstered seat base now all finished. So let's go ahead now and repeat that process. So I'll grab maybe this one here. Tap into Edit mode. I'm going to hold Alt and select a loop, and I'm going to select maybe this one here. And I'm going to press Shift and Z and pull this up. I'm going to press P and separate by selection, and then tap out of Edit mode. Okay, I'm going to click on it and right click and I'm going to convert to a curve. Once I've done that, I'll increase my depth to zero, add an extra zero to the right of the decimal point, and change our one into a five and click Enter and increase our resolution to eight. And then let's right click and convert to a mesh, right click and shade or smooth, and then right click and set the org in to the geometry. Now let's pull that down into position. And see where it wants to be. I think down a little further than that, I don't think that's quite right yet. So I'll pull that down a little bit more. And I'd say that's about right now. That's good. Is it right? Let's have a look here. Maybe even a little bit more. And, yeah, that's looking good to me. So let's repeat that process again with the bottom, so I'll tap into Edi mode, and I'll select a loop so hold Alt and select maybe this one here like this. And I'll press Shift D and Z and pull this up like this. I'll press P and separate by selection. Tap out of Edit mode, select it. Right click, and I will convert to a curve. Here, I'm going to increase the depth and add an extra zero to the right at the decimal point and turn the one into a five and click enter. Let's increase our resolution to eight, and then let's right click again and convert to a mesh, right click again, and shade auto smooth, right click again, and set the origin to the geometry. Let's pull that down into position and see where it looks about right. Let's inspect it just where it is. Maybe I'll pull that down a tiny bit more. And I think I'm happy with it there. So once you're happy with it, select the two pipings, then select the Cat and press Control J, and join them into one. Okay, so let's do the last one. Let's grab this one. And let's tap into Eddy mode. And let's select the loops or hold alt, maybe grab this one here. Is that right? It looks about the same. And press Shift E and Z. Bring this up. Press B, separate by selection, tap out of Edd mode. Right click on it again and convert to a curve. Incidentally, if it won't convert to a curve, just come on over to the outliner and rename it as anything else. Just literally rename it as the word anything. That'll be fine. You just need to reword it, and then it will convert to a curve if it's giving you problem. Sometimes it just won't let you. And if you do that, then that should resolve that issue. Okay, back to where were we? Where were we? Okay, let's increase this. Let's increase our depth, add a zero to the right of the decimal point, turn our one into a five. Click Enter, increase our resolution to eight. And let's right click and convert to a mesh, right click and shade Auto smooth and right click and set the Origin to the geometry. Let's pull that down and see where it looks best. And I would say that wants to go down a little bit more. I'd say that's about right. Yeah, that looks good to me. And let's do the same now with the bottom one. So let's tap into Edit mode with again. And let's choose loop here. So I'll hold on to Walt and select one maybe about. Is that good? Right there? Yeah, that's good. So I'll press Shift D and Z and take this up. And I'll press P, and I'll separate by selection. I'll tap out of Edit mode. Right click the object, and I will convert to a curve. Okay, one last time. Let's increase our resolution. And there we go. Let's right click and convert it to a mesh, right click and shade Auto smooth, right click and set the origin to the geometry. Pull that down into position and see what it all looks like. And that looks good to me. So I'll grab this piping and the other piping and the seat base, and I'll press Control J and join them all together. And there we go. That's cool. Okay, so I'm going to hit the forward slash key on the numpad to bring everything back. And we've got more than I want here. I must admit. So we've got the reference images. Let's turn those off. And there we go. So there's our sofa in position. Okay, so the next thing we're going to do is make copies of this one and then fill in the remaining gaps. So let's press seven so we see it from above. This is the one I want to make copies of, so I'll grab this one here, and I'll press Alt D and X and bring a copy over like this and drop this into position. Like this. And now I'm going to press Alt D again. Remember, not shift, but Alt D so that when we start applying textures to these, then the texture will automatically be applied to all its copies. So I'll press Alt D and Y and bring this copy over to here. Maybe rotate this one in the Z. I'll press r90. And there were you. Okay, let's take a look at that and see how it looks. And yeah, that's looking really good. Yeah, I'm pleased with that. So in the next lecture, what we're going to start doing next is start making our upholstered back panels, which will lean against the sofa back here, which is almost identical process to doing our upholstered bases. So we should whiz through quite nicely now. We're well practiced at it. Okay, thanks very much. I'll see you in the next one. Bye bye for now. 45. Lecture 42 Sofa Part 6: Hello, and welcome now to Lecture 42. And let's carry on with our sofa, which by the way, I think is looking great. I'm really pleased with the way this is looking. So let's carry on. So let's grab our cushions and the sofa and the base to the sofa and the legs. And let's hit the forward slash key to isolate those. So we just got a sofa again. And let's create our back cushions next. So I think I'll just select this cushion in the corner and I'll press Shift S and curse it to the selected. There we go. I'll turn our transform properties back to global just because that's easier to work in. Okay, so let's press Shift A. Mesh, let's bring in a cube. Let's just it S and scale it down straight away. And let's press one to go in the orthographic view, and then maybe bring that up in the axis. Let's scale that down the X or press SX and just bring this down like this. And now let's take Maybe let's scale it up slightly in the head, so S said. I just want it sort of slightly higher than the back of the sofa. Take it down a little bit, scale it up a bit more. And I would say that's about right. Okay, so I'll press R, and I'll rotate that to line up with the back of the sofa and now bring this back like this. Gonna scale it up a tiny bit more in Z, but I'll take our transform properties back to local, and I'll press S and Z and just take this up a little bit more to something like that. Alright. So obviously, this is too narrow right now, so let's press S and Y and scale this up in the Y axis like this. And for now, I'll put it about there like that. Okay, so the next thing I want to do is tap into edit mode with this and just grab this edge here now and just bring this forward. Whoops. Let's turn off proportional editing. And now let's just bring this forward like this to make it sort of thicker at the base than the tub. And there we go. To about that, like that. That's fine. And let's also put a loop on this right now. So press Control, and we'll put a loop like this, there we go, like that. Okay, so let's tap out of edit mode, and let's fix the scale on that. So press Control A and apply rotation and scale. And let's take transform back to Global, and let's make some duplicates of this object. So I'll press shifty and Y and bring a copy over like this. And I'll do one more. So I'll grab. Actually, I won't. I'll leave it just No, I will. Sorry for my indecisiveness. I'll grab this one here, and I'll press Shift D and X and bring a copy out like this. And I'll rotate that on the z. So Z, nine, zero, enter, and go ahead and take that back, as well. Until we've got that in position, too. Okay, there we go. So we've got three copies of this now, and that's what I want. So I think what I'm gonna do for a minute is grab this one. I'll hit H and hide it. And I'll tap into Edit mode with this one. And I'll grab this edge here. Well, both sides. And I'll pull that over in the Y like this. Oh, that's not all I want. I want that one, as well. That's it. Now I'll pull that over in the Y axis like this. And I'll go right till it touches the sofa, because when we apply the subdivision surface modifier, this one's gonna shrink a little. So I'll press three now so I can select faces, and I'll grab maybe this face here. I'll shift and grab this one. I'll maybe take this back a little like this. And there we go. Okay, now we've done that, I'll tap out of edit mode with that one, and I'll press lth and bring back the other one. And I'm going to tap into header mode with this one now. And I'm going to press this ahead so I can kind of see through the other one. And I'm going to grab I'll press two so I can grab edges, and I'll grab this edge here, whole shift, and grab this one here. And I'm going to kind of take those back on the X axis like this. And I'll do the same with the top ones. Now I'll grab this one and just these ones, this one and this one, no. And I'll bring this back on the X axis, as well. Until it looks something like that. There we go. That's what I want. So, the other thing I can do is I can press three, and I can grab this face, I'll shift and grab this one and level those up as well. Or just take them back a little bit to about there. So the subdivision surface mid will shrink it a little. So I'll leave it a little oversize for now. Okay, so let's go back to solid mode, and there we go. That's what I want. So I'll tap avata mode with those, and there's our two corner cushions. And now we can take this one, and we can just scale this down in the Y until it fits. So press S and Y, and bring this down and just drop it in position, something like this. Maybe scale it up slightly, so S and Y, and just bring it until it's just touching the other one, there we go, something like that. Okay, so which else we have this one here. So I'll grab this one, and I'll press shifty and Y bring this copyed like this. And we could scale it up slightly on the Y, so I'll press S and Y and go ahead and scale this up. Maybe bring it over slightly and maybe tap int Eda mode with it. And let's grab these two faces. Bring those over slightly, and there we Let's tap out Veda mode with this one, and let's grab it and press Shift D and X and bring a copy over like this. So we could rotate that in the Z, so we'll press z90, Enter. And we could press seven to see this from above, and now take this back like this. Until it lines up with the other one, maybe scale it down in the X, so X, maybe bring it over, and we see what we get. And I'd say that's pretty good, actually. So we could bring it back a little bit, so it lines up with the other cushion and there we go. So let's press Shift D again, and let's bring press X, bring a copy over like this. And let's tap into Ed mode with this one. And let's grab these faces here and just bring those over until they're kind of touching the vertical board of the sofa, the back rest of the sofa. To about there like that. And now let's press two for edges. Grab this edge here. Hole shift, grab this one. And let's go ahead and bring those over now to something like that. Okay, so let's tap out of Eddy mode with that one. And now let's grab this one. And let's press Shift D for the last time and press Y and bring a copy over. Let's rotate that in the Z, so we'll press Z, 90, enter. And let's press one on the numpad to get us the orthographic view and go ahead and take this back And we'll see what that looks like. That's cool to me. So we could actually what could we do with this? We could take this over now in the Y axis until it's kind of level with the cushion on the bottom there like that. And now let's tap into Eda mode with it. And let's press three so we can select faces. Grab this face here. Hold shift and grab this one. And let's go ahead and take that over. Like that. And press two. Grab this edge here. Whole shift, grab this one. And go ahead and pull these over as well to something like that. Okay, let's tap out of Edit mode with that. And so there's our back cushions in position. And okay, they're not looking very upholstery like now, but in the next lecture, we'll continue doing what we did with the seat bases with the backs as well, just to use the sculpt tools and the proportional editing tools as well. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, fina. 46. Lecture 43 Sofa Part 7: Hello, and welcome now to Lecture 43. And let's, let's carry on doing our upholstered sofa backs. So let's make a start maybe with this one right here in the corner. So I think the first thing I'll do is hide this one. So I'll select this one, and I'll just press H to hide it. And I'll actually grab this one, too, and I'll press and I'll hide that. Okay, so let's look at this one and look at the scale first, and the scale is correct. So let's tap into Edit mode with. Okay, so let's look at this one and click on it, and the scale is correct. So let's go to modifiers, add modifier, generate, and this subdivision surface modifier. Let's turn the levels up to four. And let's turn on cage. And there we go. So let's tap into Edit mode with this one. And let's select this edge here, and we'll press Control R, and we'll put in four loops. Click and click again. And now, before you deselect, let's scale those up in the Y. So SMY and just pull those out closer to the edge, too. I'd say something like that. Let's do the same this way, no. Let's press Control R and put in four loops. There we go. And I think I'm going to leave those exactly where they are. I quite like those like that. But I'm going to add an extra loop here. So I'm gonna press Control R and put a loop in this way like this, and I'll do the same here. I'll press Control r. And put a loop in here like this. So there's our sofa back, and I think that's absolutely fine. So I'll actually click Optimal display so that we can see what mesh we've really got here. And yeah, I mean, it's quite dense as we expected it would be, but we kind of need all these vertice points to be able to sculpt to these edges. So I'll leave that exactly as it is, and I'll go ahead and apply it. So I can just tap out of Edit mode to do that. And there we go. And we can do a shade oro smooth on it as well. All right, so that's our first cushion done. So let's do some more. So I'll press ld H now to bring back those other two. And what I'll do is I'll select this one whole shift, and select this one, and I'll press H and hide those. And I'll go ahead and check the scale on this, and the rotation is out, so I'll press Control A. I apply rotation scale, and I'll add our modifier generate and subdivision surface modifier. I'll take our levels up to four, and I'll turn on cage, and I'll right click and I'll shade or smooth. Okay, so let's tap into Edi mode with this, and let's grab this edge here. Press controlR and put four loops on, and there we go. So I'll scale those up in the X, I'll press gas X and just bring those closer to the edge like this. And now I'll grab this edge here, and I'll press controller, and I'll put four loops in this way. And there we go. I won't move those. I'll leave those exactly where they are. So, also, I'll put a loop in here, so I'll press controller, and put that one in like that, and put one here, too, ControlR and put that one in like that. Okay, so once we've done that, let's tap out of Edit mode, and let's inspect what we've done. I'm happy with that. So I'll go ahead and apply it. Okay, so let's bring back our other stuff. Okay. So I'll press Altag and there we go. So I think at this stage, you should know well what we're doing, applying these subdivision surface modifiers to these and putting the loops on. So what I'm going to do is leave you to it to continue to do this process for these other one, two, three, four, five cushions, exactly the same way. Nothing changes. Just remember to apply any rotation and scale as you go, and you'll be fine. So I'll see you back in a minute when we've got all these with the subdivision surface modifier applied and looking more like these first two. Okay, so we're back together again, and hopefully your sofa backs are looking like this, sort of rounded off using the subdivision surface modifier and applying the control loops as I showed you with the first two. In fact, I'm sure you've got them looking just like this. Alright, so what's next? Let's grab this back here, and let's press H and hide that. And let's grab all these backs that we've just made. Oops. One, two, three, four, let's grab them like this. That's it. It says, all of those. And let's tap into Edit mode with those. And let's make sure we've got face selected. Okay, so I'm going to select a face about here, in this case, and I'll hold down Control and press Plus. Expand my selection until I've got something like that. It looks pretty good. And then I'll press X, and I'll delete faces. And there we go. There's the first one done. So I'll do the same thing with this one now. I'll grab one around here, press Control and plus, and expand on our selection. To something like that. And I'll press X and I'll delete faces. And just continue to do this to remove these unnecessary faces. And I'll press X and I'll delete faces, and let's do this one. X and delete faces. I can do this one as well. Maybe about there. Try that. And I'll press X, and I'll delete those faces. Do one here. Press X, delete faces, and the last one. So I'll come over a little bit here on this one, I definitely don't want to delete anything on this face. So I'll press Control. And plus, I'll expand that selection, and I'll play it on the safe with that one. I'll leave that around there, and I'll press X, and I'll delete faces. And there we go. So that's that done. So I'll tap out of any mode with that. Okay, so now that we've done that, let's bring the back back. So I'll press late, and I'll bring that back in and see what we've got and just make sure that those holes we've made in the back of these cushions are covered by the back panel of the sofa. And yeah, it's all looking good. I can just see it there, but I'm not worried about that. That's fine. Okay, so let's tap into edit mode with these sofa backs again. So I'll hold down Shift and select all, and I'll tap into Edit mode. And I'll press one so we can a vertice selection, and we can see some real density there. And I'm going to go to proportional editing right here. So I'm going to grab one about that I'm going to hit G. And I'm going to scroll the mouse wheel just to increase the selection. And I'm just going to pull that down ever so slightly in the middle. Just so there's a slight sag in the back of that cushion, and there we go. And then maybe as well, just grab this one here and press G, maybe scroll this in a little bit now and just pull this back a little bit like that, just to get a slight sort of curve in this back. Maybe you want here too. Hit G and pull this back as well. See what that looks like. And yeah, that's fine. So I'll continue to do this with these others. I'll hit G, scroll this up, and now pull this back just to get a slight sag in the top. And there we go. That's good. And I'll do the same with this one. I'll press G and just bring this down slightly. There we go. Do the same with this one, press G, bring this down, maybe increase the mouse wheel. And that's looking good. Do the same with this one. Press G, bring that down. There we go. Grab this one here, and press G, and bring this one down as well. Then the last one. And bring that down, as well. And you can take a few minutes just to sort of grab any faces that you want, really, and maybe just scroll that in a little bit, just take that in a little bit, do the same here, too. Just to create a little bit of indent in the face of the cushion. There we go. There we go. And let's go for this one now and our Blender is slowed down for me. So I'm gonna press Shift B and just do a selection window to recenter Blender and there we go. So now I'll grab this one here, and I'll press G, and I'll bring this in, as well. There we go. And continue this. I'll press G. Bring this in. One here, maybe, press G. Bring that in, and there we go. That's that. Okay, so I'll tap out of Edit mode now and see what we've got there. And, yeah, that's starting to look. It wasn't so straight on that top edge, and that's what I wanted to achieve. Okay, so in the next lecture, let's start sculpting our cushions, putting all these wrinkles and all these imperfections in the surfaces of these. Alright. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 47. Lecture 44 Sofa Part 8: Hello and welcome now to Lecture 44. And in this lecture, let's use the sculpt mode to make the seat backs look more upholstered. So let's give this a shot. So let's grab this first one here and let's make sure we got a shade oro smooth on it. We could increase the angle to about 50. A roundabout doesn't have to be accurate. And once we've done that, let's go ahead and drop into sculpt mode. So the first brush I'm going to use is the inflate brush, so let's grab that. Let's right click and look at the Let's turn the auto smooth up a bit. I think I'll leave the radius maybe up at a little bit, and there we go. So I'm going to run it along the top edge of the polstered surface like that, and now also down the side. It's a sort of balloon just to puff out this edge a little bit. And again, I'll just add some little dimples to it a little bit, as well, just to make it a little more irregular. Now I'm going to do the same thing on the face inflating this a little bit. There we go. And maybe on this bottom edge, too. There we go. That's looking good. Once we've done that, I think I'm going to use the crease brush, so I'll go over to this one here and I'll click on this one. Right click. Let's keep the auto smooth quite high. And I'll reduce the pinch a little bit. And let's try it. We can always change our mind. So I'm going to sort of go from this way over like this. And I'll leave that, but that's probably not what I want to continue with. So I'll right click and I'll reduce the radius, maybe even a bit more, and maybe even reduce the strength a little bit. And let's try that. And yeah, that's more like it. So I'll put a couple just on a surface like this. There we go. And I'll also lead these around the edge into the actual panel. On the face, there we go. That's good. Put another one here. There we go. A third one here at the base. Maybe just make sure they're sort of going into each other. There we go. And here, too, make sure that sort of follows through. And that's cool. And we'll do the same on the top edge here. We'll just kind of put a few imperfections in. And there we go. I think that's fine. I'll put a couple in on the back just leading this way a bit, maybe one more down here. And there we go. That's plenty. Okay, so now let's use the great cloth brush here it is here. And I'll keep the auto smooth quite high indeed. And I'll keep the radius and strength where they are for now, and let's have a play. Maybe I'll increase I'll just press a Control Z, and I'll right click and increase the radius a bit. And let's try that again. Maybe one down here, too. And maybe one here. And let's see what we got. Also, now I'll apply some to the surface here. And maybe one here, too. And here, too. Whoa, that's a bit much, isn't it? Or shall I leave it? Maybe that's good to have something quite dramatic. I think I'll leave that one there like that to the realism. And that's too much. I'll press control zi. Just bring that back, and I'll reduce the radius a bit and try that again. Maybe on a stop edge, maybe one here, too. Maybe one here. And here, too. Okay, so I'm going to use the smoothing tool now, just to soften some of these effects. Let's see what my strengths are, and that's okay. So now I'll just use this just to soften some of these wrinkles a little bit. Maybe here, just take some of these out. Maybe that's a little dramatic. And up here soften some of this. Maybe here too. I hit too. And I think I'm going to try the inflate to here, just pulling this corner, rounding that off a little bit more. Just to soften this up. There we go. Just to put a bit of form back into this corner. And there we go, it's quite dramatic that one, but I think I quite like it. So I'm going to maybe I'll just try softening this area off a bit here. There we go. Maybe that one. And, yeah, I'm going to leave that just like that. So I'm going to go back to object mode with this one. Yeah, I'm happy with that one. You say, the sculpt mode is really quite creative. You just need to play around with these settings and these brushes and try and get an eek which suits you. But I'm pleased with that one. Okay, so I'm going to grab this one now, but in fact, I'm just going to maybe select this one first and maybe this one and press H and hide those. And I'll grab this one and make sure there's a shade oro smooth on it. Increase the angle up to about 50 approximately. And then let's go ahead and go into sculp mode, what are they? So the inflate brush is actually selected, so let's see what's going on here. I'll increase the radius a bit and now run it over this top edge. There we go. I'll do that over this side edge, too, like this, just to cry and get a bit of a a randomness to it, and there we go. Maybe a little bit on the bottom here, so suggests that over time, some of the stuffing has sort of dropped to the bottom. There we go. So I'll use the crease brush now, grab this one. Let's right click and see where we're at with it. And let's just see how this goes. So I'm going to grab one and maybe put it in here like this. G to reduce the radius. It's too much. Try that again, Nick. Put one in here. Put one in here. And I'll continue this one, I think across the sofa, put one in here like this, maybe here, and I'll reduce the radius some more, and maybe put one across here like this. Maybe increase the strength. Try that. There we go. Maybe one here and here. And maybe one just that. And there we go. I think that's fine. Maybe just want to cross the back of the sofa here like this. And I'll leave that just like that. Okay, so now I'll go for the cloth modifier. Cloth brush, I'm sorry. And I'm gonna try here now and just see what effects I get. Maybe increase the radius. There, that's come. And I'll do the same here now. I putting a few pulls in this one. Oh, that's looking good. I like that. Okay. So now I'm just going to use the soften. Just here, the smooth. I'm sorry. Maybe increase the radius a little bit, and just soften out some of that. And there we go. That's that one. I think I'm happy with that. So I'll go ahead and go back to Object mode on that one, and I'll press LTH and bring back the others. Okay, so I think they're looking good. So what I'm going to do now is I'm going to leave you to it to do the rest of these cushions because it's simply a repeat of what we've already done on the base and these two cushions up here. So just use the sculpting tool to using the inflate tool and the crease tool, the smoothing tool, and the fabric tool to create some really nice fabric effects. And if you ever feel you've gone too far, then just press Controls and just backstage a little bit. You could always, I suppose, if you finish a cushion and you're happy with it, do a save. And then if it gets to a stage with the next one where it's just gone far too far and you feel you can't save it, then you can just close Blender without saving, reopen it, and you'll be at a stage where the last two are done, but this one isn't, so I'll see in a few minutes when you've got that done. Okay, so I've just finished my last seat back, and that's looking good now. I'm pleased with those effects. Like I said, you can take it as far or as little as you want. It really is a very personal thing to how much you want the upholstery to look old on you or used or unused or what if you really want to do with these? I might even dip back in between lectures and maybe soften some maybe this one and this one. But in the next lecture, you may see these two slightly softer. I think I've just decided I'm going to do that, soften the effects in these two. Back in the scalp mode. Anyway, I'm sorry. So yeah, I'll do that. But then in the next lecture, let's do the piping that we have here on these upholstered seat bases. Let's put it on these backs, as well. Alright. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 48. Lecture 45 Sofa Part 9: Hello, and welcome now to Lecture 45. And yeah, let's see if we can finish off our upholstered back panels in this lecture. So we just have the piping detail to do on these in this lecture, which we've already done on these upholstered sort of seat bases here. So we're just going to repeat this process on these top ones. So let's give this a shot. So the first thing I need to do is, of course, is tap into Edit mode with this one. Let's press two so we can select edges rather than vertices. Zoom in a little bit. And I'll hold Alt, and I'll select a loop, and I'll go about there, I think. And I'll hold shift and Alt, and I'll select a back loop. And apologies. This is actually something that I've just realized or just just found out is I can actually convert two sets of curbs at the same time. So yeah, I wish I'd known that before and apologies to everyone for this, but yeah, we can do two at once. So once we got both selected, I'll press Shift D and X and bring them back like this. Okay, I'll press Po, and I'll separate by selection, and then I'll tap out of Edit mode. Grab these, and I don't think it'll let me convert them. But let's try. So I'll right click and convert and no, they're not highlighted, so I need to do something about that. Okay, for some reason, I've got a lot of stuff open here, so I'm going to close a lot of this first floor stuff in my outliner, and I'm going to open up the sofa here and find these objects, and here they are. I'm just going to rename them, and you can rename them anything. In fact, I will. I'll call it anything. There we go. And there we go. And now we can right click and we can convert to a curve. Okay, you come down to object data properties and click on this. And down here on the bevel, let's go ahead and increase that again, and we'll add a right to the decimal point, and we'll turn that one into a four, so that it's the same as the S basis. And we'll up the resolution to eight, and there we go. They look good. So let's right click again and convert back to a mesh, right, click again, and shade Autosmooth and right click a third time and set the origin back to the geometry. Alright, so let's just reposition these again now. And see what they look like, and see if those are in the right position now. I think they're pretty good. I might just pull it down just a tiny bit. And that's just purely my preference, really. Um, no. No, don't like that. I'll put it back a tiny bit. See what we got. See what it looks like on the base. Maybe I'll just pull it up a little bit. Maybe I shouldn't have taken it. And there we go. I think I'm happy with that now. So grab the piping first. So there we go, grab the piping, whole shift, and then grab the upulsed back panel, and press Control J to join them into one. Okay, there we go. So that's looking great. I'll like that. Let's do that again. Let's go to the second one here now. So line up like this, so you can see the previous one. Tap in it, tap into Edit mode, and hold Alt and select the loop, which I'll go about there. I think that's about the same. No, I'll try that again, so I'll hold on to Alt and grab maybe this one here. And yeah, that's better. And now I'll press Shift and Alt and I'll select maybe this one here. I'll look about right. I think it does. And I'll press Shift D and X, and I'll move that set back like this. I'll press P, I'll separate by selection. Tap out of Edi mode. Grab these. Let's just assume we can't convert them and rename this. And I'll just call them one, two, three this time. There we go. And now let's grab them again, right click and convert to a curve. Come down to bevel, and let's up this. And let's put a zero to the right of the decimal point and turn the one into a four, click ender. And now let's turn the resolution up to eight. There we go. Let's convert that back to a mesh now and do a shade or smooth, and let's set the origin to the geometry and now pull those back. Line them up with the other ones, but also do a visual inspection on it and see how it actually looks. I'm going to pull that down again, just a tiny bit. And there we go, I'm happy with that. So let's grab the piping detail, then grab the seat back, and let's press Control, J, and join them together. And there we go. Okay, so I'm going to leave you to do the other ones now. We've kind of done this process quite a few times now with the seat base and then these two here. So it's really quite an easy process. Just go into Edit mode. Hold Alt, select a loop, hold Shift Alt, and then select a second loop, press Shift D, and then move your copy out out the way, and then press P to separate by selection, tap out of Edi mode, and convert it to a curve. Alright, so I'll leave you with that, and I'll see you back in just a few minutes. Okay, so I'm back. That's it. I'm done. So hopefully you're done, too, and it's looking good, eh? I like that process because it's just your simple process. But the effect is really good. I like what it does. It creates a really nice piping detail, which just adds realism. So I think in this lecture, there's one more thing I want to do, which is just to clean up our outliner here on the sofa group. So what I'm going to do is click on the actual main heading of the sofa and add an extra file, and I'll click on the sofa main heading again and add a second file. So I like I'm the first one here, and I'll rename this and call it seat bases. There we go. And now I'm going with that selected, I'm going to grab all these seat bases, one, two, three, four, and there's one more, five, and I'll press M, and I'll go to collections, and to ground floor, interior, sofa, and seat bases. And there we go. And go ahead and compress that. Incidentally, there's another way of doing that. You could simply drag all those files into that group. It's completely up to you. So I'll grab this one here now and I'll rename this and I'll call this upholstered Bx I guess I should have called the one above their upholstered seat basis, but as long as I understand what's being said, that's cool. Alright, so I'll grab these ones, one, two, three, four, five, six, and seven. And I'll press M. Collection, ground floor, interior, sofa upholstered bags. There we go. And I'll compress that one, too. And the sofa group has been simplified greatly. Okay, so that's it for this lecture. And in the next lecture, we're going to put some loose cushions on this sofa, and I'm going to show you some super cool functions within Blender. I'm going to show you the cloth modifier, and I'm going to show you how to apply gravity to an object, as well. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 49. Lecture 46 Sofa Part 10: Hello, and welcome now to Lecture 46. And in this lecture, let's have a go at making our loose cushions, which is kind of the last stage for this sofa, just to add some extra realism and some extra details and give it that wow factor. And we're going to use some new functions in Blender. We're going to learn a bit more again. And we're going to use particle physics, and we're going to use we're going to use cloth modifiers. And these are two really impressive things a Blender do. And what we're basically do is apply physics to our cushion so that it has gravity so that it falls. And while it falls, it interacts with other surfaces. Really quite cool. So let's make a start. So I think the first thing I want to do is here on the sofa group, let's click on this. And let's create a sub file. And here it is here, sofa three. I'll click on it. And I'll call this loose cushions. Loose cushions, there. I'll put an extra O in the loose. Not lost, but loose. There we Once we've done that, let's actually just grab this one here and let's press shifts, and let's bring cursor to the selected. And now let's bring in a new object. So let's press Shift A and mesh and cube. Let's scale this object down and then bring it up until we've got a kind of cushion size. So I'll press S and scale it down a bit more and S again and scale it down a bit more and maybe bring that down the Z and maybe scale down a little bit more again. And there we go. I think I'm happy with that. So I'll scale this down in the X now, so I'll press S and X and reduce the thickness of this. So I think I'll scale this down a little bit more in the X. I'll press SX and just bring this down. So it looks something like that. There we go. That's cool. Now that we've done that, let's fix the rotation and the scale. So let's press Control A and apply rotation and scale. All right, so that's the first step. Let's tap into Edit mode with this and let's make it have much more geometry to this, much more faces. First thing we're going to do is select this edge here, and I'll select all these edges on this angle. So there we go. Everything on the Y axis. Once we've done that, I'll right click and I'll subdivide it. Here in the number of cuts, I'm going to type in a number. I'm going to just price 75 and click Enter. There we go. So it's quite a lot of faces, but we need it. We need quite a lot of mesh for this object. I will select one edge like this now, and I'll come up here to select, and I'll come down to select similar, and I'll select all the same length, and there we go. With that done, I'll right click and I'll subdivide. And again, I'm going to make this 75 and click Enter, and there we go. The next thing I'll do is I'll select this edge here like this, and I'll press Control up. And I'll scroll the mouse wheel a couple of times, and then I'll left click and left click again. And in the number of cuts, I'm going to put this maybe at about eight, I think. I think eight I'll be fine. Once we've done all that, let's tap out of Edi mode, and that's it for this object. Okay, I think we need to reduce what we're looking at now, so I'm just going to select this one, this one, and this one. In fact, before I go any further, I'm going to select this object, and I'm going to make a copy of it. So I'll press Shift D and Y and bring a copy over like this. I just put that there. Okay, now we'll select this object, this object, and this object, and I'll hit the forward slash to isolct them. All right. I think the next thing I'm going to do is do a save because when we start working with particle physics, it's not unheard of or blended to crash. So I think I'm going to do a save right now. So I'll press Controls so that if it does crash, we've not lost our progress. Alright, so I'll grab this now, and I'll bring this up in the z axis quite a bit to to about there, I'd say, and then I'll bring it over in the X to about there. I'm going to rotate that in the Y axis, I'll press R and Y and just bring this over like this. And I'll also rotate it slightly in the X axis. I'll press R and X, bring this over just like that, just a bit. So when it falls, it has a slight leading edge to give it a bit of randomness. Alright. So now let's apply gravity to this object and a cloth modifier. So I'll click on the object, and I'll go over here now to physics and click on this. And with this selected, I'm going to click on the cloth modifier, and there we go. Down here on the timeline now, if I press Play, the object will fall. And there it goes. So why didn't it stop when it hit these objects? That's because at the moment, Blender doesn't see these objects as something that this should interact with. So we need to do something about that. So we'll hit the reverse key here or the back to the start key and the timeline so that it's right back at the top again. And I'm going to click on this object, and I'm going to add it as a collision. And I'm going to click on this object, and I'm going to add it as a collision. So let's try that again. There we go. So now Blender has interacted with an object, and then this material, which is cloth. We've used a cloth material on it has actually stopped when it's hit this object and then this object. So, admittedly, at the moment, it doesn't look much like a pillow, I must admit, but we'll deal with that. Don't worry. So let's hit the back to the start key and bring that back to the top. And we could also do a shade oro smooth on this. And here in the angle, let's max this up to around 100 well, around at least 150. Let's put it somewhere around that. Okay, so let's click on this object so that we get the cloth properties up. Let's bring the speed multiplier down to about three, so it'll fall a lot slower so we can interact with it a bit more. And the quality of steps, I'm going to bring this on my computer up to around 15. If you don't have a very powerful PC, you might want to reduce the quality of steps to an eight or a ten. It's very much up to you. If you see your computer struggling, if it's lagging a lot, then you can always adjust this down. With that done, let's hit the space key and see what happens. So now it's falling a lot slower, so that's a good first. And there we go. We're starting to get something a bit more pleasing. So yeah, there we go. Let's bring that back to the start. So let's just hit this little one here and bring that back to the start. So the next thing I want to do is reduce the weight of the object. So I'll reduce this weight to about 100 grams, 0.1, and the air viscosity. Let's bring that up to about 1.9. And the bending model, let's bring that to linear. Let's try that again. This is going to take a while to get right. We're going to have to sort of play around with the functions quite a lot. But I'm just going to take this slow because it's good fun and we can see what happens. And there we go. It's interacting with the objects. And obviously, the moment is still not looking like a cushion, but we'll get there. So I'm going to hit the space bat, and I'm going to go back to the start with that. The next thing I'm going to do is scroll down quite a way to pressure and turn that on. And I'm going to set this quite high. I'm going to set this. I would say, I'll start at around 50, but I'll probably have to up it some more. And with that done, for now, I'm going to increase the speed to up To around six. I'll probably slow that down when we get this material looking the way we want it. But for now, I'll put it about a six. And I'll hit space bar and see what we get. And now we're getting something that looks a bit more like a cushion. Let's see what happens when it interacts with these objects. I'm going to hit the space bar right there. And yeah, now we're starting to get something that looks a lot more of what I want. So we have this gap here at the base, and we have this gap here. So, let's deal with that next. So I'm going to come down to the bottom here, and then on collision, let's open that and bring the distance down to the minimal amount, which is 0.01. Let's start at the beginning here on the timeline and hit the space bar again. And get ready to stop it. When am I happy? Maybe about there. And you can see now that it's a lot closer to the object. When we convert this back to a mesh, we can always just drag it down a little bit more if we want. And there we go. So that's starting to look really good. Still not exactly what I want, but starting to really look like a cushion. Okay, so I'm gonna take this back to the start again. I think the next thing I'm going to do is here on the top. I'm on the structural here, I'm going to double this number, take it up to about 30. And on the shear, I'm going to put this at around 20. And on the damping, I think I'll increase the structural on the damping to around 20. It's just playing around with these numbers really until we get the results we want. And on the shear, I'll put this at around 11. And on the bending, I'll put this, I don't know. Around four. And now let's see what happens. I'll like the space bar again and see what results we. It's starting to get some nice wrinkles in that's starting to really look like a cloth. And let's get ready to stop that when we want. And, yeah, that's looking good. That's really starting to look good. So if I wanted to, I'd increase the pressure on that. I could try that next. Let's try. I can always bring it back again. So I'll increase the pressure up to about an 80. And let's take that back to the start and let it hit play again. And we're waiting, and we're waiting. It's falling. Now, let's see what happens. Get ready with a space bar to stop it when you like the results. And let's see what we've got. And yeah, that's down to really look good now. Yep. I think I'm pleased with that. I think I'm going to accept that. Yes, I am. I'm going to say that's what I want. Once you've got the results that you want, the next thing to do is actually apply those results. So I'll click on the object, and I'll press Control A, and down here, I will apply visual geometry and mesh. So I just hit that, and there we go. And now we'll actually turn off the collision objects on this and turn off the collision object on this. So I think the next thing I want to do with this is actually take it into sculpt mode and play around with it just a little bit more. So let's do that next. So grab the object, come over here to object, and turn on to sculpt. So I think the first thing we're going to do is use the grab tool, which is this one here. And I want to try and get the squareness off this corner here. This doesn't look exactly right. I'll right click and I'll just bring the strength down a bit and see what yet. Okay, I'll grab this here now and maybe pull this in and pull this in here as well until we get more of a point than a square. And there we go. So maybe that's right click and increase the radius a little bit, increase the strength a little bit. And now let's just pull this down a little bit, and maybe just pull it in. And there we go. Let's do the same here with this one now. Let's reduce the radius. Okay. And now let's just grab this corner, pull this in, grab this corner, pull. This ends to get more of a point. There we go. That's what I'm after. I might come back to this one and try again on this. Pull this in, pull this to get more of a point, and there we go. So I'm going to go to the scrape the crease tool here now. And let's right click on this. Leave the radius where it is, reduce the strength slightly, and just put some extra, reduce the radius, some more, maybe. Try that again. And just put some extra creases in this. One there, one there, and maybe one across the base like this. And there we go very subtle things. So here, there's something that's just not quite right there. So let's go over to maybe let's try the inflate tour on this. Let's just click on this a few times and see if that resolves it. And it has. That's just sorted that out. Let's go to the other side, too, and just click on the inflate and now let's go to the cloth brush and reduce my radius, up my strength, reduce my smoothing. There we go. That's better. That's more like what I'm after. Very subtle. So I'll try that here, you know, And there we go. I think that's cool. So again, I'm going to smooth this off. So again, I'll just apply a little bit of this to this to get kind of results I'm after, and there we go. That's cool. That's exactly what I want. So I think the last thing I'll do is I'll try inflating this corner here just a little bit. So I'll right click, reduce the strength and reduce the radius, and just try doing something with that, and there we go. Maybe I'll just grab that again now and just pull it out a little bit. And that's it. That's finished. I'm gonna call that cushion absolutely finished. So I'll go back into object mode now. So the next thing I want to do is apply piping to this, like we have done with these cushions. So let's do that with these upholstered backs and bases. So let's tap into Edit mode with it. And let's take a look. So let's hold hold and select an edge, and I'm happy with that one. And I'll press Shift D and X and bring that out. There we go. And I'll press P, and I'll separate by selection and tap out of mode. So I'll grab this and I'll right click and I'll convert to a curve and it's letiny. So now I'll go here to object data properties. Go down to Bevel and increase this. And let's here make this out of zero and make the one of four as we normally do. I'll click. Let's see what we get. Let's increase our resolution to I think in this case, I'll go for a 12. And now let's convert that back to a mesh. And now let's go ahead and shade Auto smooth, and let's increase this. Oh, it's really quite high already. Then I think we'll leave that just where it is. So we can right click on the object and we can set the origin to the geometry and take that back to the cush in and put that into position as we think it should be. So take a minute now just to position that exactly where it should be. Am I happy with that maybe over a little and, yeah, that's looking good there like that. I think I'm happy with that. So grab the piping, grab the cushion, and press Control, Jay, and join them. And there we go. So that's it in the loose cushion. Alright, so that looks awesome. I'm really pleased with that result. It's been quite a long lecture, but hopefully you've learned a lot. So let's bring everything back and see what the results are, and that's looking good. So I think in the next lecture, I'm going to go ahead and do exactly the same again with this one with you, and then I'll leave you to it after that to do a few more. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 50. Lecture 47 Sofa Part 11: Hello, and welcome to Lecture 47. And yeah, let's carry on with the cushions and see what we can do. So I think the first thing we want to do is go ahead and make some duplicates of this item, so I'll grab it and I'll press Alt D. And Y, bring a copy over and place it maybe here like this, and I'll press S, and I'll just scale it up slightly, just so we got some random sizes. With that done I'm gonna rotate that, so I'll press Z, nine, zero, enter, and I'll bring this one over and drop this somewhere else. Okay, I'll put that on here like this, maybe. So now I'm going to make a third copy, so I'll grab this and I'll press Alt D and X and bring this over like this. But so it doesn't look identical, I'm going to right click and go ahead and mirror in the X xis. And there we go. Maybe we just need to take this up a little. Let's have a look. And there we go. That's cool now. Okay, so now that we've done that, let's create another cushion. It looks like it's a little bit still on the surface. I'll bring this up a little bit like this. I'll rotate in the Y, sulphur us, R and Y. There we go. That's better. That's fine. Okay, so now that we've done that, let's maybe make a duplicate of this again. So I'll press shifty. And why? Take that over there like that just in case we need it. And now grab this one, whole shift, and grab these three, and let's hit the forward slash klan. All right, so let's reposition this. I'll take this over on the X, now take it up in the. Maybe take it a little bit higher and a little bit further over. I'm going to change this one around a little bit so that it has different characteristics to the last. So I'm going to rotate this a little bit more on the white. I'll press Ron Y, maybe take it over a little bit more like this and take it forward, and I'll rotate that slightly more on the X, I'll press RX and go ahead and do something maybe like this. And there we go. Alright, so let's check the scale and the rotation, and they're out. Let's press Control A and apply rotation and scale. And let's go over to physics. There we go. And with this selected, let's press that cloth like that. Let's take this back to zero. And now let's select this item and make it a collision and select this item and make it a collision. Let's go ahead and start applying some of our settings to this pillow here. So the quality of steps, I'll take that up to about 15 and the speed multiplier. I bring that down to about six. I'll bring the mass down to around 0.1 and the viscosity up to around 1.8, 1.9. The stiffness. I'm going to go ahead and take that up to around the 30 mark. And the shear I'll take up to around 22. And I've got to remember, as well that I want to make sure that the bending model is linear. And I'll take the shear back up to around around 20. Now we're gonna take this up a little bit more. There we go. So let's go down to pressure and turn this on and take this up to around 80. And let's see what happens. Let's hit the play button and see what we get. Get ready with that space bar. Stop it when you're happy. And how does that look? Are we happy with that? What can I do? I think what I'm going to do is I'll take that back to the beginning. And on the damping, I will take this up to about 21. I'll take the bending up to around four or five around say, something like that. I'll hit the space bar again, and let's try this. And, yeah, starting to look better. I'll right click and I'll do a shade oro smooth on this. And I'll come down here to collisions, and I'll bring this as low as I can. And I think I'm pretty much happy with that. I could bring the pressure down, maybe. Let's see what that does. Bring that down to around 70. And the structural, I'll take up a little bit. And the bending here, I'll take up a little bit. I'll go ahead and hit the rewind, and I'll hit Play again and see what we get. And I'll stop there. Yeah, I like that, actually. I like the way that looks. I didn't want it to be identical to the other cushion, and it's definitely not that. I think I'm pleased with that. Yeah, I'm going to go with that. So what I'll do next is I'll select the item, and I'll press Control A, and I'll apply visual geometry to mesh, and there we go. So I can select this item now and I can take off the collision, and I can select this item, and I can go ahead and take off the collision. Okay, I'll hit the forward slash, and I'll bring everything back and see what we've got. And yeah, it's different to the other one, so I'm definitely pleased about that. So what we could do now, I don't see a huge amount to be done in sculpting mode, but we'll do a little bit of cleaning up. So I'll select the item, and I'll go ahead and tap into sculpt mode. I think the first thing I'll go and do is have a look at the corners and see if we want to remove these squared off points, and I think I do. So the grab tool is selected, so I'll just pull these in, pull this one in as well, until we get more of a point than a squared edge there. There we go, that's cool, and we'll do the same here now. Just pull those in to eliminate that weird square edge that we There we go. That's cool. So I think they're straightaway. I'm actually just gonna get the inflator and just do a couple of touches on those to sort of make those slightly slightly better looking. Alright, so is there anything else I want to do. So with this inflaate tool, I think I'll also just do a little bit of trimming here. That's better there. That's just more like the way it should be. And let's have a look on the other side. I think that's good like that. So I'll grab the crease tool now, and I'll right click and I'll bring the strength down. And I'll just try and applying a couple of creases to this surface. I'll put maybe one here like this. That's nice. And I'll put maybe one here like this, maybe one across here like this. Really quite subtle. Maybe increase the strength a little bit and go again there. And there we go. That's cool. So I'll play around maybe with a cloth brush, but it's going to be subtle if I do and see what I'm gonna do, bring the strength down quite a lot. And let's see. So I'll maybe just try some few ripples there like that. I think I'm pretty much there. I just want this to be really subtle. And I will leave that just like that. So I'll go ahead and get my smoothing tool and just do some touches on this, now, just to go ahead and soften that effect. And there we go. That's absolutely what I want. So with that done, I'll go back into Object mode. And I'll go ahead and tap into Edit mode with this. I'll make sure edges are on, and I'll hold and grab this edge maybe here like this. I'll press Shift DE and X and bring this copy forward in this case like this. I'll press P, and I'll separate by selection and tap out of edit mode. Okay, now I've got this one like this. I'm going to right click and convert to a curve. I'll go down to object data properties, and in the bevel here, I'll increase this. Go to add an extra zero to the right of the decimal point and turn the one into a four and click Enter. And here on the resolution, I'll up this to about ten, and I'll convert that back to a mesh. And then let's right click and shade Auto smooth, and there we go. So I'll right click again and make sure that the origin is in the geometry, and I pull that back to the cushion. There we go. That's cool. So I'll take a minute just to make sure that I have the position correct, that I'm happy with everything. And I think I am, so I'll go ahead and join those t two together. So I'll grab the piping first, and then I'll grab the cushion, and I'll press Control J and join them together. So there we go. We've got a second cushion. So now what I'm going to go ahead and do now is I'll bring this one out of the way for a moment like that. And actually, I think I'll scale this up. So I'll make sure that the origin is in the geometry and press S and go ahead and scale this up a little bit like this. And I'll just go ahead and move this out the way for a moment and have a look at where we're at with the height with this. Make sure this is sitting nicely on the sofa. And there we go. That's cool. So now that I've done that, I'll make a copy of this, so I'll press Alt D and Y and bring a copy over like this and drop this in the corner like this. And I'll go ahead and make another copy now. So I'll press Alt D and X and bring this over like this. And I'll go ahead and rotate that on his head, so I'll press rs90, Enter. And I'll go ahead and bring this back on the Y axis. Till it's looking good. And then I think I'll also right click again and mirror in the X axis. Just to switch that around a little bit. Okay, so I think that's looking good. And I think I'm happy now with the amount of cushions that I've got on the sofa. I don't think I'll go any further. But if you did, then please do just carry on. What you could do is you could also use the cushions that you've already got as collision objects. So you could use an upholstered back, a seat base plus a cushion as collision objects when you create your next one, that'd be a nice idea. But for me, that's more than enough. I don't want any more than that. So it's just one more thing to do, and that's to create an empty and pair and all these objects to it. So let's go ahead and do that. So I'll press Shift E empty and plain axis, and I'll bring that up like this. So now that we have our axis, the next thing we need to do is reselect all our objects, so I'll grab that and the feet and the back, and the upholstered back rests, and the seat bases and the loose cushions. And then finally, I'll grab the empty. And with all those selected, I'll press controlP and I'll set parent to object. And there we go. And then these broken lines stretching through the whole object tells us that we have everything parented. Now if we want to move, all we need to do is just go ahead and move just the parent. Okay, so that's the end of this lecture, and that's actually the end of the sofa. So in the next lecture, what we're actually going to do is work on the ceiling here on the ground floor, making a bit of a recess for lighting. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 51. Lecture 48 Ground Floor Ceiling: Hello, and welcome now to Lecture 48. And in this lecture, let's do something with our ground floor ceiling. Let's create this light well and just put a little bit more going on in this quite large area. Okay, so the first thing I want to do is maybe open the ground floor, and let's hide a few things. So I'll hide the ground floor walls. I don't think I need those. And I'll hide the sofa. I don't need that. And this guy, actually, maybe do I want him at all now? Yeah, I'll keep him for now, but I'll just scoot him out the way. Don't want him around at all. And let's hide let's hide the outside. Let's open the outside, and let's hide the boundary walls, paving slabs, pool, and poolge In fact, we could have just hid the entire outside. And with that, D, that's about all I really need to conceal. So now let's go ahead and bring the cursor back to the world origin. So let's press shifts and cursor to world origin. And now let's go ahead and bring in a cube, so I'll press Shift A and mesh and cube. All right. I'm going to press Control seven to get the orthographic view of the underside like this. I'm going to go and scale this up now in the X. I'll press SX and bring this out in a bit more SX, bring this out a bit more, too. Maybe where should we go? About there, I'd say. And now let's scale it up in the Y. I'll press S and Y and go ahead and do the same and bring that out, too, maybe there like that. Okay, I'll press one so I can see this from the front now, and I'll go ahead and bring this up so that it goes inside the ceiling. By about this much. Okay, now I'm going to bring back the ground floor walls and just see what my spacing's like with this cube. And the floor here. I'll just hit H and hide that. I want to see that for now and see what this looks like. I think it's too wide in the Y axis. So I'll go ahead and scale this down in the Y. I'll press Y and bring this in a little bit. Maybe something like that. I think that's better. And am I happy with that now? Maybe I'll scale it down a little bit more in the X. I'll press SX, bring it down a little bit more to about like that. And now with that, I think I'm happy. So the next thing I'll do is I'll check this and the scale and everything is okay. And let's check this cube now. And let's redo this one. So let's press Control A and apply rotation and scale. Now let's select this one here, go over to our modifiers, add modifier, generate and boolean. And let's get the little dropper and drop it on our cube. Let's find our cube here. Here it is and hide it and see if that booleans worked, and it's worked fine. So now let's go ahead and apply this boolean. We could bring our cube back now, and we could go ahead and reduce that and the z. So I'm going to press SSD and just scale down the Z axis to maybe something like that. And I think the next thing I'm going to do is we can actually go ahead and fix the scale on this. So I'll press Control A and apply rotation scale. And it's flip the normals, which is not something I want. So I think I'm going to tap into Edi mode with it and press AF and I'll go to mesh and go down to normals and flip, and there we go. Okay, I'll tap out Edi mode with that. And I want to reduce it, first of all, I think, in the X axis. So let's see what the size is like. So in the X it's 13. So I'm going to make it maybe 12.5. So I'm going to change the 13 to a 12. And I'm just going to turn this. I'll just put a five there on its own. Click NE. There we go. That's what I want. So now in the YX, let's take a look at the Yee we're at. We're at 4.9. So again, I'll just make this 4.5. Click Enter, and there we go. So next, I'll go ahead and take this up like this. And let's press one so we can see this in the orthographic view. And I want to put it about there. I want it to be a little bit lower than the main ceiling, so I think that's about right for me. Okay, so let's find this item. Let's decide where to put it. And I think I'm just going to put it in the interior file, so I'll just grab it and drag it into the interior group. There we go. And now I'll name it. And I'll call it ceiling panel. There were you. Now that we've done that, maybe let's put some bevels on everything. So I think for now, I'm just going to grab this, and I'm going to hit the forward slash key to just isolate it. Let's tap into Edit mode with it. And let's make sure we've got edge selection on, which we have. I don't think we got it's created some extra edges here with this Boley, and I don't think I can get rid of those. I think it's gonna cause me issues, but I'll try dissolving it and see what happens. Blender it won't let me dissolve it. I think that's absolutely necessary bit of geometry. So we'll select these edges here, so I'll grab this one and this one, this one. Use that corner as well. I'll select this one and this one. Move to the other side, grab this one and this one, this one. I think that's all of them. So I'll zoom in a little so I can see what's gonna happen. And now I'll press Control B. And I'll go ahead and create a bevel on that edge. I'll scroll the mousewheel a few times to get some extra extra details there, and I'll put a small bevel, something like that on that edge. That's fine. Okay, so I'll tap out of Edo mode with that, and I think we're done with that. Gonna hit the forward slash to bring everything back. And I'm going to grab this panel now, and I'll go ahead and hit the forward slash again now to isolate it. Now I've done that, let's go ahead and fix the scale on that. So I'll press Control A and apply rotation in scale. Let's go ahead and add a modifier to it, and we'll add a bevel modifier to it. I'll zoom in so we can see what we got. Let's go ahead and add an extra two zeros. Click enter. Let's turn the one to maybe, um, let's try nine and see what that looks like and maybe increase the segments to a five. Maybe a four should be good. I'll leave that out of four. Okay, so I'll go ahead and apply that bevel. And I'll also do a shade or too smooth on this, and there we go. That's all done. Okay, so let's bring everything back, so I'll had the forward slash key on the numpad. And that's it for the ceiling. That's all I really wanted to do with that. But I think there's one more thing I want to do. I want to put a pair of these sort of door tracks on the ceiling as well, because these doors would need similar tracks on the ceiling for them to run. So I'll grab these, and I'll press Alt D, and I'll take that up in the Z axis like this. So the next thing we'll do is we'll rotate this. So I'll press x180, Enter. And they're going to be off center right now, but we can deal with that. So I'll just bring this over like this. We'll just see where that's landed? And I'll press Y. Sorry, I'll press G Y and bring that back until it's kind of in the right position like this. And that should be good. Okay, let's go ahead and take that up now and put that into the ceiling. I'm gonna press Shift B and recenter. There we go. So I'll grab these now, and I'll go ahead and take those up a little bit more. Two, about there. I think that's about where I want them. Okay, so that's kind of it. So let's go ahead and bring everything back now and see what we got. And I'll press Alt H and bring back the floor, and there we go. Okay, so I think that's basically us done with modeling. I don't think we've got any more modeling to do. We might have some minor things to do. I think when we start working on the kitchen, so we'll actually bring in a kitchen for Blender kit, but we may end up tweaking that a little bit. So that'll be a tiny bit of modeling there. But as a rule, I think we're pretty much done with it. Okay, so I'll see you in the next lecture where we start thinking about textures. Thanks very much. Bye bye now. 52. Lecture 49 Extra Edges: Hello, and welcome to Lecture 49. And in this lecture, we need to do a little bit of preparation of some more surfaces ready to start texturing. So the issue that I have right now is this, the sort of ceiling between the ground floor and the upper floor. So the outside area here is going to be like a rendered finish the same as the walls. But the other side of this track here, this door track will be painted, interior painted. So we need to be able to divide this surface. We need to do the same as well on the edges as well, there. Oops, if I can get to it. Let me see if I can get to it. There it is there. We need to sort of divide that off there. So this little area here is rendered, but beyond that is just painted. So let's see what we can do. So I think the first thing I'll do is on the outside, I'm just going to hide all the outside components in one hit, and then I'll also hide this floor. So I'll just hit H on that and get rid of that. So we can just see what we're working with. So I think I'll hide those as well. So I'll hit H on those, just to simplify the model. Let's see if there's anything else we can hide. We can hide the TV wall, where you can hide the sofa, we can hide the ceiling panel, and there we go. That's just simplified our model quite a lot. In fact, we can hide these two, as well. So we'll hit H and just hide those. Simplify this as much as we can. So now we're going to use a new tool we've not used before. We're going to use the knife command, and I'll show you how to do that. So first of all, let's we tap into Edit mode with this one and make sure you've got edge selection on. And I'm going to draw a edge across, so I'm just going to select an edge here, go to right click and I'm going to hit Knife. And I'm going to select about here like this. And now I'll go over to the other side. I didn't actually mean to flip it, but it works in my favor. Go to the other side and snap it around there like that. And I'll click Enter and see what you got. And that has worked out quite nicely. That's pretty much exactly where I want that divide line to be sort of halfway across all the doors so that this side could be like an exterior rendered finish, and this side could be paint, and the door track will conceal what's in between. Okay, so now we'll just press three select faces and make sure that we've done that. So that's working well. And we can select this one, too. And yeah, it's divided these surfaces nicely. So we'll repeat that now just here. So I'll right click. Sorry, I'll press two so I can select edges. Now I'll right click. Got a knife, and put one about there like that, and bring that over and drop it about there. And here's it. And there we go. I sorted that one out, too, so that this little area here can be gray, and this area, the other side of it in the middle can be white. And we'll just do the same here on this opposite side. Well, just right click and grab the knife and put that about there like that. And now bring that over and drop that. About there like that. And I'll hit Enter. And there we go. So that's sorted that out. So that's a good start. So I'll tap out edit mode just for just a minute. I'll go ahead and grab this piece now, the actual main walls for the first floor, and I'll hit the forward slash to eyelid. So, the other thing I want to be able to do is divide the rendered surfaces upstairs from the internal painted walls. So I need to put some extra curves in for that, too. So I'll tap into Edit mode again now, and make sure edge is selected. And I'll grab this edge here. And I will grab this edge here, and I'll press Control? And I'll put a loop in like that. And that works nicely for me. Yeah, that's exactly what I want. So with that done, let's grab the knife tool this time, so I'll right click and I'll grab the knife, and I'll just snap to that edge there, and then I'll bring that down to somewhere around there looks good to me. And I'll click, and then I'll click it. Press Enter. And there we go. That's sort of that one out and put an edge there. So this side will be painted, and then this side will be rendered. And then the window itself will sort of conceal anything in between. And if we wanted to, we can press one, grab this vertice here, and just pull that over. Whoops, I will turn off proportional editing. And now I can pull that over if I need to just to square that up if necessary. Okay, so where next? Where do we need to go? So we've done that one. So I'll grab maybe first now I'll press two, and I'll grab maybe this edge here. I'll whole shift and grab maybe this edge. And I'll also grab this edge and I'll press Control r and see if we can get a loop. And we can. That's work. So now we can use the knife tool again here. So I'll right click. I'll select the knife tool, snap to that line there, and then bring this down. Left click, and then hit Enter. And there we go. And again, if we need to sort of just move those vertices over, when we bring the windows back in, we can do that. Okay, so we got a nice curve in there. We could do something with this now, maybe. I'll press one. I'll grab this vertice here. I'll hold shift. I'll come over to this side, grab this vertice. I'll now right click and I'll connect vertex paths. And there we go. So again, this face could be rendered, and then beyond that, we'll All right, where to now. Now we sort of need to just repeat ourselves on this side. So I'll press two, so I can select edges, and I'll grab this edge, hold shift, and grab this one here. And I'll grab this one here. And with those selected, I'll press Control up and see if we can get a loop in there. And we can. There we go. So with that done now, I'll right click and I'll use the knife tool. And I'll just grab there like that, and I'll bring this down and try and get it reasonably perpendicular and just left click and press enter. And there we go. And now we just need to connect those on the floor, so I'll press one so we can select vertices. Grab the vertices here. Hold shift, grab this one. No, not that one, that one. I'll deselect that one and re select this one. And now I'll right click and I'll connect vertex paths, and there we go. So we've got one more to do, and that's here. So I'll press two so we can select edges. And I'll grab this edge here. Hole shift, and I'll grab this one here. And I'll grab this one here and I'll press Controller and join that with a loop, and there we go. So now we could do something with this here, so we could actually right click again and select the knife tool. Click on that there at the top, bring this down as plum as we can get it. And left click and then hit Enter. And there we go. So now we can do the same on the bottom here now, so we can press one so we can select vertices, grab this vertice here. Hold shift and grab this one here. And now we can right click and we can connect to vertex paths. And there we go. So let's put the additional geometry in that we needed. Actually, there's one more we can do, which is just here. So if I press one, I can select this edge here and hold shift and grab this edge here. And now right click and connect vertex paths. And there we go. So I think that is all of them. I think we're ready to go. In the next lecture, we will start setting up some lighting. Alright, thanks very much. And I'll see you in the next one. Bye bye for now. 53. Lecture 50 Setting Up Our HDRI Lighting: Hello, and welcome now to Lecture What lecture have you on? Lecture 50, the big five oh. That's cool. We're making some real progress with this now. It's great to see. So like I said, we're pretty much done now with all our modeling, and hopefully now you've got a good grip a good grasp of basic modeling. And I think it was a great thing to do this sofa so that you also learn to do some soft upholstery surfaces, not just hard surfaces. So I guess we could call this now sort of the second part of the course now starting to look at making our model now look really realistic, bringing in some nice textures and some nice lighting and creating the lighting in our room, and, of course, importing assets to populate our scene. So let's make a start at this. So, the first thing we really need to do is go from layout, or you might have done this in modeling. It's up to you and come on over now to shading. Let's click into the shading. And what these tabs up here are is basically presets. So shading has been set up for us so that we've got a nice user interface to be able to apply our textures. This here is where we'll create our node textures. And when we start creating nodes at the start, they'll seem a little intimidating because it's not an easy thing to learn if I'm honest learning nodes, but you'll quickly get a grasp of it, and you'll be flying with it. Don't worry. And we'll take it nice and slow together. Over here on the left, just hit this little drop down here, and I don't really want to be an image editor. I want to be UV editor. There we go. And I'll explain why after. And over here on this side, let's hit the little camera here so we can set up how we're going to render our scene, how we're going to display in our user interface. Let's go from EV to cycles, which is the type of render engine we're going to use. And here in the viewport settings, let's hit denoise. And Blender, as standard, has samples surprisingly high in your viewpoint display, and I've never quite understood why. So I'm going to bring this down really far. I'm going to bring this down to around 20 or 30. We're in the early stages of rendering our scene. And from my point of view, I don't really need to take that really high to get an understanding of how the textures are going to look. The higher the viewport samples, the harder your computer's working. It's constantly rendering. So we'll keep this quite low. Again, I'm trying to make this course so that everyone can follow it, not just people with sort of supercomputers. So this is why I do this. If you've got a powerful computer, then maybe you want to go ahead and up this some more, but I'm going to keep this quite low. Okay, so the next thing I want to show you is the settings for this light that you can see in the background. And this blurred, weird background is what we call a HDRI image. It's a high dynamic range image. And what that is is it's a photograph, a 360 degree panoramic photograph, which contains all the information about the light in the scene as well. So it has the direction of the sunlight, the colors within the sun. So all these shadows that you see now being cast onto our model is from the HDRI image, the light that's being generated from that. If we come up here now and actually click on this little trap down, there's a few things that we can do here. The first thing we can do is reduce the blur of our HDRI, and we can actually see what we've got here, and now you can see the HDRI image of what this actually is. So this is quite a low resolution HDRI image as a standard image within Blender. So we're going to change this in our rendered viewport. We're not going to use this one. But for just using in here, it's absolutely fine. The other thing that we can change is the opacity, which I think is quite a good thing to do. So for me personally, as I'm modeling, I have the world I have the opacity at the bottom. I don't need to see the hasty rite. In my opinion, it's just distracting. I need the lights from it, but I don't need to see the actual image. But for a minute, I'm going to bring it back after showing you that. The other one is the strength here, so we can reduce the strength of the HDRI, or we can increase it. And the other one is the rotation of the HDRI. So we can rotate our HDRI image, and now you can see the shadows changing as the light from the sun is being cast in a different direction. So the HDRI image is rotating, not our model, so that we can actually change the direction of the sun like being set on. I'm gonna put mine something maybe like that. I think I quite like that. So I'm gonna take the opacity down again. And that's kind of it for this one. The next thing we want to go to is our actual rendered version. So let's click on that. And now we're in our full rendered version. So all of a sudden, everything's gone super dark in here, and the reason it's gone super dark is we don't have any lights at all in this scene right now. So what we're going to do next is actually create a HDRI for this scene, and we'll create a HDRI that we'll be using in our final image. We can't really start applying textures until we've got some lights. So down here at the bottom, just click in this area. So just come over here to this little drop down and just click on this and go to World output, and there we go. And now we're going to create our HDRI. So somewhere in here, we should have a first couple of nodes, and there they are. So we have our world output node, and we have a background node. The next thing we need to do is bring in an environment texture. So press Shift A as if you were sort of bringing in a cube or something, and I search for environment, and there it is, your environment texture, and go ahead and bring this in Okay, so the next thing I'll do is I'll just make a square selecting square around these two, and I'll hit G, and I'll bring those over, create a bit more space between. And now I'm gonna press Shift D again, and I'm going to hit the search, and I'm going to go for RGV, RGB, sorry. RGB curves, and I'll bring that in as well. Okay, so the next thing I'm going to do is connect the color here to the color there at the base. And then I'm going to connect the color here, to the color here in this background node, and there we go. Everything's gone this really bright pink, and that's Blender way of saying there's no image applied yet. This is just an empty scene. There's no light in this scene yet. So don't worry, we'll deal with that very soon. Now on the side here, I need to get this bar open here, so I'm just going to press N, and we'll get this one open. And if you remember, at the very start of this, we did actually download this one here, the node wrangler. I'm going to click on this. And this makes it easier to sort out and apply nodes to our scene. So I'm going to click on this environment texture here and I'm going to add texture setup. What it's done here for me is it's brought in a mapping node so that we can rotate our HDRI image and we can scale. And the Texti coordinates map, we'll leave that just as it is with generated plugged inter vector. Okay, so the next thing we need to do is actually find some nice HDRIs. So I'm going to drag over a website, and there we go. And I'll just get rid of this advertisement thing, and I'll expand this. This site is called HDRI Haven, and this is the site I recommend for finding good HDRI images. It's used a lot by people doing this. It's really popular website, and it's absolutely free. All you have to tolerate is some advertisements running at the side. And what's really good about HDRI Haven is you don't need to log in or register with an account. You know, I get tired of having to enter my emails into everything and give my date of birth, et cetera, my address to create new accounts. This is absolutely free, and you don't need to log in or register. So I've already decided on two images that I'm going to use, two HDRIs, but there's a lot of HDRIs here, and it's completely up to you what you use. You have a good hunt through here and see if there's anything that you want to use. There's different environments here, so there's indoor, there's skies, there's coastal stuff. There's everything partly cloudy, nature. It's all in there. And if you look here, we've got the Blender monkey at the front here. And what this monkeys doing here is it's actually showing you how this HDRI affects models. So you can see this one here, I would say, has got a very flat light. It's letting the actual natural color of the model be itself. It's not affecting the color. And the shadows are basically just non existent. It's a very ambient light, a very flat light. Right next to it, we've got something that's a lot more dynamic or here, too. So we've got extremely long shadows. But also the color of the model has been changed by the light information being held within the HDRI. This one here is almost pink because of the light from the HDRI. And you can see as we scroll down this same thing. Some have nice shadows. I would say this one's quite good actually, because the light and model the model is not being affected by the light from the HDRI. It's still keeping its same color, but we do have some shadow detail. So I've kind of already chosen the two that I'm going to use. So the first one is called cannon, believe it or not. And I'll click Enter on that. And you can see here that the light is actually very ambient. We're not really creating any shadows from our HDRI, and the colors are nice and natural not being affected. So for our scenic views from our house, this is the image that I'm going to use. So when we're looking out in our house, when we're animating and seeing our vista, seeing our view, this is the one I'm going to use so that we can see the coastline beneath. And I just think it's a really nice setting. But for lighting our scene, it's not very dynamic. We're not getting many shadows from it. So I'm going to use this one, and I'm going to use another one. So I'll download this one to begin with. So first of all, you can actually choose the file size that you want. You can go one K, two K, right up to 24. The HDRI images are large files. They are large files. They contain a lot of information about sunlight, direction of sunlight, all the shadows, and it's a 360 degree high res image. So, yeah, they are big files. So consider carefully what you use. Maybe start on the low side, and if your computer towards the end, when you've loaded the scene up with all your kitchens, your bedroom furniture, your tables, if you've loaded the scene up and your computer's fine, you can always download a larger version and use it. So for start, I'm going to use an eight K, maybe a four K might be good. I'm going to go with an eight K. I've got quite a decent PC. I think you can cope with it, but these are the two that I would recommend. So I already got eight K selected, so I'll go ahead and head Download. And there we go. That's downloaded. And then from there, you can actually open it in the download file and put it into whichever file that you're storing all your project files in. Okay, so I'll go back now. And I'm going to search for the other one I'm going to use. And it's called if I remember flat Peak. That's it. Flat peak. There it is. I'll click on this and I'll click Aten. And there it is. Flat Peak Mountain two. So we've got some really nice long dynamic shadows. We've still got a reasonably nice scene, lots of clouds in the scene as well to make it interesting. The colors have been affected slightly, but nothing too extreme, so I quite like this image. So I'm going to click on this and I'm going to leave it at eight K, and I'm going to hit Download. And there we go. It's download that for us. Then I'll go ahead in my own time and put that into my project file. Okay, so I'll drag HDRI Haven out of the way. And like I said, you don't have to follow me with the images. You can put in whatever you want. You know, it's completely up to you. It's a very personal thing. So maybe take a while scroll through HDRI Haven and find an image that suits you. For now, I have, so I'm going to go ahead and use this. So I'm gonna click on open. And I'm gonna go back, and here it is. So I'm going to start with, um, um Rocky Hill above sea. This is the one here. I'll click on this, and I'll go ahead and open image. And there we go. We've got that in the scene, and that's cool. And you can see about the view. I really like this view. I think it suits our house really nicely to have that as a view from your house. I think that's super cool. So the next thing we need to do is actually just orientate this the way we want it. So if I sort of think about this from where the view will be, so from that balcony, this is actually not too bad, but we're kind of facing this mountain, which is not ideal. So what I'm gonna do now is come to this mapping node, and on the z axis, I'm going to go ahead and rotate this to bring this as we want it, which I'd say It is about there like that. That's kind of where I want the scene to be, something like that. And I'll rotate around now and see what we're looking like. And this is why it's called a cannon scene because there is a cannon back there on the scene. Maybe this was, like, Second World War, coastal defense or something. I don't know where this image is from. But this is kind of the scene that I want. The next thing we do is go to the location here and the Z. I'm just going to move this slightly. Whoops. Bring this back down. Bringing this back down again slightly into the negative. Just actually drop this, sort of, so we have some rocky mountains behind our house. And that's our HDRI image. So this is the image that we're going to use for our final sort of renders, which will include our view. This is what we're going to use. But we may use the other one for actually setting up our lights, and any sort of finished renders from, say, this angle, look into the house, we're going to use the other HDRI. So let's bring that in next. So I'll click on this little file here, and it's this flat peak mountain, too, and I'll go ahead and open image. And take a minute. And you can see now straightaway that we have a much more sort of dynamic light. We have shadows in our scene, and we have a stronger light. So from the point of view of actually seeing from, you know, a final reed image, a little bit of pool, our house, and strong light, this is probably a better image. So let's go ahead and look at the rotation on this one, now. So I'll swing it around in the Z and see where we want this to be. So I'll just have a look from the front of the house like this and hit the rotation here and start bringing a hipster I around to see how the light changes on our house and see how the shadows fall on our house, as well. We're starting to get some stronger, slightly longer shadows being applied now. That's a little too dark on our house. And I'd say we're getting close to where we'd like this to be. Keep on rotating a little bit more. And yeah, I'd say that's about nice, really. We're getting some nice shadows there like that. And in the location here, maybe I'll just again just bring this down slightly in the z and see what that looks like. We have some nice shadows in our house. We still have quite a nice coastal view, actually, but not as good, I think. Yeah, I'd say that's ready to go. The other thing we can do here in the strength in the background is we can actually increase the strength of our HDRI, and just get that to a point where we want it. And we can also just This is the RGB curve, which will affect the color. So we can just left click on this little line here to put an extra control point in there. And now you can actually just pull this around to just adjust the color slightly in your scene. You can take it to the extreme and put some different lights in there, or take it the other way now. And just make it flatter, and you can see how this is actually affecting the color of the light applied in your scene. So that's actually quite nice. I put a little bit of warmth into it, which I think I quite like. Maybe just tweak this around a little bit. Maybe just add an extra control pipe by left clicking and now try twisting this around and just apply some shadows and get some light in there. Maybe bring this back down again. And I think I'm going to leave that something like that for now and see how that goes. We can always adjust this later on and see what results we get. That's better, actually, something like that. And to be honest, this is the way that a lot of this will go now. We will be sort of playing around with textures. Sort of the modeling bit is where you sort of can clinically draw and build and see that things are working right or wrong. But with lights and textures, it is very experimental. We do sort of sort of set things and then if we're not happy, maybe revisit it and adjust lights. And as we apply textures, we might again think maybe we want to change our lights. So it is something that's very exploratory. We sort of have to sort of play around with this until we get the results. For now, I think I'm pleased with that. So in the next lecture, we can actually start applying some textures. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 54. Lecture 51 U,V Mapping: Hello, and welcome now to Lecture 51, and don't panic. I haven't deleted the entire model. We'll come back to that in just a few minutes. But I wanted to do a quick lecture on you just explaining UV mapping because we're going to be doing a lot of UV mapping going forward now, and we're lucky enough that the model we've created. The shapes that we've got are all quite basic. You know, we've got rectangles and squares and different variations of that, but nothing particularly complex. So UV mapping won't be much of a challenge for us with this project, but it's still something that you kind of need to understand the basics of, so I'm going to do my best in this lecture to sort of cover that. Okay, so I'll just click it off. And you don't necessarily need to follow everything I do. It's up to you can if you want, but you don't need to. It's just enough to understand it. So what I'm going to do is just deselect these two items here and select those items there and just delete them. Then up here, I'm going to go into shading and just drop us into shading with a simple cube. So here in the text you set, it's actually just put us a BSDF and a material output. I might as well explain while I'm here what a BSDF is. So a BSDF is the most standard of all the nodes that we use, and it's basically your standard template, your starting point for creating any textures. And in here, you can apply metallic to a surface, rough to a surface, reflection to a surface, Alphas, et cetera. So this is your basic starting point for creating a material. There's different variations of a BSDF, but this is the one that Blender always starts you on. Anyway, that's enough of that. Over here, I'm going to actually just go from image editor UV editor. This is what I want. And what is UV editing? Well, UV mapping, sorry, is so textures are basically two D. But as you can see, in front of us here, we have a three D object. We have a three dimensional object. So how do we apply a two D texture to a three D object? And think of it as wrapping a parcel. So we have to think, if we didn't want the paper that we're going to wrap this cube to overlap, we'd have to measure and think carefully, where would we put the cutting points in that wrapping paper so that it wraps this perfectly without overlapping. And that's basically what UV mapping is. So if I select the object and just tap into Edit mode for a minute. You can see the object automatically because it's such a basic cube already UV map for Blender has already done this force because it's such a simple object. It's done the most efficient way of unwrapping that object. And there you go. It's done it force. So that is UV mapping in a basic. So we'll actually tap out, and I'll just get rid of this object. I don't want it. And I'm going to bring in a cylinder. There we go. Just a simple cylinder, and then I'll tap into Edi mode. And again, we're UV map. There we go. We can UV map. If we've got a more complex object. If we're doing the windows or something, we need to UV map. So if I press all and I press U, and I go for smart UV project. And here, in a margin, I'll just click on one just to make sure that the objects here, these islands, we call them, are not touching each other. I don't want them to be touching. You can give problems, particularly if you export other software. If your UV maps, if your islands within your UV maps are touching, you can create problems. So just make sure there's at least one, like 0.10 or you can go 20 if you want, and go ahead and unwrap. And there you go. The maps not change much because it was already unwrapped and it's such a simple object. But what if you wanted to make a starting point in this surface? I'll just press two. So say if you've got a texture. Let's say it wood texture. And you wanted to start at a certain point on this tubular surface. How could we do that? So you say that this point here is where you want the start of your texture to start and to end. So if I select that point again now, and then right click and go ahead and mark a seam, so now that's going to tell Blender that that will be the start of our surface. That is where it will start, and that's where it'll end. So now what I'll do is I'll hold Control and just select that surface there. I'm sorry, I'll hold Alt and I'll select that surface there. And I'll hold Shift and Alt, and I'll grab this one. I'll right click again and I'll mark a seam. There we go. Now I'm going to press A for all. And I'm going to press U, and I'm going to ho not this time not smart UV project, but just unwrap. Now blenders have to consider where we've marked our seams to unwrap this object. So if I go ahead and select maybe I'll press three now, and I'll select this face here, you can see this face is right at the edge of the UV map. So now if I go ahead and hold Control and select maybe to there, you can see what Blender is done. So it's consecutively started our UV map from the Sam just there. So that we can decide that we wanted to put the seam, let's say, at the least seen side of an object. Say, this is a simple side table, and this side here was against the wall, then that's where we want our seam to be, and so that we can conceal the scene behind another object. And that's the basics of UV mapping. I think that's all we need to know, and you'll learn how to UV map a little bit more as we go through. But like I said, most of the objects we're going to be applying UV maps to are very simple, so I don't think it'll ever be too much of a challenge to us. Okay, so in the next lecture, I think what we'll do is we'll start applying some glass materials to our windows. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 55. Lecture 52 Glass Material: Hello, and welcome now to Lecture 52. And let's go ahead and create and apply our first material to our model. And this is this is going to become fun because we're going to start applying some realism to our model. It's good fun. So let's go over to textIPreview. Let's click on this so we can see what we've got here. And something I didn't do actually in the last lecture or in Lecture 50 was within the render settings here, make sure the device is actually on GPU, not CPU, so that your graphics processing unit is handling the rendering, not your CPU. Okay, once we've done that, down here in the texture editor, make sure that we're in object rather than world. So the next thing you want to do in this one, just hit this little drop down here and make sure you're in UV editor and not image editor. Hey, once we've done that, we're a way to go. So I said in the end of last lecture that we'll start applying glass materials to our windows. But I think it would be better, first of all, to apply materials to this one to these glass panels here. And the reason being because these windows will have more than one material, they'll have a frame and a rubber seal and the glass. Whereas these just have one material applied to them, which is the glass. So let's work on these first simply 'cause it's a better starting point. So with that done, let's go over to full rendered mode. And there we go. This will gives a pretty realistic version. Let's select these items here and go over here to this one to material properties. Click on this and go ahead and click on New. And then in this line here, go and click on this and let's rename this to Glass. And there we go. Once we've done that, down here in the texture editor, it will have created the material for us. Automatically, it's provided us with a principal BSDF and a material output. But I want to add to that. That's not enough. So what I want to do is we need to turn this into a glass. So what we're going to do is basically for materials, we have two different types. We have what's known as a PBR, a photo based rendering, a physically based rendering. So at the core of the PBR texture is a photograph. We're going to create a procedural texture, which means there is no photo. All we're going to do is manipulate this texture by adding extra nodes and setting them up correctly. So we'll do that for the glass. Over here now, press Shift E and search for a transparent BSDF. So I'll just start typing transparent, and then there we go transparent BSDF and go ahead and enter bring that in like that. I'll bring this material I put over here like that. And I want to plug in this transparent BSDF into this socket here. But also, I still want to have this one plugged in, too. So we need to be able to bring in something that can do that. So we'll press Shift A, and we'll search for a mix. Shader. And there it is. Let's bring that in like that. Let's unplug this one and plug this into the bottom one of the shaders. Grab this one now and plug this into the top one, and go ahead and plug this one back into the surface. And there we go. We have a basic start for what we're going to do. But I want to go a little bit further with this glass material. So the next thing we're going to do is I'm going to go ahead and bring in another node, and so I'll press shift A and search for light path. And there it is. I'll bring that in next and just drop that there like that. Going to bring in another node now. I'm going to bring in a math node. So I'll press Shift A and search for Math node. And there it is right there. We'll leave it on add up here. I'll start just spacing these out a little bit. There we go, bring this in like this and type the shadow array into the value. So just plug that into that like that. And now on the mixed Shader go ahead and plug this value into this one here. Okay, that's cool. Okay, so the next thing I'll do is here in the value here. I'll bring this down to create a bit more transparency. I'll bring this down to maybe one like this. And now in the principal BSDF, I'm going to bring the roughness down to basically nothing glass is obviously smooth. And now you can start to see that we're getting a nice transparent material. The next thing we want to do is make sure that we've got some nice reflections in our glass. So here in the IOR, go ahead and bring that up to maybe around five, I say, maybe even a six. Let's try that. And we may well adjust this. As we bring in more materials and we start to populate our scene, we may want to do more with this, but for now, that's absolutely fine. And bring the alpha, as well to about halfway. And there we go. That's cool. But the next thing I want to do also is add a tiny bit of tint to this glass, so it's not perfectly transparent. So here, in the color of the transparent BSDF, just click on this and just bring this bar down a little bit to add a little bit of darkness to this scene. And there we go. So we've just created our very first material. We've created that with a procedural texture, using nodes and settings on nodes to create, in this case, quite a basic material. And we will be using this quite a few times to create materials like our rendered texture that you see on the outside, we'll create it for that. And the interior painted surfaces will be a procedural texture as well. Okay, so I think we're pretty much done with this lecture, but before we call it a day, I think it's a good time to do a new save. Since we finished the modeling section of the course, let's do a fresh save now for the textures. So let's come up to file and save us. And what I want to do this time is go over here to this little wheel here. Click on this. Make sure that we hit Compress because we're going to start creating quite a big file now. As we start applying more and more materials, it's going to get big. So let's hit Compress to reduce our file size. Hit the plus sign to call this Render House three now and click save us. And there we go. So now we're on a fresh save. Okay, so in the next lecture, let's go ahead and apply our glass materials to our windows. And also, let's create some new materials as well for our frame and our rubber seals. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 56. Lecture 53 Windows: Hello, and welcome now to Lecture 53. And in this one, let's apply texturing to windows here. Let's start with this one here. So I'll grab this window here and check the scale and the rotation, and it's fine. And I'll had the forward slash key to isolated. Okay. So the next thing I think I'll do is I'll tap into Edit mode with it, and let's have a look at our UV maps. So I'll press A for all, and I'll press U, and I'll go for Smart UV Project. Make sure that you have an aisle and margin and go ahead and unwrap. And there you go. Right here now, we have all our UV surfaces already mapped out for us. Okay, now that we've done that, let's start looking at materials. So it's time to make a new material, I think. So I'm going to click on the new button here. Let's call this window frame. There we go. And I'll hit Enter. So now we've created a new material. But of course, it's nothing right now. It's just white, so we need to do something with that. So the next thing I'm going to do is, if you remember, in the resources pack that we had in the first lecture, within that, you've got textures. So what I'm going to do now is just select the principal BSDF and make sure your node wranglers here on the side tab. If this side tab isn't open, just press N. And with the principal BSDF selected, add principal setup. It's going to bring you to this browser window, so now you can find your texture sets. So come back to textures, wherever you put them. Click on it. And in the other file here, you'll find doors and windows, and there we go. The white one here is the Alpha set. I don't think we're going to use the Alpha set. So ignore that one and then hold down Shift and select the others. Once you've got those selected, hit principal textia setup. A Blender kit is automatically set up a node tree for us with this. That's really cool. That's the benefit of node wrangler. It's actually saved us quite a bit of time doing that for us. So here on this side, you have your mapping. With this, if you want to, you can scale or you can adjust the position of your text you set. Here, of course, you have your base colors and your roughness and your displacement and your normals. And you have your principal BSDF and these other nodes as well, which control your displacement and your normals, which we'll go into at some point. Okay, let's actually just maybe now tap out of Edit mode for a moment, and let's zoom in on this and see how it looks. And it has a texture on it because that's what the texture set has on this one. Has some dimpling to the paint. That was intended. But the dimpling the texture is too big, so we need to do something with that. So I'll tap into Edit mode again. Press A for all. And there's our UV map. Do you just put a selection window around everything now, hit S and scale it up considerably. Let's try something like that. So let's just zoom in on this now and see what our texture looks like, and you're just going to pull in a little bit more. And, yeah, that's kind of what I wanted. This sort of orange peg paint effect. I might actually go a little bit more than that. O press A again for all, and make a selection window around everything and scale this up even more to about And there we go. Now we have a nice little dimpling to the paint. Nothing too much, but a little bit. So let's refine this material a little bit more. We can click off this. In fact, we can tap out of bode with this now so we can see this a bit cleaner. And let's come on over to the principal BSDF let's add a little bit of metallic to this material, just to give it a little bit more going on, maybe about half on the metallic, and there we go. And that's also put a little bit more reflection. So actually tweak the IOR to maybe to about 2.5. And there we go. Now we've got a little bit more going on that material, it's a little more interesting. That's cool. That's our window frame material. But the problem is, as you can see, it's also covering our glass, so that doesn't help us much. So with the windows selected, let's tap into heady mode. Make sure you got surface selection. I'll press three, and I'll go ahead and grab our window panels. This one, this one, this one, I'll turn it around, and I'll do the same from this side. Now I'll hit the plus sign here, and I'm going to hit the drop down here because we've already created the glass, and now it's already stored. Find our glass. There it is. And with these selected like this, I'm going to go ahead and assign. And there we go. Now we have our glass in our glass panels. It's starting to look pretty good. So now I need to create the material for this rubber seal that we were going to do just here. So let's hit the plus sign again now. And let's hit new and let's click on this and let's call this the rubber seal. There we go. And here, Enter. So with that done? Let's actually select a face here on this rubber seal. And let's select one face of each of the sets of rubber seal. So that's that one. And this one. And we do these two here. And then this one, as well. Now we turn the window around, and we'll do the other side. So I'll select maybe this one here. As long as it's one face from each of the sets of the rubber seals. Now, since the rubber seals are a separate component within the same grouping, we can actually use the Control plus key to expand the selection on the rubber seals till we get all of it. Once we've done that, we can click on the rubber seal here again. And with these still selected, we can hit the assign, and there we go. We can tap out of Edit mode with this now, and you can see that the rubber seals are currently white, which I expected them to be because we haven't really done anything with the material on this. And this is quite a simple setup for this one. So let's select the rubber seal here now, and let's grab our color here on our principal BSDF and bring the color down here and into the black. We won't go completely black. We'll go to about there because generally, there's nothing really that you'll see that has complete blackness in it. So we'll put that about there. And now in the roughness, we'll bring this up because Rubber doesn't really reflect. Break a tiny bit of metallic into it, and there we go. That's our rubber material assigned. So there we go. There's our first window done. So we'll hit the forward slash key now and bring that back and see how we're looking. And I think we're looking good. I think that's great. So now we can do the same now with our second window. So let's grab this window here and isolate it. And let's check it for scale, and it's out. So press Control A, and apply rotation and scale. Now I'll tap into Edi mode, and I'll press AF, and I'll press U, and I'll go for a smart UV project. And I'll click Unwrap, making sure that we have a gap in the island margins. And let's see if we can find that here, and there we go. It's all laid out. So now we don't need to create new materials. We just need to sign. So we'll hit the Plaske and we'll hit the drop down here. And we're looking for the frame. So we can call this Is it window framed? Is that what we called it? Window frame, there it is. So select that, and there we go. So that's already applied to that now. So now we're going hit the plus key again, and we can hit the drop down here and we can look for glass. And with the glass selected here, we can select these faces, one, two, three, four, five, spin this around, grab these. Make sure the glass is selected here again and hit the assign. And there we go. So let's actually hit the plus key again now to get our rubber material. Hit this little drop down, and we're looking for the rubber. So let's grab this here. Was it simply rubber? Rubber seal, there we go. So we'll click on that. And now that's also within this window set. Let's grab our rubber seal actual component. So this is one here. Oh, chef, grab this one, that one, there, and this one. And this one this one. And this one, and we'll spin this window around now. And let's select on the other side as well. And last one. Where the surf is selected from each of those rubber seals, hold down Control and press plast to expand our selection until they're all selected. Reselect rubber seal up here and go ahead and assign. And there we go, let's tap out of Edi mode, and let's look at what we've done. There we go, so that's material selected. Now, you can see that obviously this is too bumpy for the window frame material. So let's tap back into Eddy mode with this. Select a face on the window frame and hit the Plaskey to expand our selection. Let's deselect these windows. We don't want those. There we go. And with those done like that, let's grab these over here now, and let's scale those up. Let's go again with that. Grab all of these, and let's hit the S and scale those up. And there we go. Let's see what we've got. And that's more like the material that we want. So I'll tap out of Edit mode now, and there we go. That's looking good. Okay, so that's our Windows done. So next lecture, I'll just hit the forward slash key and bring those back so we can see what we've done, and that's looking good. In the next lecture, let's go ahead and repeat that principle now on these big folding doors here. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 57. Lecture 54 Bi Folding Doors: Okay. Hello, and welcome now to Lecture 54. And let's apply our materials in this lecture to our folding doors. I think it'd be good to do those next. So let's select this door on this side. I don't know if you remember or not, but we actually created the duplicate of this store by using the Alt D command. So when I apply the materials to this door, it'll automatically be applied to this one, so that should save us some time. So with that door selected, let's hit the slate button. Let's hit the forward slash key. So we've just got these doors like this. And I think the next thing we want to do is up here, hit the plus key and hit the little drop down here and let's type in window frame. There it is. And let's select that. That's instantly got the material on that window. And it's looking a bit funky. You can see we've got all these weird sort of lines going through like this, and this is because we didn't apply the UV maps. So let's do that now. So I'll tap into Edi mode, and I'll press AFL. I'll press U, and I'll go Smart UV project. Make sure you have an isle and margin and click wrap, and there we go. It's all a bit big, so I'll just grab this now and I'll press S, and I'll go ahead and scale that up like this. Let's see what we're looking like. It's still a bit texturing. So I'll hit S and I'll scale up a bit more until we find it, the happy medium. Yeah that's what I'm looking for. I can still see a light texture in there, and that's what I'm Okay, so now that that's done, let's tap into Edit mode with it. And now let's select the window faces or the glass. And I don't think I can get all of them like this. So I'm going to have to press set and go into wireframe. And now I can select all of the glass panels. Make sure it's just the glass. I've got selected. There we go. And with that selected now, I'm going to hit the plus key here and I'm going to hit the drop down. I'm going to find the glass. And with the glass selected, I'm going to go ahead and assign. Let's tap out of it. Let's go back into solid mode now and go back into rendered view. And let's see if that's workforce. Let's tap out of Enomode. And, yeah, that's fine. I can see through that. I don't think there's any gray left in there anywhere. No, I can see through there. That's it. It's just the compound of all those pieces of glass together, but it's definitely transparent. Okay, with that done, the next one to do is these black rubber seals. So let's tap back into Edim moode with this. And let's go back into wireframe for a moment. And let's select these rubber seals. This might be a bit more tricky, but it's not too bad down here. So if I select this one, I'll hold shift and grab this one, and let's grab this one and this one, this one and this one and this one and this one. And this one, this one, this one, and this one. I'll hit Control plus and expand on that selection, and there we go. And I'll hit the plusky here, and I'll hit the drop down, and I'll find rubber. And there we go rubber seal. I'll click on that. And the rubber seal selected, and these still selected, I'll hit the assign. Okay, let's tap out of, let's go back to solid de now, and let's actually go back into rendered view and see all we've got. Let's tap out of edit mode, and there we go. That's looking good. So I'll hit the forward slash key to bring everything back now and make sure that's been applied to the other side as it has, and that's good. So now let's just grab maybe this frame here, whole shift and grab this one, and let's isolate those two items. Let's have a look at the scales on these. That one's fine. What's this one like here? That one's fine as well. So maybe I'll just tap into Edit mode with this one first, and I'll press A for and U, and let's smart UV project. Make sure you got a gap and click on wrap, and With that done? Right here this time in the sort of materials editor tab, I'll just hit the drop down here and I'm going to find window frame. There it is and go ahead and assign. Let's just see what that material looks like. I'm going to hit the Shift B and just select an area to speed up Blender, and let's have a look at our texture. It's a little too rough. So I'll press A for, grab our UV maps, hit the S to scale it, and let's just see what that. And I'm happy with it. Maybe about like that. That's cool. Yeah, that's what I'm looking for. So I'll tap out of Edi mode with that, and that looks good to me. Let's do the same with this one here now. Let's have a look at the scale, and it's good. So let's tap into Edi mode, and let's press A for O, and U and SmartUVPject. Make sure there's an island margin and click Unwrap. Let's hit the little drop down here. Let's find window frame. There it is and go ahead and assign. Let's look at the actual texture on this, and of course, it's too big, so grab our UV maps, hit S, and scale this up to about the same size. And, yeah, that's looking good to me. I'm happy with that. Maybe I'll go a little bit more, actually, I'll press A and grab all of it and hit S and scale it up a little bit more. And there we go. I'm happy with that. Okay, so that's our folding doors done. It really is not too difficult at all. Let's hit the forward slash key, bring it all back, and see how that all looks. And, yeah, that's cool. We're quickly adding some nice materials to this. Okay, so on the next lecture, let's actually do our pocket doors at the bottom here, which is going to be pretty much the same as our folding doors up here. And then we'll move on to our next one. Thanks very much. And I'll see you on the next lecture. Bye bye for now. 58. Lecture 55 Doors and Posts: Okay. Hello, and welcome now to Lecture 55. And in this lecture, let's go ahead and apply this same window frame material to our pocket doors here on the ground floor. And then let's apply a new material then to these sort of rail posts just here. Okay, so let's start with our pocket doors. Let's grab these. And let's go ahead and isolate them, so I'll hit the forward slash key on the numpad. And let's have a look at the scale, and it's all good. And remember, we actually use the old D to duplicate these. So if we apply the materials once will be fine. So the next thing we're gonna do is go ahead and tap into Edit mode with all of them, and I'll press A to select all, and I'll press U, and I'll go ahead and do a smart UV project. Make sure we have an island margin and go ahead and unwrap. Now that we've done that, let's go down here, hit this little drop down. And let's find window window frame. There it is and select that. And there we go that's done. Let's have a look at the texture we've got on this, and I can see that it's a little bumpy. I can just about see through the selection. So I'll grab our UV maps, hit S, and just go ahead and do a scale on this. I'll deselect for a minute so I can see what we've got. Maybe zoom in a little, and I can see the texture, and it's still a little bit much. I'll press, grab it again, and I'll hit S and scale up somewhere. And there we go. That's absolutely fine. That's what I want. Okay, so it's really easy to apply our textures to our pocket doors, and that's that. Let's hit the forward slash key now and bring that back. And now let's have a look at our new posts or our handrail posts or whatever you want to call. So I'll grab them like this and let's isolate them so that we've just got them like this. Let's look at the scale, and that's fine. So let's tap into Edit mode with those, and we've got quite a bit of UV mapping to do here, but it's still easy, so we'll press A. And we'll press U and we'll do smart UV Project. Make sure you've got the Ilan margin and click and wrap. And there we go. Let's zoom in a little bit and see our UV maps. As you can see, there's quite a few surfaces there, but everything's looking good. Everything's looking really nice in uniform. Okay, so over here now, let's hit the plus sign, and let's click on New because we're gonna create an all new material now. And let's name this as handrail posts. That will be good. And there we Enter, and there we go. So it's created our material here, our base material. So let's use the node wrangler to bring in. So let's hit let's click on the principal BSDF. Add principle setup and let's go find our textures. There we go. And others and posts and there we go. Let's press A to select all and go ahead and hit Principle Texture setup. And there we go. That's our material. Let's zoom in a little bit and see what it looks like. Let's actually tap out of Edit mode and see what we're looking. And let's see what we can do with this. Let's add some metallic to this. And let's add some reflection to this, as well. So we get something going on, and there we go. But what I see so that's looking fine as a material. I don't think we need to do any more to that than we've already done. We can increase the metallic if we want to or bring that down. I'll leave that somewhere around like that. But it's very flat. We have very little features going on here. And materials are generally not like this that it'll be one uniform color. So what I'm going to show you now is how to apply a bevel to this a bevel node, and this can make the difference really between a really nice render and a normal render. If we can put shadings on objects, so it's not just a flat color, but we have some variation. So I'm going to show you how to do that. So the first thing I need to do is I need to make a duplicate of this whole thing. So I'm going to grab it like this. Gonna press Shift D and bring a copy down like this. And just put it slightly below like this. I'm going to just bring this up a little bit to give there's some more space so we can see what we're doing. The next thing you need to do is actually blend these two together. So I'll grab this and I'll grab this and I'll pull it over. And actually, there's bottom one here on the output. I'm going to go ahead and delete this. We don't need that. So now we need to actually join these two together. So if we go ahead and press Shift A and type in mix shader and it should be just there somewhere. There we go. And we'll bring this in like this. Maybe I'll just bring this up to here and let that join itself like that. So now I'll grab this bottom one here like this, and I'll go ahead and bring this up and plug this into this one like this. I can go ahead and disconnect the base color off this one. We don't need that anymore. And if we want, we can go ahead and delete that. And there we go. So now I need to bring in some new nodes. So the first one I'm going to bring in is called the bevel node. So I'll press Shift A and search for. It's right there for me it's Bevel, but I'll type it just for you. There we go. And there's the bevel node. I'll bring this in, and I'll just put it a nice distance from the others. Let's space this out a little bit more like this so we can do this nicely. And now I'll bring in the next node. I'll press Shift A and search for a Geo node. Geometry node, there we go. And I'll bring that in just like that. I'll bring in another node, and this is going to be a vector math notes. I'll press Shift A and search for vector math, and I'll bring that in as well like this. I'll bring in one last note. I'll press Shift A, and I'll search for a color ramp. And there we go to write though. And I'll bring this in like this. So the next thing I'm going to do is go ahead and plug the normals here into the lowest vector on this vector math. And here on add, I'm going to make out some dot product, and I'm going to click the normals here into the vector like this. Then the next thing we do is plug the dot value into the factor of the color ramp like this. And then I'm actually going to just so we can see what's going on with this. I'm now going to plug the color directly into the material output, and we'll see what we get with that. Can you see now that we're getting some darkening on the edges, and that's exactly what I want? So if I just grab this little thing here on the color ramp and bring this over, I can actually increase the level of that darkening and shading on the edges. And there we go. That's a nice effect now. We've got some darkening in all the corners, and that's what I want to see. So with that done, I'll disconnect this again now, and I'll plug this into the factor of the mix shader. I'll go ahead and plug this back into our material I need to switch these over now, so I'll just grab this one here and plug this into the top one and plug this one now into the bottom one like this. And now, now we're starting to get a nice effect. But we haven't got any color to that bevel yet. I'm going to come down here and just click on this one and go ahead and bring this down now into the black. So that we get some darkening on those edges like that. And there we go. So that's a nice effect now. You can see the darkening at the base of all these edges. That's looking really quite cool. So we could, if we want, maybe just bring down the metallic again on this one here, and bring down the IOR, maybe. And there we go. That's a cool effect. I like to now that that's darkening on those edges, giving that another sort of level of realism. So I'm going to bring everything back now. And there's our posts in position. Okay, so in the next lecture, maybe what we should do next is have a look at doing some of the external stuff here, maybe the pool and the paving and the wall around the outside. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 59. Lecture 56 Outside Materials: Hello, and welcome now to Lecture 56. In this lecture, let's go for some impact. So let's do some big stuff so that we can quickly see some nice progression. So I'm thinking we're going to do maybe the paving here and then the pool and the wall. And if you've got any time left, maybe this edging here. Maybe that's a bit much for one lecture. Maybe I'm being a little bit too optimistic. We'll just see how we go. I need to rein myself a bit of that. We'll take it one step at a time and just see how far we get. So let's make a start in this optimistic lecture. Let's grab the paving here and let's check the scale. And there's a minus there on the scale, so I'll press Control. And apply rotation and scale, and there we go. And now let's tap into Edi mode with it, press A for all, and let's go for, and let's go for a smart UV project. Make sure you've got an island margin and click Rap. And there were you. So in the materials file, we do actually have a paving slab. So the next thing you want to do is actually apply that. So with this selected, come on over here now to the materials output and hit the plus sign and click on you because it's a completely new material. And let's call this paving slabs. There we go. And down here now, of course, we have the paving slabs. Let's just bring this up a little bit so that we have a bit more space in our texture editor. Let's select the principal BSDF. Go over to our node wrangler and add principle setup. Go to the place where the textures file is and click on it, and I think it was in outside. So click on Outside and paving slabs. Click on this, and we'll press A to select and principal texture setup. There we go. Let's have a look at that. And the scale is just way too big. So that's the first thing to deal with. Let's tap into diode with it and make sure that all is selected. Grab it here on our UV maps and hit S and go ahead and scale this up. And let's have a look at what that looks like. Maybe I'll just deselect everything for a moment and see what it looks like. I'd say that's still too big, so I'll do that a bit more, so I'll press A for all again, and I'll zoom out a little bit on the UV map, select everything, and just go ahead and scale up some more. I'll deselect everything and see what the scales like. I think I'm pleased with that. Yeah, I think I am. Okay, I'm gonna tap out of EDI mode on that. Yeah, I think that's absolutely fine. That's working for me. Okay, so that was easy. So where next? Shall we do the pool? Yeah, let's do the pool. So let's select the pool. And let's look out first of all, the scale, and it's ever so slightly out. So press Control, eh? And apply rotation at scale. Let's tap into Edi mode with this, and we'll press A fall. And let's press U, and let's go for Smart UV project. Make sure you get an either margin and click Unwrap. And there we go. Okay, so let's tap out of Edi mode for a moment now. And with the pool still selected, let's hit the plus sign because we're going to assign a new material. Hit New. Click on this because it's an all new material again. And let's call this the pool tiles. And there we go. Once we've done that, select the BSDF here in the texture set and add principal setup in the node wranguler. Let's go back and find our pool tiles, and there they are. And should we go pool tile wet? Let's go pull tile wet. Let's select all of them. And let's go ahead and add the principal texture setup. And there we go. Obviously, that's a little big, but we can deal with that now. Let's tap into Eymode with this. And with all selected, let's grab it here, hit S, and go ahead and scale this up until it looks about right for the little tiles that you see in swimming pols. I'll go a little bit more, and looks that looks about right to me. Okay, I'll click somewhere else just to deselect and have a look at what we got. And that's looking pretty good. I wonder, though, if I just tap out of Eddy mode with it and see what it looks like, and it's just not looking right, though. What I'm going to do is try disconnecting the displacement. Sometimes the displacement doesn't always work, so I'll disconnect that and see what we get. And now we're getting the effect that I'm looking for. We're getting that sort of shiny surface that you'd expect on the tiles. Yeah, that's absolutely perfect. That's what I'm after. And it's that easy. There we go. Okay, so what next? Maybe we do the edging tiles around the pool. Let's see if we do those next. So let's select those. And let's look at the scale, and the scales in the negative. So let's press Control A and apply rotation and scale. Okay, so now let's tap into Edit mode with it. Press A for all and press U, and smart UV project and unwrap. And there we go. We'll zoom in a little bit, and there are the items there on the UV Okay, so let's tap out of Edit mode with that. And let's hit the plus sign here in the material slot. And let's click on new. And let's call this the pool edge. Tiles. There we go. Click Enter. And there we go. So we have a new material created here now. So let's select the principal BSDF in the node wrangler here, add principal setup. We'll go back some, and we'll find those pool tiles. And did I put it in other? Maybe I put it in others. Let's have a look in there. No. I stone and tiles. Pull edge tiles. There we go. Let's click on this. And this is the alpha. And I don't think I want the alpha, so I'll select everything else but the alpha. So just hold down Shift and make the selection and add principal texture setup. And there we go. Let's have a look at that and see what it looks like. And it's looking a bit funky, actually. First of all, let's sort the scale out on this and see if that helps. No, let's try unplugging the displacement first and see what that does. And instantly, that's starting to look better. And now, of course, let's try scaling that down. So let's tap out of Eddy mode with this. And let's grab everything here and hit S and scale this. And let's see what we've got. And, yeah, that's looking good. I think I'm pleased with that as a tile. But again, it's a bit too the colors too flat on that. We need to see some shading here on the edges. Things just don't look like that, do they? So, actually, I think I'm going to scale it up a little bit more to begin with, so I'll tap back in edding mode. Operas A for, and I'll go ahead and scale those up a little bit more again. Maybe something like that. Let's have a look. And, yeah, that's better. So we're going to add the bevel node that we added previously. So let's go ahead and do that. So it looks like, first of all, we don't want the displacement. We're not using that, so we'll delete that, and we'll delete the displacement here as well. We're just not using them. With that done, let's select everything. And let's press Shift D and bring a copy down like this, and just drop it right underneath like this. Okay, let's grab the BSDF and the material I put here. Let's press G, and just drag those up closer to the other one like this. Now, this material I put on the lower one, we don't need that at all, so I'll delete this. And let's go ahead and grab this now and bring this over and grab this BSDF and put that maybe there like that. Okay, so the next one to bring in is a mixed shader. So let's press a Shift A and search for a mix shader. Is it there? It is. It's there, 'cause we've used it a few times already. And go ahead and bring that in like this. So I'm going to put the top BSDF. I'm going to plug that into the bottom of the shaders for the mixed shader. Gonna grab this one here and go ahead and put that into the top one like this. There we go. Okay, so the next one we need is the bevel node. So I'll press Shift A and search for. And we should have it here. We do the bevel node, and I'll bring this in like this. And let's go again, straightaway. Shift A, search for a geometry, and bring that in as well. And now a vector math. Shift A, search for a vector math. And we'll bring this in. And the next one Shift A, search for a color ramp. And there we go. Let's bring this in as well. All right, so let's plug the bevel normals here into the bottom vector, and let's plug the normals on this geometry node into the top vector. Now let's plug this one into this one here. Once we've done that, just to see what we've got, disconnect the shades from the material output, and let's just bring in this one. Let's just plug in this color here into this and see what we get. Ah, so here on the vector math node, turn this from add to dot product, and there we go. And now let's plug the value back in again and see what we got. Let's go ahead and up this and take this up so we start to get some shading. And we can see it now. We can just see it there forming on the edges. And we're going to tap out of eddi mode. Oh, and now it's a lot more apparent. Now we can see that edge detail coming in nicely. So actually just add this a little bit more, and there we go. That's cool. That's what I want to see. So we could actually here in the samples in the radius on the bevel, just try clicking on this once just to increase that number. And yeah, I'd say that's working for us. And I might actually just bring this back down on the color ramp a little bit and see what the results are, and that's exactly what I'm after. Okay, so with that done, what we'll do is we'll plug this one from the color ramp now into the factor on the mix shader, and we'll go ahead and plug the shader back into the surface on the material and see what we got. So you can see that these edges are a lot whiter, so let's go ahead and apply a color to this now. So let's come on down to the second one here, and let's disconnect the base color. And let's go ahead and delete this. And there we go. And now let's go ahead and add a color to this. So we'll just bring this down into the black to put some griminess into this. And there we go. Now we've got a little bit going on with these more than just one standard color. That's what I wanted to see. We could try actually just bringing that value back down on the bevel and see if that helps things or makes things worse. Put it back up again. Let's try increasing the samples and take the samples back down again, increase the bevel, that's too much. Yeah, 250 looks about right to me. We're putting some variation in that now and I'm liking that. Okay, so is there anything else that I want to do to this? I don't think I'm completely happy with the color that we've got going on here, so maybe I want to do something with that. So what I'll do now with this actual color here is I'm going to bring in a mixed color. So I'm gonna press Shift A and search for a mixed color, and I'll bring this in like this. And the actual base color here I'll go and plug this into B like this and go ahead and plug this back in. And now for this one here, I'm just gonna tap in with this one now. I'm just gonna bring this maybe down a little bit. Is to try it, because they were a little too orange for my liking. So I'll just bring those down and we'll play on with a factor now. So there we're going back to the original orange, and now we're coming back down to a paler color, which I think is kind of more I like. There we go. That's cool. That's looking good. So it's a little this bevel details a little bit dark for me now. So I want to go find that again and maybe just bring this down here in the color ramp. S to reduce that effect a little bit, and there we go. That's looking good now. That's looking great. Okay, so that's that one done? Okay, so I think we'll leave this lecture just here. I think I was being a bit over optimistic, thinking we'd do the cladding on the walls as well. I think that's a bit too far. So in the next lecture, we'll go ahead and apply the cladding to the walls, and then maybe put a bevel on that as well, just so we have some high highlightings to the edges of these walls. And then we'll also go ahead and apply that same material to the ground floor exterior wall surfaces as well. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 60. Lecture 57 Wall Clading: Okay. Hello, and welcome to Lecture 57. And in this lecture, yeah, let's go ahead and create our material for our boundary walls, wall cladding material. Let's go ahead and do that. So let's select the item and make sure the scales correct, and it is. So let's tap into Edit mode with it. And let's press A for all, and let's press U and Smart UV project. Make sure that you have an island margin and click on wrap and there we go. Okay, now we've done that. Let's go ahead here. Let's click on new material. And let's call this wall cladding. Uh, Clgenter, and there we go. Let's click on the principle BSDF and come over to the node wrangler and add principle setup. Let's the drop down. And let's find the texture, and let's click on others. Look, it's not in others, so it must be an outside. Let's click on that. And stone cladding, there it is. Let's press A for all, and let's principal texture setup. And there we go. Okay, it's way too big, so let's press A for, and let's find it, and there it is. So I'll grab it. And we'll S, and we'll go ahead and scale this up like. And let's zoom in and see what the scales like now. Maybe let's scale up a little bit more S and scale it up to something like that looks good. But as you can tell, the brickwork or the cladding is in the wrong orientation is vertical, and we don't want that. So we can rotate the UV map. So let's grab it again. Let's press R and 90 and click ten, and there we go. Let's have a look at that now and see what we got. And that's looking good. I think I like the scale that we've got there. But actual the tiles or the bricks, or call them what you will on this face here, don't look right. Come and select this face here now. And in the UV map, I'm going to find it, and here it is. And I'm going to rotate that 90 degrees so press. Ah, 90, Enter. And there we go. So now that actually works out nicely. That's the same orientation as the side. Okay, let's do the same on the opposite side now. So I'll select this face here, and I'll go ahead and grab it and I'll press Oh, 90 and type Enter, and there we go. So this one here now, I'm just gonna hit the T to get the tab in the UV editor. UV Mapper, sorry. And I'll just bring this down slightly. To try and line that up with the one above. Zoom in a little. Try that now. And there we go. That's good. Just like that. That's lined up nicely with that. That's perfect. Okay, with that done now, what we could do is tap out Edo mode so we can see our handiwork and see what we've got. Okay, I'm just gonna press Chef B. And I'm just gonna reset Blender because it was running a little slow. And let's have a look at this wall. And I wonder if I take the displacement off. Let's see what that looks like. And yeah, I think that's better with the displacement left off. I think I'm preferring that results. But I think again this time, I'm going to apply the bevel node to these top edges just so we get a little more going on, a little something more. So let's do that. So let's grab everything we've got here now. And let's press Shift B. And just bring this down until it's beneath the other one like this. Grab it, take it back up again, and just plant it just like this. So we can actually delete the base color. We're not going to use that. And we can delete the displacement, as well, and delete this one, and we can go ahead and delete the material output as well. So let's grab the lower principal BSDF and bring this up. Maybe drop that About like Let's take this material output over so we can work this out and then drop these two BSDFt in line with each other, just for neatness, really. Okay, so now let's set up the Blender node. So let's press Shift A, and let's search for a lot of them will be here by now. So here it is the bevel node. Let's bring this in like this. And let's do the same again. Shift A, search for. This time, it's the geometry node. Bring this in. And now Shift A again, and search for the vector math node. There it is. And we'll bring this in and one more shift a search for color ramp. And there it is. We'll bring this in as well. We'll move this over a little bit more like this. And the next node we need to bring in is a mixed shader, so we can blend these two BSDFs. So let's press Shift A and search for the mix shader, and we'll bring this in as well. Let's go ahead and plug the output from this top BSDF into the lower plug of the mixed shader and this one into the top plug and put the mixed shader back into the surface of the material output. And there we go. Okay, on the vector math, let's turn it from add to dot product, and let's plug the normals of the geometry node into the vector of the top one. Let's plug the normal of the bevel into the lower one. And now let's plug the value into the value on the color ramp. Okay, it's just to see what we've got. Let's plug the color now into the material output color. There we go, and see what we've got going on. And now in the color ramp, let's go ahead and increase our blackness. And there we go. We're getting what we want. There we go. We're getting some nice blackening to that edge, no. We could try increasing the radius. There we go. That's cool. And we could try increasing the samples. So we get something I'd say that's too dark, so I'll bring that down. Maybe a three. We'll try increasing this again. No, I'll keep that a bit lower this radius. I'm going way too far with it, now. And there we go. Let's leave that about there. So 0.250, and samples we'll put out maybe a four. I'll leave it about a four. There we go. That's looking really good. Okay, so let's take let's unplug the color ramp and put that into onto the cyafactor on the mix shader. And now let's plug the shader back into the material output. And there we go. So we can see the whiteness on the edge now. That's because we don't have a color for this bevel node yet, so let's go ahead and do that next. So let's grab the color, and let's bring that down now into the black. And, yeah, I'm liking that result. I'm liking now that we've got a little bit of coloring, a little bit darkening on the edge of that wall. That's absolutely perfect. That's the results that I want. I could play around with maybe a little bit of this, maybe just play around the color ramp, bring this back to the middle a bit more, just to soften the effect a little bit. And there we go. That's absolutely perfect. I'm liking. Okay, so let's go ahead and apply our wall cladding now to our lower walls. Let's grab this wall like this and check the scale and the scale's correct. So let's tap into Ed mode, press A, and press U, and do a smart UV project. Make sure we've got an aisle and margin and go ahead and unwrap and there we go. Okay, so now we need to create material. So I hit the plus sign here, and let's just hit this little dropdown because we've already made our wall cladding material. Let's grab it here now, so I'll type wall cladding, and there it is. I'll click on this, and there we go. Okay, so obviously, this is all wrong. So let's press A for all. Let's find our UV map, and here it is. And let's go ahead and scale this up to reduce the size of our cladding. And let's have a look at that. That's a lot better. But also, it's orientated incorrectly. We need to rotate this. So let's press A again. And let's rotate that sole press R, 90, enter, and there we go. Let's tap out of any mode with this and see what it looks like. Now, we will create a separate material for the inside surface. We're not gonna leave it like that. But also, I don't think I like the bevel on this. I think I want this to look a bit cleaner. So, I can't just remove the bevel because this materials already been created. If I remove this bevel from here, if I go ahead and adjust this, then what it's actually going to do is take the bevel off this wall, which I don't want to do. So what it needs to do is create a duplicate of this material. So I'll go ahead here and hit the plus sign. And now this is wall cladding 01. And with that done, that means I can adjust this material without losing the bevel on this edge here. So with that done now, I'll just go ahead and unconnect the color ramp, and I can actually just disconnect the mix shader now. I can actually just go ahead and plug this directly into here like this, and I can delete this mic shader, and I can delete this principal BSDF and I can go ahead and delete everything below here like this. So we just have a much simpler material for this part. Oh, there we go. I think that's a bit nicer for the main walls. Okay, so with that done now, what we can do is we can apply that same material to this side. So this was wall cladding 01. So let's select this one now, and let's check the scales correct, and it is. So let's tap into Eddy mode, press A. Let's press U, and let's go for a smart UV project. Make sure we get an eel the margin and click wrap. There we go. Let's go ahead and hit the plus sign, and let's hit the drop down, and let's find the wall cladding. Wall cladding 01, and there we go. So let's grab our UV maps, and let's rotate that 90 degree. So R, 90, enter, and let's hit S and scale this up to get the size, something similar to the opposite side. And is that about the same or is that smaller? I'd say that's about the same. I'll tap out of Edit mode with that and see what we've got. And yeah, that's looking cool. Let's zoom in on this and see how it looks. And I'll press Shift B, and just grab an area so we can zoom in. And, yeah, that's looking good. We've got some nice displacement in that, and the textures looking really nice. Okay, so I think there's one more thing I want to do. So since the previous lecture, I've actually been looking through the HDRI Haven website, which is also called Ply haven sometimes to see if I could find a different HDRI. I'm not finding this very dramatic. I want to try and do something else. So I found one called Capill. So I just typed Cape hill into Poly haven, and it comes up nicely. And then you can download it if you want to do this. But it's completely up to you. So I'll go to World, and I'll just poll in a little bit of this, and I'll hit the file sign, and I'll go to my HDRIs. Wherever you've put them, you can do the same. And I'll put up the Cape Hill file and open image. And as you can see, it's just a bit more dramatic. We've got some nicer colors and some nicer shading in there. We've got the sun just coming on it from this angle. And if we want to, we can adjust things. We can actually turn up or turn down the power. And, yeah, I'm liking that. Now we're just applying a bit more color to the scene. We've got slightly stronger shadows, and it's just a little bit more dramatic. Okay, so that's cool. So in the next lecture, let's start applying our sort of interior paint surface to the downstairs walls. Okay, thanks very much. I'll see you in the next lecture. Bye bye for now. 61. Lecture 58 Internal walls: Hello, and welcome now to lecture. What lecture is this? I lose track of the lectures. Um, sorry about that. We're on Lecture 58. I'll get there in the end. So in this lecture, I want to create a material for internal walls. Um, so I'm going to go for quite a light material. So probably something more like a magnolia. I know that I know that's a boring color, and it's just but I am playing it kind of safe. I want to create something that appeals to as many people as possible. So I'm trying to use very neutral colors. Yeah, I'm going to use that. So that's me defending my choice of magnolia right there. But I encourage you to choose your own colors and just do whatever you want with this really go your own way with it, definitely. So if I show you how to create the material, you kind of choose your own colors as we go. Okay, so let's select these two walls, and let's hit the forward slash keel and unpad and there we go. So I think I'll start with this one because the light is shining into this one from that direction, so it's going to give me a better idea of the color we're going to achieve. So I'll grab this wall, and I'll just press Shift B and just resend a Blender around this wall. There we go. And I'll tap into Edi mode with this wall. This one is probably the first wall that I'll select. Then I'll hold control and select maybe to there like that. And I'll hold Shift and select this one, hold control and select this one. Hold shift, select this one, and hold control and go out of there. And I think that's all the faces that I want to have this magnolia paint on. Once I've got all those selected, I'm gonna go over here, and I'm going to hit the plus sign, and I'm going to click on you, and I'm gonna cause material internal walls. Hit Enter. And with those still selected, I'm going to go ahead and assign, and there we go. So we can tap out of Edit mode now. We don't need to be in edit mode. We have the walls selected that we needed. And here's our new material, internal walls with a BSDF and a material Okay, so the next thing I'm going to do is just select the BSDF on its own. Come over to the node wrangler. And I'm going hit something new. I'm going to hit add texture setup. So I'll go ahead and do that. And what that's done for is it's just brought us in a basic texture map. Now, we have a texture coordinates node, a mapping node, an image texturing node, and then the two we had before, the BSDF and the material outbud. So that's all we need to create a basic material. So that's what node wrangler has done for us. It's gone pink because there's no material or image assigned to this yet. So this is Blender telling us that there's nothing assigned to this yet. So we're going to create a procedural texture. We're going to basically manipulate and add nodes to create a texture with no photo base. It's not a PBR or a physically based rendering or a photo based rendering. This is a procedural texture. So let's get rid of the image texture because we don't need that. And here, let's go ahead and add, let's plug Object into vector. There we go. And let's grab our BSDF and our material output and take that over to give us some extra space. And let's start bringing in new nodes. So I'll start with a noise texture node. So I'll press Shift A and search for a noise texture node. There we go. And I'll bring this in. And I'll plug this into the vector like this. And I'm going to plug this straight away now into the output node in the surface to see what we've got. And you can kind of see the principle of the noise texture. It just creates noise on the surface. It gives us some nice base textures to be able to work with. But obviously, that's far too big. So let's go over to the mapping node and just bump this up to let's try the 100 and see what we think. Roughly, we don't need to be exact. And let's see what that looks like. I'll zoom in on that so I can see and I'll press Shift B and just grab a bit so I can see. And then, yeah, I'm pretty happy with that. Maybe I'll go to 150 with this. There we go. I think that's slightly better. I think that's looking good. So now we have some texture on that and we have some speckling, so we haven't just got a flat monotone one color. Okay, so with that done now, I'll go ahead and unplug that from the material output, and then I'll plug the BSDF back in again. And let's bring in some more. So now let's bring in a displacement node. So I'll press Shea and search for a displacement. I've got it, but you just need to type it in there if you don't, so I'll grab it and bring that in. And with that done, I'm going to plug the vector from the mapping node into the nulls. And I'm going to go ahead and plug the factor from the noise texture node into the height of the displacement node. And then I'll go ahead and plug the displacement into the displacement here like this. And now we have some height to our texture. Now this wall is no longer flat. We have some nice details going on. The reason we're seeing color on this is simply the color being applied to this wool from the HDRI is still simply white. So let's actually grab some colors next. So let's press Shift A. And let's bring in a mixed color node. There we go. And we'll bring this in like this. And now let's go ahead and plug the factor from the noise texture mode into the factor from the mixed node for the mixed color node. So let's plug this now into our base color. And let's add some colours to this. So I'll start with, like, a yellow we colo like this. There we go. And then this one, maybe I'll take this slightly into the greenie Make it like an apple green colour and see what we get. And I think I'm actually going to bring in another mixed color notes. I'll grab that one, opera shifty and I'll pull the copy up like this. I'll plug the factor again from the noise texture node back into the factor on this one. And now we need to blend these two together, so I'll grab this one again, and I'll press Shift D, and I'll bring a copy down to the middle like this. I'll plug this one into B, and I'll grab this one here, and I'll plug this into A like this. So now we have four colors that we can manipulate using this mixed color node in the middle. So if I actually just grab this color here and bring this to a really strong color like black, and we can find out where that is now on which side. So if I go right on this mixed color node, I'm actually utilizing the bottom one of these. If I take this over to the opposite side now, because that's gone really black, that means I'm using this one. And in fact, I pull this one down as well, you can see now that we're definitely using the top mixed color node. So I'll go ahead and take that back up again. And I'll put a different color in this one. Put maybe a slight yellow in it. There we go. And I'll grab this one. I'm actually going to leave this one in the dark. You bring it up a little bit to a bit of gray, and there we go. That's cool. So we've got four quite different colors there now in use. And we'll pull the factor back into the middle and see what we've got. And I think for now, I will leave that like that ca I want to bring in another node again now. So I'll pull this one over, and I'll pull this one over. And I'll press Chef A and I'll search for a color ramp. Do I have a color ramp? I do. There we go. And I'll bring this in So using the color ramp now, I can add some darkness or I can add some lightness to this. I can bring this over and bring more darkness into this wall. Or I can bring the light in and make this wall more light. And that's basically what I do. So I'll bring the darkness out and bring the light in. Let it go. That's cool. So what I've actually done here is I've created an interior surface with a huge amount of adjustment. I don't think I'll be able to get this wall the way I want it first time as I apply some interior lights to the scene and we put some more furniture in it. Probably revisit this, but this is in a really good place because we have the ability to put more and more texture or less texture or coarser texture on our wall. We have four base colors that I can tweak or change. Then we have the ability to be able to mix those colors, and then we're able to either lighten the wall or darken the wall. So this is so we've created a very controllable texture map here to be able to tweak this wall as we go. Okay, so I think I'm happy with that for now. So I just need to go ahead and apply that material now to the opposite wall. So I'll select this one now. What's happened to Eddy mode with it? And I'll press Shift B, and I'll just grab the wall and come in on it a bit. And let's select our surfaces, so I'll grab that one, hold con control and press that and grab these other ones. Hold control again and grab this one. And I'll go ahead and hit the plus sign over here. I'll get the drop down here, and I'll find the internal wall material, and there it is. And I'll go ahead and press a sign. And there we go. It's that easy. We now have a material on this wall, as well. Yep, that's looking good. So we can tap out of Edit mode with that one now, and then we can go ahead and bring everything back and see what we've got. And yeah, that's looking good. I'm pleased with that. I think there's one more thing I want to do. I want to play around with our stone cladding because since we've changed our HDRI, we have a much more dynamic light. I've already noticed that it actually looks better if we plug the displacement back in on these. So I'm going to take the displacement from this stone cladding and go ahead and plug that back into here like this and see what we get. I like that now. I'm pleased with that. I think with this extra lighting in this scene, that really makes it pop. So I've got ahead and plug the displacement back in. And again, in the color ramp, if I want to for the bevel, I can make that lighter or darker accordingly. But at least that extra texture has really made that pop. And I'll do the same for this one now, as well. I'll grab the wall cladding. And I'll go ahead and plug the displacement back in on this one, as well. There we go. That's cool. I like that. That's a lot better. And it's automatically applied the displacement to this one as well, because they're sharing the same material. Okay, so that's cool. In the next lecture, what we'll do is we'll start creating our external render material for the upstairs external sides. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 62. Lecture 59 External Render Material: Hello, and welcome to Lecture 59. And in this lecture, I want to create our rendered material for the outside of the first floor. I want to do that. And then if we've got time, I also want to apply our interior surface to the top floor, too. So let's just see how far we do with that. So let's just grab the top floor here, and let's hit the forward slash keys isolated. There we go. And I think I'll just bring this down a little bit, go about 50, 50 on. Let's select the object and then just see what the scale on the rotations like, and it's all fine. So we'll tap into Edi mode. We'll press AFL. And we'll press U, and we'll go for a smart UV project. Make sure you've got a gap in the island margins and go ahead and unwrap. Let's have a look at what we got here. And there we go. So there's our UV map, quite a few components on there, but it's all looking quite neat. So that's good. Okay, so I think now, let's go ahead. We'll tap out of Edi mode. I don't think we need to be in Edi mode anymore. We'll hit the plus key here. We'll click on you, and we'll name this as external render. There we go. I'll click Enter. And there we go. So now we have our material. So let's see what we're going to do with this. Let's make a plan. So I think straightaway, let's click on the principal BSDF and let's add a texture setup. Let's get rid of the image texture. We're not going to need that. And I think, in this case, let's delete the mapping as well. I don't think we'll need that. I'll get the texture coordinates, and I'll bring this over a little bit. And now I'm going to bring in a new node we've not used before, it's weird name. It's called the Voranoi. So I'll press heft A and search for the Voranoi texture. And do we have it there? It is straightaway? I'll bring this in like this. I'll plug the object straightaway into the vector. Let's see what this looks like. I'm going to plug the distance straightaway into the surface on the output. And you can see the pattern that we get with a vornoi. It's quite organic, actually, but I think it'll work for us. So we can play around with this if we want. We can click on this one here and now and we can go for different things. So we can give the Manhattan. So, yeah, you can play around with these. But I think for me, I think that this first one I'm not even going to try and pronounce that. I'll leave that as the choice. So now let's go ahead and Whoops. Sorry about that. Let's go ahead and scale this. So let's just grab the scale here on the vector and just bring this up. I'll go quite high on this. That makes your eyes feel a little weird. I'll bring that to around 78, 80 around about there. And I'll leave it at that point for now. Okay, so now it's time to bring in another node. So I'll bring in a displacement node. So I'll press Shift A and search for a displacement node, and there we go. And I'll drop this in as well. Bring this down a little bit, maybe. And I'll plug the displacement. I'll plug the object from the texture coordinates straight into the normals. And now I'll go plug the displacement directly into the displacement on the output. And there we go. That's cool. Let's go ahead and unplug the Varanoi now from the material output. And what should we do next? Let's plug the BSDF back into the surface, and there we go. So now we need to start creating some colors. So I think I'll bring in a mixed color. So let's press Shift A, and I'll search for a mixed color and we'll bring this in like this. Let's plug this into the factor. And let's go and grab another one of this. I'll press Shift D. Sorry, I want to do that. I'll just grab this, I'll press Shift D and bring up a copy like this. And now I'll do the same again. I'll press Shift D and bring another copy into the middle like this. I'll grab these two nodes here, hit G, and bring them further over. And I'll start plugging these in. So I'll plug the distance from the Voronoi texture into the factor of this mixed color, and then I'll go ahead and plug this one into the bottom of this mixed color and then this one into the top like this. And now, maybe I'll go for a color ramp on this as well. So I'll press Shift A and search for a color ramp. There it is, and I'll bring this in and drop it there. And I'll drop that into the factor and then the color into the colour on the base color. And there we go. So we're starting to get somewhere. Let's zoom in on this corner so we can see what we're doing. So the next thing I need to do is actually get this pattern to show here. So if I go ahead and plug the distance from the Voronoi into the height of the displacement, and there we go. So now we're starting to get a pattern showing. Yeah, that's looking pretty good for a rendered surface. I think I'm pleased with that. So we can go ahead and play with the scale a little bit here, maybe take it up some more. And yeah, I'd say that's about right. That's the kind of effect that I'm trying to achieve with this render. And I can play around with the roughness, maybe maybe, in this case, bring the roughness up. I don't want this to shine. And we could try bringing the detail up a little bit, as well. And there we go, How's that now? Maybe bring the scale down a little bit. Maybe a little bit more. Bring the detail. Talk about the, how's that? How's that looking for a render? And I think for a rendered surface, that's looking pretty good now. I think I'm pleased with that. And again, the beauty of this is we can always tweak it if we decide to at any stage, I could reduce the scale a little bit more, just increase the size, maybe even a bit more. And is that better? Maybe you reduce even further, now. And now, that's pretty good now. Yeah, I'm liking that. I'll leave that just there. Okay, so let's bring some colors in now. So to highlight the dark areas, I'll bring in quite a black color. And there we go. And let's just bring this factor over and make sure that we do actually have that in there. And yeah, there it is there. And let's go ahead and bring that right down to the black. And now let's bring in another color. Let's bring in a slightly creamy color. There we go. So now we got the two colors showing in that wall there now. And now let's bring the factor back to the middle. And now let's grab this one. And now let's bring in another quite dark color. I'll bring in a sort of middle gray. There we go. And I'll also bring in another light color, too. I'll take this slightly into the sort of the green light green color, like that. And then we can go ahead and play with a factor as we know, just mixing from one color or the other. The next thing to do is look at the color ramp, and now we have sort of adjustability in the lightness or darkness of our material, and we can go ahead and do whatever we want with that. And I'll leave that kind of I think about there is working for me. So I think the next thing I want to do is maybe put a bevel on this. So let's bring in our bevel nodes that we know, so we'll grab this, bring it over, grab this one. There we go. That's good. So I'll press Shift A, and I'll search for a bevel node, and there it is. I'll bring this in. And then we'll bring our geometry node in. So Shift A, search for geometry. Is that there? There it is at the top and bring this in as well. And now we'll bring our vector math in. There it is. I bring that one in. And now a color ramp. I won't copy for this one because I want to have one with default settings, so I'll press Shift A and search for the color ramp and bring this in as well. Okay, let's bring this up like this now. And we also need a mixed shader. So I'll press Shift A and search for a mix shader. And there it is. And let's plug that in here like this. Okay, so now let's go ahead and plug the normals from the geometry into the bottom one here. Oh, I've got the wrong one here. I'm sorry. Let me delete this. My fault completely. I hope you didn't follow me. Let's press Shift A and search for the bevel node, and there it is. That's the one I wanted. My fault apologies. So let's plug the normal from the bevel node into the vector here and plug the normal from the geometry into the vector here. Let's make sure that we're not on ad. We're actually on dot. So dot product, and now plug that into the FAC on the color ramp. And now let's go ahead and plug that for now directly into the output to see what we get. And, yeah, that's cool. That's what we want. So I could try increasing the radius just slightly. And yeah, that's more like the effect that I'm after. Cool. Let's go plug this now from the color ramp into the fat on the mix shader and go ahead and plug the mix shader into the output. And there we go, now we can see the darkness on that edge. We can tweak that if we want to, bring bring out more prominent, bring some white over, and there we go. You can see that corner now darkening quite nicely. So that's again, really completely up to you. I could try increasing the radius on that. There we go. Maybe more. That's looking better, I think, and I could try tweaking these to bring them darker or lighter until I'm kind of happy with effect. Don't want to go too much with it. I think I will leave that. Maybe that's too much. Bring that over, and I think I'll leave that like that. Yeah, that's good. Okay, so the next thing I want to do is actually a appeal sorry, apply some more materials to the internal surfaces. So let's do that next. Let's tap into Edit mode with this. And let's hit the plus key here to bring in another material to this component. Let's hit the little drop down here, and let's search for our internal surface, internal walls, and there it is. And now let's start selecting. This might take a few minutes, but we can get it done. I'll select this one and this one and then this corner here, too. And this one, this corner here, too, and this one, this one and this one. And this one T two. This corner, and this corner. And this corner here. And this upper one here, and this one. And this one. Those two. And I think I'll go for the floor, as well. And this floor, as well. And we'll go for um where else shall we go? This corner here is missing some. And in the bathroom or in the hallway, any others. This one here, and this one, and then this one And this one and the floor in here and this one, too. And I think that'll do for my first selection. We don't have to do it all in one go. So I'll click Select internal walls and a sign. And there we go. So we're starting to get that now. I'll tap out Vedamo for a sec, just to have a look at the results. And yeah, that's looking good. I like these inside reflections now. That's looking really nice how the sun's creating these nice reflections internally. So let's carry on with this. So what's happened to Edit mode again? And let's just carry on where we left off. So I'll select maybe this one and this one and this one and this one, this one, this one. And this one, of course, in this corner. Oops I'll leave that there like that, I think. And this I'll leave this on the rendered surface, just on these ones, and we'll go for this one, of course. And this one and this one here, and this one. This corner here. Let's have a look up top. This corner. And in here, And let's go ahead and assign that to the internal walls, as well. Let's check that we haven't missed any. And I've missed this corner here, so I'll select maybe the swan here and assign to the internal walls. And is there any others Okay, let's look at the underside now, actually. So I'll select this one and this one. And is that all of them? This one here, and this one. And this one. This one, And this one and this one. And is that all of them? I think it is, so I'll select internal walls here again and a sign. And there we go. Okay, so I'll tap out of Edit mode with that. Yeah, that's cool. I'm liking this rendered pattern. That's looking really, rather good. That's super cool. Let's bring everything back now and see how our model looks. And yeah, that's looking really good. I think there's actually one more thing I want to do in this lecture. So we're close, but we're not close enough. So let's re isolate this item. And let's tap into to mode again. And let's create a fresh material again inside here. So let's hit the plus sign for a new material. We'll hit the little drop down here and we'll search for the wall cladding. And there it is, and I'll select that. Maybe I'll select the 01 so we don't have the grimy bevel on it. And I'm going to select this wall here and I'm going to select this wall here, and I'll select this wall here. And with those selected and the wall cladding highlighted, I'll click a sign. Now, the scale is all out, so let's go over to our UV editor and grab our UV maps and let's hit S and scale this up to reduce the size of the wall cladding. And then let's zoom out a little, and we'll press for rotates and 90, Enter. Let's see what we got. And yet, I'm pleased with that scale, and I think this will be quite striking inside the bathroom. I think that's quite a nice effect. Okay, so let's tap out of Edit mode for this now and see how that looks. And yeah, that's really looking that's really looking good. I'm pleased with that as an effect. Okay, so let's bring everything back again and let's zoom out on it and see what we got. And this is looking really good. I'm liking this. This is looking great. I I'm liking our HDRI, the way it's applying to our house. It's really quite dynamic and making it look really, really realistic. Even though we're nowhere near finished yet, it's already starting to pop. I'm liking the reflection in the glass, and I'm liking the light on this cladding. It's looking good. Okay, so what shall we do in the next lecture? What shall be the plan? I think in the next lecture, let's go up some more. So let's have a look at applying some textures to the roof here and maybe even to our center piece of sort of whatever we call this, this piece here. Let's apply some colors and some textures to that, as well. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 63. Lecture 60 Roof Materials: Okay. Hello, and welcome now to Lecture 60. And in this lecture, yeah, let's have a go at the roof. Let's see what we can do with that. So let's just grab the roof and isolate it and check the scale, and it's all good. So let's go ahead and apply the UV map. So I'll tap into Eda mode, press A for, and press U, and let's go ahead and smart UV project. Make sure you've got an island margin and click and wrap. Check the UV maps, see what they look like, and that's nice and neat. That's fine. All right, so I'll tap out Edit mode for the minute. I'll click on the plus sign here, click on new material. And we'll call this the roof. Click Enter. And now let's find our material, and here it is. Let's grab our BSDF and let's go to the node wrangler and add principle setup. Find your textures wherever you save them. And I think it's in other. Let's go in that. Roof material, and we'll press eight, grab all of them, and principle texture setup. Alright, so that's not too bad, but the scale is a little bit big for me, I think. So I'm just gonna come over here to the scale here and just increase this to maybe a five. And let's see what we get at that. And it's already improving, but let's go some more. So let's try a tennis and see what we get with that. Definite improvement, and we'll go some more. Maybe a 20. And, yeah, that's kind of the effect that I'm after. Maybe even a little bit more. Strive for 30 And, yeah, that's absolutely fine. Now that's exactly the effect that I'm after. Okay, so that was easy. So now let's tap into edit mode with it. And let's select this top face here. And then sort of roll around to the bottom so you can see the underside edge. That's a little closer about there. Hold down control and press Plus to expand on the selection until it comes around over the top and around halfway around that bevel. So, you got to kind of that select it all the way around. Once you've got that, go ahead and hit the plus sign here and click Onnun. And let's call this roof rubber. And click Ender. And with that done and roof rubber selected, let's go on a sign. Okay, so let's grab our principal BSDF. Add principle setup. Let's find that roof rubber material. There it is. Then we'll press eight and select all of them, and then we'll add principal texture setup. Okay, so let's see how that looks now. And we can tap out Vedamode note so we can see it quite clearly, and it's okay, but the scale, I'd say, is a little bit big. So let's increase this. Let's try the ten mark. And see how we're looking. And I think we could go up even more. Let's try the 20. And let's even go to sort of 30. Let's see what that looks like. And what we could do now is just try rotating that. So on the z on the rotation here, let's just try turning that and see if that helps the effect that we're getting. And it does. I kind of just breaks up that line, gives it something a bit different, and there we go. Let's see what that looks like. And let's tap out of that just deselect it. And it's looking good. I like that we've got, like, a two tone on the roof. So we've got this very reflective black material here. Then we've got the rubber here as well, which is a lot less reflective. Maybe just try increasing the scale a little bit more here. And, yep, I think I'll like that now. I'm going to go one more time up to the 50. Why not? And I'll leave that just like that. That's fine. Okay, so the only thing is, I don't want this black here on the underside, so let's tap in again, select this surface here. And let's see the plus sign. Let's click on the drop down here and we'll look for internal. Internal walls. I'm gonna select that. And with that selected internal walls highlighted, let us sign. Okay, let's tap out of Edding mode now. And let's go ahead and bring everything back and see how our roof looks. Yep, I'm liking that. I'm liking how we've just got that two levels of reflection on the roof. I mean, the colors are quite similar, but it stands out really a lot because of the really reflective material and the rubber, as well. Yeah, that's really cool. I like that. So now let's go for this structure here in the middle. So we'll isolate that. So let's start by checking the scale, and the scales all good, so let's tap into Eddy mode with it and press A and, and smart project. Make sure you get an el margin and click and wrap. And let's have a look, see what we got. And, yeah, that's all I can get. So over here, go ahead and hit the plus sign, click on. And let's call this material Cedar. Click to. And now let's grab our principal BSDF. Add principal texture setup. Make sure that you've got CDA selected in your texture file set. So that's right there. And let's press eight, grab all and add principle texture setup. Alright, so with it all still selected like that, let's grab everything here. And let's press, nine, zero, and click Enter. And let's see what we've got. And it's looking good, but I think the scales are a little bit much yet. So let's go ahead and adjust that. Maybe let's take that up to even 20. Let's try that. 20 might be a little much, but let's see. Yeah, twenty's a bit much. Let's try nine that's looking better, isn't it? Maybe let's bring that down even to an eight. Thereabouts, anyway. And, yep, that's about right for me. I think that's looking good. Let's check the other surface and make sure that they're making sense, too, and it's looking good underneath and the sides are looking correct. It's looking good. That's really cool. So I'll tap out of edit mode for a moment and see what we've got. And I like it, but it needs a little something. It's just I think we just need to apply the bevel modifier to this, just to the bevel though, just to get some darkening on the edges. So let's do that, as well. So let's grab these ones here and pull them over to make us some space. And yeah, let's do what we do. So let's bring in the bevel. So let's press Shift eight, and let's search for the bevel. And there it is, bring that in. And the next one is, what is it? It's the Geometry node. Let's bring that in. And we want the vector math. The vector math, let's bring that in. And now let's bring in the color ramp. Bring that in. And now we just want to mix shader. Shift A, search for mix shader and bring that in as well. And there we go. Okay, so I think let's go ahead and turn the ad into dot product, plug the normals into the top one, and the normals here into the bottom one, plug the value into the FAC on the color ramp. And now let's go ahead and plug this directly into the material output and see what we've got. So it's kind of darkening everything, which might put a nice effect we could try that or we could unplug the displacement, and then that would just do the edges. Let's try with the displacement connected for a moment and see what that effect is. So let's plug that into there again, and let's play around with the color ramp. It might give us the effect that might be interesting. If not, then we'll just plug unplug the displacement. Let's plug that into the top one on the mix shader, plug the BSDF and the bottom of the mix shader and now plug this into the material, but and see what we get. Is that an effect we like? Bringing a little bit more darkness out of it, lighting it up a bit. And do I like that? Does Adam I might bring everything back, actually. And no, I don't think I do. I'm going to unplug the displacement and do what I really wanted to do with that. So I'll zoom in a little bit. And let's try bringing up the color ramp to bring more blackness into this. Let's try increasing the radius on the bevel to maybe 1.5. I'll just try tweaking these round till I can see a nice level of darkness on the edge of these now. There we go. Now I can see some ice darkness try bringing the black over a bit more. Yeah, that's good. That's more the effect that I was trying to achieve. I'm liking that now. That's much better. We've got something looking a bit more real there now, some contrasting edges looking good. Okay, so that's it for this lecture. So in the next lecture, what shall we do next? I think let's look at the flaws in the next lecture. Let's see what we can do with those. That's the last big blocks, if you like, that we have to do. After that, we'll be moving to smaller objects. So yeah, let's do the flaws in the next lecture. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 64. Lecture 61 The Floors: Okay. Hello, and welcome now to Lecture 61. And yeah, let's have a go at doing our floors. We'll start upstairs with our polished concrete floors. I was just looking at this. I really like our render. I think that's looking really good now in our HDRI like that's really popping, so I'm pleased with that. Anyway, I'm digressing. So let's grab our floor. Let's hit the forward slash key to isolate. And I think next thing to do is let's check the scale, and it's fine. So let's tap into Edit mode, press A for all and U, and let's do a smart UV project. Make sure you've got an aisle and margin and unwrap. And there we go. And it's right there, and it's all neat and looking good. Okay, I'll tap out of Edit mode now, and let's grab this item, and let's hit the Blusky and let's add new. So let's name this material, polished concrete. There we go. And click Enter. And we've got our material, there we go. Let's find our principal BSDF, select that. Go over to the node wrangler and add principal setup. Let's find our textures. So it's right there for me, wherever it is for you, just click on it. And we'll go to stone and tile, and we'll go to polished concrete. We'll press eight, grab all of them, and go ahead and principal texture setup, and there we go. And we've added that, and that's what it looks like. So now that we've done that, let's actually just have a look at this and see what we want to do. So I think the first thing I want to do is make sure that object is connected to the vector, and there we go. That looks better straightaway. And now let's have a look at the scale. The scale actually isn't too bad. And let's see. Let's try increasing that. Incidentally, if you just click on the arrow here on the top one and then just scroll down, you can then just drag and increase or reduce your scale. And let's see what we want. And I'm thinking something like let's cry a bit more. There we go. About a 0.5 looks good to me. Alright, so that's kind of that's our first layer of polished concrete. And maybe we could take a look at the normal maps and see if there's anything. I'll leave that alone. Let's look at our displacement, see if we want to do anything with that. Let's try increasing our mid level displacement. And let's also let's leave that there, but let's have a look at the BSDF now. And I think the IOR we'll leave that at around 1,300. And we could try maybe adding a coat to this. Let's click on the code. Add a bit of weight to the coat. And add a tiny bit of roughness to that and a tiny bit of Iowa, and we'll leave that just like that. Okay, so that's the basis of a polished concrete, and it looks pretty good, but I want to go a stage further with it. So what I'm gonna do now is actually select it all. And let's press Shift. And we'll move that down. I don't have my actual my gizmo, so I'm going to just press escape for a second, and click on this one. Don't know why my gizmo was off, and there we go, so the gizmos on now. So if you ever have that issue, just go ahead and turn your gizmo on there. And with that now, I'll just bring down this layer I've just created down just a tiny bit. Let's have a look at it up close and see where it is. And I just want that just underneath the first layer. And there we go. That's kind of where I want it. Once I got that, I'll select it. And in this case, I'm going to go ahead and delete the material. So I'll come up here and hit the minus key, and there we go. So we still have the layer on top, but not the layer underneath. Okay, with the layer top now layer selected, what I want to do is turn the alphas all the way down to make it completely transparent for a moment. There we go. And now select the layer on the bottom. And let's click on the plus ky hit, add a material, and click new. And let's call this material rough concrete. And click Enter. Select the BSDF. Add principle setup, and let's find our rough concrete. Here it is. And we'll press A for all, and we'll go ahead and add principle texture setup. And there we go. So we have that selected, and that's good. So again, make sure the object is in vector. There we go. And let's have a look at that. And that's looking pretty good. But let's try reducing the scale, maybe. And see what I get, and am I happy with that? Yeah, I think I'm happy with that. Let's try UV again intervector. And, no, that doesn't work. I'll go back to Object Intervector. I think now, with that done, I'm actually going to select the top layer, which is our polished concrete. I'm going to go back up to the alpha, and now I'm going to increase this. So what we're going to get is almost a double layer in our concrete so that it feels like there's a bit more going on. So on the top, we still have our polished concrete. But under that, we have more speckling. So it's going to have some depth to it, and that's the look I was after so that there's just more going on. I'll try reducing that alpha. And I'll try reducing IOR on this one, maybe. Maybe 1,100. I don't know. Round about there. We'll try that. And we can see what we've got, maybe increase the Iowa a bit. Leave it at 13. And you can see the two layers in that, and that's really cool. You have the polish swirly surface, and underneath, you have the gravelly texture. And I think I'm really pleased with that. That's the kind of look that I was after. Alright, that's cool. So let's bring everything back and see how that looks and see how that looks in place. And, yeah, that's a really nice polished concrete floor. We could try reducing the roughness or increasing the roughness slightly of our coat. And let's have a look at this IOR, see if we want to reduce it a little bit. I want some reflection, but I don't want detail loss because the IOR is too high. And there we go, get some extra lights on this scene? I think that's gonna look really, really, really good. Okay, so let's try for the next one now. So let's select this one. Whoops, not that one. This one right here. And let's hit the forward slash key to isolate that. And we're just going to repeat the process now, really. So let's go ahead and check the scales, and they're all good. We'll tap into Edi mode. We'll press A, and then U. And let's go ahead and do a smart UV project. Make sure you got an island margin and unwrap. Okay, so what we maybe do straight away now is let's tap out of Edit mode, grab this one, and then we'll press Shift D, and we'll press G and Z and take that down just a tiny bit to about there like that. So again, we've got the two layers on that. Alright, let's grab the top layer, and let's hit the plus key, and we'll hit the drop down here and we'll type in polished concrete. And there it is. And we'll select that and see what we get. And there we go. So the scale, we'll leave alone. The settings are all correct now. Alright, so let's select the one underneath now. And let's go ahead and hit the plus key, and let's hit the drop down and we'll type in rough. And there it is. Or is it rough concrete? And we'll add that too. And there we go. We've instantly got our jew layer in the floor. And I think it's looking great. It's a little bit lost when we bring the building back because it's still very dark in there. But when you see it like this, I think that's really popping. I'm pleased with that. Okay, so let's do the last one. So let's hit the forward slash key to bring everything back. And let's grab our last polished concrete floor. This one here. Let's check the scale, and it's all good. Let's hit the forward slash key to isolate. And now let's tap into Edit mode with that. Let's press A, let's press U. And let's go for Smart UV project and unwrap. And there we go. Okay, so let's tap out of Edit mode with that now. And let's press Shift D, and we'll press G and Z and take that down just a tiny bit. And we'll see where that one is. And is it just below the surface? And, yeah, that's cool. Okay, so let's select the one on top, and let's hit the plus key. And it let's hit the little drop down here, and let's look for polished concrete. There it is. And we'll click on that, and there we go. That's done. Select the one underneath, hit the plus key, and we'll hit the little drop down, and we'll type in rough. And there it is rough concrete, and we'll add that as well. And there's a jewel layer finish mirror in our polished concrete floor. Okay, so let's hit the forward slash geet to bring everything back. And there we go. So there's our polished concrete floors on our upper level. Yep, they're looking really good. I'm pleased with those. Okay, so have we got time to do the ground floor? I think we do. Let's take a look at that Okay, so let's select our floor, and let's tap into Edi mode. Sorry, let's isolate the item using forward slash. Let's check the scale and the rotation, and it's all good, so it's tap into Edy mode, and we'll press A and U, and we'll go for a smart UV project. Since it's really cube, you could argue that we don't need to do this, but I'm just kind of doing it on principle, and we'll go ahead and unwrap it. Okay, so let's tap out of Edy mode. And let's go ahead and hit the plus sign, and we'll click on you and we'll call this ground floor tile. Uh, misspellt that. Excuse me, a sec. And there'll be a ground floor to. Got that. Let's click on the principal BSDF. Let's add texture principle setup, find your textures wherever they are. And let's go to stone and tiles and floor tiles. Let's click on that. Let's press A for, and we'll go ahead and add principal texture setup, and there we go. So it's good, but I'm not happy with the scale, so let's come on over. And again, if you just hit the arrow on the top one and now drag down to the others, now we can adjust in multiple. And I'll bring that too. I think about there like that. And that's looking pretty good. I think I'm pleased with that overall. I think the only thing I'd like to do is try and even up the tiles this way. So I'll tap into timed with this. And now I'll grab the whole thing and select it here and just try moving it over just to try and centralize the gaps on either side. And that already is better. And, yep, let's leave it about there. I think that's fine. Okay, so let's tap out of Edit mode, and let's bring everything back. And that was real easy to get our ground floor in, and that's looking really good. I think I'm pleased with the shine on that. I just I won't mess around with it. That's absolutely fine. Okay, so that's our floors in, and that's the end of this lecture. So I think in the next lecture, um, let's start assigning teak materials to our bathroom. Okay, thanks very much. And I'll see you in the next one. Bye bye, Fina. 65. Lecture 62 Bathroom Materials: Hello, and welcome now to Lecture 62. And in this lecture, let's have a go at applying our materials to our bathroom, all that sort of cedar that we're going to put on all our paneling and our mirror in there. So the first thing we need to do is sort of be able to see in there. So let's go to our outliner. And let's turn off the let's sort of open up the first floor. And let's turn off the first floor walls. And let's turn off the roof, middle roof and the roof. So we just have this paneling and then the mirror, and that's all we have. Alright, so once we've done that, let's go ahead and apply some materials to this. And I'm going to show you something I've not showed you before, which is a faster way of applying materials to components. So I'll select the floor and we'll check the scale, and it's all good, and we will tap into ding mode and we'll press A, and, and we'll do a smart UV project. Make sure you have an ail margin and unwrap, and there we go. St zoom in on this and see that the UV maps looking good and it is. So once you've done that, we can actually then just come on over here and hit this little drop down here in the texture editor and see if you can find the cedar, and there it is. And because we only have one material to comply to this component, and we've already made this material before, we can simply just apply it right here without coming over here and hitting the pluses and everything much quicker. So now that we've done that, we can see that the grain direction in that cedar is run running the wrong way. So let's press A for come over to the UV map, and we'll press r90 and enter. And let's see what that looks like. And that's looking good. That was really easy. That grain's looking absolutely spot on. I'll tap out Veda mode with that one, and that one's done. Okay, so I think next one is, let's grab this one here and check the scale, and it's all good. So we'll tap into Edi mode. We'll press A and, and we'll go for smart UV project. Make sure you get an island margin and unwrap. And there we go. There's the UV maps looking clean. Okay, now that we've done that, hit this little dropdown, look for the cedar, and that's it that's applied. And again, the grain direction is all wrong, so I'll press A. I'll grab it over here and we'll press, 90 and type Enter. That's done. We'll tap out of Edi mode with that, and that's looking good. Okay, now we just have the ceiling to do. So let's grab that. Check the scales, and it's all good. Tap into Eddy mode. We'll press A, and then U, and we'll do a smart UV project and unwrap. And the UV maps are good. So we'll hit the little drop down and we'll grab cedar, and that's it. I'll imagine the grain directions the wrong way. Let's zoom in and have a look. And it is. So let's press A. Let's grab it over here and we'll press 90 and type and there we go. Okay, you can see how quick that is to do. We've just applied all the materials to the bathroom in just a matter of minutes. So the only one that's kind of left now is the mirror. So let's do that next. Let's actually just click on. So let's come over here now and we'll hit the plus sign, and we'll click on the new and we'll call this the mirror. And there we go. So we can actually make a mirror just with the principal BSDF really simply because the mirror is just a reflective surface with no imperfections, so we can do that really easy. So let's take the roughness down to well, zero. And let's take the metallic up a little bit, which will just naturally give us a little bit of reflection anyway. I'll take it up about a quarter. Obviously, that's not enough, so now we'll take the IOR up a lot. We're going to take this up to, I would say, at least eight or 900. In fact, I'll just max it out at 1,000. There we go. And that's a mirror. That's that easy. So let's play around with metallics, see if we want to do anything else with it. And I'll just leave that about there. Okay, so that's our bathroom done. Super easy, super quick. So let's bring everything back, so let's bring back the first floor walls and the middle roof and the main roof. And remember to do a save, so I'll press Control S. And that was probably one of our shortest lectures. We could go on in this lecture and apply materials in the bedrooms, but I think we'll just call it a day with this lecture right here and we'll pick up applying materials to the wooden surfaces in the bedrooms in the next lecture. Okay, thanks very much. And I'll see you in the next one. Bye bye, Fino. 66. Lecture 63 Bedroom Wood Materials: Hello, and welcome now to Lecture 63. And in this lecture, let's go ahead and apply some of our wooden surfaces in our bedrooms. Let's go ahead and do those. So again, let's actually go over to the first floor, and let's go ahead and turn off the roof and the middle roof and the walls. So we can see our wooden surface a lot more clearly and make sure that we have material properties turned on. And let's see what we can do. So I think I'll start with this structure here first. So I'll go ahead and grab that. And I'll hit the plus ky, and I'll click on you. And I'll call this walnut bed frame. There we go. And I'll click enter. And there we go. Then I'll grab the principal BSDF and I'll add the principle setup in the node wrangler. I'll click on the drop down here. Find the textures wherever they are. Click on Wood. While on a bedframe I'll click on that to expand it. I'll press A, and I'll click on Principal texture setup. And there we go. So I did forget to apply the UV map. So let's do that. I'll click on the item, tap into Edi mode, press A and U and Smart UV Project. Make sure you have an Ilan margin and click on UNR. And let's see what we've got. And I think we need to work on the scale on that. So I'll zoom in so I can see it nicely, and I'll press A for, and I'll grab everything in the UV map and hit S and just go ahead and scale this up. And I think I need to adjust the scale in this, so I'll come over to the mapping node. I'll hover over the first one, click here on the arrow, and then just drag down the mouse. And with the left button still sort of pressed down, I'll just move this and go ahead and adjust the scale. And let's leave it something like that, because then also let's rotate the grain. So I'll press A fall, grab the UV map, press R, rotate 90 degrees, and press enter. And now let's try that again and see what we've got. Obviously, that's better. So I'll do the same now. I'll just hover over the top arrow here, hold down the left button, drag to the bottom, and then just move it along until we get something that we're looking for. Starting to look better. And I'd say that's looking good just there. I'll leave that just like that. Yeah, I think I'm happy with that. That's looking pretty, pretty good. So I do want to also look at this end here. Is that okay? And, yeah, that's looking good. I'm liking that. So the grain here on this end is incorrect, but we'll never see that. So I'll leave that alone because we will kind of see this edge. And let's just have one last little look at this and maybe just try again, see if there's a sweeter spot. How is that there? And yeah, I'll leave that just like that. I think I'm pleased with that. So I'll tap out do mode with that and see how that looks. And that's looking good. I'm pleased with that. Okay, so let's apply that same material to our skirting board here. So I'll check the scale, and it's actually out. So I'll press Control A, and we want to correct the rotation and scale, so I'll click on this and there we go. I'll tap into Edi mode with it all still selected. I'll press A, and I'll press U, and I'll go for a smart UV project, and I'll click on Rap, and there we go. I'll hit the little drop down here and I'll find the walnut walnut bed frame there it is. I'll click on that, and let's see what we go. Okay, so let's actually grab everything. Let's press R and rotate it at 90 degrees and click Enter and see what we get. And we need to adjust the scale. But remember, we can't adjust the scale here now in the mapping node unless we created a separate material. But I don't really want to do that. So I'll just press A, and I'll come over to the actual UV map, and I'll grab it O, and I'll just press S, and I'll try scaling that. Try scaling it down to increase the scale. And let's see what that looks like. And we can press A again. And I've tried just rotating it slightly just ever so slightly, just to get something a bit more random going on, and I think that's cool. This panel here, we need to rotate that one, so I'll press, 90 and type Enter see what that looks like, and that's good. And we can press A again and just try scaling that again. And it's just about really finding the sweet spot. I might scale it up just in the Y. So I'll press S and Y, and just try scaling it up this way a bit. And there we go. That's cool. That's fine. Now. I'm liking that. I'll tap out of Edit mode with that one, and there we go. That's the walnut skirting done. Okay, so the next thing to do is head over to the other bedroom now, so I'll move over there, and I'll press Shift B, and I'll resend a Blender on this one here. And let's see what we're going to do with this. So I'll grab this top bed frame here, check the scale and the rotations out. So I'll press Control A, and apply rotation and scale. And now let's go ahead and tap into Edit mode with it, and we'll press A for all, and, and we'll go for a smart UV project, and we'll unwrap. Let's sort of zoom in on the UV map, so we've got that right. And let's go ahead and hit the Plaske here, add new material, and we'll call this material tok. And there we go. We'll hit Enter. Once we've done that, let's find the principal B STF. Click on it, and add the principal setup and the node wrangul. And let's find our light oak material. There it is. Light oak distress. Let's click on that. And we'll press A for all and add principal texture setup. I think first thing we actually need to do is rotate the whole thing, so I'll grab everything in the UV map. I'll press r90, and type endo, and there we go. And let's see what that looks like. Let's just zoom in on it and see what we've got. And I might just turn the displacement down quite a lot. So here on the displacement, let's turn the scale down a little bit. Two, maybe a one. There we go. And the mid level maybe turned that down to a three, and that's helped out a little bit. So I think, first of all, now, let's just press A again, and let's just try scaling this a little bit just to get something that we like. I think that's looking pretty good now. I'm going to leave that alone. So I'll tap out Voting mode with that and just see what the results are. And that's looking good. Okay, so now what? Let's grab this one maybe. And let's look at the scale, and it's all good. So let's tap into Edit mode with it. And let's press A for all. And let's press U, and let's go for a smart UV project and click on Unwrap, and there we go. So what we can do now is hit the little drop down here, and we can look for Light ok. Light ok, and there it is. Let us sign. And we can press A f, and let's go ahead and rotate everything in the UV map. 90, and type enter. And let's see what we got. I'm gonna press Shift B just to resent a Blender. It's running a little slow. There we go. And see what we got. And this is kind of a distressed surface. That's kind of the look I was going for. I'll hit the tab key, just to tap out of Edi mode for a minute just to give us some detail and see if it's looking good. And I think I'm going to leave it right there. The grain directions looking good and the scale is looking good. I'm going to leave that right there. But this middle panel is supposed to be a different surface. So let's tap back in again. And let's grab this middle surface here. And let's come on over here now and hit the plus key. And let's click on New and we'll call this quilted leather. There we go. We'll hit Enter, and that's our new material. Let's go over to the BSDF and click on that. Go to the node wrangul, add principle texture setup. And let's go find our textile materials. Find our quilted leather. We'll press Av and hit the principal texture setup. Once we've done that, we can go ahead and press the assign, and there we go. So let's just grab this one here now, and let's press S in the UV map just to reduce the size of this by increasing the scale of the object. And see how that looks. And I just want to check the normal maps on this. I'll select this object, and I'll come over to this one and face orientation, and it looked like the normal was out. I was right. So I'll select this item here. I'll go to mesh, go to normals and flip this one, and there we go. I'll turn the face orientation back off again, and that's looking better. Okay, so we happy with that? Is that all good? Am I happy with the scale? I think I want to scale it up just in the Y axis. So I'll press S and Y. And, scale it up a little bit more like that. And there we go. That's much better. Okay, so I'll tap out ime with this one, and I don't see the need to do that again, so I'm literally gonna delete this one here. And I'm going to grab this one, and I'm going to press three on the numpad, and I'm going to press Alt D and Y and bring this copy over now to the opposite side like this. And there we go. That's done. So I think the only thing that remains to do is apply that same quilted material now to this panel here. So I'll select this panel, and I'll go ahead and hit the little drop down here, and we will find the quilted leather, and it's right there, and we'll assign, and there we go. So let's check maybe the normals on this one, too, or let's just go ahead and do it. Let's just try that. So we'll hit the little drop down and it Face orientation. And no, that's all good in this case. So I'll turn face orientation off. We'll tap into Edit mode, and we'll just try a UV map on it. So I'll press A, and we'll press U, and we'll go for Smart UV project and Unlock, and there we go. Let's grab everything in the UV map here and hit S, and we'll try to scale this down a little bit like this. And we'll try and we'll press A again. And we'll try scaling it down in the X, I'll press SX. And now we'll try SY. I'll click off so we can see it clearly. And there we go. I think that's good. I think we're looking good. Tap out de mode so we can see it more clearly. And, yeah, that's looking good. I'm pleased with that, no. Okay, so that's our wooden surfaces finished in our bedrooms. So Oh, no, it's not. Look at this. I missed one. I'm too keen. Let's do this skirting board here as well. So let's and operas A for, and, and let's go for a smart UV project and unwrap. And there we go. So now that we've done that, let's hit the little drop down here, and we'll search for light oak, and we'll grab it just here like this. Alright, so now let's rotate it, so let's grab it all. Press, 90 and type no. The scale is looking a little bit off, but remember, we can't adjust the scale here because that's gonna adjust the scale on our bedroom panels. So I'd like to press A again, and let's hit S here on the maps and just scale this up and see if we can get a good result. And how does that look? I think that's looking good. I think I'm pleased with that. That's looking. Just or is it a little big? I think it's a little big, actually. Let's press A again, let's press S and scale up a little bit more. Let's have a look at that. And, yeah, that's looking better. I'm pleased with that, now. Okay, I'll tap out of Ed mode with that. And that's the skirting board done. Let's have a look to see if the maps are correct on the side, and they are. And, yeah, that's absolutely fine. Alright, so that is basically all the text is finished now on the upper level, so let's go ahead and turn those back on again, so we're all finished. And in the next lecture, let's start applying the materials now to our sofa and to our TV wall just here. Okay, so let's save this. Let's press Controls, and I'll see you in the next lecture. Thanks very much. Bye bye, now. 67. Lecture 64 Feature Wall Materials: Hello, and welcome now to lecture. What are we on now? Um, 64. We're on lecture 64. So I think in this lecture, let's start applying our materials now to our ground floor. We kind of we're done with upstairs now. I think most of our materials are applied. So yeah, let's start looking at the ground floor and see what we can do. So first of all, let's hide the first floor. So let's compress the first floor file and go ahead and hide that. There we go. And let's select this item now. I think we'll just hide this individually. So I'll just hit He to take that away like that. I want to work on this sort of feature wall here, and we might as well apply this sort of metal material to this sort of pocket door track, as well. So let's go ahead and do those. Let's work, first of all, on a pocket door track, so I'll select that. And let's check the scale, and it's okay. I don't know if you're a member or not, but we actually use the OltD command to create these ones above. So when we create the material for the bottom one or when we make the material for the bottom one, the top ones will automatically have the material on them, as well. So let's check the scale, and it's all good, so let's tap into Edit mode, and we'll press A, and we'll go press U or Smart UV project, make sure you've got an aisle and margin and go ahead and un Once you've done that, we already have created a stainless steel material, so let's just use that on these lower ones. So let's select it here. Let's type in here stainless and stainless. There it is. And let's see if that's applied. And yeah, that's looking absolutely fine to me. We're all done with that. And the material's been applied to the top ones, as well. Okay, so the next thing I want to do is kind of recenter on this area here. So I'm going to get blended to sort of refocus here. So I'm gonna press Shift B. That'll give me that selection window, and I'll just scroll over this area like this to zoom in, and there we go. So let's sort of make a material now for this walnut, these panels here. So let's select these and check the scale, and it's all good. So let's tap into Ed mode. And let's press eight, select all, press U, and let's go for a smart UV project. Make sure you've got an island margin, and then go ahead and unwrap. So there's our UV map. There's a lot of faces there, but we kind of expected that. There are a lot of islands, is the correct term. But we knew they'd be there, so that's okay. So now that we've done that, we can actually hit this little drop down here because I'm going to use the material we used on our bed frame upstairs, the dark walnut color. So I'm going to hit this little drop down because we already have the material, and I'll type in here walnut. And we have that the Walnut bed frame. I'll click on that and there we go. So it looks like the grain direction is incorrect. It looks like it's running horizontally. So I'll zoom in on our UV map and select everything, and I'll press, 90 and click Enter, and there we go. Okay, so let's have a look at that now, and it's okay, but we kind of do have some repeat knots, which just doesn't look very realistic. And we could try just scaling the UV maps. But I think, in this case, I'd like to adjust the mapping nodes here, but I can't just do that. If I adjust these mapping nodes, the material that's applied upstairs on that bed is going to be all wrong. So we need to create a new material using this one here. So we can do that. If we actually come up here now and come over to this one here, we can create a new material, but with this node setup. So I'll click on that there. And now this is called Walnut bed frame 01. It's a duplicate of the one we have upstairs. So if we adjust this one now, the one upstairs will stay as it is. So I think first thing to do is, let's default the scale here so we start again. So I'm going to select the top one, and I'm going to press down the left mouth, the left button, and just drag down to all of them, and I just bring that down to the 1,000. So we kind of have a starting place. I mean, we could have just scrolled down slowly and about 1,000. There we go. That's where we want to be. We could have just scrolled down slowly, but I like to start at the default and then work up. Maybe there's no logical reason. It's just one of those things that I do, and I'm kind of passing it on. I don't know. So I'll hit the tab key now to tap out of Edit mode so we can see these more clearly we've got the material here. And now I'm going to just hold down the left button again and just drag down over the X and Y. I don't really need the z, and I'm going to scale. And see what we get. So am I happy around there around the 15,000. Let's zoom in on this and kind of see what this looks like. And we've got some nice patterns in that now. That's looking pretty nice. I think I'm liking that. We got no repeats, which is quite important because they'll really stick out if this things obviously repeating along. And I'm not seeing that, so that's nice. We could try just upping the number a little bit. And what's that looking like? That's looking pretty good. And what we could do now is we can actually tap into Edit mode with this, and we could press A to select everything. That'll give us our UV map. And I'm just gonna press R, and I'm just going to rotate it just ever so slightly so that the grain in the walnut isn't just perfectly straight. And I'll tap out vote mode again, and there we go. That's looking good. And yeah, I think that's I think that's absolutely fine. Leave that just there. So let's just go over to the IOR now and see if we want to increase the reflection in this just a little bit to make it look slightly different to upstairs. And let's have maybe leave it at around 18, 19. And yeah, I think I'm happy with that now. That material's just fine. So now we can apply the material to this panel here and just decide whether we need to create a separate material again or if this scale will work on these. So I'll grab this, and let's check the rotation and the scale, and it's all good. So let's hit the edit mode. Let's hit the tab key, and we'll press A, and we'll press U, and let's go for a smart UV project. Make sure you got your Ilan margin and go ahead and unwrap. We should have islands all laid out now on our UV map. There we go. So again, we already have the material, so let's hit this little drop down here. And let's find Walnut. And we're looking for the walnut bedframeO one, which is the material we've just used here. And let's click on this. And the end sort of grain direction is all wrong as we suspected it would be. So let's zoom out on the map and grab all of it. And we'll press, 90 and click Enter. And the scale just we can see repeats in the knots, and that's just not something I want. We could try just using the UV map to scale up. Let's try that. I'll press A. And let's hit the SKI and just reduce the size of the UV map, which will increase the scale of the texture. And let's have a look at that around there, maybe, and see what we've got. And that's looking pretty good, actually. I don't think I mind that at all. I mean, I don't see any obvious. Yes, we've got some knots there, but they don't look particularly obvious. We could press A again, and we could try just scaling it up just in the X just a bit to make it slightly more random, or maybe scale it down slightly more in the X. Let's see what that looks like. And there we go. That's looking pretty good. I think I'm liking that overall. Yep, I'm happy with it. I'll tap out of Eddy mode, and I'll leave that just like that. So that's our material applied now to these panels here. Okay, so what do we need to do next? Oh, we have this one here, as well, so let's select this one. And let's check the scale. The scale's fine. So let's hit the Edit mode button. We'll press the tab key, and then we'll press A and U, and we'll go for a smart UV project, and we'll unwrap. So we'll hit the little drop down here now, and we'll look for our Walnut 01, Walnut bed frame 01, and apply that. So I think then let's go ahead and grab everything and rotate it. So we'll press r90, Enter. And let's have a look at the scale on that. And yeah, it's repeating. I don't like that. So I'll press A for all again. And I'll just hit the SK and just bring this down in size. And let's see what that looks like. And I think that's looking fine. I'll tap out of Edit mode to get a nice clear view of that. And see, so we have we do have a set of knots there, so I don't like that, so I'm gonna tap back into Edit mode with this and press A. And I'm just gonna try moving this maybe over in the Y axis just slightly. See if we can eliminate that set of knots and maybe just rotate it ever so slightly. And let's see what we got there now. And by rotating it, that means possibly that that set of knots will just sort of fade out of the map because they've just run off the UV map, and that's what we seem to be getting there. I'll tap out of Edim just to check that out. And yet, I think I'm happy with that. That's fine. So the next one now is this actual panel, which is directly behind the TV. So let's select this and check the scale. Scales all good, so we'll tap into Edi mode with it, and we'll press A and then U, and then Smart UV project. Check the el margins, okay, and then unwrap. Now we're going to create a new material. So let's hit the plus key here and select new. And let's call this the marble. And so I bent it. Let's select our principal BSDF. Let's add the principal setup in the node Wrangler. Find where your textures are. Mine's right here, and we'll go to stone and tiles. We'll select marble. We'll press A, so all these are selected and hit the principal texture setup. And let's have a look at that and see what we got. It's looking pretty good. Do I want to do anything with that? So I'll suppress A again to select, and I'll grab everything on the UV map. And I'm just gonna hit R and rotate this a little bit because, I mean, there isn't really a direction for marble, so we'll leave that maybe something like that. And is the scale okay? I'd say the scales are a little bit. These cracks look bigger than they should be. So what I'm going to do is just go over to our mapping node and select all of them, and then let's try just reducing the scale, maybe, or increasing the scale. I'll zoom out on this and see what we like. And that's not bad, actually, at 4,000. I'd say three? Do I like that? I think I do like that. I think three's a nice number for that. So let's just actually see about the IOR now and see if I want to do something with this. I'll tap out of ti mode with it so I can see it nicely and see what the reflectibility is already like at 1,500 and it's already got some quite nice reflections in it, actually. But I'll just try playing around with this. Maybe at 2000 or 1.9. I think I'll leave that at the 1.9, Mark. I think I'm happy with that. Quite a lot of reflections, but I quite like that. And the TV will be directly in front of this, and I'm gonna back light the TV, so that should just create some extra depth to everything. Okay, so the only other bit of marble we have is this little hearth type thing here, so I'll grab this. Check the scale. It's all good, so I'll tap into Edy moode. I'll press A and then U, smart UV project, and unwrap. Then I'll hit this little drop down here, or find the marble material. There it is and select that. Let's tap out of Edi moode and just see what that looks like. And I think that's absolutely fine where it is just like that. So we've got some nice reflections in that now of these boards above these walnut strips that we've got. So that's really nice. I like it. Okay, so I think we've done some good in this lecture. We've created some new material, so that's nice. So let's go ahead and bring everything back now. I'll open up the ground floor file, hit the interior and see if we can find that ceiling panel and turn that back on. And let's turn on the first floor, as well. And there we go. That's everything back in. Let's have a look at our panels in place. And I think that's looking really nice. I think I'm liking that. Alright, so in the next lecture, um, what shall we do next? Let's go ahead and do our sofa next. That'll be a nice thing to do. Let's apply our materials to our sofa. Alright, thanks very much. And I'll see you in the next one. Bye bye, Fino. 68. Lecture 65 Sofa Materials Part 1: Hello, and welcome now to Lecture 65. And in this lecture, let's start applying materials to our sofa or our couch. Call it whatever you call it. Let's apply our materials to it. Um, I think this is probably going to take more than one lecture. I think it's gonna take two, but that's right. We're learning and we're having fun as we're going, so it's all good. So I think first thing to do is to go ahead and isolate the sofa. So in the ground for collection here in the outline, I just select the sofa like this. Right click and select objects, and just collect on there. All the objects now for the sofa have been selected, so let's hit the forward slash key on the numpad, and there we go. We've isolated the sofa in position. So I think in this lecture, let's work on the upholstery. The next lecture, let's work on the hard surfaces on what will be walnut, I think. So where shall we start? Um So I think I'll start with this seat based cushion here, so I'll select this. And the scales all good, so I'll tap into Edit mode with this one. And I'll press A, select all surfaces. I'll press U. I'll go for a smart UV project. Make sure you've got an island margin and go ahead and unwrap. And there we go. So now we need to bring in a new material for this. So I'm just going to click on new material over here, and I'm going to call this material sofa upholstery. And I'll hit Enter, and there we go. Okay, now that we've done that, let's go ahead and click on our principal BSDF. Let's add principal setup. And let's go find our sofa materials, which'll be in textiles and then sofa upholstery. I'll press A to grab all, and I'll go ahead and principal texture setup. And let's see what we've got here. We can actually tap out of Edit mode node so we can see this. And I think let's go ahead over to the mapping node. And again, just hover over the first one, press down the left mouse button and just bring the cursor down until you've got all three and then just increase the scale like this. And let's have a look at this and see what we got. I'm just going to press Shift B and re center on this cushion like this. That's better. And see what we've got. Alright, that's looking pretty good. I'll just tap in Edi mode one more time, and I'll press A. Wrong cushion? I'll tap out with this one. On this one here. I'll tap into Edit mode. Just make sure that the actual UV maps is looking good, and they are, 'cause I just never actually did look at that. So yeah, that's all looking good. So I'll tap out of Edit mode, and the scale, am I happy with it? Maybe just go up to maybe 30. Let's see what that looks like. There we go. And yeah, I think I'll leave that about 30. That's all. Okay, so now that we've done that, let's do some more. Ah, there we go. Look at that. So because we lt deed copies for the other two, the materials and the UV maps have also been applied to these two, as well. So that's saved us some time. So let's select this one now. And let's look at the scale and the scales all good. So let's tap into Eddy mode, and we'll press A and then U and go for a smart UV project and unwrap. We can now tap out of Edit mode, and we can just hit this one here, and we'll type in sofa and sofa upholstery. There we go. And just like that, we're done. So let's do the same, but this one now, the scale's good. Tap into Edit mode and press U and smart UV project and unwrap and go ahead and add our sofa material. There we go. And that's done. Okay, shall we go ahead and do that now to the back rests? Let's do those two. So we'll grab the first one, tap into Edit mode, and we'll press A, and, and Smart UV project and unwrap. And we will find our sofa material and go ahead and apply sofa upholstery. And there we go. Okay, let's just work our way through these. Sofa material. And there we go. And there we go. And we'll do this one now, as well. And there we go. And we'll just keep on working them through. Sorry, wrong, button. This one. And so for upholstery, there we go. And now, this one. And the last of these ones now. And there we go. That's all. So at the moment, they're looking a little darker than I wanted them to. But I'm not sure if that's not actually something to do with our current light. So I'm not going to adjust those just. I'm just going to leave those B. But we could actually add a color ramp to this material so that we have an option to do that. So let's go ahead and do that. So I'll select the BSDF and the material I put, I'll press G. I'll just drag these over a little bit. I'll press Shift eh, and we'll click on the search for a color ramp, and we'll smack that in there like that. Now we can actually, if we want to, just go ahead and make this material darker or lighter, as we wish. But the moment, I'll leave the settings just where they are, and we have the option now to change that if we want. Okay, so now I guess we go for the cushions. So I'll grab this cushion here, and I'll tap into Ed about and I'll press A and U, and I'll go for a smart UV project and unwrap. So this is gonna be a new material, so let's had the plaski over here. Let's click on this. And let's call this material sofa Whoops. Sofa cushion. And we'll click Enter. And now we have a principal BSDF. Let's click on this. Add principal setup. And let's go ahead and find our cushion, and here it is. And we'll press A, and we'll add principal texture setup. And I'll tap out of Edit mode and see how that looks. And that looks amazing. That's fantastic. I really like that. That's absolutely perfect. And again, because we've got some old Ds, we've actually got our materials applied to our other cushions already, as well. So that's a bonus. So let's select this one now, and let's tap into Edi mode, and we'll press A and U and Smart UV project, unwrap the cushion, and we'll click on this one here, and we'll click on Sofa. And sofa cushion. There it is. And that's our material applied. And that's looking it. Just like that, we've got all the materials applied to our sofa, so that's cool. But we need to apply maybe a slightly different material to our piping. So let's do that next. So let's select this cushion here and we'll tap into Edit mode. And let's go ahead and select maybe one little face on this piping here. I'll hold down Shift and select another one on this one. And with those two selected, I'll hold down Control and then hold down plus until we've selected the piping on this piece. There we go. That's all selected. So with that done, now I hit the Plaske over here. And I'm going to call this a actually, I'll call this sofa upholstery, as well, so I'll click on this one here, and I'll type this in. Sofa upholstery. And what I'll do now is I'm actually just going to click on this button here to make this a separate material. So I'll click on that. So now that we can modify this material without changing the color of the main sofa, but we do need to assign over here, so I'll go ahead and hit assign. And now we can actually tap out of Adi mode, and we can zoom in a little bit. We can use our color ramp here now to darken the piping. And just get a slight contrast change in these two cushions. And there we go. That's worked out a treat. That's fine. So now we'll just work our way down the line repeating this process. So I'll select this cushion, tap into Edi mode, grab this one here, hold shift, and maybe grab this one, as well. Hold down control, hold down plus, and expand on our selection. Once we've done that, let's hit the plus key. And let's hit this little drop down here. And let's type in here sofa upholstery 01, and go ahead and sign. And there we are. So there's now the material applied to our piping. Let's do another one. Select this one, tap into Eddy mode, select the surface, hold down shift, and select one over here as well. Hold down control and plus, and expand on our selection. Once you've done all that, hit the plus key and grab this little drop down, type in here. So upholstery, a one, there it is, and go ahead and a sign. And there we go. And then I'll go ahead and do one more. So I'll select this one. Actually, let's do a base. Let's come over here and we'll zoom it out a little bit. And this materials looking fantastic, actually, by the way. Anyway, let's tap it, and let's deselect everything, and then just grab one on this one, hold shift, and grab one on the lower piping. Hold control and plastic expand on that selection. And when that cursor stops moving, it's a good indicator. We've selected all the piping. And now that we've done that, let's go ahead and hit the Plaske over here. And let's hit the drop down, and let's find that sofa 01. Sofa upholstery, Oh, one, and go ahead and a sign. And there we go. And that's done. And it's also actually applied the material to these other two instances, so that's good. So what I'm going to do now is I'm actually going to pause the video because I think hopefully you've got the hang of doing this. It's really not too difficult. And if not, just rewind the video slightly and just check out how I did it one more time. So I'll go ahead and pause the video right now, and when you see me next, all these pipings will have been applied. Okay, so I'm back again, and that's all the materials applied or all our upholstery materials anyway to our hard surfaces. And I think they're looking really good, actually. There's a lot of detail on that. It's looking really nice. I love these pillows. I really like this material. It's really cool. Okay, so now that we've done that, in our next lecture, we'll start applying all our walnut material to our hard surfaces. All right. Thanks very much. And I'll see you in the next lecture. Bye bye for now. 69. Lecture 66 Sofa Materials Part 2: Hello, and welcome now to Lecture 66. And in this lecture, let's apply our wood material to our sofa. Um, I think the first thing I'm gonna do, though, is play around with our HDRI. If you recall back to the lecture when we sort of installed a HDRIs, I downloaded two. I downloaded this one. And I downloaded another one, and I want to try that one just to see if the light is a little flatter and to give us a more color accurate view of our timber that we're going to create for our sofa. So I'll come over here where it says Object, and I'll hit this and I'll go to World. And now I'll select this little file on this cape and just like this. I'll go to the cannon one. We're currently in Cape Hill, and you can see here even the image that this one is a bit flatter, so I'm going to do this one. And I'm going to click Open Image. Give it a minute to apply, and there we go. And now we have slightly more sort of flatter light, which might give us a more accurate idea of our color. I'll bring the background down to probably around 1.5, as well, something like that. And now we have a more accurate idea of what these colors actually are. Alright, so let's go ahead and apply our color. So first of all, let's go back from world here, back to object. And let's select. Well, let's turn off our upholstery. So let's come over to the sofa, and let's turn off seat bases and upholstered backs and loose cushions. So we just have the woodwork here. Now, let's select the base here and have a look at it, and the rotation's out. So let's press control, eh? And apply rotation and scale. There we go. Let's tap into Edit mode with it. And let's press A and then U, and let's do a smart UV project. Make sure you have an either margin, ten or 20, that'll be fine. And go ahead and un Alright, let's have a look at our UV maps here, see that they're all laid out nicely, and I think that's looking good. That's looking nice and efficient. Alright, so let's create our material. So let's come over here to our material properties, and let's hit the little plus sign. And let's click on you. And let's name this what sofa? Sofa. Material. Oh, let's call it sofa wood material. And clickn. Let's select our principal BSDF. Go over to Nongler, hit Add Principal setup. Go to where you are your textures are being hidden. Wow, I really I've clicked one too many times, I think, so let me case two, T two. There we go back to where I need to be. And I'll click on textures, and I'll click on wood, and I'll look for my sofa material. There it is. And I'll press A to select all of those and add principal textures setup. Alright, so the first thing I kind of notice is that the rotation isn't good. So let's go over to the mapping node. And on the rotation here, let's go ahead and spin this round. Until we're facing more like 90 degrees. There we go. That's cool. That's looking good. And let's have a look at the scale as well. So I'll actually just hover over the top one, press down the left mouse button, and drag down till all three are selected and increase the scale to see if we can find a more accurate number, something that's looking good. Let's see what that looks like. And I'd say that's looking pretty good like that. Maybe I'll select this middle one here, and I'll go over to the UV map and I'll grab it. And I just want to do something a bit different with it, so I'll move this one over, see if we can find a slightly different board, and that's looking good. Maybe I'll rotate it slightly. Just to give it a bit of interesting grain. There we go. And that's absolutely fine. Let's have a look over here now. I mean, these ones won't be seen, so I'm not overly worried. So let's just inspect the edges, and they're looking good. Let's inspect this edge, and maybe I want to do something with this. It's a little bit repeated. The sort of pattern is repeated there, so let's grab it here on the UV map and just try moving this around until we get something that's better. Just like that, that's fine. Okay. So that's cool. Let's tap levator mode with that. And I think I'm happy with that one. Don't think there's anything else I want to do to that one. I could look at these here. Let's tap in again, and I'll select this one and this one and this one. And I'll grab all three. And I'll just try rotating those 90 degrees, click Enter and just see how that looks. Do I prefer that? Yes, I think I do. I'm gonna leave that just like that, and tap out. There we go. That's cool, now. Okay. So let's work on the top one next here. So let's look at the scale, and the scales all good, so let's tap into Edit mode with it. And let's press A, and then and Smart v project and unwrap. And here it is right here, looking good. So we can come to this little dropdown here this time, and we can type in sofa, and we're looking for sofa wood material and click on that. We can see what it looks like and see if there's anything we want to do. It's looking a little bit repeated here, and I don't think I like that much. So I'll press A, and I'll go over to the UV map. And I'll just grab all of it and just press S and just try scaling this down to see if we can get something looking a bit more interesting. Maybe there like that? Let's see. Do I like that? It doesn't look good. I don't think that's very convincing. And this is quite a high profile piece. This back here will be seen, so I want to make sure it looks good. So I will grab everything again. And I'll try scaling it up a little bit a little bit again to reduce the size of the wood. And we could try moving it around in the X and see if we can find something a bit more nice. Try rotating it. We could try selecting individual pieces, maybe scale this one. Maybe scale it in the X, see if that works. We're still getting quite a few repeats. I don't think I like it. I don't think I like that very much. It's just not convincing at all. It's just too too repeated. These knots are in a perfect line going down in here. It just doesn't look good. We need to do something I think the first thing I'm going to do is I'm going to press A again and I'm going to reset the UV map. So I'll press U and for a smart UV project. I'll want to go ahead and unwrap. Just to rescale the UV map and kind of default that again. And I think the next thing I'm going to do is I'll just go over to just shade mode for a minute, just to viewport shading solid mode. And I'm going to apply an extra set of curves around here so we can break this into two boards. I think that's not a bad idea. So let's make sure we can select edges, so let's press two. Let's grab an edge here. And what press said, as well, let's go into wire frame. And I think let's go ahead and select all of these. Whoops. I'll go over here to selector, and I'll just hold down the left mouse button and come over to select Box. That's better. And I'll select all of these like this, and I'll press Control R. And see if we can get a loop in there. It allows us to put one loop in, so that's a start. So where should we go next? See if we can get another loop in. So I will select all of these edges here, and I'll come over to this side now, and I'll select maybe all of these edges here. And now I'll press Control R, and I'll go ahead and put another loop in like this. Let's do this one last time. Let's select all of these edges here, and all of these edges here. And let's press Control and go ahead and apply that. And there we are. So now we kind of split that component into two boards, and I think that might be nice. All right, so let's tap out of Edit mode with this now. And let's go back to solid. And let's go back to rendered as well. And let's see what we can do. And I think the next thing we're going to do on this sofa material board right here is I'm going to create a new material on this. So I'm going to hit this little button here so we can make some alterations to the scale on this one, on the mapping node, without affecting this other one here. And now what I'm going to do is tap into Eda mode with this one. And I'm going to grab this board here, press three so I can select faces. I'll grab this board here. Actually, before I do that, sorry, I'll come down to the scale, and I'll hold down the left button and select all three boards, and I'll go ahead and alter the scale and see if we can find something more pleasing without affecting the scale on the other boards. And that's not bad. That's okay, now. Something around there will be nice. So now that I've done that, I'll select this board on its own, now. And I'll come over to the X axis and just try moving this up. And see if we can get something, something like this and then maybe rotate it slightly. Maybe take it down a little bit, maybe scale it a tiny bit. Scale it again. Scale increase the skis size of it, which will reduce the scale of the object. And let's see what that looks like. That's better. I think that's a little more convincing. So this board is actually not as bad now. Now we're starting to get something I'm preferring. And I'll just try moving this board down in the X axis and see if we can get something that looks good. And I'll try rotating this one. Maybe up like this. And there we go. That's better. That's looking better. I think I'm liking that now. So the next thing I need to do, maybe, is actually go ahead and just grab the engrans here now. And we'll do a rotate on those. Yeah, so the engrain direction is going the right way, and that's looking better. And you won't see these boards here, so I'm not overly worried about those. So that's okay. You may see a tiny bit of these ones, so let's have a look at these ones, and they're not too bad, actually. I like this board's nice. Maybe I'll just move this around a little bit. And rotate it a little bit. And I can try adjusting the scale. Just play around with the scale really until you get something pleasing. And there we go. And it's just avoiding too many repeats. And I think I'm happy with it now. That's looking a lot better. Okay, so I'll tap out of Edit mode with that and just take one final look at it. And I think I'll please with that. So let's select these ones here. These feet. Let's check the scale. That's all good. So let's tap into Edit mode. And let's press A and U, and let's go for a smart UV project and click on Unwrap. Let's hit the little drop down here, let's type in Sofa. And shall we go for sofa wood material or sofa wood material 01. It doesn't really matter. I'll go for sofa wood material, I think, and see what we get. Let's have a look. Let's just see what that looks like. Am I happy with the scale of that? No, I don't think I am. I'm gonna press A all again. Gonna grab all of these. And I'm gonna go ahead and scale this down slightly to increase the grain size. And let's see what that looks like. And that's looking pretty good. So we need to actually turn these ones the grain directions don't run through, so let's grab this one here, and this one here, and let's try rotating those about 90 degrees. And that's looking better that way now. And let's see if we need to do the same with this one. So let's grab maybe Are we happy with the wood scale? I think I am, so we just need to actually just sort out these engrains here, this one here, and this one here, and let's rotate those as well. Around the 90 degree mark. And there we go. Maybe select this one and maybe just move. Around a little bit until it's sort of looking about right. That's better. See, that's kind of lining through there and I like that. And there we go. That's that all done. Let's bring the cushions and see how we're looking. And let's tap out of Edit mode and see what the final effect is. And, yep, I'm liking that. That's looking really nice. Okay, so let's hit the forward slash key now and bring everything back. And see what we've got. And yeah, I'm liking that. I'm liking the contrasting wood material. I didn't want this to be walnut as well. It's all going to be too dark. So I'm pleased I've gone with a lighter material there. If you prefer the darker material, you could use the walnut from this TV panel on this and see how you look. But I just wanted to get some grain coming through. And I felt that the walnut was the grain was going to be a little bit lost on the sofa. But that's entirely up to you. You can go for it and maybe switch some of these wood materials around if you prefer. Okay, so what should we do in the next lecture? I think we're going to do a tiny bit of modeling in the next lecture. What we need to do is we can apply a texture to our stairs here. And I think it'd be nice to see a handrail on the staircase, just to explain that it is a staircase and to sort of lead off into the distance and show what it's doing. So let's go ahead and do that in the next lecture. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 70. Lecture 67 Stairs Part 1: Hello, and welcome now to Lecture 67. And in this one, let's apply a wood material to our staircase. And then I've been thinking about it, as well, and I think I'd like to show a handrails well, so leading up the stairs, just to indicate more what this is here, because from this angle, you can't really see that it's a staircase. So I think a handrail will kind of just will just suggest what this actually is. We'll just indicate more what's happening in here and also indicate that it's leading upstairs. Alright, so I think the first thing we could do is we could sort of turn off the first floor. Let's hide that. So we just have this like this. And I think all we actually need is the external walls and the stairs. So let's select both those items and then hit forward slash on the numpad. And let's press seven. So we see this in the orthographic view. And let's have a look at the stairs. I think I would like to make sure that I've got a tiny little gap either side of the staircase between the walls and the stairs. So to do that, let's select the staircase on its own. And then let's press S, then X, and just bring it down a little bit like this. And now reposition it until there's a gap, a small gap either side of the staircase. Let's have a look, and yeah, that's fine. I might try and even up a little bit more, so I'll press G and then X and just bring that over slightly, and that's looking good just like that. Okay, so now we need to create a material for this. Let's look at the scale first and the scale out. So let's press Control A, and apply rotation and scale. And let's go ahead and tap into Edit mode with it. And let's press A and then U, and let's do a smart UV project. Make sure you've got an island margin and go ahead and unwrap. Okay, so let's create a new material. So let's come over here to the object properties. I'm sorry, to the material properties. And let's click on New. And let's go ahead and name this. Um, Stairs. Stair material. There we go. Click Enter. Okay, so let's grab our principal BSDF and let's add principle setup. Go to wherever your materials are, click on textures, click on Wood. And it's up to you, really. I mean, you could use any of these you want. I'm going to use the Light ok distressed, but you can use whatever you want. But I'll click on the Light Ok distressed, and I'll press A, and I'll principal textures setup, and so now that we've done that, I think we can go ahead and isolate the stairs on their own. So I'm just going to grab the stairs. I'm going to hit the forward slash, which will bring everything back for a second, and then I'll hit it again, and that will isolate the stairs for us on their own. Okay, so I think the next thing we need to do is actually look at the scale on this and see if we're happy, and the scale looks way too big. Ignore the sides. We don't really need to worry about what the sides look like. They'll never be seen. We're just worried about what's called the tread here and then the riser boards as well. Said what kind of looking at. Let's go over the scale on this. And if you just hover over the first one, hold down the left mouse button and drag down, we can adjust the scale. Until we get something that looks about I would say, that's pretty nice, now. I think I'm happy with that wood grain scale on those. Yeah, I think I'm happy with that. So now that we've done that, we just need to change the direction of the wood grain because at the moment, they're opposed to each other. So I'm going to do these faces. I'm going to select these ones and rotate those. So I'll tap into Edi mode, and I'll grab maybe this face, a whole shift, and I'll carry on grabbing. I'll grab these ones here, this one, this one, and this one. And let's grab these as well, And I think we'll just do those ones to begin with, and I'll grab them here in the UV map, and I'll press R and 90 and click enter. And let's see if that looks better, and that's improved. Things no end. That's looking good now. Okay, let's have a look at these ones and just see if we want to rotate these as well. So I'll select this one, and then this one, grab the UV maps. Press R, 90, and click enter, and there we go. That's altered our wood grain directions to look a little more realistic. Okay. I think there's something else I'd like to do with this. I think I'd like to add that bevel node in our texture sets to create some shading and some darkness on these edges like we've done before. So let's do that next. Let's scroll out a little bit. Let's grab the material output and bring that over a little bit more. And now let's sort of drag this up a little bit. And now let's press Shift A and search for the bevel node, and there it is. And we'll bring that in like that. And we'll go again, we'll press Shift A and search for the geometry node, and we'll bring that in. Shift A again, and search for the vector maathnde and bring that in. Go again. Shift A, search for color ramp. Bring that in and one last one. Shift A, search for the mix shader. And we'll bring that one in Okay, so let's go ahead over to this. And here on the vector, let's click on this and let's go for dot product. And let's plug the normal into the vector and the normal here on the bevel as well into this vector. Let's plug the value here into the fac here, and let's plug this into on the mixed shader. And let's go ahead and add this. Actually, for a minute, let's unplug from here and plug this directly into the material output like this. And let's see what we get. I think the next thing we can do is come down here to our displacement. And here on the scale, let's bring this down to one, and that's helping things. And now let's go back up. And here on the radius, on the bevel, let's increase. And that's looking good at around five. See some darkness to these edges now and some shading going on. And yeah, I think I'm liking that. You can see it on this back edge, too, which would make sense. Yeah, I think that's looking good. Okay, we could go over to the color ramp, and we could tweak this. We could bring this over to increase the darkness. And now we can see some real shading going on in these edges, which is a good look. Okay, so after we've done that, let's go ahead now and plug this in for real. Let's plug the color ramp into the fat on the mixed shader let's plug the principal BSDF into the bottom one of the mixed shader like this. Now go ahead and plug it back into the material bud. Now we've got a nice looking staircase. We can go ahead and adjust this some more if we want. We can bring in some lightness or some darkness into this bevel. And there we go. I think I'm happy with that. That's looking good. I like the contrast of a slightly more distressed, older looking staircase in a new building. I think that's looking nice. It's going to give a little bit of character. Okay, so let's bring everything back now and see what we've got and see how that staircase looks in set? And, yeah, I think that's looking good. Okay, so we do have the handrail to do, but I think it's gonna take quite a while. So I think we'll pick that up in the next lecture. So I'll just press Control this just to do a save. And I'll see you in the next lecture. Bye bye for now. 71. Lecture 68 Stairs Part 2: Hello, and welcome now to Lecture 68. And let's do our handrail. Let's have a go at doing this. So we're going to do a little bit of modeling. We haven't done that in a while, so it'll be good to sort of do a little refresher on this and do a little bit. So let's do that. So I think the first thing I actually want to do is I want to work back here in just viewport shading mode in solid display. So let's do that. And I think all I really need is the staircase, so I'll just grab that and I'll hit the forward slash to isolate. Okay, now that we've done that, let's actually press Shift A. And let's bring in a simple plane. Let's grab it and bring it over in the X axis. And let's rotate that in the Y, so we'll press Y, nine, zero. Oh. And straightaway, let's go ahead and scale that down in the z. So we'll press S and Z and go ahead and bring that down to something like this. Let's bring this up like this. And let's press three on the numpad to get us the orthographic view of the side. And now let's go ahead and bring this up some more. And I think I'm going to scale it down a little bit more on the z. So I'll press S and z and bring this down. And I'd say that's about right, and I'll bring that up some more. And now I'll go ahead and rotate that. I'll press and rotate that until it's running sort of parallel with the staircase, something like that. I'll bring it down a little bit more on the z, and just eye it up to sort of what looks like would be the right height for the handrail. Come down a little bit more, rotate that a little bit more. And I would say that is about right. Okay, now that we've done that, go up here, and here in this one in a global transformation click on this and go over to normals. And once you've done that, go ahead and scale that up in the Y, suppress S and Y, and just go ahead and pull that up like this. And I'd say that looks about right to me. Okay, so let's look at the scale, and it's out, so let's press Control A and apply rotation and scale. And now let's go ahead and tap into Edit. Okay, let's press two so we can do edge selection. And let's go ahead and grab this edge here. And let's press E for Extrude. And now just press Escape. And now just go ahead and press R and rotate slightly like this. And now, go ahead and pull this down. Until you get something looking like that and rotate it a little bit more. Maybe just pull it down slightly in the X and rotate it again. And I'll leave it just like that. Okay, so now I've done that. I'm going to do the same again. I'm gonna press E, and then I'm going to press escape. Then I'm gonna press R and rotate this round like this. I'll bring this down a little bit. And I'll press, and I'll rotate it again. Maybe bring it over again. Maybe just bring it down a tiny bit like this, bring it back, as well. Rotate it again until we get this running. We want to go level with these lines on this grid, so we'll rotate that again. Maybe just bring this forward. Whoops. Until we get that something like that. Maybe rotate it a little bit more. Bring it forward a little bit. And then that's looking good. I think I'm pleased with that. I just pull it down a tiny bit. And there we go. I think that's fine, note. And now, though I've done that. I'll press E, and then I'll press Escape. And I'll go ahead and bring this forward like this. And I'll just eye it up with the grid, I think, at this stage. I think that'll be absolutely fine. Let's zoom out so we can see the staircase, and now just bring this over like this. Until we're level with it, it looks like this line here. So let's have a look at this up close and see what we need to do. I'm just going to press, rotate this line a little bit. And now just bring this up to the edge like that. And there we go. That now should be absolutely fine. Alright, so now what do we want to do? I think the next thing we could do actually is I'll press three again. And I'm just gonna grab this edge like this. I'm gonna right click, and I'm going to dissolve that edge. I don't think we really need it now. And now that we've done that, I'm going to grab these faces. So I'll press three so I can select faces. I'll grab this one. Hold shift, grab this one, this one, and I'm not gonna press E and Z and go ahead and bring this out like this. To get a little bit of thickness to this handrail. And there we go. I think that's about right to me. I'll come up here again to orientation, click on this and go back to Global. And I think the next thing I want to do is I want to create an offset on the back, so I think we'll do that next. So let's press two so we can select edges again. Grab this edge here. Let's press Control R, and let's scroll the mouse wheel once to get this like this. And there we go. That's absolutely. Let's press three and then we'll grab this face here. Hold shift, and grab this one and this one. And now let's press E and then X, E, X, and go ahead and bring this out like this. By doing that, we've got a kind of a handrail profile. Alright, so where do we want to go next with this? I think the next thing I'm going to do is, let's go ahead and tap out of Edit mode with it for a minute. And let's press seven. Let's go ahead and bring that over now, so it's in the right position, bring it over the staircase and see where that is. And let's press G and X and bring that over like this. And there we go. Let's have a look at this position and see how it looks and see if there's anything else I want to do. I think that's absolutely fine. I'm not too worried about the top, because I don't think I'm gonna do any animations or renders around this area, so I'm not too worried about the handrail, what it does up there. Just wanted to look good down here. So now that I've done that, I'm actually going to think next thing we're gonna do is let's tap into Edit mode with this. And let's make sure we can grab edges. And I'll grab press two, and I'll grab this one here, and I'll hold shift and grab this one here, and I'll press Control B, and I'll bevel those edges. I'll scroll the mouse wheel a couple of times to get some extra edges to that, and I'll take that to something like that. I think that looks good. Next thing I'm going to do is come up to here and there, and I'm going to press one so we can select vertices. And I'm going to grab this vertices here, hold shift and grab this one. I'm going to right click, and I am going to merge vertices in the center, and there we go. Do the same. This one, hold, this one, hold, this one, right, click, and merge vertices in the center. Let's press two, grab this edge here, press Control B, and go ahead and bevel that edge, as well. Put a slide bevel in there that looks maybe something like that. I'm gonna go over to the bevel here and maybe reduce the segments on this one to maybe a three, and that looks good. I think I'm happy with that now. Alright, so now that we've done that, I think the next thing I want to do is make a duplicate of this. So I'll press three so I can see this from this side, and I'll press Shift D and Y, and I'll bring a copy out like this. Now I'm going to rotate it, so I'm going to press r180, and click Enter. Bring this over like this a little bit more. Let's press seven on the numpad to see this in the orthographic view. And let's rotate this, so I'll press r90. That was the wrong way. So what I'll do is we'll hit negative on the keypad to change that round, and there we go. And now let's bring this forward in the why. And bring it back a little bit until we get that where we want it. And let's see what that looks like here, see if we've got that right orientation. And we have, but it's way too high, let's bring that down and bring this over like this and bring it down like this. Okay, let's press seven to see this from above again. Let's go ahead and bring this over in the X, so I'll press G and then X and bring this over like this. And now let's bring it closer to the wall, so let's press G and Y and bring this closer to what will be the wall. There we go, like that. Alright, so let's see what that looks like now. And let's go ahead and just take that up a little bit, so let's grab it like this. Let's press Gs and go ahead and take this app like this. We could press one on the lump pad to get the orthographic view from the front, and we could press GSE again and go ahead and just bring that up until we're in the right position like that. And there we go. That's good. Alright, so what do we want to do now? I suppose the next thing we need to do is obviously this is far, far, far too long. So let's actually just collect this one, and let's tap into Edi mode. And let's make sure we can select faces. So let's press three. And let's select this face, this one, this one, and this one. And if we tried moving the Gizmo right now, it's going to do weird things for us. So let's click up on this again and let's go back to normals. And let's pull this up here in the z axis like. And just see where we want to end this. And I think I want to go to, I would say about there like that. I think that looks good. Okay, so let's tap out of Eddy mode with that one, and let's look at the scale on that one. And the scale is a little bit out, so I'll press Control E and apply rotation and scale. Let's just check this one more time, and that one's good. Let's find these items now. And they're here in the ground floor. Let's click on interior, and they're right here. So I think the next thing I'm going to do is actually join those together. So let's press Control J and join them into one. Let's rename this handrails. And we'll go ahead and click into. And now let's go ahead and drag this up to it's in the ground floor collection, but it's not hidden in sofa. So let's grab it here and bring it up until we go into ground floor collection, and there we go. Now it's sitting on its own in that folder. So we can collapse the sofa and we can collapse the interior, and it's right there. Okay, so now that we've done that, what do we want to do next? I think the next thing we could do is go ahead and apply a bevel to this and see how that looks. So let's collect the item. We know the scale's good. So let's go over to modifiers. Let's add a modifier. Go to generate, go to bevel, and let's see what that looks like. Let's go ahead and increase the decimal points. So let's put zero to the right click Enter. Let's go ahead and do that again. And I think let's increase the segments. So let's go from a one to maybe a four. And let's turn that one here into maybe a three. Click to, and see how that looks. And am I happy with that? We could also right click and do a shade oro smooth on it. And I would say that is about right. I think that's basically where I want that now. Okay, so we'll go ahead and apply our bevel modifier, and there we go. That's all. So that's our hand rail models. So now let's go ahead and apply some textures to this. So let's go back over to our rendered view, and let's see what we can do. So what material shall use on this? I think that's the next thing we need to think about. Let's select the item anyway. Let's hit this little drop down here, and let's type in Walnut. That's what material I'm gonna go for. I'm gonna go for Walnut bed frame and click on that. And see what we've got. So I need to do some scaling on this. And I want to use the actual mapping node here. I'm going to just drag this up so we've got a better view. But I can't do that because I'm going to affect other components with the same texture. So let's go ahead and create a new version of this, so we'll click on this here. And now we've created a new version. We won't affect any other components with this texture. Let's come on over now to to the mapping note. Come down here to scale, hold down the left mouse button, and drag down to select all three, and let's pull the scale down to where we want it to be. What we could do, which we've forgotten to do is let's tap into header mode with it. Let's press A for Oh, and U, and let's do a smart UV project and go ahead and unwrap. And now it looks better. And let's see what our scale looks like. I think I still want to go some more, so I'll grab all three and increase the scale again. Nope, let's take it down. Until we get something nice, and I think I will leave it about there like that. Okay, so let's look at the rotation on this. Let's try rotating in the Z and swing that round until we get a nice looking result, which is about there like that, I'd say. Go back to the scale now and just try increasing this a little. To something like that, I think. Now I think we need to start individually orientating the grain on each of these faces. So I'll grab this face. I'll grab this one and this one. I'll zoom in a little bit on those. And I'll grab them now in the UV map, and I'll go ahead and rotate those. And there we go, that's looking good like that. Let's have a look at the scale and see if we're happy with that. I think that's fine. Or shall I reduce it a bit? Maybe I'll reduce it a bit. Let's grab all three of those again and let's set S and try to scaling these up a little bit like this. Take this up a little bit in the Y axis, and let's see what that looks like. That looks good to me now. I think I'm happy with that. Okay, so let's grab maybe these faces here now. And this one and this one and this one. And we can also grab these ones here, too. And with those selected, we'll zoom in to a point where we can see that nicely. Grab them all down here on the UV map, and we'll press, and we'll do a rotate until we get the right looking direction on the wood grain. And let's see what that looks like. And yeah, that's looking good to me now. I think I'm liking that. So where shall we go next? I think we need to go up the stairs now. So let's select this one, hold shift, grab this one and this one. And with those selected, let's zoom into an angle that looks good, and let's select the UV maps, and let's do a rotate on that as well. Until we get the right kind of grain direction on this timber here, and there we go. Let's have a look at that. And, yeah, that's looking good. I think I'm pleased with that overall. We can actually have a look at the top one and see if there's anything needs doing with that. We could grab this one and we could do a rotate on this one. Until we get that pretty straight like this. And there we go. So we can also do maybe this one here as well. Grab this one here, grab the UV map. Well it R, and we'll just turn this one until it's looking good. And there we go. And now we can do this one as well. Grab this one. Grab the UV map, press R, and just turn until we're getting the right results. Just zoom in on this a little bit. And it's actually looking pretty good. Alright. Is there any others? This one here as well. Let's grab this one. Let's also grab, maybe this one and this one, this one, this one, these as well. And with those selected, we'll grab the UV map and I'll press R, and we'll do a rotate on that until we're looking pretty straight. And I think that's looking good. I think I'm happy with that. Okay, let's tap out of Edi mode now and see what that all looks like. Yeah, that's looking really good. Let's bring everything back, so I'll hit the forward slash scale on Impad and we could bring that back and see how that handrail looks. And yeah, I'm really pleased with that. That's doing a lot of good. It's really just showing now what's going on and what's around that corner, kind of leading us up the stairs. So that's really nice. Okay, so I'll bring back the first floor, as well, and everything gets really dark, which I think is a good time to mention in the next lecture, let's start lighting our scene. So let's start creating some interior lights, some really nice, dynamic controllable lights. Okay, thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 72. Lecture 69 Interior Lights Part 1: Hello, and welcome now to Lecture 69. And in this lecture, let's have a look at doing our interior lights. The whole scene is looking really good. I'm liking the way this is going. But internally, it's all a bit dark, so we need to light this up and start getting some nice lighting going on. So let's make a start on this in this lecture. So I think I'm going to do this back in layout. We haven't been there in a while, but yeah, let's do this in layout mode, so let's click on this. And I think all I really need to start with is this wooden sort of headboard for the bed. So let's select this. Let's hit the forward slash just isolate that. Alright, so I think the next thing I want to do is grab this and tap into Edit mode. And let's just grab maybe a face, maybe this one. Then let's press shifts, and let's bring cursor to the selected. And there we go. That's brought the cursor to where I want it. Okay, I'll tap out of Edit mode with that now and sort of make sure it's not selected. And now I'll press Shift A, and I'll bring in mesh, and I'll bring in a cylinder. And let's increase the vertices on this. Let's bring this up to maybe even 50. And there we go. Let's leave that just like that. Next thing we could do is actually look to see where this is in our outliner. And it looks like it's here in ground floor walls, and there it is. And that's not what I want at all. So what I'm going to do next is go to the first floor and maybe click on this. And let's click on was this bedroom one or bedroom two? I think this was bedroom one. So let's click on bedroom one and expand it, select this item. And let's go ahead and open a sub file. Let's create a sub file. Click on this. Let's find it. Here it is. Let's double click on it, and let's name it bedroom one lights. And then we go let's click. And let's grab this item here. Let's press M. Let's go to collection. And first floor, bedroom one and bedroom one lights. Let's go ahead and put it in there, and there it is. Let's go ahead now and compress the ground floor. We don't need to see that. And there we go. So there it is there in the bedroom one folder. Now that we've done that, let's press S and scale this down. And let's press seven to see this from above. And let's go ahead and scale this down a little bit. Let's go over to item here so we can see the size of a rat. And it's around 23 centimeters. Let's scale this down to around 15 centimeters. So in Imperial, that's about 6 ". And there we go. That's close enough. I'm happy with that. With our done, let's scale this down on the z now. So let's press S and Z. Go ahead and scale this down, and let's pull it down as well so we can see it clearly. Okay, maybe we scale it down a little bit more on the z. So I'll press S and z and bring this down. And I'd say that's about right like that. Okay, I'm going to go ahead and isolate that. So I'll hit the forward slash, which will bring everything back and hit the forward slash again, and it'll isolate that object for us. Let's fix the scale on it, so let's press Control A and apply rotation and scale. And now let's tap into Edi mode. Let's press two so we can select edges. Hold Alt and click on this edge here, press Control B, and let's bevel that edge. Let's scroll the mouse wheel a couple of times to get some more segments in this. And we'll take this two about there like that. And that's looking good. Let's press three so we can select faces now. Grab this face here, and we'll press E, and we'll go ahead and take this up in the Z axis two, about there like that. Okay, so I think the next thing we want to do is let's press I and inset this a little bit to around there. And now let's pull this down in the z. And let's do that again. We're gonna repeat this a few times now. And now we'll pull this down in the z. And let's do that again. Pull this down again. And pull this down again. We'll be doing this a few times. Make the insets slightly smaller now, making the gaps bigger, something like that. Now, pull that down. And again. Pull this down again. And maybe one more. Pull that down, as well. And there we go. That's cool. Um let's press two so we can select edges. Hold Alt, grab this edge here, and let's press Control B and bevel this one, too. And there we go. That's cool, just like that. Alright, so let's right click on the item, and let's shade Auto smooth, and let's see what we've got. We can increase the angle just to soften that edge, and that's worked there. I don't think we need to actually put a subdivision surface modifier on this. I think it's looking fine just as it is. Okay, so now that we've done that, we can actually go back into shading mode. So, actually let's bring everything back first and see how we're looking. And let's press seven to go into the orthographic view, and let's press and go into wire frame. And let's go ahead and take this back into its fine opposition. Which I think will be around about there. I think I'm happy with that there like that. Okay, let's press the head and let's go back to solid mode. And now I think it's time to go back to shading mode. Alright, so again, let's isolate the object. And now let's start applying some materials to this. So let's go over to material properties tab. And let's click on New and let's call this material. What should we call this material? Let's call this the light bezel. I'm not sure if that's the right term. I think it is, but I'm not sure, but we'll go with it. So now that we've got that, we've got principal BSDF. And let's go ahead and turn the metallic up high on this. So I'm gonna go for quite a chromi looking material, and let's take the roughness down. And we should now, with that, get a nice looking sort of chromi looking material, and that's good. So we could actually maybe increase the IOR to around 2.5, and I think that's good. I'm going to apply a little bit of color to this. I want to go for almost like a Nicki color, so I'm going to take it a little bit into the yellow, but very subtle, just like that. All right, so that's our base material, and that's fine. But now we need a light lens material. So let's hit the PAs key here over here, let's click New and let's call this the Light lens. And click Enter. Let's go ahead and tap into Edit mode with it. Let's make sure we're selecting faces. I'll press three, select this face here, hold en Control on tap claus until we've selected the entire Light lens, and that's it like that. Once you got those selected, click on Light lens here and go ahead and assign. Okay, but this is really quite simple. We'll just bring the Alpha right down to virtually nothing, and we'll bring the roughness right down to nothing, as well. And we'll just take the metallic up just a tiny bit to about there, and there we go. So that is now our light lens. Let's go ahead and tap out of Edit mode, and we can take the alpha right down to zero, actually, and that's it. That's our light lens finished. Or should we take the Alpha up just a little bit to about there like that? All right, so I think now we can go ahead and bring everything back. So let's hit the forward slash key and see what we've got. So the next thing I want to do is tap into or just grab this item and tap into Edit mode. And let's grab that center a little bit like that. And let's press shifts, and let's bring cursor to the selected. There we go. Now that we've done that, we can actually tap out of edit mode, and we can press Shift A, and we can bring in a light, and we can bring in an area light. Let's turn the shape from square to disc, and let's reduce the size. Until it's basically inside the light vessel. Let's take this up a little bit. And there we go. That's the effect that I'm after. Alright, so let's turn the power up. And maybe we'll put this at around around 50 for now and see how that looks overall. And let's put a little bit of color on this. Tiny bit of yellow. Yeah, so it's warmed up a little bit. And that is our first light. That's kind of done. Maybe we'll take this a little bit higher to around 75. And that's good. So in the next lecture, let's go ahead and distribute these lights in this bedroom and the other bedroom and the bathroom. All right, thanks very much. And I'll see you in the next lecture. Bye bye, foro. 73. Lecture 70 Interior Lights Part 2: Okay. Hello, and welcome now to Lecture 70. And yeah, let's carry on distributing our lights in this scene. So, what are we gonna do? I think, first of all, let's just grab. Well, let's go to wireframe. Let's press S. Et's press, and let's got a wire frame on this. And now let's just grab let's deselect this and then grab the light and the light lens or the light bezel. And now let's hole shift and grab the light itself. And now let's press seven. And let's see this from the plan view, from the orthographic view. Um let's turn off the ground floor so we can't see that because it was a little confusing. And now what shall we do? Let's press Alt D. And X. And let's bring a copy across now to the opposite side. Roundabout there like that. When we've done that, let's grab both the lights again now. So let's grab that light, and let's grab this one. And let's grab this light bezel, too. And let's press seven again. And with the two selected, let's press A to D and Y. And let's bring those down to about like that. Once you've done that, press Shift to repeat that and Shift R again. And let's see where that's at. And press Shift R can we do one more? We can just about. So that's a lights position. So let's go back to rendered mode note. Let's press set. And let's go back to Rendered and see how we look. And that's really light in there now. That's Is that too light, too many lights in there? I think not. I think that's really I think that's okay. So because we use Alt D, these lights are all sharing the same properties. So we can actually go over now to the We can select a light here, and we can click on the light here on the side, and let's bring the power down. And that will bring the power down on all the lights in one go and allow us to control our lights sort of even that light up a little bit. And let's see how that looks. That's a really nice even light in there. I think I'm liking that. I'm bringing it down a little bit more again. It's a little too strong. So I brought it down to about 34, and I'll just add a little bit more colour to it, and there we go. I think that's nice, snow. And now we can see that our floor, as well, our polished concrete floor is starting to look good. That's got a nice effect to it, as well. Okay, so that's our first one done. Now you can see in the bedroom lights, we have a full set here, and that's good. So what we need to do next is actually select one of the lights and also the bezel on that light. So we'll grab that, as well. And with those two selected, let's press seven. And let's turn off our middle roof. Let's hide that for now. And in fact, we can go ahead and hide the roof, as well. And with that done, this time, we're gonna press Shift D. So let's press Shift D and X. And let's bring a copy over to this side like this. And now that we've done that, let's actually compress our bedroom one file. And let's open up our bedroom two file, select bedroom two, and let's hit this button here to get to subfolder. Let's find that subfolder. There it is. Double click on it. And let's name this bedroom two lights. There we go. Now that we've done that, let's go ahead and select these items here. So let's sect the light. And let's also select the bezel. And let's press M, and let's go collection and first floor, bedroom two, and bedroom two lights. Okay, now that we've done that, we can actually position these. So let's take this over until over the actual bed frame, and let's see what that is. Let's actually press seven to get the plan view. And let's take this back a little bit like this, and we'll also just take it back like this here knows well. Let's press Alt D and Y and bring a copy over to the opposite side. There we go. And let's grab both those carpis now. So let's grab and this one and sort of the bezel as well. And let's press seven again. And let's press Old D and X and bring that to sort of the middle of the frame like this. And let's press Old D and X and bring one to the front as well, like this. And there we go. So there's our lights in position now in bedroom two. So let's go ahead now and bring the ceiling back in again, or the roof, isn't it? That's what it's called, and see how our lights look in here. Again, if we want to, we can actually go ahead and just adjust this light. So if we want to turn this up or turn it down, we can do that now because we've used Alt D as a command. So all these are sharing the same properties, we can adjust all the lights at the same time to sort of get a balance in here that we're happy with. Alright, so I'll leave that like that now. I'm sort of happy with that one. So the next place I want to go to is the bathroom with this. So let's go over. Let's compress this one now. And let's compress bedroom two, as well. And let's compress bedroom one, and let's go over to the bathroom and expand that. Let's select the bathroom. Let's create a subfolder. And here it is. So let's double click on it, and let's rename this bathroom lights. Click Enter. Okay, so let's select one of the lights here in this room. And we'll grab this light here, and let's also select the bezel. There we go. We got the two items selected. Let's press seven. And let's press sad and let's go to wire. Let's press Shift D and X and bring this over in the X axis like this. And let's take this over like this until we're in the bathroom, kind of center of that timber framework ceiling. Okay, let's make sure we've got everything selected again, and we do. So let's press seven again. And now let's press Alt D. And let's press X, and let's bring another light over like this. And now let's press Old D and X. And let's bring a third light over like this. And there we go. That's cool. So now what we can do is we can actually have a look for those bathroom lights again, and they're right here. But the lights in the bathroom aren't actually in that folder, so that's not worked out for us, so let's deal with that next. Let's select this light here. Oops, let's select this one. And then this one. And let's also select this one and this one. And now let's deselect the ceiling, so we'll hold control and just sweep over this, and there we go. So now, we've just got three lights in our bathroom selected. So I'll press M. I'll got a collection, first floor, bathroom, bathroom lights. And now they are now in that folder, and that's what we want. So we can collapse that folder, and that's looking good. So let's press Z, and let's go back to rendered view and see how we're looking. Let's see what our bathroom looks like. And that's looking good. Is that too bright in there? Is that a little too much? It might be a little too much. So we could select maybe just one of the lights, and now we can reduce the power of these to maybe something around there is nice. And we could even now maybe just adjust this color, maybe into the blue a little bit, just make this just subtly, a bit colder in here, there we go. That's cool 'cause we've got all this lovely red timber. So that's kind of warming it up. So let's cool the lights down in here, and it brings some nice colors in this wall. Alright, so that's the lights done now in our first floor. So in the next lecture, let's distribute those same lights on the ground floor. Okay, so let's bring everything back at the model so we can see our progress, and there we go. That's good. And all these lights are now looking really nice. And we can, as we start importing our furniture, if we wish to add more lights or we wish to reduce power or increase power or even tilt these lights in certain directions, we can do all these things as we go. But for now, it's enough just to start getting these bedrooms lit. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 74. Lecture 71 Interior Lights Part 3: Hello, and welcome now to Lecture 71. And yeah, in this lecture, let's go ahead and now put some lighting in on our ground floor inside here. The first thing that I'm going to do is I'm finding all these empties connected to these lights, a little bit distracting. So let's go ahead and hide those empties. So come up to here and click on this, just click on Extras, and I'll turn those off. You still got the lights on inside the rooms, but you've just lost the controls. Okay, so now that we've done that, what shall we do next? I think we could go ahead and we can close the first floor. We can just collapse that. And we can actually hide that now, I think. So we just have something like this. We have this panel here like this. And yeah, that's what I want. Because we're not gonna run these lights that we've run upstairs on the ground floor. We're going to use this recess that we've created in the ceiling. Let's go ahead and bring that back for a minute. So we have this recessed panel just here. So we're going to create some lights behind that. So then this light recess will hopefully illuminate this ground floor and be enough light for it. In fact, we don't have a material on this, so let's grab this one. And let's just hit the little drop down here. And let's find the interior walls. Internal walls, there they are. And click on that. There we go. We've applied a material now to this panel. So let's actually let's go ahead and hide that first floor again. And let's select this panel, and the scales all good in it. So let's now actually tap into Edit mode with it. Make sure you're selecting faces. Grab this face here and press Shift D and Z and go ahead and bring that up just a tiny bit like this. Now that we've done that, let's actually separate it from the original model. So let's press P and separate by selection. Now we can tap out of Edit mode for a minute. We can select this on its own. Maybe press seven to see this from above. And let's go ahead now and scale that down in the Y. So let's press S and Y and bring the scale in on this by maybe about that much. And now let's do the same in the X, S and X, and go ahead and bring that in by maybe that much. Okay, so the next thing you want to do is go ahead and do an extrude on that. So let's tap into Edit mode again, grab this piece, and let's press E and Z and go ahead and take this up like this. So we create a little bit of thickness to this. And that's cool. Now we've done that, let's tap out add mode again. And let's create a new material for this. So let's grab this one here, and we can go ahead and delete this internal war material from it. So let's do that. Let's select it, and we'll come on over to the material properties tab over here. We'll click on New and we'll call this material. What shall we call this? Let's call it emissive One. Emissive one. Is that a Espellemissive? I'm terrible with spelling, I must admit. Um, I don't know if it is, or it isn't just keep it between us. Let's click end it, and there we go. So now we're the principal BSDF. We don't need to add any extra nodes to this. We should be able to do it all just here. Let's bring the roughness down to zero. And let's bring the Alpha to about half. Let's have a little bit of metallic and come over to the emissive, which is down here and click on this. And let's give this some strength. Maybe around. Let's try around 30. And now that we've done that, let's go ahead and bring back the first floor and we'll see what we've got. And now you can see what that's done. That's actually lighting the room really nicely. I'm liking what that's doing. Do we want to add some more strength to that or less or Let's add some color to this emissive. Let's bring it a little bit into the put a bit of warmth to. There we go. Something like that. And shall I bring this down? Let's try bringing it down. Look like I'll for a minute and see what that looks like. And I think I'm going to leave that just like that. I think that's good. Maybe I'll tweak the color a tiny bit. There we go, see what that looks like. And I'm going to leave that just there. I think I'm happy with that now. So I want to apply one more light, and I'm going to apply it to the underside of our stairway handrail. I think that'll be quite effective. So let's go ahead and do that next. Let's maybe just grab this handrail on its own. And let's hit the forward slash key to isolate. And let's go ahead and tap into Edit mode holding onto it. So I'll hit the tab key. Make sure you got face selection on, and then select maybe this face here, hold shift, and select this one, and maybe this one. One last one, which will be this one. And then go ahead now and make sure that over here now in the transformations that you're actually in Global, so we straighten up this gizmo. And let's go ahead and press Shift D and and go ahead and bring that down just a little bit. And there we go. That's good. So now that we've done that, let's press P to separate our selection, and let's tap out of Eddy mode with it. Let's select those pieces we've just made from duplicating the others, and let's delete the material from this. And let's click on this little drop down here and let's call this the emissive one. Let's add the emissive material we just created to this. So now that we've done that, let's bring everything back. So let's hit the forward slash key again. And yeah, that's really effective. I'm liking how it's illuminating under the handrail. That looks good. So I can see now that the handrail is not really against the wall. I'll press Shift B, and I'll re center to this area like this. And with that done, I'll just grab this one. And I'll just press G and Y and just bring it over a little bit. And there we go. Let's try that. See if that's just close that gap. And it has. That looks better now. Okay, so we've got the lights underneath the handrail, that looks really good. And we've got a nice light recess here, and I'm really liking that. So I think that's all the lights that I want to do on the ground floor. We'll have the TV. I'm going to put a back lighter behind the TV, so that'll add a little bit of lightness there. And we've also got a nice big reading lamp to hang over the back of the sofa. So that'll add a light. And I've also got a nice feature light to go above our kitchen. So that's going to add some light too. So I think that's enough light for the ground floor. So now that we've done that, let's go ahead and create a ground floor file for our lightings. Let's open this up. And let's click on the ground floor. Let's add a sub file, and where is it? It's there, ground floor four. Let's grab it. And let's go ahead and call this ground floor lighting. I click to. And now let's go ahead and grab maybe this one and hold shift and grab the handrails as well, and hit H to hide them. And now grab this light here and hold shift and grab this light here as well. And just deselect the walls. There we go. So we've got the lighting there, and we've got the lighting here. So for those two selected, let's press M, and it's good at collections and ground floor and ground floor lighting. And there we go. So now they're in the ground floor lighting file. So I'll press Altag to unhide the things that I hid. And there we go. So there's our ground floor nicely let. Okay, so I think in the next lecture, I think that's our lighting pretty much done now. I think we can say that's nicely lit. So in the next lecture, let's create our water in our swimming pool. All right, thanks very much. And I'll see you in the next lecture. Bye bye for now. 75. Lecture 72 Pool Water Material: Hello, and welcome now to Lecture 72. And in this lecture, let's go ahead and see what we can do now with our poor to see if we can add that. So I think the first thing I'm going to do is I'm going to bring the cursor to the center of the swimming pool, so let's select the swimming pool. And let's press shifts and let's bring the cursor to the let's bring in a cube now on that position. So let's press Shift A and mesh and cube. There we go. Let's press seven so we can see this from the top. And let's go ahead and scale this up in the X or press S and X and go ahead and bring this up. And SX again and bring this up again. And that's good. And now S and Y and bring this up as well this way. And now bring it for just a tiny bit. Until it's just overhanging the wall, so I'll press G and Y and just bring it forward a tiny bit more too. About there like that, I'd say. Okay, once we've done that, let's go ahead and bring this up. Until we're getting to about there like that. I kind of like the water to be lapping over the top of this. So I think I need to bring this here down a little bit next. So let's grab this item now and tap into di mode with this one. And maybe we'll isolate this for a moment. Let's go ahead and grab this face here. Let's press Control Shift to expand till we get that little bevel, as well. And let's deselect this one and deselect this one and select this one and then go ahead and bring those down. It's actually dragging the wall down. I don't want that. So what's going on here? Ah, got these little bevel details here. Let's go ahead and deselect those, as well. And we'll do the same here. Maybe deselect those little bevel details, that one there and that one there. And now we should be able to go ahead and just drag that down without too many issues. And there we go. That's fine. Alright. So now let's tap Edit mode with this one. Let's go ahead and bring everything back. And maybe we just lift the pool water up now a little bit. Just a tiny And that should be good. About there looks good to me. Okay, so now that we've got that, maybe let's have a look at the scale and the scales out. So let's press Control A, and apply rotation and scale. And let's go over to the material properties, and let's click on you. And let's call this one pool water. Oh, I'll turn my caps off and try that again. Pooh water. There we go. Click Center. I'll get there in the end. Okay, now we've done that. We've got our principal BSDF, of course, and we've got our material output, and we're going to create a procedural texture for our water. So I think the first node, why to just to drag this edge up a little bit, so we've got a large area in the material added to tab. And I think the first node I'm going to bring in is going to be a noise texture. Let's go ahead and bring that in. So let's press Shift A and search for a noise texture. And there it is, and I'll bring that in and maybe put it over here somewhere. I'll grab these two and give myself a little bit of space, bring these over. Maybe just grab the material output and pull that up like that. And now I'll grab this noise texture on its own, and I'll come over to the node wrangle and I'll add textia setup. And that'll put me a mapping node and a texture coordinate node on these. Now that I've done that, let's actually go ahead and plug the UV map in instead of the generated into the vector, so that it listens to our UV map. And that's a point. Let's actually UV map our cube. So let's select it tap into Edit mode, press A for all, and U, and let's do a smart UV project. Make sure we've got an island margin and go ahead and un Okay, that's cool. We can tap out of Eddy mode again with this. Alright, now that we've done that, what shall we do next? Let's put a bump node in. So let's press Shift A and search for a bump node, and there we go. Let's bring that in as well, and drop this in. We can actually plug the factor here into the height on the bump node. And now we need let's bring in a glass BSDF. Let's press Shift A and search for a glass BSDF. Let's plug that in here as well. And let's go ahead and plug the normals from the glass BSDF into the normals, plug the bump normal into the glass BSDF normal. And let's also bring in another one. Let's press shift A. Search for a transparent BSDF. There it is. Let's bring that in as well. And now we need to sort of blend all these together. So let's bring in a mixed shader. So let's shift eh and search for a mixed shader. We've got one there. So we'll bring this in like this. And now we can go ahead and we can plug the BSDF here into the top slot of the mixed shader and we can plug the transparency BSDF into the lower slot like this. And now we can go ahead and plug the shader, the mixed shade into the top one of the material, now already we're starting to get something that's resembling poor water. Let's grab this item, and let's tap into Edit mode with it for a moment. And let's press two so we can select edges. Grab this edge here, and let's put a bevel on this. So let's press Control B, and let's go ahead and bevel this edge slightly. And maybe not much, maybe something like that, and increase the segments to maybe a four or five, four should be good. And there we go. That's cool. So we can tap out of Edit mode with that now, and there we Okay, so what do we do next? I think what we could do we're doing now is just tweaking the water here. I'll put some different waves in this than we've currently got. So let's go ahead and in the scale on the noise texture, let's go ahead and increase this. Let's try it at 50, see what that looks like. And already we're starting to get something a bit more effective. I might up that a little bit more again, maybe to maybe to around 60 or 65. Maybe try that. Yeah, that's looking right. And let's let's bring the detail down a little bit. Let's see what that does. And that's okay. I'm liking that. And let's bring the roughness down a little bit, it is water. It is a water texture, so it's not going to be sharp texture. There we go to bring that down a little bit. And let's put a little bit of distortion in. And see how that looks. We'll just leave. We can always come back to that after. So let's bring the strength down on the bump node. We actually let's take that right down to the bottom like that, so it's absolutely glass flat for a minute. And now let's go ahead and just take that up a little bit. Just a tiny bit. Maybe a bit more than that. And there we go. That's cool. We're starting to get something which is starting to resemble p water, so that's cool. Alright, so we could actually what could we do next? We could look at adjusting the factor on the mic Shader. So that is going more now to the glass BSDF. And if you go this way, we're going to the transparent. So the transparent on its own, is no good at all, so we'll take this closer, I think, to the glass BSDF and see what look we get. And I think overall, that's looking pretty good. We could look at the IOR, maybe bring this down slightly and see what we get. That's not bad around there, actually. That's looking okay. So we can bring in another node now. Let's try bringing in a light path node, a press Shift A, and search for. Let's type this in a light path node. Let's bring this in as well. And let's plug the shadow array into the factor of the mix shader and see what results we get with that. And that's not ideal just yet. Let's actually try bringing the IOR around. So let's take the IOR down here and see what we get. Let's maybe add a bit of roughness to this and see if that helps. And let's try tweaking this around. And see what we get and how is that? That's looking pretty good. I think now we need to see if we can do anything down here. So I think what I'm going to do is I'm going to add a volume absorption note to the principal BSDF. Let's do that. Let's press Shift, eh, and search for volume absorption node, there we go and plug this in like this. And now let's add add shader node. Let's press Shift A and search for an add shader node. And we'll grab this like this and we'll plug the BSDF into the top one of the Ad shader node. And now we can plug the volume into the base one of the Add shader node and then plug this into the volume here like this and see if we start to get a nice appealing pool water. I think I'm going to play around with the scale, maybe try taking this do we want to take it up or down? Maybe down a little bit. And let's try taking the strength down a little bit. And there we go. That's pretty nice, now. I'm liking that. We could try adjusting the IOR here again now. At nine, it's just too reflective. So I think we were going the right way, actually. I don't think it was far off. And that's not bad just there. We're getting some reflection now from the house, so that's nice. Try toting a bit higher. Maybe that's too much. Maybe we'll leave that at around around 12 or 13. I think that's about right. Okay, so there's pretty much pool water. We can if we want to, we can carry on playing around with this. You can play around with the roughness of the water. We can take this down. And you can always play around with the scale and the detail. To try and get the results that you want. I encourage you really just play around with the settings, particularly here in the noise texture, just to get the kind of results that you're liking. I think I'll just up that back again. I think I prefer that quite high. And that's looking better, I think, just there. I'm liking that. I'll leave that alone like that. Okay, so there's our pool water in place. So in the next lecture, I think it's time to start importing models into our scene, start importing furniture. Okay, thanks very much. And I'll see the next one. Bye bye, Finn 76. Lecture 73 Impoting Assets Part 1: Hello, and welcome now to Lecture 73. And in this lecture, let's start importing assets into our project into our scene. And this is a fun time because this is when everything really starts to pop. When you start bringing the fixtures and fittings in, everything you get that detail into it, and it really it helps everything. So it's a lot of fun, actually. So before we do that, let's first of all, let's just make sure that we've got the extras highlighted again so that we can see the empties attached to the assets when we bring them in. And I've got the assets pack actually open right now, which is a part of this course. And in this, we've got the optional sofa, and we've got the island, and then we've got the bed head, and we've got the hot tub, and then we've got the day bed. We've got the island lights set, and then we've got the reading lamp. So I think I'm going to start with the day bed, which I'll go next to the pool. I think that'll be a nice one to start with. So the first thing I want to do is make sure that the ground floor is selected here so that the day bed comes in on the ground floor file. And then I'll grab this, bring it back in again, and I'll select the day bed and I'll just open up the daybed file here and make sure everything's selected. And with that done, I'll press Control C, and then I'll just drag this file as one out of the way for a moment. Then I'll come back into this scene. And I'll press Control V. And there we go. There's our daybed that's coming over here. I'll I'll just grab the empty here and bring it over with this to where I like it, which is somewhere this side. And I'll press seven so I can see this from the orthographic view. And I'll go ahead and bring it over like this. Maybe take it back a little bit. Maybe just rotate it slightly so that the day bed would be viewing the view. So it sees the view. If you're sitting on the day bed, you'd want to see out into the view. And there we go, Is it good? Let's see Is it touching the ground? Let's have a quick look. Does it want to come down? It does want to come down a little bit by the look. Yes, it does. So we'll grab the empty again and just pull the whole thing down until it's just touching the There we go. That's cool. Alright, so there's our day bed in position. And we can always just move it around using the empty if we want to later on. It just position everything in our scene after. So yeah, there's the day bed in. So I think the next thing I want to do is what shall we bring in next? Let's bring in the reading lamp for the sofa. I'll collapse the first floor. We don't need that for a moment. I'll just click on the ground floor file again, and now we'll bring in this one again. And let's go ahead and find the reading lamp. There it is. Let's compress the daybed file. And let's see if we can find the lamp, the floor lamp there it is, and make sure that's all selected and it is. So once we've done that, let's press Control C. Let's take this one out of the way. And let's press Controv and bring it in. Let's find that lamp, and here it is. And let's just grab the empty and then bring it in using the empty. I think I'll press seven to see this from the orthographic view, and I'll press set and I'll go into wire frame. And I think I'll hide the first floor for a moment. And then I'll position the lamp in. So I'm gonna bring it maybe something like this, just off that floor track like that. And now I'll go ahead and rotate it to maybe about there like that. And let's see what that looks like. Maybe we'll take it in a little bit more and rotate it on the z a bit more, Z? But ring that in. Make sure that it's not clashing with the sofa and it doesn't look like it is. Let's check the height. So maybe let's go back to solid mode or shaded mode. Let's go to that rendered mode, sorry. And yeah, it's a little low. Let's pull it up a little bit. And there we go. That's cool. So there's our reading lamp in and when we're ready, we'll just put a light in that as well, just to help illuminate our scene or just illuminate the sofa to help it look more realistic. Alright, so what's next? Let's go ahead and bring back the first floor again. And let's bring in next, one of my favorites, let's bring in the hot tub and put that into position. So I'll select now the first floor. There we go. And I'll drag this one over again. And I'll go ahead and now it hit the hot tub, select all of the hot tub there we go. And I'll press Control C, and I'll drag this out the way. And I'll press Control V and bring that in. So it's brought it in on the ground floor, so let's go ahead and bring this up. And let's go ahead and make sure the height is good on that next. So I'll press G's head to bring it down on the z axis. Until I've just got a slight shadow underneath it, and that's about right for me. As long as I can see a slight shadow, I'm happy. And now let's go ahead and bring that in on the Y axis to center it a bit more, so I'll press G and Y and just bring that forward. Until we're kind of happy with the position. Maybe, is there anything else we want to do with that? Maybe bring it forward a bit more on the y, so I'll press G and Y. Bring it forward a little bit more. And I think I'll just take it over slightly in the X, so I'll press G and X now and just just bump it over just a little bit. And I think I think I'm happy with that there. I think that's about right. Okay, so there is something else I want to do now, actually. One of the reasons to have this kind of roof structure here in the middle is to make some shadowing to add some extra detail. So I think that's the next thing I want to do is I want to light up this area from above. So I'll grab this metal roof. And I'll press Shift S, and I'm going to say cursor to the selected. There we go. And I'm going to press Shift A, and I'm going to bring in a light, and I'm going to bring in a sun. Okay, the next thing I'll do is I'll bring that up like this, maybe even higher than that. And I press seven, so I can see this here. And I'll bring it back in the Y like this and maybe take it over in the X, as well. There we go. I'm going to rotate that in the X axis now. So I'll press R and X just to make sure that the sun shining sort of over the middle roof section like this. I'll rotate it slightly in the z, z, and just make sure that's sort of doing something like that. That's cool. All right. So let's have a look inside now and see what that looks like. And, yep, that's created some nice detail in there. I like what that's done. That's just added some extra realism to it. So let's click on the light one now and just see if there's anything we want to do with this. Do we want to play around with a color? I think we do. It's the sun, after all. It can't be that white. So let's put a little bit of warmth in. There we go. That's cool. And if we can look at changing the strength, intensify it. Does add a little much? That's maybe a little too much. I'll bring this down. To some around there, I'd say. And if I just the angle, I'll take the angle up down to zero, and that makes our shadowing shading very sharp. So let's go ahead and take this up now to kind of diffuse the shadowing a bit. And now you can see we've lost the sharpness of it, and I quite like that. So I'll bring that down a little bit. 1.5. That's quite nice. Maybe take it up a little bit more. And there we go. I think I like that now. We've just lost the slight sharpness to it, but it's still looking good. So I could try rotating that in the X a little bit more and just see what effect that has. I now you can see it's on that wall there as well. So do I like that? Or do I want to keep that I'm gonna leave that about there, I think, just like that. Alright, I think the only other thing I want to do, maybe, is go ahead and take the hot tub back a little bit. Maybe to about there. I like that. And there we go. That's cool. Okay, that's looking good. I like that, now. Um, say we could just play around with the intensity of the sun, maybe bring the strength down a bit more. A And I think I'll leave that about there, but you can see the effect it's producing. It's just producing some really nice shadow detail just to add to the realism of our scene. I think the next thing you want to do is actually take a walk around our scene. I don't need to remember, but I showed you the fly walk mode within Blender, so let's have a go with that. So if you hold down the Shift and tilda key, if you don't know which is the Tilda key, it's not a name used much. It's the button directly above your tab key. So hold the shift and the Tilda key. And you'll be in walk fly mode. And now the next thing to do is apply gravity. So hit the tab key. And there you go. So now we've hit the deck. Now we're actually walking on the ground level. I'm going to press W and just move forward now as if we're in gaming mode, basically, just to check out what everything looks like. Careful not to square to fall in the swimming pool. There we go. That's looking good. The actual bed frame, the day beds looking good. The walnut is really nice. And the pillows are looking great. So let's go inside our house and see how it's looking. And I like that lamp. That's good. Like I say, we'll put a light in that soon, and that's looking good. And I like the shadow on the marble. The highlight the shadow of the reading lamp is just, you can see that in the marble. That's nice. Nothing to see there yet. So let's go up the stairs. And it's going to get a bit darker up there. I have to sort of feel our way a little bit. We don't have a light on the landing. And I'll go up these stairs here. And I'm going to go ahead and see if I can get through. And there we go. I've kind of walked through the wall, but that's okay. And yeah, this is looking good. I like that shadowing detail. That's nice. I like the shading from that middle frame there, that middle roof section. And that's looking good. Yeah, that's looking good. I like that. And the hot tub Yeah, that's looking good. Oh, yeah, I could spend some time on that. I'll be quite happy with that. And this bedroom here, this is looking good as well. Yeah, I'm liking that bed frame. The walnuts popping and the lights are looking good. We're getting a real sense of what our animations and our renders are gonna look like by using the walk fly mode. Let's just check out the bathroom. There we go. We actually accidentally walked into the hot tub for a minute. And let's have a look inside the bathroom, see how that looks, and that's looking good, too. The mirrors looking good and the color in there, it's really quite warm colors in there. And then that sort of cladding on the wall, as well, that's looking good. When we get a bath in there and we've got some fittings in there, that's gonna look great. Alright, so I'll hit escape now, so actually just go out of the walk fly mode, and I think that's it for this lecture. So on the next lecture, let's start importing our kitchen from the Blender kit to file. Alright, thanks very much. And I'll see you in the next lecture. Bye bye for now. 77. Lecture 74 Kitchen Part 1: Hello, and welcome now to lecture are we on now. Lecture 74. Welcome to Lecture 74. And in this lecture, let's import our kitchen from Blender kit, and let's position that and do any sort of additional things that we need to do with that. Be a fun lecture. We'll see the kitchen go in, and that's always a lot of fun. So I think the first thing we need to do is bring the cursor away from the main model so that when we first of all, import the kitchen, we've got it clear of everything else so that we can just check it through. So I think the first thing I'll do is I'll press seven on the number pad, so I get this in the orthographic view. And I'll come over to the tab here and click on this one for cursor. This allows us to reposition the cursor, and I'll stick the cursor anywhere maybe about here like this. Straightaway, I'll click on the move again because it's so easy to forget. And then you just keep on accidentally repositioning the cursor constantly. So I'll just put the cursor right there like that. Now I'll right click and I'll set the origin to the three Dcursor. There we go. Now I'll come up to the Blender kit tab here at the top, and I'll click on it, of course. And make sure on the side tab here that you have this open, this Blender kit tab and make sure that down here in Max resolution, you have this quite low. So for me, I'm going to go 512 by 512. Again, if you're running a really, really top end GPU, you can set this a bit higher if you want. But I'm always trying to make this course for everybody, so I'm going to keep it quite low. And then if you can import at a higher rate than you can. But remember, you're going to be importing a lot of assets. So just bear that in mind when you set your resolution. But for me, I'm going to leave it really low at 5:12 by 512. So up here now, I'm going to type in here. I'm going to type kitchen. And of course, I'm going to hit. And there we go, Oh, I'm going to come over to the filters heat. I'm going to hit this drop down, and I'm going to hit first free first so that we see the free assets first. And now I'm just going to look for a kitchen. So we've got some really nice kitchens. This is a nice one. So I'll right click on this. It's your left click, you instantly download the assets. I don't want to do that, so I'll right click. And let's inspect this. And it's only 30 megabytes, so it's very small. It's a four K resolution. So it's a nice kitchen, and of course, it's free. I'll close this for now and just carry on looking for a moment. Here's another nice one here. I'll right click on this. So it's a rather large file. It's 123 megabytes, but you can see, it's got a lot of detail in there, so it's up to you. And of course, this is quite a keystone asset that we're bringing in the kitchen is always sort of center of the home. Let's just look around a little bit more. Let's carry on shopping. There's another very nice kitchen, bit of a corner kitchen setup. And it's completely up to you what kitchen you kind of choose. There's another one there, which is quite nice. I'll hit this little icon here to carry on over. And there's this one. Maybe that's the same kitchen as we just saw. Another kitchen there, which is quite nice. A little big, maybe. And I'm already kind of decided I'm going to go for this one. I quite like this one. So I'm going to right click on it, just to check it to make sure that it's not too big. So it's 95 megabytes. It's quite a large file, but it's got quite a few assets with it. We've got the sink. We've got an oven and a hob, we've got an island. So there's quite a lot going on. So, yeah, I think I'm going to use this. So I'll close this like this. And now I'm going to go ahead and just left click on the item. And that brings that in just like that. So we can have a look at this now and just see what we think. And so, yeah, that's looking great. Look at the detail on the hob. It never fails to surprise me the quality of some of the assets in Blender kit, they're absolutely brilliant, especially for free assets. So, yeah, that's looking great. I think that's absolutely absolutely spot on. Yeah, that'll do us just nice. What I did forget to do actually was actually create a file for this. So we need to find out where this is just landed. So I'll just maybe select that item and see where it is. And here it is. It's in the kitchen here in the outside. So it's not exactly where I want it. So what I'm going to do is just click on the interior like this, maybe open this file up and just hit on this little icon here, and I'll double click on interior three because that's the file we just created. And I'll call this the kitchen. And gl agent. And now I'll go ahead and compress the kitchen in the outside file and just go ahead and bring that into the kitchen here like this, so it's in the right place. And now I can compress the outside Okay, so let's just see if the empty works. So here's the empty, and let's just make sure that all these objects are assigned to this empty. So we'll just move the empty and make sure that everything's working, and it is, that's great. So what I'm going to do now, I think, is I'm going to go ahead and we're going to work just in this in solid display, take the pressure off our GPUs for a while. I think I'll go ahead and turn off the first floor. We don't need that. And I'll go ahead and turn off the ceiling panel as well. And for a moment, I'm just going to go ahead and just turn off this Blender kit tab. Hide that. And let's press seven so we can see this from above. Let's bring this over slightly in the X. And now let's rotate that in the z. We'll press, 180 or is it just 90. I'm sorry. Enter. And now let's go ahead and bring this over in the Y axis. Bring this over a little bit more, reposition everything. That we go. Just bring this over like this until two. And that's about where I want it. About there. I'll leave a little bit of space behind, and there we go. That's cool. So I want to leave a slight bit of gap down the side here because in the real world with kitchens, you would never get the doors of a kitchen panel absolutely absolutely perfectly up against the wall. You would leave a little bit of gap for what's known as a scribe panel. So we'll do the same just to add to the realism of our scene. But I'll bring it over a little bit more in the why to maybe something like that, and I think that's Okay, so I think the next thing you want to do is bring the island over. So I'll just select the island and then the harp here, and I just bring this over and just centralize this more in the room and maybe bring it over in the xs just to bring it out a little bit more like this. And yeah, that's good. Let's look at the height and see how we're doing with that, see if that's sitting on the floor, and it seems to be, that's good. Okay, I think I'll go back to rendered view for a moment just to see our progress and see how it's looking. And yeah, that's ling. That's ing fine. I'll bring back that ceiling panel just to defuse the light a little bit so we can see what we've got. Make sure it's sitting on the floor nicely, and it is. And yeah, I think that's liking, right? I'm really pleased with that. So I think the next thing you do is go ahead and put that trim panel that I talked about up the wall on this side just to close this little gap. So I'll I'll hide the ground floor walls. Let's go ahead and hide that. Let's go ahead and hide, as well, the outside. So we've just got our kitchen. And now let's go back to solid mode. Let's go ahead and select select the base, maybe, and let's tap into Eddie mode. And let's go ahead and just grab this face here. I'll press three so I can select faces. Grab this face here and just bring this out a little bit like this. That's cool. Maybe a little bit more. It doesn't really matter. Bring this out about there. And now I'll press two so I can select edges. I wrap that edge of there, and I'll press Control. I'll bring a loop in, and I'll just bring that loop to about there like that. I'll press three now, grab this face here, and I'll press E and then Z and just bring this up in the Z axis. Carry on bringing that up until it's pretty much flashed with the other one. And there we go. That's good. So now we have a trim panel in position, as well. We tap out of edit mode now, and we could go ahead and bring back the walls. And we could go back into Rendon boot for a minute just to check that. And yeah, that works now. It just adds to the realism of the kitchen to have that little black trim piece up the corner rather than the oak doors hard up against the wall. So I think that's just a nice little detail to add to this. Is that we've done that, I think the next thing we need to do is sort of fill this gap that we've got here, and I'm thinking we're going to use a fridge to do this. So, yeah, I think that's what's next. So let's go ahead and type fridge in here. And let's see what we get. So we got this Coca cola one. This rather strange steam punk one. So that's really cool. And this is more kind of what I'm looking for, this one here, so I'll right click on this and just inspect. It's 33 megabytes of six K. So this is quite a nice one. Let's see what else we've got. We've got this one here, nice one there. It's really up to you what you bring in. Um, So these two are the two that's appealing to me most. I'll right click on this one and have a look. It's just 10 megabytes, so that's nice. But it's obvious it's up to you, but I think I'm going to bring this one. So with that done? I'll just click on the way. And the next thing we're gonna do is I'm going to go ahead and just make sure that I've got my kitchen selected, and now I'll go ahead and left click on this fridge like this. And there we go. It's brought in well clear of the rest of the models, so we can go ahead and just take a look at it and make sure it's what we want. Again, it's, it's looking really, really good. I'm fine with that. We have this electrolyzed badge here. It's got lots of details. And again, if you want something else, it's completely up to you, but for me, this is absolutely fine. So I grab this item, and it doesn't look like it's gotten empty on. But it all seems to be joined, so it's going to be easy enough to sort of move and scales. So we're okay. So I'll press RNs, and I'll press 90. And that's actually moved it the wrong way. So I'll hit the negative key to bring it around in the opposite direction. And with that done now, I'm going to go ahead and go over to just solid mode for a while, and I'll press seven, and I'll go ahead and bring this over now and drop it in position where we want to and I'll go ahead and take it back a little bit. It's gonna be into the wall, but it doesn't really matter. And let's see what that looks like. And it's a little small, so I'll go ahead and hit S and just scale this item up, maybe take it over a little bit more on the Y now, as well. And that's looking good. Do I want to scale that up anymore anymore and it's just going to look a little bit silly. If it doesn't already, to be honest. Is that too big? I think we can get away with that size wise. Maybe scale it down a little bit. But I don't really want to scale it up any more than that, which means we need to kind of scale our kitchen up instead. So I'll take this over, so this is where we want it. Kind of like here. But maybe before we scale it, we've got another issue, which is with the handle being on this side, that means that fridge doesn't really work, because every time you open that door, it's going to be on the wrong side. You can have to kind of walk around the door to be able to see inside it. And has a detail that would really bug me. So I think I'll fix that first. So with the fridge selected, I'll hit the forward slash just isolate it. And I mean, we could go ahead and just make a copy and mirror it. But if we do that, all this signage, this nice signage on the front of the fridge will be the wrong way round. It'll mirror that as well. So that'll look a little bit weird. So I think we need to do a little something else. So let's select the item. And I'll hit this I'll just hide this little ink thing here for a moment and maybe just bring this down to give us more space. And with the items selected, I'll tap into Edim like this. And I'll make sure that I'm selecting faces, and I'll grab this face here, maybe this one here and one here as well, one there as well. And I'll hit Control glass and expand on this selection till we do all of that. And with that done, I think the next thing I'm going to do is I'm going to press Shift D and Y and bring this copy over like this. And there we go. With that done, I'll press P, and I'll go ahead and separate by selection and we'll tap out of Edit mode, so we can just work on this one. And I think with that done, I'm going to tap into Edit mode with this one now. And I'll just select maybe this face here and I'll press Shift S, and I'll say cursor to the there. Now I'll tap out of Edit mode and I'll right click and I'll set the origin to the three D cursor. The next thing we're going to do is press Shift D. I'll right click twice, and I'll go ahead and mirror in. Let's try the Y axis. And yeah, that's worked. That's perfect. With that done, we can go ahead and delete this one. And we can go ahead and tap into Edit mode with this one again. And we can go ahead and delete some of these items. I'll select this one, this one, this one, and this one, I'll hit Control plus. And then I'll go ahead and press X, and I'll delete all faces. And there we go, that's good. Okay, so I think the next thing to do is tap out of Edit mode, and let's grab all these items here, and let's press Control J and join them into one again. I'll grab the tap into Edit mode with this again, and I'll select everything here. And I'll just hit Control plus to make sure that everything is selected. I'll press seven of them. I'm bad to see this from above, and I'll go ahead and take this over now. And go ahead and reline this up. To something like that, let's have a look at that, see how it looks, or maybe we tap out of Edi mode and see how that's doing. Maybe we can just tweak that over a little bit more, so I'll just select the item again, tap into Edi mode, and I'll press G and Y, and just take that over ever so slightly until that's lining up. And there we go. That's looking good. Alright, I'll tap out of Edi mode, and I think I'll bring everything back. And I think the next thing I need to do is maybe grab this kitchen here. And I'll just grab the empty, actually, and I'll just bring this over slightly. And now I just want to scale it up just in the Y, so I'll press S and Y and just go ahead and scale this bit. I'll take it over. We'll just need to sort of tweak this stuff for a moment until we get what we're looking for. I'll scale up slightly more in the way and take it over. I want to have just a little bit of trim left on this side and a little bit of gap this side, so I'll just take that over again and maybe scale it up a tiny bit more. I'll press S and Y. Maybe take that over again until we get to so I got a nice little little gap down that side. And if we got a little gap here, that's looking good. So I'd say that's about right like that. No. I think that's So I might just want to scale this up slightly in the z to press S and head. Just scale this fridge up just ever so slightly to about there like that and see how that looks. And that's still looking good. That doesn't look wrong. Okay, so I think we're looking good overall. I'll just hit the rendered mode for a moment just to bring everything back, see how we're looking. Yeah, I think that's looking good. I like the fridge. And now the doors fixed so that the door opens the correct way. That was always going to bug me a little bit. And the kitchen's looking really nice. Maybe the island just wants to go over a little bit. Give us some space this side, maybe take the hob over as well. Now the island a little bit. And there we go. That's good. Okay, we just have this space up here that we need to fix next. So that's my next little thing to do. So I think the next thing I'll do is just grab this fridge again, and I'll press press shifts and curse it to the selected. And I'll press Shift A, we'll bring in a cube. And let's go back over to shaded mode for a moment. And maybe I'll bring this up in the Z axis like this. And let's go ahead and scale it. And we can scale down the Z now, press S and Z, and maybe take this up until that's looking about right. Maybe take it up a little bit more in the z. Now maybe scale it down in the X, cell press S and X. Bring this down like this. There we go. Bring this over. Press seven, so we see this from above. Ah, maybe just bring this into here like this. Scale it down a tiny bit in the y, yes, and why? Maybe just bring that over there like that. And I want a little bit of gap on this side. And I'd say that's enough just to introduce a similar sort of scripeEcuse me, a similar sort of a similar sort of scribe panel. Sorry I'm choking a bit. I just got to pause from it, have a bit of a cough. Okay, I'm back. Sorry about that. So yeah, where where we? We're gonna put a similar bit of a scribe panel on this side. Okay, so let's tap into a bid with this one, and let's press two. Grab this edge here. And we'll press Controller. Put a loop in and then bring that loop forward to about there like that. Let's press three, grab this panel here and we'll extrude that now, so we'll press E and Y and just bring that forward like this, and there we go. That's cool. So now we have that little scribe detail there as well. Okay, so let's tap out of mode with that. And let's go over to item here. Let's fix the scale. So let's press Control A and apply rotation and scale. Let's go back over to rendered mode for a moment and see what we've got. And, of course, that's white, which is not what we want. And maybe you want to apply just a little bevel to that, as well. And I'll take it down ever so slightly in this set to about there. Let's tap back into Edit mode, it. I just grab some edges or yeah, let's just press two, grab maybe this edge here. Old shift and grab this one, this one, and this one and let's go ahead and press Control B. And let's put ever just slight Bev on. There we go. Let's zoom in on this and see what we get and just increase our segments to maybe three, and there we go. Alright, let's tap out of Edit mode for a moment. Let's go ahead and bring our no textures backup. Let's select this one for a moment and see what it's called, and it's called Oak Vneer. So that's cool. Let's select this one again now. Let's hit this little drop down and we'll type in here Oak Vneer and there is oak Vneer. And let's All right, so we need to do a UV map on this. Let's tap into a moodle press A and then U, and let's do a smart UV project. Make sure you've got an island margin and hit unwrap. Let's bring over the UV maps here so we can see what we've got. Let's grab everything. Let's rotate that. To bring the grain direction about the same as the others. Let's hit S and scale this down to increase the size of this. And see that's about the same as the others, isn't it? So, we could just position this now to a place that we like. And I see that's about similar there like that. I think that's fine, so that's good. So we just have this black trim to do here now. So I'll press three so I can select faces, and I'll just grab that edge there and then that one there. That's all we really do O we could grab this one. And then we could go to material properties tab here, and we could hit the plus sign. And then we could find the Black MDF, I think it is. Let's just select that. And with Black MDF selected, and then these faces still selected, let's go ahead and hit a sign. And there we go. That's good. Let's tap out of Added mode with that and see Okay, we have a bit too much of a gap above the fridge, so I think we need to do something with that. So we could either scale our fridge up or we could adjust this panel. So I think let's go ahead and adjust this panel. So I'll select the fridge, and then I'll select this panel, and I'll go ahead and isolate those two. And let's go over to solid mode for a moment. Let's bring down our no texture editor. And let's press s and let's go into Y frame at this. Let's tap into edit mode. And let's press two so we can select edges. Let's just grab all the edges just on this fridge here on the top panel and just bring these down like this until we've reduced that gap to a reasonable amount like that. That's cool just like that. Okay, so let's tap out of edit mode with that. So back in object mode. Let's go back into solid mode for a moment. Let's see if everything's right. And with that done, let's just go back into rendered mode and see what we've got. Let's hit the forward slash to bring everything back. And that's tidied that up and just made that look nicer. Okay, so with that done, I think that's pretty much let's bring everything back. Now. Let's bring back the outside, and let's bring back the first floor and see how we're looking. And it was a long lecture, but it was definitely worth doing. That's our kitchen now looking absolutely awesome. So in the next lecture, what we'll do is just do a few final tweaks to our kitchen. I want to add a little bit of an oak extension to the island so that we can get some stools around it. So you have sort of a breakfast area, and we need to bring in our lamp to suspend over our kitchen island. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 78. Lecture 75 Kitchen Part 2: H Hello, and welcome now to Lecture 75. And in this lecture, let's do a little bit of work to the island. So I want to bring in, like, an extension to the island to give us a bit of a breakfast bar off the island here because it doesn't seem like there anywhere really to sit, maybe and eat your breakfast, have your morning toast, or whatever you do. So I want to do something just to make it look a little bit more inviting than it is right now. And then I want to put some feature lights in above this kitchen island to illuminate this area. So, yeah, let's see what we can do. So I think the first thing I actually want to do is just shorten our kitchen island a little bit. So I think let's go into solid mode for a while. And now let's go ahead and grab the island itself and tap into Eddy mode. Make sure you got faces selected. Grab that that face there, and grab the face of the Penth as well. And I'll just go ahead and take those back a little bit like this. To, I think, something like something like that should be that should be nice. Alright, once I've done, I'll tap out of Edit mode. In fact, I want I'll tap back in. Sorry about that. I'll grab that face there, and I'll press Shifts, and then cursor to the select. Alright. For a minute, we'll probably turn it back on for a minute. Let's tap out of edit mode. And let's cut to this one, and let's turn off extras to get rid of all these lights that we're seeing. Now, with that done, let's press chef day. And let's bring in a cube. And there we go, make sure that kitchen is in the kitchen setting. And actually, let's go ahead and name this cube. So we'll name this island what shall we call this island add on. And now we go something like that. Name it whatever you want, really. It's completely up to you. Click Enter. Let's scale this down straight away in the z. So I'll press. Actually, I'll just scale it down to begin with. I'll hit S and just scale this down, bring it up. And let's scale this down now in the Z, so I'll press S and Z and go ahead and scale this down. Something like this. I'll now grab this item and the island. I'll hit the forward slash to isolate them so he can work these. I think the next thing I want to do is actually just grab this. I'll press seven to see this in the orthographic view, and I'll pull this back in the Y axis to something like that, I think. Now I'll tap into Edit mode with this. And I'll grab this face here. I'll press seven again now, and I'll go ahead and pull this face out like this. That should be good. Now I'll go ahead and grab this face here. I'll press seven again, and then I'll pull this face out to something like that, I would say. I'll now maybe look at the thickness and just see if I'm happy with it, and I'll pull it up a tiny little bit to maybe there like that. That looks good to me. And now I'll tap out of Edit mode, and I'll press one to get the orthographic view on this. And I'll go ahead and take this down until it's just sitting on the island. And that looks good to me, just like that. Okay, so that's kind of our kitchen extension. It's really not that bad at all. So now I either need to put some legs or I need to return this down. I think I'll just return this down to the ground. I think that'd be quite a nice feature. So I think I'll tap back into mode with this one, and I'll press two so I can select edges. I'll grab this edge here. I'll press Control R, and I'll go ahead and bring this loop now to the edge. That looks about right. Now I'll press three. I'll grab this face like this, and I'll go ahead and extend that, sorry. So I'll press E and Z and extrude that out in the Z. I'll press one, so I can see this orthographically, and now I'll go ahead and keep on taking this down until it's pretty much level with the other one like that. Now they've done that, I'll press I to inset it. Bring it in slightly. Whoops, too much. That's good like that. I'll press seven to see this orthographically. Sorry, I'll press one to see this thgraphically. And now I just want to extrude that down to the red axis, so I'll press E and just extrude this down until it's sitting on the X axis like this. And that's sort of that's our feature on that. Okay, so what do we need to do now? I think we could actually get rid of some of these curves. I don't think it's needed. So I'll press two, we'll grab this one, Hold shift and grab this one. This one, this one, I'll grab this one as well. Right click, this one and this one. And I'll right click and I'll go ahead and dissolve those edges. And that's much cleaner now. That's much simpler geometry, and that's all we need. And this we can't reduce. This geometry is about as minimal as we can take on this. Okay, so with that done, let's tap out of Edit mode, and let's check the scale and it's out. So let's press Control A, and let's fix rotation and scale. Let's use a modifier, add modifier, and let's use generate modifier and a bevel modifier. Let's have a look at our bevels. Let's add a zero to the right of the decimal point. Click zero, one, sorry, click Enter. And let's add another zero there. Click Enter. And now we're looking better, and I'll turn that one into a two. Click Enter. And I'll go ahead and increase the segments two or four, and there we go. That's perfect. So with that done, I'll go ahead and apply that. And I'll also do a shade ato smooth, and there we go. That's absolutely perfect. Alright, so with that done, let's go over to rendered mode now and see what we're going to do with this. Okay, so now that's looking good. I think the next thing we need to do is apply material to this. So let's grab it. Let's hit the little drop down here in the node editor. And let's look for a oak veneer, go ahead and click on this and see what we get. Um, so we need to do maybe a UV map on this. I'll tap in Edit mode and I'll press A, and I'll press U and I'll go for a smart UV project. Make sure you get an ilu margin of around 20 and go ahead and un and let's press AF. Let's grab our shapes, and let's go ahead and do a scale on this to try and get the size that we want. And I'd say that's looking pretty good now, like that. But the edges the edges look terrible. They just don't look good at all, so we'll need to do something with that. So we need to actually add a little bit more mesh to this, I think. So what I'll do is I'll press one so we can select edges, select vertices. I'll grab that vertices. Eh, hold shift. I'll grab that one. I'll right click and I'll connect vertex paths. And there we go. Now without down, I can press three. I can select this face here, and I can go ahead and maybe rotate this. Maybe scale this until we get something going on that we like. And yeah, that's better. So let's do the same with this one now. We could rotate this one, as well. And go ahead and scale this. Et's see what that looks like. Maybe a little bit more on that. And there we go, that's fine with that. Let's just tap out of Edit mode for a minute and see how that looks. And yeah, that's looking fine. So we just need to do the same now on this side, 'cause this side still doesn't look any good. So let's go ahead and tap back into Edi mode. Make sure that it's vertice selection we're on. Grab this one, hold shift, and grab this one, right click and connect vertex paths. And now press three, so I can select faces, grab this face, and let's go ahead and rotate that to the horizontal, I think, like this. And let's go ahead and scale this up. The direction's wrong, so I'll hit R and rotate that around this way. And let's see what that looks like. Maybe we scale that up a little bit more. And there we go, that's fine, no. So let's do the same with this one. Let's go ahead and rotate that and scale this up. And I think that's just fine, no, just like that. Okay, so there's our oak extension to our kitchen island, and I think that looks absolutely fine. But what we could do we just putting that little bit of black material just there. So let's tap into Edit mode again. And let's press three so we can select faces. Grab this bottom face here. Hold down control and press Plus to make more of a selection until we're there like that. Come over to here and hit the material properties tab and hit the plus sign. And let's go ahead and find our black MDF, and there it is. And with this still selected, let's go ahead and assign that. And there we go. That should be as simple as that. Alright, let's tap out Ed mobile that and see what we're looking like, and that's looking good. Let's go ahead and bring everything back, so we'll hit the forward slash on the numpad and see how that's looking. And, yeah, that's looking fine now. That's made a big difference to this. So hopefully now when we get a couple of stools on this side, that should look really nice. So that we've done that, let's actually bring in our light to go above our island. I think that'd be cool. So what we can do is we can, first of all, let's drag in our Blender assets file and make sure that you select everything to do with this kitchen lamp, including the empty. And if that's not selectable, then come up here and make sure that extras is turned on if you can't see that. So select everything there and press Control, see? For copy, and then let's just throw this out that way. And let's zoom out on this one, and let's go ahead and press Control V and bring this in like this. And for some reason, it's brought it in at the back here, but it's fine. So now that we've done that, let's actually just grab the actual empty and let's rotate that. So let's press z90, and click Enter. There we go. And now let's go ahead and take this over in the Y axis. Let's actually go into shaded mode. And let's grab the light now, and go ahead and take this over now in the X axis like this. Maybe take it over in the Y and bring it down in the said until it's kind of in the room like this. Let's actually go into Y frame. It might be easier. And let's press one, so we see this in the orthographic view. And let's go ahead and take this over in the X axis until it's directly over the kitchen island, which is something like that. Now I'll press three, and I'll make sure that now it's lined up with the island in the other direction. Kind of hard to say, I must admit, but we'll just kind of get it a little bit. It's something like that, I think. Let's see where we're at with that. Maybe take it over a little bit the other way. And now let's go back over to the rendered mode. Okay, so that's looking good. Now we've got our lights in situ. Let's bring this down slightly on the z. Until those sort of bolts are hanging out of the ceiling like this, and there we go. That's absolutely perfect. Okay, so I wonder, actually, if we just go ahead and scale this down. Let's hit S and go ahead and scale this item down a little bit. And now we maybe bring it down a little bit on the z again. Till we get that kind of effect, maybe just bring this over slightly and see how we look. And I might just try scaling this down the z a little bit more. S and z. Bring this up like this. Maybe bring it down a little bit now. And there we go. That's much better. That's much more the effect I'm after. Okay, so what do we want to do now? I think the next thing we need to do is go ahead and put some lights in these shades. I think that's the next thing we need to do. So I'm just gonna grab these shades. This one, this one, and this one. And with those three items selected, I'll go ahead and isolate those. And let's work in just shaded for a moment. There we go. And what I'll do now is I'll go ahead and just grab this item like this and I'll press shifts and cursor to the selected there. Now they've done that. I'll go ahead and press Shift A. Or before we do that, let's have a look at where we are. So let's look at ground floor lighting. Let's actually collapse this file. And interior, let's open ground floor lighting. Let's select this item here. And let's actually grab this again now and press Shift A. And let's bring in a light. And let's bring in a point light. Let's bring that item down like this. Until we're something like that. And now let's go back over to rendered mode for a moment and see how we're looking. I need to do some good. I can see a little bit of light in there. I scale it up a little bit like this, bring it down a little bit. And maybe let's actually just see what we can do with this light. Let's increase the power to around 50, let's increase the warmth. Just bring this into the red a little bit. And now let's go ahead and bring everything back and see how we're looking. And that's actually looking really good. I'm liking that now. So let's go ahead and make a copy of that and just shift that over to the others. So with that light selected, I'm just going to grab these three shades. And I'll hit the forward slash key to isolate. I'll press seven, and I'll press deselect everything else and just select the light on its own. Press seven again. And I'll press lt D. And Y and bring a copy over like this. And I'll press Alt again. And why? Bring a copy across now to the middle of this one like this. So Sandra as best as I can. And let's see what we've got. And, yeah, that's looking good for all three now. I'm happy with that. Let's bring everything back again now and see how we're looking. And that's really done nice things for the island now. So what we could do is we could go ahead and hide our extras for a moment just so we can see our scene, and those lights really are illuminating that kitchen. That's looking really nice. Okay, so in the next lecture, what I want to do is start bringing some trees into our scene around the outside of our house to add to the reality of everything. Alright, so I'll see you in the next lecture. Thanks very much. Bye bye for now. 79. Lecture 76 Vegetation: Hello, and welcome now to Lecture 76. And in this lecture, let's add some trees to our scene, which is, again, something that's going to add a nice level of reality to everything. It's really going to make it look even more convincing. But it comes with a warning. Trees are big files. They're quite big imports, so it's something we do need to watch. So I wouldn't import too many different types of trees, and I would look quite closely at the file size before you import them. Um, because, yeah, it can really clog your scene up and make your scene a lot larger, make your files a lot larger, and it can use a lot of VRAM then to actually do it. So I'm going to try and stay in full rendered mode, but you may find that you want to come out of this and just end up in the solid display. It's up to you, but I'll try and just for the benefit of everybody, stay in rendered mode and see if my computer can handle it. I will make sure that here in the render properties tab that my viewport samples are quite low. So I've got it set up at 15, and I kind of encourage you to do the same so that every time you move, your PCs not rendering constantly trying to keep up. Could even reduce this maybe to ten, and there we go. So you can see now at the top, the computers only rendering for a second as I move. Okay, so I think the first thing I want to do is bring the cursor out into fresh air. So I'll press seven to see this from above. And I'll hit the cursor tab, and I'll bring the cursor forward to about here like this. I'll now make sure that I'm back on the move tab, and I'll right click. Whoops. Let's try that again, and I'll right click and I'll set the origin to the three D cursor Okay, so let's search for some trees. So we'll come up here to the Blender kit, and I'll hit trees or type of trees and click Enter and see what we get and make sure, of course, that we've got three on first. And let's see what we're looking at. So let's just click on the first tree or right click on the first tree, and you can see straightaway file size, 269 megabytes, so it's quite large. So I'll click away from that and just see there's an olive tree there. That's quite This feels like it's somewhere warm Mediterranean, an olive tree might be a nice idea. Let's right click, and that's 156, which is probably where we're gonna be with trees somewhere around there. And let's see what we can find. Um shopping, shopping for trees. Let's see. Let's click again and see what we get. Pine tree, let's have a look at this. So 158 megabytes. That's a good size. Um, well, let's see. Um, we have trees here, ahorn tree, pine tree. Some of these trees are quite low poly, which is not really what I want. We got another realistic pine tree there. And let's see what we've got. So we had an apple tree there, nice willow tree. That's really pretty. Let's right click on that. That's only 74 megabytes. We may bring some of those in. We'll come back to that. There's a palm tree. There's a Jacaranda tree. Let's see what the size of that is. Oh, wow, that's 1,300 megabytes. That's really big. So I don't think I'll be bringing that in, even though it's really nice. It's a tall evergreen. Um, And it's worth taking a few minutes to hunt down the right tree for you're seen at this time. What about this one? Fruit tree, Pruns, Sicilian, or plum. Maybe this one would be the right one for us. Maybe we bring this one in. Let's just see what the size of it is 162 megabytes. I think that's okay. So I'm gonna go ahead and left click on this and bring it in and see what it looks like. I'll zoom in on this and just take a look at our tree. And yeah, that's that's actually amazing. I can't believe the quality of that for a free item in Blender kit. So the file size is you can see that the file size is justified for the amount of polys on this. So from a distance, that's gonna look really good. So we must make sure now that when we distribute this tree, we don't press shifty, we press Alt D so that we can duplicate the properties to each item so we don't have as much information. So what I'll do is I'll press seven, and I'll grab our tree, and I'll go ahead and bring this over, and I'll just place it on this corner like this. And I'll bring it down some on the z. And I'll press seven again, and maybe just bring it in closer like this, maybe just overhanging the wall even just slightly like this. Let's see what that looks like. Maybe bring it down a little bit more, maybe bring it over in the X again. And there we go. Let's see what that looks like. And that's quite nice. I quite like that. Maybe I'll just take it back a little bit, and maybe I'll scale this one And there we go. Let's see what that looks like. Yeah, that's looking awesome. I'm liking that. You can see the immediate difference that makes to our scene just by putting a tree there. So I'm going to duplicate this tree using the old button and distribute around our scene. And as I do it, I'll rotate and scale each one a bit. So I'll press seven, and I'll grab the tree. And actually, the next thing we do, we want to make sure that these trees are in the right place. Let's open this file. And let's find our tree. And it's here in ground floor lighting right now, so that doesn't help us much. So what we'll do is we'll go to outside here and we'll create a new file, and we'll find it. It's right here. We'll call this trees. And what we'll do on this now is we'll just select this one and we'll create a sub file again, and we'll call this one the fruit tree. I enter, and I'll make sure this one's selected, and we'll take this fruit tree here and we'll drag it up into the fruit tree right here like this. We'll grab this one now, and we'll press Alt D and Y and bring a copy up like this. I'll take this one back a little bit, and I'll rotate it. Here we bring it in a little bit more like this and let's see what that looks like. Maybe take it up a little bit, and there we go. That's cool. Yeah, that's nice. I like that. Okay. So now that we've done that, let's try that again. I'll press seven to see this from above, and I'll grab this one again and I'll press old D and Y and take this one up. I'll take this one over a little bit, and I'll try scaling this one up a little bit more, rotating and let's see what that looks like. Maybe we try taking it down a little bit, and there we go. That's cool. So that's really broken up the line of the horizon. You can see the sort of benefit to making things look much more convincing with some vegetation. So let's put some of these behind the house now, so I'll press seven. And I'll grab this again and I'll press Alt D, and I'll press Y, and I'll bring one around the back like this. And I'll bring it round the corner like this, and I'll rotate. And we'll see what that looks like. I might want to take that one either up or down. Let's have a look. Maybe I'll take this over in the X axis. I'll take it up a little bit, and there we go. And for some reason, I've got a duplicate of my island lamp here, so I'll go ahead and delete that. I don't know why that's there, to be honest. And we'll delete that, and there we go. So let's press seven, and let's grab this again, and we'll press Al D and X and go ahead and bring a copy around like this now, and we'll rotate this again. Maybe we'll scale it down a little bit. Maybe what we could do this time is just try tilting it. So I'll press R and Y and try tilting this treat over a little bit, so that we have lots of duplicates saving our file sizes, but we're just trying to make them all look a little bit different. And I think that works a treat, actually. That's looking really good. And we've just about hidden that cannon behind the house, as well, with that, so that's gonna be good. 's press seven again. And I think I'm going to duplicate this tree again, so press to D and Y and take another copy back like this and just put it directly here, maybe rotate it around like this, maybe bring it back in and see if that's helped with cannon again, some more just hiding that cannon. And yeah, I think that's done the trick now for hiding that cannon, so that's nice. Okay, so I think I'll do one more of these fruit trees. So I'll grab this tree and I'll press Alt D and X and bring a copy round like this, maybe just round to here like this. And there we go. That's cool. So now we got our first set of trees nicely distributed around our house, and they're looking really nice. That's really added to the feeling of everything, so that's cool. Okay, so I think we'll bring in another tree now, so I'll press seven. And let's find a tree file again, so I'll select this. And let's compress our fruit tree file. And now let's go ahead and find another tree. So let's see what we can find. So we have fruit tree prune. That's the one we've just brought in. And what else have we got? So we got this Douglas fir. Christmas trees. Um, What's this one, chestnut tree? Big tree. That might be cool. That might be alright. What else have we got? And we've got this one, the tree **** gran folio. Let's have a look at this. And again, 141 megabytes is a nice size. I think I'm gonna go ahead with that one. So I'll left click on this one and bring it into the scene. Let's just zoom in on this tree and see what it looks like, see if it suits what we need. And again, that's looking really good. I like that tree. So I'll press seven to see this from above. I'll grab the tree, and maybe a this one, I'll bring over to this corner like this. I'll rotate it bring it over and let's have a look at the height now. And, of course, it's way too high, especially since this house is kind of on a hill. So we need to sort of think about that all the time that trees are not going to be sort of the base of the trees, not going to be level with the house being on a hill, but that's looking really nice. I'm liking that. I'll press seven again, now. And I'll grab this tree. And I'll press Alt D and X and bring another one over like this. I'll rotate this around. Take this back on the y axis like this. And there we go. That's good. Let's see what that's like height wise. Is it too high? Is it good? It looks right, actually from there. I think that's good. I think the next thing I'll do is I'll put one of those again, maybe in the distance on this side, so I'll press Alt D and X. Bring this over like this, and maybe bring it down slightly in the Y. Just bring that down like that. And that's cool. Let's press seven, and let's grab this again, and we'll make another duplicate, Al D and X, and bring this over like this. Let's rotate this one as well. And let's try scaling this one up. And I think actually, I'm going to put one of these as well just on this back corner. So I'll press Al D and Y, and bring this one over as well, like this. Bring this back and rotate it and see how that's going to look. Okay, so I'll zoom in in our house now and see what we got. And that's looking really good, now. That's actually really doing nice things. So I could actually just duplicate maybe this tree again, and there's one there or maybe this one here. So I'll press Alt D and Y and bring a copy across like this. Again, just break up that horizon and see how that looks, and that looks good. Okay, let's have a look from this site, and that's looking good. And maybe we'll just maybe duplicate that tall tree again one more time. I'll press seven. And I'll put a copy just on this side, so press D and X and bring a copy across this other side like this, maybe overhang the house a little bit like this, rotate it red. And we'll see what that looks. And I'd say that's looking really good. There's a little bit of vegetation coming in, which is not something I want. So I'll take maybe the height of this tree up a little bit. Maybe try rotating it on the z. Maybe take it up a little bit more. And let's see what that looks like. And that's looking good. I'm liking that now with the vegetation kind of overhanging the house a little bit, that works. Maybe we'll bring this one up a little bit, as well. And there we go. And maybe this one actually wants to go down a little bit. So we'll take that down, as well. And there we go. That's looking good. So I don't think maybe I'll bring in one more tree. Let's see what we can find. So we got this chestnut tree. Let's see if we can find a third tree here somewhere that we like. Let's do a basic tree there. Um, trees, trees. Who's got a tree that we like. Jack and we looked at that. I was huge file sizes. What's this island tree? Let's right click on this. And again, that's way too big. We've got this mid poly tree here, 13 megabytes. That'd be nice for sort of farther away. Maybe we do that. Maybe that's a nice idea. Let's click on this one and bring this one to the scene like this. Let's have a look at this tree. And it is we can see, it's much lower poly, but it's still actually very good. So let's see if we can distribute this tree a little bit, as well. So I'll press seven, and let's find where this tree is. And where have we got it? Let's have a look. Looks like I brought this tree accidentally in at the first floor. So let's actually just grab this tree, and let's bring this up and put this into the trees file here. And there we go. So let's grab this tree, and let's take this way over into the distance. And let's have a look at where that is. And maybe let's take this down like this. And let's scale it up. Take it down a little bit more. And now let's go ahead and brought another tree in. So let's press seven, and let's Alt D, and let's press X and bring the same tree now over here like this. Maybe take it here. And let's do the same again, Alt D and Y and bring one up like this. And Alt D and X. Bring a tree back here, maybe like this and one more, maybe I'll D and X and bring a tree further back like this. Let's rotate this one, and let's scale this one up some more. And let's see about the heights of our trees. So we can actually take this one up a little bit like this. And we could actually find the tree that we have behind the house which is here. And we could take this one up as well. And we could maybe take this up the hill a little bit and take it up some more. And maybe that's a little too high. We'll bring that down. Let's have a look at that through the house, see what that looks like, and maybe bring that down some more. And there we go. That's cool. And I think, is there anything else? Let's have a look at these trees here. So we have this one here. Let's take that further down the hill and take this over. And let's also just see have we got any other trees that we've put in the scene? We've got this one here, so maybe bring this one down, as well, and we'll bring it forward and see what that looks like. Maybe grab this tree here, not that one. This one here, and we'll bring that one forward as well a little bit. And maybe we'll scale this one up a bit. And we'll see what we've got. Okay, I think that's looking good. I don't think maybe I want to take this tree, and make a copy of this one. So I'll press Aldi and Y and bring this one forward as well. Maybe bring this one down now and rotate this on the z. Just to put a little bit more in the foreground there. I think that's more than enough trees in the scene. So we'll compress the trees file here. I think I just want to get a feel for what that looks like. So what I'm going to do is just hover over our scene. I'm going to press Shift B, and maybe just find an area to zoom in. There we go. Now what I'm going to do is I'm going to press Shift and the Tilda key to go into our fly walker mode. And now I'm going to hit the tab key to apply gravity. And let's see what all these trees look like now in our scene. Let's see if that's improve things. I'm just going to press W and kind of walk forward. And from this angle, I'd say that's really added to the realism. I'm really pleased with that, and the trees are really convincing. I might bring some of these trees a little bit closer. The fruit trees are fine, but that tall tree, maybe I can bring one of those a bit closer into the scene. Let's have a look at this tree at the back. See what this looks like. That tree's kind of just in the wall a little bit, but I think that's okay because I don't think I'm ever going to have a camera view of that just there. So I may leave that just like that. And those trees there are looking great. I'm liking those. They're really adding to the scene. I may just in my own time just put a few trees in the front, but not too many. And let's have a look from this angle what these look like. And yeah, they look really good. I'm pleased with those. They just add to the realism of that quite nicely. So we could go upstairs and see what the trees look like from the first floor view and see if we can find a way in. There we go. We're through. Okay, let's have a look from the bedroom and see what the views like. And that's looking really good. That trees just framing the corner of that view really nicely, making it look really convincing. And from this angle, too, I mean, we've kind of blocked the view of the town. Well, no, we haven't. I think that's okay, actually. I think that's absolutely perfect. That just frames the view in a little bit with those trees, adding to the vegetation, makes it all really a lot more convincing. I think I'm really pleased with that. Let's just try from this other bedroom, see if the views work from here, they think they do. We just blocked out the corner of the town, which I think is a nice effect. I think I'm really happy with that, actually. So I'll hit the escape key to come out of the walk fly mode. And I think that's it for this lecture. So we have added quite a lot of size to our file. These trees are very heavy in file size. So this is something you really will need to play with to decide how much you can do. But you can always delete these trees if it starts to bog your files down. Okay, so in the next lecture, let's move upstairs, and let's put some beds and some furniture in position. All right, thanks very much. And I'll see you in the next one. Bye bye fo. 80. Lecture 77 Bedroom Furniture: Hey. Hello, and welcome now to Lecture 77. And in this lecture, let's go ahead and import some of the things we need in the bedrooms. Let's import things like beds and wardrobes. And I think some sort of rug for under the bed, as well. I think that'll be a good thing to do in this lecture and also keep moving things along. Okay, so where to start with this? I think first things first, let's go ahead to the first floor, open this up. And let's hide the roof, and let's hide the middle roof. And also in bedroom one, let's go ahead and hide the headboard, and there we go. That's sort of just given us a nice view coming down. I think, actually, after all our work on our last lecture for now, let's go ahead and hide the trees as well. So let's open up the ground floor, and let's find the trees. There they are. Let's hide those as well. There we go. I'll compress the ground floor file. We don't need that. And yeah, we're going to work on bedroom one, so we need this one, this one open. Okay, now that I've done that, actually click on bedroom one here. Actually compress these bi folding door files. And I'll click on bedroom one, and I'll create a new folder, and it's here, and I'll left click on it. And I'll call this, just call it the Let's call it the wardrobe. Let's start there. And depending on what part of the world you are, you can call it what you want closet, wardrobe, cabinet it's up to you. But I'll call it the wardrobe. There we go. Now that you've done that, make sure, of course, if it's actually highlighted. And now let's go ahead and find our wardrobe. Make sure again in the Blender kit that your Max resolution is low. Let's scarp here now and click on this. Let's type in wardrobe and see what we find. Make sure, as well that on the filters, you've got free first. And let's see what we've got. And to be honest, I've already got mine the one I'm looking for. So I need to find it. Again, you can go through these and find anything that appeals to you. Or if you want, you've got the modeling skills now to create your own wardrobe. It's completely up to you. And this is the one I'm thinking. This is my closet bi parada. I'll right click on it and look at the file size, and it's just 20 megabytes and it's a two K resolution image. So I think with that in mind, what I'm actually going to do is just increase the Max resolution to maybe 2048 by 2048. And now I will go ahead and download this one. So I'll left click on. There we go. Okay, so let's have a look at this now and see what it looks like. And, yeah, I mean, that's a nice looking piece of furniture. I think I'm more than pleased with that. I'm not overly keen with just the matte gray doors. I get the effect, but I don't know if it's what I want. I think I would prefer some of these to be mirrors, and some of these to just be walnut. So maybe we'll deal with that. So what I think I'll do is I'll just snap on this surface here and find out what it is, and it's walnut. So what I want to do is actually apply the walnut to these surfaces. So I'll grab this one, hold shift, grab this one, this one, and this one. And I'm going to show you a new trick for applying texturing. So now that I've grabbed those four like that, I'm going to hold shift and grab the walnut itself last. So that's a different color. Saying it is the last one selected. That I've done that, I will press Control L, and I will link materials. And there we go. So instantly, we've applied the walnut paneling to those doors super quick, super easy. So I think I'll also do the same thing with this one here. I'll hold shifts, select this one, and I'll select this one, this one, this one, and this one. And then finally the walnut itself. Once I've done that, I'll press Control L, and I'll go ahead and link materials, and there we go. That's fine. Okay, so that's looking good. I'm happy with that. If you wanted to, you could apply a UV map to this and then sort of shake the orientation around, just mix it up a little bit, or maybe scale up or scale down the walnut. But I think the scale of the walnut, I think I'm happy enough with. Okay, so I just want to apply a mirror no to this one. So I'll select this surface here, and I'll hit this little drop down here and I'll search for mirror. And there it is mirror 01, and select that. Now that I've selected that, I'll select this one. Hold shift, grab this one, this one, finally, the mirror, and then I'll press Control, and I'll go ahead and link materials, and there we go. That's cool. Let's make sure it is where it's supposed to be. And it is. It's in the wardrobe file on bedroom one, my closet by Prada and everything belonging to it. So that's. We don't have any empties for it now, and I think that's because we don't have any empties turned on in the overall image. So come up here now, click on this one, and let's turn on extras in the objects. And you can see this piece has actually got a lot of empties because it's actually a rigged piece of furniture, which means if you wanted to, you can actually maybe just click on this empty here, and you could rotate that on the Zp Z, and you could go ahead and open the doors on the piece. It's a really nice feature. So it looks like everything is rigged in it. But the only one we really need to worry about is this large rig right here in the middle. So what I'll do is I'll just grab that. I'll press seven on the lamp pad to give us the orthographic view. And actually, I think I'll just go into shaded mode for now, and now I'll bring that into the scene. I'll press one to get a front view on this, and now I'll go ahead and bring this up like this. And bring it over like this. And now I'll press seven. And let's have a look where we're at with this. And I want to go ahead and rotate this. So I'll press 90, enter, and now I'll go ahead and take that back like this. Take that back to the wall. And I think I'm going to scoot this back a little bit to I think around there is where I wanted. Let's have a look at the height of this now and see where we're at with that. See if you want to take this up or down. I think I want to take it up a little. And I'd say that's about right. Just about there is the correct height for this. All right, so now that we've done that, let's go ahead and turn rendered view back on again, and let's have a look at this and see what it looks like. And we could bring back the headboard for a moment and see what that does the overall scene, and we could also bring back the roof in the file as well. There'll be a middle roof and roof and see how we're looking. And yeah, I'm liking that. That's looking really nice. It's just added to the warmth of the room and with the lighting, that's really cool. I'm liking that. And I'm pleased that I put a mirror in this because it just adds something to the room. Okay, so I'll go ahead and turn off now the headboard again, or I'll hide the headboard, and I'll go ahead and hide the roof and the middle roof again for a while so we can see what we're doing. And I'll press seven. So I'll select the first one of the folders here in the closet. So my closet by parada and I'll right click and I'll go ahead and select objects. That selects all the objects in one go. Now that I've done that, I'm going to make a duplicate and put it on this side. So I'm going to press Alt D and X and bring that over now to the opposite side like this. Now that I've done that, I'll go ahead and rotate that, so I'll press, 90, and that's actually rotated it the wrong way. So I'm going to hit the minus key, and then I'll swing it around just fine for me. Now I'll take it back in the Y axis. And I'll go ahead and take that over in the X like. There we go and then maybe take this back a little bit more. And there we go. Let's have a look at the height and see if that's correct in the room. And it looks like, Am I happy with that? Is that correct? Actually, it is. That's just fine now. So again, I think that looks just fine in the room. I could bring the roof back again and just see what that does for everything. And, yeah, that's looking great. We may end up having to put some extra light in this room. I think we probably will, and I may end up just creating a plane and putting it in here and then putting a mirror on this because to me, this is like a dressing table, so it needs to have a mirror backing in this area, so I can do that. And, of course, we'll place a chair in front of it, some books or something on the shelves, sort of whatever you want to do. Okay, so that's our wardrobes in place now, so that's cool. So what we could actually do now is have a look at bringing something else in. So I think the next thing I want to bring in is something for the floor to go under the bed, a bit of a feature rug. So what I'll do is I'll rug in here now. Click Enter. And let's see what we get. That's really nice there, but I don't think circular is gonna do it. And we've got these kind of rugs. I'm looking for something quite traditional. I think it'll be a nice contrast with everything else being quite clean and crisp and modern. So, this one's kind of it, but it's just for me, it's not quite colorful enough, so I'll see if I can find something with some reds in there, some warmth to it. And this is more like it, but maybe there's a different color. So there's a blue one, another blue one there. And is there any others? And we've got one here, which is quite nice. And we've got this one. Got this one here. That's kind of what I'm looking for. I'll right click on this and see what it is. And it's one K resolution and just 1 megabyte. I'm wondering if there's anything with a bit more resolution to it. What's this one here? So that's two K and 13 megabytes. That's probably more like it. And because it's so small, I'm going to have the resolution quite high on the import on this. So what we'll do now is let's actually take the resolution up to 40 96 by 40 96. Again, this is completely up to you, but I think that's where I'll have it for me, and I'll go ahead and click on this item and go ahead and bring it into the scene. So I forgot to actually create a file for that. So actually, let's create a file for that and put that in the right place, let's have a quick look at the rug itself and see if we're happy with it. And I think I'm more than happy with that. That looks absolutely great. So let's find it now. It's here, plain oh three. So let's go ahead and name this. As the rug. I click into. And let's click on Bedroom one file here, and let's put an extra file in it. And let's go ahead and call this the rug. Click Enter. And let's go ahead and drop this file here, the Persian carpet file into the rug. There we go. That's cool. So we can compress that file now. Compress the closet file, and there we go. Okay, so let's do something with this now. So let's grab this one, and maybe we go back to shaded mode. And let's go ahead and let's hide the roof again so we can see what we're doing. And let's press seven so we can see this from above, and let's go ahead and take this in. And I think I'm gonna rotate that, so I'll press r90. Enter. And I'll take this back to the wall like this, maybe centralize it a bit more on the room, and I'll S, and I'll scale this up a little bit, so it can kind of well, it wants to be to the edge of the headboard. So I guess sooner or later, we'll need to bring the headboard in and scale this properly. So I'll press one now to see this from the front, and of course, we can't see Oh, we can we can see that just fine. So I'll go ahead and bring that up now into the room like this. Now we can actually see this. We can position it properly. And that should be good. Okay, so let's bring back the headboard now so that we can see it scaled against the headboard. Maybe we need to go back to rendered view so that we can look at the pattern when we scale this up. And that looks awesome. I absolutely love that. That's looking amazing. But I guess we do need to sort of scale this up a little bit. So do I want to scale the whole thing up or just scale it in the X? I think I'll just scale it just in the X and see how that looks. So I'll press S and X and go ahead and bring this out until it's kind of flush with the headboard and have a look at it from this angle, make sure it's on the floor, and it looks pretty good to me. But I love that rug. That's looking amazing. Go to say, it never fails to surprise me how good these assets are from Blender, especially considering they're free. So please do remember to leave a rating on these objects. These people really deserve it who make this stuff and put these assets out there for Okay, so that's in place. So I want to also use that same rug for the other bedrooms. So I'll press seven to see this orthographically. And I'll go ahead and press Alt D and X and bring this over now to the opposite side like this. Let's rotate it. So, 90, Enter. And let's go ahead and bring this over like this. Bring this into position like this and see what we're looking. And scale wise, whether I end up scaling that down, I'm not sure. For now, I'll go ahead and leave that just like that. Or maybe I'll scale it down a tiny bit to the, something like that. And let's go ahead and take that back now. To the wall again, like this. Maybe we would take it down a tiny bit. And there we go. That's cool. Okay, so we've got our flooring sorted out, and we've got our wardrobe sorted out, so that's cool. So I guess the next thing to do is look for a bed. So let's do this. Let's type in bed. And let's see what we've got. I must admit I've spotted this one before, and I love it. This Sahara bed is absolutely amazing. So I'll right click on this and have a look at it. It's a two K resolution, and its size is 107 megabytes. So I think that's absolutely spot on. I think I'm going to go ahead and use that. Before I use it, I'll click on Bedroom one, and I'll create another file, and I'll name this as the bed. Click Enter and make sure that bed is actually highlighted. So now that I've done that, I'll go ahead and click on the item and bring it in like this. So I did actually forget to reduce the file size right here. So if you wanted to, of course, maybe it's an idea to reduce that file size. I think I'll leave it and see if I can get away with it, but I may end up deleting this item, reimporting it in as a smaller file size. I can kind of justify it being that to me, again, it's a major piece of furniture in the house. It's a real centerpiece. So maybe it's worth having it as a high resolution, and it is absolutely amazing. The detail is absolutely fantastic on it. Yeah, that looks absolutely great. Yeah. Amazing. Really, really nice work. Okay, so let's go ahead and bring that in. We'll grab the empty in this case. And let's go over to just shaded mode. And let's press seven. And let's go ahead and bring this in and drop it in position. So I'll take it over like this. Take it over like this. I'll press one so we can see this from the front, and I'll go ahead and take this up like this. Let's have a look at this bed and sit you and see what we need to do. And maybe I need to take this forward or back. But there is correct, but it's not on the floor, so let's take this down. And that's about on the floor. And let's centralize this. And we'll have, like, a bedside cabinet either side of this. So that's looking good. And again, if you guys want to create a couple of pieces of these furniture, again, now you have some of the skills you need to be able to do this. I mean, this bed is very advanced, but the cabinets and bedside tables, there's nothing stopping you at all doing that now. You know how to apply textures now and you know how to mod so let's actually go back to rendered mode for a moment and see what this looks like. And yeah, absolutely great. Does it look a little small in the room? Shall I scale it up? I think I will. I'll go ahead and hit S, and just go ahead and scale this up a little bit. And now I'm going to hit S, but then I'm going to press Shift Z, so I don't scale it up anymore in the Z axis. So I'll press S, Shift Z, and now just scale it up in the X and the Y. And there we go. That's cool. I'll bring it forward a little bit, because it's currently kind of in the wall. And there we go. That's absolutely awesome. We've still got a space either side for bedroom cabinets, for little bedside cabinets, and maybe a reading lamp. And that looks about proportionate now to the wardrobe. It looks absolutely amazing. That's a really nice bed. Okay, what I'm going to do since now we're starting to bring in a lot more assets, I'm using personally the whole rendered view quite a lot is I'm going to do a lot more saves it's at this stage that Blender is prone to crashing. So I'm going to go ahead and just press Control less and do a save, and I encourage you to save a bit more now than you currently were. And let's go ahead and bring in the final bed. So let's compress the bedroom one file, and let's open up the bedroom two file, click on it, and add an extra file, find it. It's right there. And let's call this the bed. And there we go and enter. So that's selected now. Let's go ahead and bring another bed in. So I'm thinking this one is the one that I'm wanting for this one. I did have a look before. You can go ahead and scroll through and see where like This one is also quite nice. But I think I'm going to go for this one here. So I'll click on this one and go ahead and bring it. Again, I brought it in at quite a high resolution because the beds are quite a major piece in the rooms. But if you wanted to, of course, you can reduce the resolution before you import this. I mean, this bed's a lot more about soft upholstery than the other one, but I think it's nice. I like the texture on the Duve. That looks really good. I'll keep an eye on my V round, make sure that it's not going too high. It's currently about 9.2. Okay, so I'll grab the item now, make sure it's where I want it to be and it is bedroom one. It's bed in bedroom two file, so I'll compress that now, and I'll press seven, and I'll go ahead and bring it into the room. So I'll grab it here and take it over. And I'll press one. And I'll go ahead and take this up like this. Bring it down a little bit. There we go. I'll press seven now to see here from above. And I'll go and rotate that in 90 degrees so Ah, 90, and click Enter. And actually, it's the wrong way round, so I'll do that again. So I'll press A 180 and click Enter. Okay, I'll take this back to the wall like this. And I think I'll go into shaded mode now and go ahead and have a look at this properly. And maybe take this over like. Center this a bit more. And there, that's looking good. So I think we'll probably need to scale up this headboard a little bit more. It's not quite working out. I mean, I could reduce the width on this. I could do that. But I don't think, let's try. Let's try it and it and just try reducing the width on this and see if it looks a little bit ridiculous. Actually, it looks right. I think that's alright. I think that width is just fine. So I'll take this back now and put it in position between the headboards. I may have to sort of juggle this around a little bit. I'll scale this up a little bit more. That's why, maybe take this over like this. And that's okay now, and go ahead and take this back. So it just slots nicely between these posts. And there we go. That's cool. And I think the bed looks just fine, reduced in width a little bit. We've not really compromised anything. So maybe you want to just take it down a little bit now until it's on the floor like this, and let's go ahead and enter rendered mode for a moment and see what we look like. And that's looking great. I think in the next lecture, what we could do is actually just create a panel above the bed here with the same leathered panel that we're seeing just on these side little cheeks. We'll do the same panel there. I think that'll look quite nice. Okay, but that's sort of the major items added to the bedrooms. We could bring this rug just back a little bit. I'm seeing a bit of a gap. So I'll press G&XTa this back a little bit. And there we go. That's cool. Okay, how good is this looking? Let's bring everything back. Let's bring the roofs back, and we can see what our lighting effect is looking like. And that's looking great. I think this actually works. I was wondering whether I wanted to put more light in this room, but I don't think I do. I think this mirror is helping a lot. And now that we have some warmer components in the room, some warmer textures, the gray bed is looking really nice with the gray floor and then this rug and then these leather panels is really making that pop. I'm liking this a lot. Okay, so that's the end of this lecture. In the next lecture. Let's bring in a few more little items. We'll make this little panel here, and then let's bring in maybe some stuff for the bathroom, a toilet, and a sink and a bath. And let's bring in a TV and back light it. I think that's enough for the next lecture. Actually, this one's stretched on quite far, but I think we're getting a lot done at the moment, so hopefully you don't mind. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 81. Lecture 78 bathroom Fittings: Okay. Hello, and welcome now to Lecture 78. And in this lecture, let's go ahead and tackle the bathroom. See if we can put some fittings in that a bath and a toilet and all that kind of stuff. But before I do that, there's just a few little tweaks I want to do to the bedroom. So let's just do those first. I think, first of all, though, let's go ahead and hide the ground floor completely. Let's just get rid of that, just to reduce things for Blender and our computers. And I think, as well, we could maybe open up the first floor file here and compress the ground floor collection. And we can turn off the middle roof, and we can turn off the roof. And actually, we could turn off the walls. Let's actually turn off the first floor walls as well. So we just have this setup like this, that were you. Um, actually, within the bedrooms maybe as well, we could hide the windows, and we could hide the folding doors. And the same in bedroom one, we could hide the window, and we can hide the bifolding door in that one as well. Let's have everything down to a sort of a minimum. So the two things I kind of want to do before we move on is I want to create a panel which goes here and this space, which will also have this nice quilted leather effect on it. And I want to put a mirror just here, as well. I think that'll be worthwhile doing. So let's start, first of all, with this panel here. And I'm just going to press Shift B, just to resent a Blender in this area. There we go. And I'll just grab this panel, hold Shift and grab this one. And with the two selected, I'll press Shift S, and I'll say cursor to the selected, and there we go. Now that we've done that, let's press Shift A. And let's go ahead and bring in a cube. Okay, let's scale this down in the X or process and X and go ahead and bring this down like this. And I'll go ahead and take this up in the Z axis. And I'll scale this down some in the set as well. There maybe something like that. Take that up again and maybe go ahead and just take this back a little bit and see what we've got. There we go. That's cool. Maybe bring it forward just a tiny bit. No, I think I was right in actually just keeping you back. Sorry, I'll just take that back a little. I just scoot it back. It's just a tiny bit. There we go. That's cool. So now that I've done that, I'll tap into Edit mode, and I'll go ahead and just delete the back face. I'll press X and delete faces. There we go. So we just have a very simple, open component now. And then I'll tap back out of Edit mode, and let's look at the item. Let's fix the scale, so I'll press Control A and apply rotation and scale. Now that we've done that, let's actually just select the roof, this panel as well. And with the two panels selected, let's press Control L, and let's go ahead and link materials. And there we go. So obviously, this is far too big. So let's go ahead and just tap into Edit mode just with this panel now. Let's press A, and let's press U, and let's do a smart UV project. Make sure you have an island margin and go ahead and unwrap. And that's reduce the size and kind of set the scale up for us, but it's all, again, it's just way too big. So I'll press A to grab all, and I'll grab the components here in the island in the UV map, and I'll go ahead and scale those to reduce the size of the leather texture. Until it's kind of similar to the scale of the pattern on the two site pieces. So I'd say that's about right, something like that. And there, that's done. That's not too bad at all. I might just actually just check the normals on that. So I'll head this little one here, check face orientation, and the face orientation is correct. There we go. That's done. I'll tap out of do mode with that. And there we go. So now that we've done that, I just want to go ahead and put a mirror just here and out. So I'll select this one, hold shift, select this one, and I'll press Shift S, and I'll say cursor to the selected. Now that I've done that, I'll press Shift A, and I'll go ahead and bring in a plan. I'll rotate that plane in the X axis. I'll press x90, enter, and then I'll go ahead and pull that forward in the Y axis like this. I'll go ahead and scale this down in the z, so I'll press S and, and go ahead and bring this down to something like this and bring it down, as well. Maybe just take it back a little bit in the Y. Until it's just about showing there we go. Now that we've done that, I'll also just select this mirrored panel here, too, so that this mirror has got a yellow outline, and then this one has an orange outline. And once I've done that, I'll press Control L, and I'll go ahead and link materials, and there we go. So I think that does look better with a mirror just showing in there like that. So with that done, we can actually just go ahead and do the same now in the other bedroom. So I'll grab this one, hold shift, grab this one, and I'll press Shift S and curse it to the selected. And then I'll press Shift A, and I'll bring in a plane. I'll rotate that in the Y axis, Y, 90, enter, bring that forward in the X, scale it down in the Z, and then bring it into position like this. I'll take it back a little bit until it just shows itself, there we go it. And I'll select the mirror, as well. I'll press Control, and I'll link materials. And there we go. That's that mirror in place, as well. Okay, so those are the little jobs that I wanted to do. So now we can actually look at the bathroom. That's the next thing that I want to tackle. So let's compress the bedroom one file and bedroom two file. And let's click on the bathroom like this and just select this folder. Okay, let's press seven. And let's go ahead and get the cursor where we want it. So come over to the tab and hit the cursor key and then just drop the cursor right there like that, and then go ahead and right click and set the origin to the three D cursor. There we go. Click on the move tool again. And let's start finding components now for our bathroom. So I think the first thing we could actually type in is bath. Let's bring that in and type inter and see what we get. And let's use the filter to make sure that we getting the free items first and see what we're showing. So we got a nice bath there and one there, and one here with a few little things on it, as well. So that's quite nice. And see what else we've got. We've got a nice vanity there, as well, but getting ahead of myself, really, let's look at the bath first. This one's quite nice. Yeah, that's quite nice, because it's got a towel on it as well, and it's got a few things on it. I'll right click on this and see what it's like. So we got a nice sort of taps there as well, and we've got towel, and we've got some, like, little products and everything there as well. It's a four k image, and it's 50 1 megabyte. So that's pretty good. That's fine. Okay, so what I'll do now is I'll go back to the Blender kit tab and make sure that we are importing on a small size because this is mostly hard services now, so there's not much detail in hard services, so we can afford to keep the resolution quite low. And with that done, I'll actually find the item again. And I'll go ahead and left click on it to bring it in. And there we go. That's our bath in place. So let's go ahead and make sure that the extras are turned on so we can see what we can see. And I'm not actually seeing any kind of empty for this, and all these items are separate. So it's kind of go to hard to move that. It might get a bit time consuming. So I think let's bring in an empty for this. So let's press Shift A, and let's go down to empty, and let's just put in an arrow. Let's go ahead and scale the arrow down a little bit like this. Now, let's select absolutely everything to do with the bath. Make sure the arrow is in yellow. If it isn't, you can always just deselect the arrow and just hold shift and reselect it. And once you've done that, you can press Control P, and you can set parent to object keep transforms. And there we go. So that's that done now. So there it is. It's also popped up in the outliner in the bathroom tub set, so that's good. Now that's done. We can actually just grab this empty, and we can go ahead and take the whole bath into position as we want it in the bathroom. So we could bring this down, of course. And we can rotate that in the Z axis. So I'll press z90, Enter. And I think I'll go ahead and bring this over. And I think I'm going to scale this up a little bit. So I'll hit S and go ahead and scale this up. It's the wrong way. Take this up like this. And I think I could scale it up a little bit more, but I don't want to scale up the height anymore. That's plenty in the height. So I'll press S, and I'll press Shift Z to eliminate the z axis in the scaling, and now go ahead and scale this up a little bit more again. To maybe something like this, and I'll go ahead and take this over. I may have actually made that a little bit too big. It looks like I have. It looks like I have, so I'll go ahead and scale this down a little bit. Whoops, wrong way. Take that over again. Scale it down a little bit more. Bring this down on the z axis. And take that over in the X until it's off the mirror. And see how that looks. And, yeah, that's looking good. I'm liking that. Okay, so now that we've done that, let's go ahead and select the battering file again now. And let's go ahead and bring in that vanity that I just saw. I quite like that. So here's this bathroom vanity, and it's got a lot of components with it. It's got a mirror and it's got lights and all that kind of stuff. That's what I want. So I'll right click on that and just have a look at it. It's a four K image, and it's 33 megabytes. That's absolutely fine. I might just actually increase the resolution input to a 1024 by 1024, and then I'll go ahead and left click on the item and bring that in. Okay, this time it does have its own empty, and here it is. So let's go ahead and rotate that in the X axis. I'll press rx90, Enter. And that's rotate it in the Z, so I'll press rz180, click Enter, and there we go. So let's go ahead and take that now on the Y. Bring it down on the z axis. I'll just rotate round so I can see clearly where we are with this, maybe take it over in the axons, bring it down on the z like this until it needs to be off the floor a little bit. And now we can go ahead and take this back in the y axis. Take it back a little bit more until it's just touching the wall. And that's good like that. I'll bring it down a little bit more and take a look at that, and that's looking good to me. I think that's just fine. Okay, so we do have our item here it is, and it's the Ikea bathroom. So that is in the bathroom file. So that's exactly where Okay, so now we just need to bring in a toilet. So let's do that next. And I think I saw even a toilet here in this group, and here it is right here, and that's kind of what I want a cisternless toilet with a little flush plate above it. So I like that. So I'll right click and just take a look at it. It's four k, it's 32 megabytes. I think that's just fine. So I'll go ahead and bring that in as well. And it has got its own empty, so let's go and rotate it on it. So we'll press Y, 90, and type Enter. That was incorrect. I'll press Control Z just to bring that back again. Let's try that again. It's X, 90, Enter, and that's better. Let's rotate that on the Z. We'll press Z, 180 TypeEnter and let's go and take this back on the y axis. Until it's up against the wall. I'll just rotate around so we can get a kind of idea of where it is and bring that down somewhere central between the bath and the vanity. And the scale's looking a bit off, so I'll go ahead and scale this up a little bit like this, and that's better, and I'll bring it down a little bit more to something like this. And then I'll take it back to the wall on the y axis. And, there we go. That's a toilet now in position as well with a flash plate. And let's just checked, that's correct. And, yeah, that's absolutely fine. That's a nice position on the wall. Okay, so there's our main bathroom suite in. We could actually, if we wanted to just bring in some shower stuff. Let's just hit let's just type and shower and see what we get. Type in and see what items we have. So here we have a shower controller, and here we have a nice head. So I think this is kind of the thing that I'm looking for. So I'll just go ahead and grab these. So there's our shower controller that's come in, it. And again, it doesn't actually have its own empty. So I think I'm going to go ahead and put an empty on this, so I'll press Shift. A, bring in an empty and just bring an arrow set. I'll go ahead and scale this arrow down. I'll hit and bring this down like this. And I think that's fine, now. So I'll grab the actual shower itself, and I'll grab the empty, and then I'll press Control P, and I'll set parent to object and keep transforms, and there we go. So I'll bring this in it's empty. And I'll rotate that on the X axis, so I'll press x90, Enter. And I think it's supposed to be orientated the other way, not in portrait, but in landscape. So I'll go ahead and rotate that on the Y now. So I'll press Y, 90 Enter. I think that's correct. That's the way I'm going to show mine anyway, so I'll bring that in a little bit more. And now I'll go ahead now. I'll bring in the actual shower head, so I'll grab this one, and there we go. So this one again, doesn't have an empty, but it's only one component, so that doesn't really matter. We don't need an empty for one component. So I'll go ahead and rotate down the X, so X nine, zero, enter, and then I'll go ahead and bring that in as well. All right. So now that we've done that, and I'll grab this one here. Hold shift, grab this one, and I'll H and just hide those. And now I'll go ahead and bring back the first floor walls. Now that I've done that, we can actually go ahead now and position these where we want them. So I'll grab the shower head first and bring this up to where I kind of want it, which is about there. And then I'll go and take this back until it's just touching the wall. And I'll do the same with the shower controls. I'll just grab the empty and take this back. Again, until this is just touching the wall. There we go. Any scale that up just a wee bit. There we go. And let's see if that's kind of in line with the shower head. And I think it is, and I think I'm happy with the height. So that's kind of that done, though. Okay, so let's go ahead and bring everything back now. Let's bring back the middle roof and then the roof. And let's compress these files. And let's have a look at what we've got. Okay, so we've got our shower in place, and we've got our bath and we've got our vanity, and they're all looking good. The only thing is, I think we're missing our timber surfaces. So I'll press I'll press Aldag and just go ahead and bring all those items back in, and there we go. That's looking great now. Alright, so that's our bathroom finished. And that's our kind of bedrooms looking good now. So in the next lecture, let's bring back the ground floor, too. In our next lecture, let's now just bring in a TV and back like that. And let's put a nice little light inside our lamp. Alright, thanks very much. And I'll see you in the next one. Bye bye, Fino. 82. Lecture 79 Tv and Floor Lamp Lighting: Hello, and welcome now to Lecture 79. And in this lecture, let's just do a few more small little things, which is, I want to put a light in a floor lamp here hanging over the sofa, we don't have a TV yet on our feature wall. I'd like to put a backlight on that TV as well, just as an extra highlight. So let's go ahead and do those few little things. I think the first thing is come up to the outliner. Let's compress the first floor file, and let's go ahead and hide the entire first floor. Let's open up the ground floor file. And let's go down to interior. And let's go and turn off or hide the ceiling light. And let's go and hide the ground floor lighting for now, as well. Okay, so let's actually just click on the interior to make sure what we do comes in on this. And now let's go ahead and grab the lamp. And I'm gonna press Shift B just to re center everything. There we go on the lamp like that, and I'll go ahead and tap into Edit mode, and I'll just grab one face of the lamp, and I'll press Control plus, and I'll expand that until I've got that entire shade, the entire shade area of the light. And once I've got that, I'll press shifts, and I'll click on cursor to the selected. There we go. Now we can tap out of Edit mode. And we're good to go. So now that I've done that, the next thing we're gonna do is just press Shift A, and let's go ahead and bring in a light, and let's go ahead and bring in a point light. And there we go. So I'll just bring that down slightly more on this z axis. And with that still highlighted, I'll come over to here and I'll click on the light, and I'll go ahead and increase the power. Maybe to around 70 watts, approximately, and I'll just make it a little bit warm. I'll bring it into the yellow, yellow red a bit more like that. Now you can see it's casting a nice little shadow on that wall. And we can always just go ahead and increase that value if we want to. So I think I'll go ahead and just name this. And I'll call this floor land bulk. And there we go. That's done. So we can go and increase the power on that if you want later. Okay, so the next thing I want to do is fix a TV to this wall. Um, I think maybe let's go ahead and hide the ground floor walls. Let's hide those as well, just to make life a little bit easier again. Let's grab this marble panel, and let's press shifts, and let's go cursor to the selected. We might as well right click straightaway and set the origin to the three D cursor there we Okay, so let's bring in a TV. So let's go up to Blender kit. And let's type in TV and hit Enter, and let's see what we get. And let's go ahead and click on the filters, and let's go free first. And I'm looking for a wall mounted TV without any kind of feet on it. So that one's got feet on it, so I'd rather see if I can find one without that. This one's got a base stand, so I get an ideal. Um, no. What have we got here? So we got a TV screen here. Again, it's got a base on it. That's not really what I'm looking for. Oh, we got one here, TV screen LED. Let's just see if we've got any more. And we've got this curved one here. And we've got this one here, LG that's a monitor. It looks like that's about all we've got. Okay, so let's go back to the LG. I think that'll be fine. So LG Ola TV there. So I think this is about Oh, no, that's a monitor. Do we not have a TV? Well, we do. We have this one. This one, I'll be fine. Let's have a right click on this and just check it. It's a two k image, 3 megabytes. And is that the only one available? Ah, what's this? This might be the thing. Let's right click on this. It's a six K 15 megabyte file. This is more, I think, what we're looking for. Okay, I'll click off for a minute. I'll increase the resolution to about 10:24 by 1024, and I'll go ahead and click on the item and bring it. Okay, here it is. So let's pour it out on the X. Oops, not the marble, just the TV. And now let's go ahead and press R and X and 90 to stand it up. And now let's go ahead, press z90 to turn it this way. Alright, so let's see if we can get this TV where we want it, something like here, maybe, and go ahead and take this back a little bit. And I think we need to scale this up, Cyprus S, and just scale this up some until it kind of fits this wall and has a bit more of a presence there. And I could scale up slightly in the Y as well. So I hit S and Y and just give this a bit more wide proportion like that, a wide screen TV that we'll just zoom in on this and just see if it's close to the wall or close to that marble back panel. I'd say that's about right. I'd say that's good now. So we can just find this now and see where it is. And it's there. So it's the wall TV, 60 inch already in position. That's. So I think the next thing I'm going to do is click on the interior file again, and I'll grab this and I'll press Shift A, and I'll go ahead and bring in mesh, and I'll bring in a plane. And there we go. So I'll rotate that. I'll press Y, 90, and click Enter. I'll bring it forward slightly, and I'll go ahead and scale that down in the z. So I'll press S and just go ahead and bring that down a little bit like this. Maybe a little bit more. So as said, go ahead and scale this down, maybe bring it over a little bit in the Y axis, and then scale it up slightly in the Y soll press SY, and go ahead and scale this up like this. And there we go. That's cool. I pull that closer to the TV. And now let's go ahead and bring up our no texture editor. And with this plane that we've just made, actually, let's go ahead and name this. So I'll call this the TV backlight. Oops. Go ahead and click Enter. And, okay, so now that we've done that, let's go ahead now and give this a color. So let's click on N and let's call this the TV backlight. Click enter again, and we've got ourselves a principal BSDF that's the only thing we really need. So the first thing I'm going to do is, I'm just going to come down here to emission and click on this one. And I'm going to just increase the strength of this emission. And that's going to give us an automatic light to this surface. I'll give it a slight color. So I'll go into maybe the What shall we go into? What about the red? And there we go. So that's cool. So we can play around with the emission strength and see what we like. Let's bring stuff back now so we can also see what everything looks like in place. I'll bring back the ground floor walls, and I'll bring back the first floor and the ground floor lighting and the ceiling panel. Now we can see what we've got. That's actually already nicely back lighting. We could play around with a color maybe, and it's going to put you up to what you do you go into greens, whatever works with that marble back panel. The green is quite striking, actually. It could come slightly into blue, and I think that's quite nice. So, again, if you want to you can increase the strength of this. That's quite cool, just like that. I quite like that. That's really highlighting that marble in the background. So we can bring this forward or bring it back, whichever kind of suits it. And I'll kind of leave it, I think, something like this. And another way of adjusting this is we could adjust the Alpha on this, which would affect the transparency of that plane, which would, of course, also affect the emission. So that would be another way of kind of just affecting that light if we wanted. And yeah, so that's that. Um I could play around with this all day. But there we go. I'll leave that alone. I'll just keep on playing around with our back light. But there we go. We've got a TV in place, and we've got a nice light in our lamp now. So those two are really just helping the scene look really good. Okay, so in the next lecture, what we'll do is we'll just briefly touch on what's left on assets to input, and then I'll kind of leave you to it to make this project your own as far as what assets you want to bring in. Okay, thanks very much. And I'll see you in the next one. Bye bye for now. 83. Lecture 80 Making it Your Own: Hello, and welcome now to Lecture 80. And I just want to say that I think this project is just looking really good. And I hope you're pleased with your progress so far. Um, I think it's time for you all to put your individual stamp on these projects now by importing the remainder of the assets and deciding yourselves what assets you'd want to put in. And I'm going to go ahead and do the same. So when we catch up next, I will have imported the remainder of the assets that I want in this scene. So I'll just run through what I'm personally thinking, but I couldn't highlight this enough that this is very much your project, so you run with it the way that you want. Just also when you're importing assets, always consider your file sizes. So maybe just consider the VRAM that you're running, and just what I would suggest if it's hard surfaces, then keep your resolutions when you import from Blender quite low. And if they're like, background items, NPCs, if you like, non player characters, if they're background items, let's go kitchen for a minute. Let's zoom in on that. And we've got these cabinets here, and I want to put some things in those. So maybe I'll put some teas and coffees and some glasses and some plates and maybe some cereals or something like that. And all those are going to be way back there, not really seen, so I can bring those in at lowest resolution. I'm just going to personally press chifbe for a minute and just square in on this. Just refocus it up. There we go. And what I also want to do with a kitchen is I want to bring in maybe what do I want to bring in? I'd like to bring in maybe a fruit bowl, and I need to bring in some stools to put against this area here, and maybe a coffee maker on the back here, maybe a drying rack, some teas and coffee making stuff, a toaster, maybe, and maybe even a socket panel on the back wall so that you have access to some power. On this wall, possibly maybe a picture or something or a pinbard because it's quite a big, empty space. And, of course, we've got this big space in the middle, so that really is up to you what you want to do with it, whether you want to put a nice big central dining table with chairs or whether you want to put a gym area in there, or an office area in there, it's completely up to you. You could put a grand piano in the middle. That'd be quite cool. But, yeah, it's up to you. The outside, I'm going to put some lounges just to fill this area, and maybe an outdoor small table and a couple of chairs in this side here. I'll look at barbecues. I'm going put a barbecue out here. I'm not sure yet. And maybe on this wall, I might put some sort of plant in the corner and a coffee table here, and I might make another copy of the rugs we've used upstairs and bring those down and put one here as well. I haven't decided that yet. I'm not sure. Um, and maybe a speaker here under the TV. And, again, maybe some switches down at the base here just to show that we're thinking that people are gonna need power. On the upstairs, what am I going to do there? So I think we need a chair here, maybe a focus point here. So maybe a desk, maybe. I don't know yet. Maybe something on these walls as well, 'cause they're quite big empty spaces. So maybe some personal photographs or something, or, again, some more artwork on these walls. It's completely up to you. Um, and in the bathroom, I don't think I want to do much more with the bathroom, really. I think I'm pretty much there with that. I might put some sort of plant in this corner just to show a little bit of greenery. And on this back wall here, I might put some sort of bench in maybe where someone can sit. I might consider putting a small table in the corner here, but I'm not sure about that yet. I'll just see how I go there. And in the master bedroom here, Again, I'll put some sort of little Oh, we got some stuff missing on this. Let me just go to the first floor file and turn everything on and see what's missing. Bedroom one. We got the folding doors missing. Let's bring those back in there we go. And so, anyway, where was I? Sorry. I might put some sort of small table here on a couple of chairs just to enjoy this beautiful view that they've got. And yeah, definitely a chair here and something on these shelves. Probably some books would be nice on these shelves. Maybe a hair dryer laying here or something like this. It's completely up to you. That's my point. Actually, I'm gonna keep on talking for a second. So I'm going to put some bedside tables in here. That's a definite. And the other bed, as well, and possibly some sort of little reading lamp, and maybe something to suggest someone is actually reading. So maybe a book sitting on this bedside table, something like that. Maybe a pair of glasses on it. Whatever really is in Blender. So, yeah, that's what I'm going to do now, and I'll catch up with you after I've done that and when you've done the same as well. If you have any problems with file sizes, what you can always do is the very last lecture is my troubleshooting lecture. And in that lecture, I do sort of cover what you can do to reduce your file sizes. So you can always refer to that that excuse me. You can always refer to that last lecture if you want to to see how you can reduce your file sizes because there are different ways that you can do to do that if you're struggling with GPU memory size. Okay, so let's get busy, and I'll see you when I've populated my scene. Thanks very much. And I'll see you in the next lecture. Bye bye, Fino. 84. Lecture 81 Compleated Project: Hello, and welcome to Lecture 81. And yeah, I mean, I've completed bringing in all the assets that I want in my project, and hopefully you've done the same. And I really want to hope that yours looks different to mine. This is the opportunity, really, to make the project your own, and I really can't wait to see your projects. That'll be a lot of fun to see the directions that you've taken your projects and see what assets you've brought in to make yours look different. Anyway, so I just want to walk around mine and just show you what I've imported to give you some idea. And then in the next lecture, this isn't the only a short lecture, by the way. In the next lecture, we will start presenting our projects because ultimately, we've finished SN, guys. This is it, well done. We finished our project, and they look amazing. So what we need to do now is present our project, potentially to your clients. Um, so we're going to do some still renders and we're going to do some animations. The still renders shouldn't take too long. That's quite a nice light thing to talk about, but it will take us a while to do renders, not only to do the actual renders, or the animated renders, I'm sorry, I will take a while to do those, but then actually to bring those together using Blenders video editor, edit them all into one video, apply some sound to it. It may take a while. But I'm getting ahead of myself, really. Let's look at this one first in this lecture. Then in the next lecture, I'll start tackles renderings. Alright, so what I'm going to do is press Shift and the Tilda key, so I can go into Blenders walk fly mode, and then I'll hit the tab key to apply a little bit of gravity. And I think I'm standing on a table. I'm standing on the wall. That's why I feel a little bit tall. So I'll hit the W key, bring me forward, and I'll jump off the wall. So I've put a ladder on the pool here. I've done that, and I brought this really nice outdoor table set in. I'm really impressed with this. Put this here. So you've got somewhere nice to maybe drink a coffee or a cold beer and look at the view. I've also put some nice sun lounges in as well. It's going to be a little bit jumpy because I've got a lot going on in the scene, so you sort of have to bear with it a little bit. Here in the kitchen, I've put some stools in. So I've put three stools in like this. On this little table here, I've got a little coffee pot, and I've got two coffees and a couple of pastries. I've got a little bit of wall out there, too. And in these cabinets up here, I've got some cereal in there and I've got some mixers, and I've got a coffee maker on the worktop there and some knives, and I've got some other little things, as well, some mugs and different things just to populate the kitchen and make it a little bit more convincing. And we've got fruit bowl on the table, of course, and a nice little kettle. We've got the sort of centerpiece. We've got this beautiful dining table. I really like this. And we've got some sort of center decorations on that, these three wood turn little bowls, and we've got a nice set of dining chairs around there, too. There we go. I brought in a plant as well, just to sort of fill this corner here and add a splash of color, and I've got some nice artwork, just to fill that wall, and then a coffee table, really nice coffee table, and then a book and a pair of glasses just to sort of suggest who this person is and what they like to do. Okay, let's see if I can navigate the stairs in walk fly mode. I'll give it a shot. This may go very wrong. So I'll go up the stairs. And I was already feel like it's going wrong, and see if I can head to the light. And I'm like, Hey, I'm in the bathroom. I landed in the bathroom. Let's leave the bathroom because we know what we've done in the bathroom already. We've done that together. We've got the bath and we've got the vanity, and it's all looking very good, but we kind of know what we've gotten here. So, again, I've got this same table that we put on the ground floor. I put in the ground floor just over there. I've put here, but I've taken two chairs away just to make it a bit more compressed into the corner, and I thought This is another nice place to just enjoy this view. In the master bedroom, I've got some bedside cabinets, of course, and I've got some little reading lamps or little table lamps on there, too, and another nice pair of chairs with another little scent, a little table, again, another place to enjoy the few. And I've got a nice little wall mirror on there, as well, just to add some extra depth to the wall to the room and just to put something in that big space. I've put some books there on the shelf, and just to give it a human element, I've put a teddy bear there. And just to put a human element in this project, I like to do that. I don't like everything to look so clinical and to give something a human element so that people might picture themselves living in our projects. Okay, so in the other room, it's much as the same, really. So I've got the same bedside cabinets, and I've got the same lamps, just to reduce file sizes and keep everything light. I have the same books here, and I didn't put the teddy in on this one, and I have the same chair there. What I do have different is I thought I'd bring a workstation into this bedroom. So I've got a nice looking little table, and I've got a desktop PC and a chair, and then a book that the person might be using as a reference for whatever they're working on. And I've got a very low poly bookcase here, and it is low poly, but that's okay. I think at a distance, I don't think you'll ever notice it. And I'll make sure as I'm doing my animations, I never really dwell on that too long, so I think it'll be fine. And, yeah, that's what I've got. I'm gonna hit the escape keynote to get out of Walk fly, and that'll bring me back to where I was. And that's the project, and that's what I've kind of put in it, and now I'm happy with where it is. So in the next lecture, let's do what I talked about before. Let's start doing some really nice, high quality still renders. Okay, thanks very much. And I'll see you in the next lecture. Bye bye for now. 85. Lecture 82 Still Renders: Hello, and welcome now to Lecture 82. In this lecture, let's go ahead and do some nice, high quality still renders. Nice to present our scene. So yeah, let's show you how to do that. So I think the first thing is, we don't need to be in the shading settings anymore. Let's go back to modeling and click on this. Let's come up here now and click on this drop down, and let's turn off relationship lines, bones, motion paths, and origins. We don't need those anymore. Okay, so now that we've done that, I think the next thing I need to do is simply bring in a camera. So I'll click on collections so that it comes in at the bottom here. And, oh, let's set the origin. So let's press Shift S, and let's go cursor to world origin. There we go, just to put that there like that. So the camera come in on that point now. Now that we've done that, let's press Shift A and scroll all the way down to camera and click on that. And there it is. There's the camera in the scene. Let's bring it up on the Z axis like this. Let's press seven, and then I'm pad to see this from above. And we could go into wireframe mode for a moment, and we could go ahead and rotate. Whoops. Press seven again. And we could go ahead and rotate that camera around. I want to start with the kitchen. So I'm just going to center the camera lens at the kitchen like this, and there we go. That's done. So now that we've done that, there's actually one more thing I need to do before I carry on. We can actually press Sedn. We can go back to solid mode now. If you remember the reference image group here, I'll turn it on for a moment, actually. So we have this cube that we did early on in the scene to act as a reference for the size of our ground floor walls. And if we left that there like that right now, as we rendered it, that would be seen. So we'd have this great big white solid cube, just in the middle of everything. So when we rendered out our first image, it would just be white and left wondering why this is. So this reference image file, first of all, let's go ahead and hide everything. But let's go ahead and hit this little camera thing as well so that it's not shown in the final renders. An we could, if we wanted to delete that file. We don't really have a purpose for it, but I'll go ahead and leave it in. Okay, so the next thing I'll do is we want to be able to view through that camera and see what it looks like. So I'm just going to press zero on the number pad. And with that, I can actually see through the camera. I'll click on the little camera icon here, and I'll bring the focal length down to around 40. The camera settings work pretty much just like a real camera. So if we wanted to, we could change the aperture. So if we click on this little depth of field, we could click on an object, and we could use a little dropper here to snap on something, and that would become the center of the focus for the camera. Just like auto focus on a decent camera, we can change our F stops, we can change the size of our aperture, if you like, and our lens so that we can have less or more depth of field. So lower numbers like f28 will have a low depth of field, high numbers will have a high depth of field. But we're gonna keep the camera simple, so I'll turn off this setting. Okay, so the next thing I want to do is to be able to move this camera to be able to compose this shot. So if I move this camera right now, if I move around right now, the camera will state just where it is, and that's not what I want. So I'll press the Eero again to go back to the camera view. And now I'll hit N. And we get this tab open here again. If I go to view, if I click on Lock to three dcursor and lock camera to view, now I can go ahead and move the camera and hold the view through the camera. So now I can compose my scene. So I'm going to put it, I would say, my first camera something like this is looking good to me. I might just tilt the camera back a little bit. And that's looking pretty good. So I've got the kitchen. I've got some of the ceiling, but I've also got this chair here as well, and I've got some of the tables. So I think that's quite a nice scene. I've also got some of this tree out here and I've got some sky. I personally never go straight to a high quality render because they do take some time, so I'll do a test render first to see how this is looking. So let's come up to the camera settings here, and I'll just bring this up so we've got more of this. And Blender for some reason, keeps the render the samples extremely high, and I've never known why they've been this high. I've never used this many samples in a render. So I'll actually set this because this is first of all, a test render. I will set this very low. So I'll set this at 100. I click Enter. And I'll come down to performance here, and I'll come down to final render, and I'll turn on persistent data. And what that allows Blender to do is have a memory of these renders. And any information that's already done once it can reuse within the next render of the same frame, if that makes sense. Does it make sense? So if I've done one render and I go ahead and do another render, without moving my camera, the second render can use any persistent data from the first one. Hopefully that makes some sense, now. So now that I've done that, I'll actually just click on this icon here now. And let's go ahead and bring the resolution down. At the moment, it's set at 19:20 by 1080, which is two K. Let's bring this down. So I'll click on this first one, and we'll bring this down to just a HD image. So HD is 12 80 by 720. Click Enter, and there we go. So now we have a low resolution image with low samples. So with all that done, now we can go ahead and do a render. But before I do that, I'm going to do a save because it's common for Blender to have a bit of a moment, maybe even a crash when you hit F 12. So I'll press Controls and go ahead and save my scene. Now that I've done that, I could go up here to render, and I could click on this, but I'm not going to do that. I'm just going to press F 12 on my keyboard, which is a fast way to do a render. So I'll go ahead and expand this scene. This is probably going to take a couple of minutes. So I'll pause the video. We don't need to stay here for 2 minutes just watching paint dry, so I'll go ahead and pause the image. Pause our video for a minute. Okay, so I'm back. Blender has finished rendering this scene, and I'm actually pleased with the way it's compiled. I'm missing the fridge out the corner, so I may just adjust this a little bit to get some of the fridge in the scene here, so I'll do that. But take a moment when you do your first render. Is there anything else in the scene at this time that you'd like to change? This is kind of your last chance to change anything. And what I am seeing is this sharp shadow line here. From these three lamps. So I think I need to address that. The coffee pot looks a little bit small, as well. So I think I'll do something with that. And then these coffee cups here, they're pretty innocuous like that. So I think I need to do something with those just so you can see that they are actually coffee cups. And you can see it's a low res image. It's quite pixelated when you zoom in. So I won't save this one. I'll actually go ahead and just close this one without saving. And I'll go ahead and do a little bit of my scene. So I'm gonna rotate the camera a little bit more like this, maybe just bring this over like this. Just to capture a little bit more of what's going on. Bring that down maybe like this. And that's slightly better now. I can see a little bit of the fridge. I mean, I want a little bit of skyline, and I'm willing to sacrifice some of the fridge to get that skyline. So I think I'll put my camera just like that. I think I'm pleased with that. So now that I've done that. I'll unlock the camera to you and lock 23d cursor. And it's very easy to forget that, and then you go and move and then lose your camera position. But I've done that now. Now that I've done that, I'll go ahead and roll out of this. And I'll just make these changes I talked about. So I think the first thing I'll do is I'll press Shift B, and I'll go ahead and re center on this kettle. I'll grab the empty for it and go ahead and scale this kettle up a little bit like this. And that was easy enough. So now I'll go ahead and do the same no for this coffee pot. I'll grab the coffee pot here. I'll grab the empty for the coffee pot and go ahead, S and go ahead and scale up. And maybe I'll go ahead and take that over a little bit like this. Okay, so now I'll do the same not for the coffee cups, but I don't have an empty for those. So I just made to make sure I select everything, so I'll grab the cup and the handle and the coffee. Do the same for these ones, and I'll go ahead and hit S and scale these up. And there we go. That's probably a little bit better. Make sure they're still down on the surface, and the coffee cup or the coffee pot isn't. So I'll grab the empty for that and go ahead and bring that back down, make sure that's sitting on the surface. Okay, so I think now we need to actually go ahead and oh, what we can do next is maybe take these lights here further up inside the lamp shades. I'll hit control, and just deselect that. And I'll take the actual lights further up inside the lamp shades like this. I'll hit Controls before I go ahead and go to full rendered mode. So I'll hit Controls, and I'll do a save. And now I'll go ahead and we'll click into rendered mode like this. And it'll take a minute to render this note, go into rendered mode. And now that we're into rendered mode, let's go ahead and grab the lights, and let's bring the power down on these lights here a little bit. And now, go ahead and maybe let's try turning off cast shadows. And that's brought a more ambient light to this area. I think I'm happier with that now. Okay, so now that's done. We can go ahead now and go back to shaded mode. And we can press zero and see through our camera again. And we can lock the camera and see if there's any sort of final I'll lock out for a moment, and I'll just come closer to the camera view and then lock this again. And is there anything else I want to do to this view? Am I happy? So I'll rotate a little bit more like this. And I'm thinking now that really I shouldn't have worried too much about that fridge. I'll leave it like that. I've got most of the chair in the scene. I've got some skylight in this tree. So I think it's more important that I've got those in the scene than this fridge. I could, I suppose, I could click on the camera here, and I could maybe look at the focal length, maybe bring that out a bit. Maybe that's better. And just bring that over again a bit more. And that's better. Now I've got the fridge in the scene. I've got some ground. I've got the ceiling. I'm happy with that. Okay, so I don't think I need to do another test render. I think now it's time to do the final render. So what I'm going to do is click on this one first. In render samples, I'll increase this to 500. That's about as much as I think personally you ever really need in samples. And I'll click on this icon for output. And let's go ahead and increase the resolution now. So we could go to either a four K or a two K image, maybe. So that's completely up to you. So a two K is 2048 by 1080, or we could go for a four K at 40 96 by 21 60. I think I'm going to go for a four K image. So in this one here, I'm going to go for 40 96. And in the bottom one, I will go for 21 60. Obviously, this is going to take a lot longer to render. But this means that because it's a high res image, if for any reason, you need to print up a physical copy of this, you know, you want something on paper or for the client to be able to sort of scroll into the image and look at fine details, nothing should ever come too pixelated with a high res image. So that's why I've kind of done that like that. So now that we have a high res image and we have sample set at 500, we can go ahead and hit F 12 and render. This is gonna take a while. This is probably gonna take high estimate for my PC at around seven or 8 minutes. So I'm going to go ahead and pause, maybe even make a cup of tea, and I'll see in a minute. Hello, when I'm back again. So yeah, it took a little longer to render than I thought. It took 12, nearly 13 minutes. But you can see the difference in the high res four k image. As I scroll in, nothing's becoming pixelated. Everything is absolutely still looking good. So that just gives the client more freedom to be able to do what they want with the final image, whether they just want to print it up to view or whatever they want to do. It's a high res image, so it has more people can do more with it. Okay, so I'll go ahead and save this. So I'll click on Image, and I'll click as Save As. I've already created a new file now here in my Blender file for this, and I've called it Still Renders, so I'll click on this one, and Save Image As, we'll call it Kitchen. Maybe I'll call it Kitchen one, and I'll go ahead and save Images. There we go. So now what I can do is actually drag over my files here, and I could go find that still renders, Kitchen one. And there we go. So there's our image, as well, ready to go. Alright, so I actually just close that and push this back over again. I can close this now we've saved the image. And I could go ahead now and compose another scene. So I'll just move the came around now, and I think what I'll do next is I'll do a full sort of nice side image of the house. Do I want to let's have a look at focal length? Maybe 35 mil. And we just need to take a minute to compose this as we want. So I want some of the swimming pool. And I'd like the kitchen and I'd like some of this balcony and the scene. I'd like some of these trees. And, of course, I'd like some of this table in the foreground. So I think I'm pleased with that. Maybe just pull it over a little bit more until I can just see the corner of the house like that. But then I don't really want this wall here in the foreground. I don't think that's gonna make a lot of sense. So I'll pull it up a little bit maybe to Au there. I think I'm happy with that. I think that should work just fine. So what I'll do is I'll do another test render on this. So the samples I'll bring back down now to maybe very low, maybe 100. And here in the output, I will bring this back down again to 12 80 by 720. Click into it, and there we go. Now that we've done that, I'll go ahead and hit F 12 and do another render. And I'll go ahead and pause again for a minute, so we're not just watching this render together. Okay, I'm back again. And because I did such a low resolution, low sample image, it actually only took 48 seconds. And I can now decide if I'm happy with this, the way I've composed this picture. And I think I am a little bit of the table and the swimming pool and the trees and the sky, and the kitchen's looking great. It's a real center point of the image. And we still have a little bit of detail upstairs and some texturing on this wall, which will only improve as we do a high res version. I think I'm happy with that. If I zoom in, you can see that it's getting really pixelated again, but that's a curse because it's a low res image. Okay, so I'll go ahead and close this. I'll go ahead and change things around a bit now. So for a start, I'll make this. Shall I do four K or do two K? I think I'll do two K, so I'll do 2048. By 1080, and click enter on that. And I'll go back over to render settings, and I'll go ahead and increase the samples now to the 500 MAC. There we go, bring that down. And that's it. And so with everything shown like that, the first thing I'll do is I'll do a save, so I'll press Controls. And now I'll go ahead and do a render on that. Again, that's probably going to take a few minutes. So with that done, I think I'll go ahead and say that's the end of this lecture. So between this lecture and the next lecture, I'll go ahead and do some more renders just following the same process that we've done during this lecture. So take the time to have a look at your first render, see if there's anything in your scene that you'd like to change. Do a test render, and then if you're happy with everything, then go ahead and do your finished render. And I'll see you in the next lecture when we've got a nice set of renders ready to go. Okay, thanks very much. I'll see you in the next one. Bye bye, Fan. 86. Lecture 83 Animation Part 1: Hello, and welcome now to Lecture 83. And in this lecture, let's have a go at doing our animation renders. Let's start doing that. It is going to take a few lectures to do this. And this part of the course is completely optional. Rendering for animation is very time consuming, and it is quite a burden on your PC. Your GPU is going to be working very hard for quite a while to do this. I would say if we can put together a 22nd animation for the average PC, you're probably looking at around 10 hours of rendering. Your computer running constantly rendering for about 10 hours. You don't have to sit there and watch it do it, but it will be running for about 10 hours to do this at a guesstimate on the average GPU. So yeah, it's up to you whether you follow the animation portion of this course or not. If not, then focus on your still renders and do the best you can and sort of knock out some really nice ones. But for those who want to do the animations, let's crack on. So I think the first thing I want to do, actually, before we do that, let's just share the still. So I'll just double click on my stills file. And I'm just going to open those up. So I did this as a still. So this is the master bedroom. And it'll be interesting to see what you guys have done too, and I like this one, even though it doesn't do much I don't show much of the house. I think I sell the house because of this magnificent view, so this is a nice one to me. I think this is my favorite. I think this one pops. I love our polished concrete. And this bedroom looks really nice. So I'm pleased with this one, the way this one looks, and our HDRI looks good, and our trees just add to the realism. This one pops. This one, I think we did this together. I did this one as well, just a front on view of the house. And this is another nice one. I like this one. I like the angle that I have showing the pool, showing the lounge, and then showing this perspective of the house. I like this. Okay, so I'll go ahead and close that. And yeah, let's start rendering. So the first thing I need to do or the first thing I do out of habit is I'll go ahead and delete my camera that I've used for my still renders. It's just a habit. I find it best practice because that means I can default my camera. So I actually I'll just click on this camera, then I'll right click and I'll go ahead and delete. And there we go. That camera's gone now. The next thing I'm going to do is I need to bring in what Blender calls the timeline. So do that. I'm going to come to the bottom corner here until I see the plus sign. Once I get there, I'm going to left click and drag up like this. And what I've done is created another window in Blender, and I'll take it to about there like that. Then I'll click on this one here, and I'll come on over to timeline and click on this. Now I've got Blenders timeline in my user interface. So this here, like I said, this is the timeline, repeating myself now. So right now, I have here 250 frames. So each frame represents an individual still render. So that means right now 0-250 means I'm going to do 250 still renders that we'll convert into an animation. So let's do some tweaking on this. So I think the first thing we'll do is let's have a look at our samples. We're not going to produce the same quality of image that we did with our still animations. We're going to bring down the quality because we need to strike a balance between it looking good and taking forever to render. You know, there's a limit to how long we can render this, otherwise, there's going to be smoke coming out of our computers. So I'll go ahead and click on this, and I'll turn this to 250, 250 samples per single render. We'll come down here to performance and just make sure this is really important. The final render has persistent data turned on. After we've done that, we'll go to output. And let's go ahead and bring the resolution down. We're not running at four K resolution. Let's run at two K resolution. So I'll delete this, and I'll run this I'll type in 2048 and type Enter, and I'll do the same here, and this one is 1080. Whoops. 1080 and Enter. So there's our resolution. We're going to run 24 frames per second, which is pretty much the standard. Even within the film industry, 24 is the kind of default. If you drop this down much, your animations will start to look a little bit clicky. You will be jumping from image to image, and you don't want that. You don't want it looking a little bit jerky. You want it looking smooth. So keep it at around 24 frames per second. So at 24 frames per second and having 250 frames, I did the math on this, and that's around 10 seconds of animation. And now, assuming that that's going to take around 2 minutes to do each rendering, that's 500 minutes it's going to take to do that. So I can't live with 200 500 minutes. It's too long. So I'm going to half this. I'm going to make this 120, which is about 5 seconds of animation. And that's not the total. That's going to be the first clip within around three that we'll edit together with some music to look good. We've got 120 frames, and we have the resolution that we want. So now we need to tell Blender where to save this file. So I'm going to go ahead and compress this a little bit so that I can actually move this around because I need to bring in another folder. So I'll bring in another screen. Normally, I would work two screens, but obviously we have the restrictions of recording, so I'll just put this like this. And then I'll go ahead and bring my file in here like this and just compress this a bit more. There we go, maybe compress this a bit and hopefully we can make this all work. There we go. So I'll just click back on this. And this is this is my project file for this project. So I've got quite a lot of the same files that you have. I've got a few more as well, because I'm recording, you know, a video, so I've got a few more, but, you know, we both have textures. We both have the asset back. You probably have a Blender file. And you also have your still renders, yeah, your assets back. Am I repeating myself a little bit. Sorry. Okay, so the next thing to do is actually create a new file, so I'll click on you and folder, and I'll name this what shall we name this? I'll call this pre. So I'll call this pre anime. And there we go. That's good. Pre animation. I'll click on this now, and this, of course, is now we can create another subfolder. So I'll click on this folder, and I'll call this. I'll just simply call this one, I think. One and enter, and there we go. Actually, I could do the same again. I'll click New again folder, and I'll call this two. I'll do the same again. And I'll call this three. I may do more. I'll just see how it goes, and I'll just see how it goes. Maybe I'll do four or five, but we'll just see how this goes. It's up to you as well, how many of these sets of renders you do. Remember, each one of these files is going to represent 120 renders. So there's gonna be 120 renders in each of these files. So there's a lot of time here. Okay, so now that we've done that, let's go ahead over back at a Blender. And in output here, click on the file, and let's go back now and find it. So I'll click on the storage where I've got this, click on this one. Whoops. No, this one here. And this is the same folder. So I'm now looking for my pre anime. I'll click on this and I'll click on one and accept. And I think I'll just call this one and accept that as well. There we go. So I'll click on one here now, and of course, it's empty for a minute because there's nothing actually done yet. And the next thing I need to do is actually start positioning my camera. So I'm going to bring the timeline back to zero here like this. And I'm going to go ahead and bring in a camera now. So I'll press Shift A, and I'll click on camera and we'll bring a camera into the scene. I'll go ahead and lift this camera up a little bit like this. And I'll bring this camera now. Maybe, actually, I'll click on Loco go back to Global, and I'll bring this camera back in the Yaxis. Whoops. If I can find my gizmo, here it is, and I'll take this back like this. Get the camera out in the open. There we go. I'll press seven, so I get the orthographic view from the top, and I need to position my camera. So I'll just bring it forward a bit now and maybe bring it over like this. Okay, I'm gonna press zero, so I see through my camera. And I'm actually going to go over to my camera settings now. And the focal ng for some reason is just crazy. So I'm going to go ahead and type in there 45 and click Enter, and there we go. That's better. Okay, so the next thing I'm going to do is make sure that within the view that these two are locked, and then I'm going to go ahead and set my first frame. And I'm thinking, I'm going to take a minute to do this. I'll just slide this out of the way a little bit, compress this. And where shall the first frame be? Maybe I'll bring my camera focal length down to maybe 40 and bring this in again now. And maybe I'm happy with that. Once I'm happy with the camera position and the timeline is set on zero, I'm going to press I. And that will set a series of key stops on the zero frame. The next thing I'm gonna do is go ahead and move my timeline over to my 120th frame. There we go. Now that I've done that, I'll press seven so I can see this from above. And I'll grab my camera and I'll bring this over like this. To, I'm going to say there, but I'm also going to bring it forward as well to about there, and I'll rotate it a little bit around there. Now that I've done that, I'll press zero to see through my camera again. And I think I'm happy with that. So I'm going to go ahead and press I to install another set of keyframes. Now that I've done that, I'll had this little icon here to bring it back to the start, and I'll just press space bar to play. I'll see what that looks. As you can see now, Blender has actually configured a nice little animation for us. It's showing us how that camera is going to move during that 5 seconds. Am I happy with that? Is it running too fast? I don't think it is. I think I am happy with that. I think, though, I prefer the camera to just stay over the swimming pool a little bit. It sort of loses. Am I happy with that? I just don't see enough of the swimming pool. I'm not happy about that. No, I'm gonna click I'm just gonna hit the space bar again to stop. And I think I'm going to do is go ahead and grab these keyframes here, and I'll press Delete, and there we go. So I'll go ahead and move the timeline again over to 120. I'll press seven to see this from above again, and I'll grab the camera again, and I'll just bring this over a little bit like this and maybe in a little bit. And maybe down a little bit, maybe. I don't know. Over a little bit more. And I'll press zero to see through the camera. And that's not bad, actually. I think I quite like that. So what I'm gonna do now is with that done, I'm gonna press I and install another set of keyframes. I'll hit the replay button, and I'll go ahead and hit the space bar to play this. And I'm still not seeing enough swimming pool. I just love the idea of having a swimming pool, and I'm not seeing it. So I think I want to do something with that. So I'll hit the pause button again by hitting the space bar. And I'll grab these key stops, and I'll go ahead and press Delete again. And I'll get this right in a minute. Okay, I'll grab the timeline, bring this back over to 120. And remember, this is going to run a long time. So get it right. Take that extra couple of minutes to set it up exactly as you want it. Opera seven again. And I'll bring this camera over like this. And I just bring it over the water a little bit like this. And I'll bring this camera down just so we see some more of the water, I think. And I will rotate that on the z, so I'll press R and Z. Just bring that camera over a little bit like this. With that done, I'll press I to install my key stops. I'll go back to the beginning on this. I'll press zero so I can see through the camera and I'll press Space Bromo play. And now I can see the water just a little bit admittibly, but I can see it. And I'm happy with the rate that that's going. Is it going a little far? Does it go too far around the other side of the house? No, I don't think so. I think I'm happy with that. It shows the boundaries of the house quite nicely. I think I'm liking. Okay, so that's done until I hit the space bar, and I'll take that back to the start. And I'm just going to check everything over before I go ahead and play this before I commence the render. So we have the reference image off, so that's good. Make sure it's not seen in the renders. And this is the camera setting. Let's look at output. We're running two K, as we know, we're running 120 frames, so that's all good. We are putting it where we want that, and we'll just check that we're running cycles in the render engine. We're using our GPUa compute, and we're running 250 samples, and that the persistent data is turned on. Okay, so we're all good. So to render this now and animate render, I'm going to go ahead and press Control F 12. And there we go. It's off. It's running. So we can see at the bottom here the progress bar to show how far it's going, how fast it's going. So what I'm going to do is go ahead and pause the video for a moment until it's nearly finished rendering, and then I'll bring it back in. So I'll see you in just a second. Okay, so, um, back, and we've done our first render, and it took 2 minutes and 33 seconds. And it's just showing here. So what I'll do is I'll go ahead and just maybe just expand this a little bit. And on view, and I'll go for a large icon. So there's our first render, and it's appeared, and it was done in 2 minutes and 33 seconds. And I think this one will be done a lot less. So it's showing that it's going to be done in around what? 1 minute 33 seconds. So the second render is running about around 40 or 50 seconds less. So it's already trimmed 40 or 50 seconds off the second render. So I think I'm happy with that now. I'm gonna go ahead and let these run, and I'll do after this two or three more other animations from different points in the house. And after I've done that, I'll see you in the next lecture. Okay, thanks very much. Bye bye for now. 87. Lecture 84 Animation Part 2: Hello, and welcome now to Lecture 84. And yeah, in this lecture, let's start putting together our animations. And I really like this because this is a really fun part of the project 'cause it feels like a culmination of all our efforts come together right now. The sort of the wow factor the video. So I really love this moment. It's good fun. So let's do this together. So since our last lecture, I've put together a set of renders, a set of animations. And I said I'd do 3-5, and I've got a bit carried away. And I've done seven. And what I'll do is I'll drag in my files here. So this is my file group here, my pre anime or call it what you will. I don't know if pre anime is the right term for it, but that's what I've called it. And I've renamed them instead of one, two, three, four, five, six, seven. I've got them sort of slightly descriptive, so I have a slight idea of what's on each of them. So we did the sweep bedroom. No, we did the sweep across front exterior. And let me see if I can make this a bit bigger. And let's have a look at view and go a large extra large. And so we have this one here, and which goes across to the end one here. And this is what we look like. So that sort of sweeps across. Can my computer handle that? It's asking a bit much. But yeah, sort of sweeps across the front of the property. And that's a really nice view. I like that one. So we got that. And you've got your own versions, of course. So it'll be interesting to see what you've got. But I've got a bathroom one similar, and I've got pan bedroom two, and I've got sweep around sofa, bedroom one. So I have this is my bedroom one first image. And that goes right the way across. This is quite a large file, this one, and this goes across to this one. So it goes from the side of the bed to the outside view. So that's a really nice set of ndas as well. Okay, so that's kind of what I've got. I can show you the rest, but I'm sure we'll find them as we go. So we'll go ahead and pull this out the way again now. We don't need that for a moment. So the next thing we need to do is actually start editing the sequence of renders. So what we need to do for that is to go into Blenders video editor software. So we don't have it up here preset. So if we had a little plus sign and we go to video editing, and we go down here to video editing again and click on that. And now renders sort of setup for video editing. I'll just pull this down slightly to give us slightly more space here, maybe just bring this one over. And there we go. That's cool. So what we have here is our timeline, and this is currently in seconds. I personally rather see this in frames. So I'll click on View here. I'll click on this one, use timecode. And now we're going to see it in frames rather than seconds because it's frames that we've sort of set our renders out in, so we'll continue with that. So at the moment, it's set on 120 frames, which just it's not enough, not nearly enough. So it'll come up here now into output, and here on the frame end, I'll go ahead and take that over, and I'll whack that up to maybe even seven or eight or 900 for now. It doesn't really matter. We can adjust that when we've got all our editing in place, all our animations set out. So I'll scroll the mouse wheel to compress this a little bit and bring this over so I can see this. Maybe that was too much. I'll put that something like that, I think. Once we've done that, I'll bring the timeline back to zero. And the next thing we're going to do is press Shift A. Add Image sequence. And let's go ahead and find our pre anime file or whatever you call it, let's click on it. And let's bring in the first one. So I'll start with the sweep across front Exterior. So I'll make sure that it's in Channel one here, which will bring this video set in here on Channel one. So I'll click Sweep across front Exterior. Add Image, and I'll press A to select all of them and add Image strip. And there we go. It's brought it in for us. Let's have a look. And it's actually brought it in in reverse. But there's an easy trick to sort that out. Make sure that it's actually selected. Come over here to compositing, click on video and click on reverse frames. Now that we've done that, we can actually see that. And we can take that back to zero. And we can go ahead and hit the space bar and play and get an idea of what that's gonna look like. And that's gonna look good. That's gonna look good. I'm liking that. So I'll bring the timeline back to the end there to what looks like 117. And now I'll bring it back ten more frames to 107. Or thereabouts. That looks good to me. Once I've done that, I'll press Shift A. Add the image sequence. We'll go back one. And we've got sweep across front exterior. So I think I will go with pan across kitchen, so I'll select this. I'll double click on it. I'll press A to select all. I'll make sure now that I'm in Channel two, and I'll add Image strip. And that's it. Blenders brought that in exactly where I want it. Overlapping the first one by about ten frames. We cheers about half a second. So that's looking good. But again, it's running in the wrong way round. So with that one selected, I'll go ahead and click on Reverse Frames. I'll go back to the start maybe, and I'll hit the spacebar and see how this is looking. And you can see in the top corner here it's running red, which has mean my computer can't really run fast enough to give us a full speed version of our video, but that's okay. It doesn't really matter. It's looking good. I'm liking what we're getting. Okay, so let's bring in the next one. So I'll bring the timeline over again to the end, which is 12226, so I'll take it to 216. There we go. And I'll press Shift A. Image sequence. We'll put this this time in Channel one, which it's done for us. We'll click back and this time sweep around sofa, press A and add Image strip. It's probably in reverse. It is. So we'll hit reverse frames, making sure this is selected. And there we go. And let's see what that looks like. And it's looking good. I like the reflection on that table. That's looking really nice. And I like this. This little bit of artwork on the wall just makes it pop. And I like the rug on the floor, too. After all, the purpose of this whole project is to make something that makes you want to live there, that you wish you lived there. And I think it's doing it, and I really hope you're pleased with the results that you're getting, that you're learning from this, and you're proud of the results that you're getting. Anyway, sorry, I'm digressing. I'm digressing from the course. Alright, so we're on 335. Let's take that back to 325. There we go, 326 is close enough. And we'll press shift, eh? Add image sequence. And we'll go pan to stairs this time, and we'll press A to select and add Image strip. And of course, it's in reverse, so we'll hit reverse frame. And there we go. So that's got that one in now, as well. So we go from sofa to S starting to lead up the stairs. To give the suggestion now that we're going up to the first floor. So I'll go again and now and put that on the end 365, and I'll take that back to 357, something like that. Cause that's quite a small sequence. So I'll reduce our overlap a little bit. Now that I've got it set where I want it the timeline, I'll press Shift A, Addimage sequence. Make sure we're in channel one. And we'll go Pan two pound bedroom two. I'll go ahead and select that. I'll press eight to select all of them, and add Image to strip. And this was quite a big one, and it's running in reverse, sort of hit reverse frame. And I think I'll take it back to the beginning now and see how we're looking. I really like the kitchen. I like the sort of just the stuff back here, making it feel like a real home, a few little quirks. And, yeah, I like this one. Leading up the stairs is good. Telling the story. And now we have the bedroom, as well. And that's looking nice. I may actually I may actually, this one, I may turn off the reverse on this one, and maybe run this from the hot tub to the bedroom. Maybe that's nicer. Yes, I think I'll do that with that one. That makes more sense to me. Okay, so again, that's running a last frame is 508. So I'll run that to 498. And with the timeline in the right position, I'll press Shift A. I'll add Image strip. And this time, I want Sue bedroom one, two outside. So I'll double click on this and I'll press A to select O. Make sure we're in channel two, which we are, and add Image strip, and there we go. So for this one, I do want to make sure that I'm reverse frame for this one, and let's have a look at this now. That's looking good. It's a nice light room. Feels big, and we lead to a beautiful vista outside. That's looking great. So let's actually just bring this over a little bit. And let's bring the timeline to the back here like this now. So 649 appears to be our last. So 639. There we go. And I'll press Shift A, Add Image sequence. And this time, it's bathroom, so I'll double click on this, and I'll press A, and I'll add Image strip. And there we go. Let's have a look at our bathroom. And, I mean, I don't mind with this, really. That looks quite nice going that way, but I think I'd prefer to reverse the frames on that one as well. And let's see what this looks like. And that's looking good. I think I'm actually going to go ahead and try slowing down our frame rate. So I said in the last lecture, 24 frames per second is the ideal rate, and it is. But I think I'll just try customizing it. So I'll go ahead and click on customize, and then I'll bring the 24 down to maybe 20. I'll take this back to the beginning. And see how this looks. Hopefully, it's slowed down our running speed a little bit, which I think it has, but I don't want it to appear looking jerky or jumpy. Everything still needs to look quite fluid. I think I can get away with 20 frames per second. I don't see that that's looking particularly jerky. Okay, so I think I'm pleased with that. And in the next lecture, what we'll do is, we'll refine this a little bit more. What we're going to do we add some fade ins and fade outs at the end of our video, and we're going to actually add some mergers to these so that they blend into each other so that we don't get the snaps between video clips, but we actually get a nice merger. After we've done that, we'll add a little sound track to this. And at that stage, that's the end of our project complete. Alright, so thanks very much. And I'll see you in the next lecture. Bye bye for now. 88. Lecture 85 Animation Part 3: Hello, and welcome now to Lecture 85. And yeah, I mean, this is the penultimate video, the penultimate lecture. And in this lecture, let's finish off our video editing, and then let's render out our final video super exciting. And then in the next lecture, let's let's see what's happened. Let's see what it looks like. So yeah, let's finish this off. We're nearly done. There's not that much left to do, so this should be quite an easy and quite a short lecture. It starts with it starts with a confession. What I actually do is I forgot to leave Channel one clear, and I'll show you in a while why we needed to do that. So we need to sort of move all of these up one. So what I'll do is I'll just maybe select maybe just two of them, and I'll just push them up. So I'll hold a left mouse button and just bring those up like this. And I'll do the same with this one. I'll just bring this one up as well, and just bring this one up. Try not to move them sideways. There we go. And if you do, it's alright, just sort of reposition them again, and bring this one over and just center it again and do the same here and do the same here. Whoops. And just reposition that again. And there we go. Okay, so where do we go next? Let's have a quick look at our video sequence. And I was looking at this between lectures. I'm happy with this, and I'm happy with this. But I think I want to bring this one as the final clip because to me, leading towards that view and then holding that view is cool. I like that. It's the final kind of clip. So what I think I'm going to do is just grab this one and just bring it over. Grab the bathroom and go ahead and take that up onto Channel three and then kind of reposition that again. Bring this one down onto Channel two and then reposition that one again. And that's kind of what I want now. So I'll finish off with this one. And then looking at the bathroom, I don't think I want this bit leading in here because also I just clip that wall, which is nice. And it doesn't seem like it's needed anyway. So I'll bring my timeline to about there. You probably don't have to do this because at this stage, you've very much got your own videos. So this is just me showing you my kind of approach. So now I've got my timeline, where I want my bathroom to start. I'll grab this side here and I'll go ahead and pull that over. To about there like that. So I have shortened my bathroom sequence, but that's okay. And I'll go ahead and bring this, and I'll just pull it over. And yes, it at this stage, kind of guess the overlap, and then bring this one over as well. Now, the last thing I want to do is I want this to dwell at this point for a while, when we fade the video clip out. So I'll just come to the end of here and hover over the end, left click and just go ahead and extend this like this. And I'll just bring that for maybe around 15, 20 stops. 15, 20 frames, there we go. And now at the end now, it will hold just there looking at the view. There we go. So with that, I'm kind of happy now, I think, with my video clips and the way they're formatted and the way they look. So we can see here now where we can kind of call the last frame, and it's around the 770 mark. So I'll come up here to frame range, and I'll go ahead and bring this down now. To what are we looking at about 780, by the look of it? I'll leave it there. At about 780 is now the last frame. So the next thing we need to do is kind of I mean, it's all there and it's how I want it to be, but we need to polish this diamond a bit. So what I'll do is I'll go ahead and select this first one here, and I'll right click and I'll add a fade, and I'll add a fade in. And now we've got a progressive fade in on this first little video. So we can click this little drop down box like this, and we can increase or decrease the amount of time. And in this case, I think I'll leave that at about the second. I think I'm happy with that at the second. So if we bring the timeline over now, we can have a look at that fade in. And that's looking good. But there's a problem because at the start of the fading, we're getting this checkered screen. So that's not really ideal. So we need to bring in a base color so that when it does its fade in, we have a base color to start with, so we can do that. So if I go ahead and press Shift A and click on Color and we're gonna bring this in on Channel one, which Blender is done for us. And we want this to end. Well, where should we just bring this over like this, maybe? And I'll just bring the timeline up the way. And I'll just drag this over like this. And now we can have a look and see what that looks like. So we start off with a black screen, and now we go ahead and fade in. And that's kind of what I want. Okay, so now we've done that. Let's do the same now at the opposite end. Let's do a fade out. So I can select this one here like this, and I can right click and I'll go to fade, and I'll click Fade Out. Now, with a fade out, I'll just hit the drop down again, and I'm going to increase my fade out to, I think, around 2.5 to 3 seconds. And we can see that there now, and I'm happy with that. So I'll bring this to the end like this and have a look at this fade out and just see what that looks like. So we've gone to a still image at this stage, and then we fade out, and that's really nice. Let's grab the color. And let's press Shift D and bring a spare of that color over now to this opposite side like this, and then just drop that there like that. And then go ahead and expand this color so that it covers that fade out. And then let's have a look at that. And there we go. That fades out nicely. Quite moody. I like that. I'm happy with that. So the next thing we need to do is add a transition between these to stop sort of the snap change in the images. I mean, that's quite snappy, so we can do something with that. So if I select the first image or the first video clip, the kind of lead in video clip, if I select that first and I'll hold shift and select this one like this. With the two selected, I can right click and I can add transition, and I'll add a cross transition. And with that done now, I can go ahead and hit Play again, and we can see that that's softened the transition between the two video clips. And that looks much, much better. So let's go ahead and do that with the rest now. So I'll select this one, hold shift, and select this one, right click, add transition and across transition. This one now, hold shift, and this one, right click, transition and cross, this one to this one. And now, this one to this one. And then the last one, this one to this one, right click Add transition and cross, and there we go. So now we have transitions in place between all our videos. Let's have a quick look at that, see how that looks. And that's much more fine now. That's looking a lot, nice, so. Yeah, that's cool. Okay, so let's hit the pause button again. And the next thing I want to do is actually bring in an audio strip for this to music. And I'm going to use the music that I've used for the intro for absolutely every lecture. So you're more than familiar with it. But I can't provide a soundtrack for you. I can't provide you with music. It's I just copyright laws would just prevent that. And I wouldn't want to, anyway, because, quite frankly, music is a deeply personal thing, isn't it? You know, it's very subjective to what you like. So I will leave that completely up to you to choose a music. That you like. And there's lots of different music out there on the web you can choose. And I'll just show you a site that I prefer that I use quite a lot. And it's this one. It's free sound. And on free sound, there's just thousands and thousands of different sounds and music strips that you can choose maybe and then download and then apply to your video. Okay, so I'm going to bring in a music now. So what I'm going to do is I'm going to press Shift A, and I'm going to go for sound, and I'm going to find my music vd, which I've got just here, and it's this one here, and I'll add sound strip, and there we go. I'll bring that over and start that right there. And my music is a lot bigger than my video clip, so I'll just zoom out a little bit and grab the end and pull that in like this. And then I'll scroll a mousewheel again just expand on this. So again, I could do a fade on this, so I'll right click and I'll add fade and I'll fade out on this. And there we go. And again, the fade is about 2.9 seconds. Maybe even I'll bring that a bit longer again. Two, maybe three, maybe 4 seconds for the fade out on the music. And I'll also add a fade in on the music. So I'll write like, again, fade and fade in, and I'll reduce this. I don't want this much. I just want maybe a second on the start just to sort of soften the intro on the music. And there we go, so let's have a look at this, though. And there, it's looking good. So I'll just bring the music to the end. And you listen to the fade out, make sure that's good. And, yeah, that's absolutely perfect. That's just what I want. So with that done? That's our video editing all finished. So I think the only thing I want to do now is go ahead and lock these case I accidentally move anything. So those are all locked now, so we can't actually touch those. So the next thing to do is actually format how we actually save this. So the first thing we need to do is choose a file. So I'll hit the little file here in output. I've created this VIDS file for this, so I'll select this except. And I think I'm just going to call this VID one. And go ahead and accept. And there we go. So now we have that. We have a place saved. The next thing I need to do is look at what format I'm going to save this in. So I'll hit this little drop down here, and I'll save this as Feb MPEG. There we go. The next thing I need to do is look at encoding. So I'll click just here as well. And where it says Matroska, I'll hit the drop down on that, and I'll save as an MPEG four. I'll click on that. If you've added music or any sound to your video, come down here to audio and where it currently says no audio. Again, if you've not added any audio, then you can leave it with no audio. But I have, so I'll click on AAC, and there we go. So with that done, no, that's everything formatted and ready to go, so we can go ahead and render out this video. So to do that, I'll hold down Control, and I'll press F 12, and there we go. So it's rendering and it does appear quite jerky, but don't panic. That's just your computer just formatting this video. It's not running at the correct speed that you'll be doing it at. So I'll just let this run. Since this is the last one, I won't pause, I'll just let it go. And it's looking good. I'm really pleased with this. This is a place that I look at and I would like to live. Definitely, I would like to live here. So if I want to live there, then as a video, it's definitely done its job. Alright, so this is the last one panning around to this beautiful view. And there we go. That's it. Okay, so that's the video finished, in the next lecture. Let's check that out. Let's see what a final video looks like. Alright, thanks very much. And I'll see you in the final lecture. Bye bye for now. 89. Lecture 86 Well done: Well, we made it. That's it. That's the end of the course. And I just want to say a huge, well done to absolutely everybody for following along. And hopefully you've got some you've developed some new skills, and you've taken a lot from this course. And I cannot wait to see what you've done with your versions of this house. And please do shadow. I love to see what people do with this course. Then hopefully you've developed some whole set of skills that you can now take forward and apply to your own projects. And hopefully, I've introduced you to Blender. It's a really amazing piece of software, and it's got infinite possibilities of what you can do with it. It's so powerful. And there's an amazing group of people out there that's just creating fantastic things with Blender. And hopefully you'll be one of them. Um, so I'm really, really proud of you. So please, if you've enjoyed the course, please leave a review, and please check out some of my other videos if you want to some of my other courses. They're out there on Eudo, and I'll be adding more courses in the future. But this isn't really about me. This is about you. So I just want to say that I'm immensely proud of you all for doing this. And I just want to thank you for following along. So I think I'll end this course, by showing you my finished video, and who knows? Maybe I'll see the next one. Thanks so much. Thanks for following along, and hopefully I'll see you soon. Bye bye, now. 90. Lecture 87 Trouble Shooting: Hello, and welcome to this extra little lecture, all to do with the common problems that you might find whilst you're building this project, common issues that you might find in Blender. But these are the most common problems that I find whilst using Blender, so maybe I can just sort of head you off at the pass on these and just help you along with them. So one of the things that I find with Blender is as you start panning around, particularly in full rendered mode, but also in modeling mode, sometimes you find that as you zoom in an object, it gets slower and slower and harder to harder to zoom in, particularly in rendered mode. So the two things that you can do to solve this is you can press Shift B that will this little cross hair up, and you can just draw a rectangle around the area that you want to zoom in on. Blender will refocus to that object, and it will just become easier to move around it. The other thing that you can use for the same reason is the decimal point on the numpad. So select an object and just hit the decimal point with the numpad, and Blender will zoom in automatically to that object. That's a really quick way of sort of re centering on different objects in Blender. Okay, so that's sort of zooming in. That's covered that. One of the easier things we're going to look at. The next problem you might find is Blender crashing. In fact, it's more than likely. At some stage, during the process of building this project, Blender will crash on you at least once. And if you don't, you're extremely lucky, particularly as the project gets more and more complex, and you're starting to do work a lot more in rendered mode or rendering, as well. Then there's times when Blender does crash. So you can recover that file, so reopen Blender, of course, in the same project. Come up here to file. Click on this and click on Recover, and you can go ahead and recover last session. That should open up Blender most at the last save within that project, within the last auto save in that project. Okay, so the other thing I want to talk about is keeping file sizes as small as possible. So what you can do again, do this quite frequently is come up to file and come down to clean up and purge unused data. Click on this. And I don't have much. I have two local data blocks and nothing else, really. But I'll go ahead and delete unused data. And that will keep my file sizes as low as possible. The other thing to do is to compress our saves. So if I go ahead and go to file now, and I'll go to save as to create a new save, and I'll call this six, so I'll hit the plus sign. Come up here to settings and make sure that compress is highlighted. And that will reduce your file size significantly and go ahead and save as. I won't do it. I don't need to save, to be honest, but that's the way to compress the file to reduce the file size for Blender. Okay, so what else do we want you to cover? I think the other thing I want to cover is beveling. So what I'm going to do is just compress this scene for a moment and go ahead and open up a kind of standard Blender scene. So brand new, not being used, empty screen, just got the camera and the light. And I'll bring in a cube. I'll mess this cube around, so I'll scale it in the X, and I'll scale it in the z, and I'll scale it in the Y, and there we go. So I've done some scaling on this, and now I want to bevel it. So I'll go ahead and tap into Edit mode. And I'll press A, and I'll press Shift B, and I'll go ahead and scale this object. Now, I was hoping for a nice bevel, a nice equal bevel, it's not done it at all. I've just got some weird beveling going on, which is not at all what I wanted. So I'll press Control Z and undo that bevel. So why isn't the bevel working? Why am I not getting equal bevels on all faces? It's because I forgot to rescale the object. So if I tap out of Edit mode, look at the scale and the scales all out. So I'll press Control A, and I'll apply rotation and scale. Now, if I tap back into diode, I press A, I'll press Control B, and I can go ahead and bevel now, and it bevels equally. There we go. That's the common problem though I get asked about beveling in Blender. Okay, so there's one last thing that I'd like to cover, and that is Ram. So I'll go ahead and close this. I don't want Disney. And go back to our main project. And if we look here at the bottom, incidentally, if you don't have this stuff here on the bottom, this information about your scene, you can right click in the bottom here and you can turn on and turn off any of these statistics. The one I'm looking for here is VRM, video random access memory. Now, Blender will tell you how much you have, and it's all dependent on the specification of your GPU. So my GPU has 24 gigabytes of VRAM. And this scene is currently running 18.9 gigabytes of VRAM, which is quite a lot, really. So what can I do to reduce the VRAM into my scene for the average GPU? But, yes, obviously, different computers are going to have different VRAM. But if you turn that on within Blender at the bottom, you can find out how much VRAM you have available to you. The other thing to do is use your task manager and click onto performance on that, and that'll show you how much VRAM and the specifications of your GPU. So how can we reduce the VRAM in the scene? Maybe that's just too much for your computer to handle. So how can we reduce that to make this scene obtainable to the average PC? Okay, so the simplest and quickest way to do this, or, first of all, to reduce it to a manageable level is to reduce the texture quality inside the viewport. Not within the final render. This won't affect the quality of your final render just within the viewport. So we can click on go over here to the render Properties tab. Come to here to simplify and click on this. This might take a second to format. And straightaway, by doing that, we're actually brought this scene down to actually, it's not moved. It's not moved. Typical. Absolutely typical. But if I click on the properties on this, and I go to texture limits, and I click on this. And I'm going to bring this down from no limits to 256. This is going to take a second or two to format now because it's going to have to re render the scene and reapply the textures at a simpler level. So just bear with my computer for a second. And there we go. We can visibly see, particularly on the wall here and the paving, the texture quality has dropped. And our VRAM is now down to 15. So we reduced the VRAM by about 3 gigabytes just by doing that. We could reduce the texture limits again, maybe to 128, if you want to reduce that even further. And by doing that now, we've reduced the VRAM down to 14.9. We could reduce the volume resolution. Maybe half that and also the chard particles. Bring that down, as well. And let's see what that's done for us. So now we're down to around about 13.5 gigabytes of V RAM. Actually, down to ten. So by doing that now, obviously, this has reduced the quality within our viewport, but it won't have affected the quality of our final render. That'll be just the same. So what else can we do to reduce the VRAM in our scene? We could go back to shading for a moment. And we could go click on this one where it says Object, go back to World and have a look at our HDRI. So my HDRI currently has a 16 K HDRI, which is a very big file. So I could go ahead and reduce that. So I've downloaded from Poly haven. I've actually downloaded, sorry, from HDRI Haven. I've downloaded some lower file sizes for our HDRIs. So this is the same HDRI, but I'll go from 16 K down to four K. I've even got a one k here, but I'll go to four K and go ahead and add that image instead of the 16 K. So that's definitely going to help. So we'll go back to modeling again now. And by doing that now, by reducing our HDRI file size, we've brought the VRAM down to about 13.8. So we've done a lot of good things now to reduce our VRAM size. But there's more we can do if we want to. So what we could do is for actually rendering out our scene, we don't necessarily need to see the furniture on the first floor. We could go ahead and hide that if we wanted to. So we could go back to shading for a moment, actually. And we go ahead to full rendered mode, and we'll go from world to object. And I'll go ahead and grab maybe the glass here. So I'll tap into Edmode and select the glass. And what I'm going to do is add some darkness to the glass to kind of tint the glass, so it's harder to see the objects inside. So I'll just go ahead and drag this bar down into the darker colors like this. Maybe something like that. And, yeah, that's actually done exactly what I want. So that's actually quite a nice feature in itself, anyway. I'll tap out of it mode with that, and you can see what that's done. So now it's kind of much harder to see the interior of the upstairs. So now that I've done that, what else can we do to reduce the VRAM? So what I could think about now is, if I'm rendering the ground floor scenes for videos, I need to see the kitchens and I need to see everything on the ground floor. But I don't need to see everything on the top floor. I don't need to see the beds or any of that stuff, really. So what I could do is go ahead and hide the bedroom one furniture. And if I hit the little camera here, it'll hide it from the rendering, as well. And by doing that now, we've reduced the V RAM to 12.9. So we could do the same as well with bedroom two. We don't need to see that. So we've reduced the VRAM now to about 12, maybe, maybe less. And the bathroom, we can hide that, too. Which has brought the V RAM down to about 12 again. And we could actually look at doing some of the stuff on the veranda, so we could sort of open the veranda file up and we could hide the floors, and we could hide the table set, and we could hide the door. There we go. So we've reduced the V Am down now substantially from about 18 or 19 down to about 12.6. So there is other things we could do as well if we wanted to. We could maybe thin the trees out, reduce the amount of trees that we haven't seen because trees are holding a lot of information. So if I go to the outside file, open trees up, maybe I'll just hide the pine trees from the scene. And that's reduced the V Am down to an even 12, and maybe I'll reduce or take these trees here out of the scene as well. And now we've reduced the V RAM down to 11. So there we go. So I've shown you how to control the V RAM in your scene to bring that down. I've shown you how to reduce your file sizes and how to recover a file if Blender crashes. We've shown you how to sort of zoom in on objects when Blender doesn't seem to want to, and shown you how to get over beveling problems when you're working in modeling mode. Okay, so I hope that all helps. And I think in the future, I will expand on this. I think doing a sort of a troubleshooting lecture is quite a good. Okay, thanks very much. And I'll see you next time. Bye bye, Fine. 91. Promo Vid : Hello, my name is Eddie Harding, and I'm a professional three D modeler and three D artist, working in the Sup jot industry now for 11 years. In this course, I will show you how to create your own architectural visualizations. I'm going to show you how to model it and texture it and set up your own lighting and make your own amazing renders and animations. And I'm going to show you how to do all of this using the super powerful and completely free software of Blender. I want to show you that making your own renders really isn't that difficult. I'm going to teach you how to simplify the process and show you what you need to know to get started and not what you don't so that you can quickly learn how to create your own amazing projects to impress potential clients in the future. In the first few lectures, I'm going to show you the basics of Blender. We're going to take things nice and slow so you never feel rushed or left behind. And we'll learn how to move and scale, and then we'll finish off by creating our own basic looking house. Then we will input our reference images that are included in the course and learn how to scale them and move them into position, lock them, and configure them so that they can be seen from one side and that they're semi translucent. After that, we'll start building our walls, using our reference images guides to make sure everything's done to the right size and the right scale. I'm going to show you how to use some of the more basic functions such as the loop tool and the extrude tool and the bridging tool. I'm going to show you how to model walls as efficiently as possible to save you time going forward and to keep the modeling measures simple as we can. Then we will start modeling our sofa. It is included in the assets pack, which is part of the course. So if you want to skip it, you can, but it is a great chance to learn to make upholster surfaces. We'll start by importing a person into our scene so that we can make sure that we build our sofa to the correct proportions. We will use the sculpting tool to make folds and wrinkles and bumps in our surfaces and learn how to apply gravity to an object to make it fall onto other surfaces to make super realistic pillows and cushions. Finally, I'll show you the most efficient way to make piping on seams or fabrics to further make your cushions and upholstery look even better. Next, we will learn how to apply textures, using the free texture maps included with the course. I'll show you how to UV map. I'll show you how to scale textures and apply extra details to the edges to add to the realism. Then I will show you how to light your scene and organize your lights to make them as easy to adjust as possible. After that, I will show you how to import assets into your scenes such as trees and furniture and fittings to make your house look as welcoming and as realistic as possible. So why not join me on this beginner intermediate course? When you finish it, you have all the skills you need to go forward and make your own amazing projects. Thanks for watching, and who knows? Maybe I'll see you in lecture one. Bye bye, Feno.