Learn Blender 3D - Create New Assets For Your Projects While Learning Blender

1. Welcome To The Class: Hi, guys. My name is Joe Bailey, and I will be your instructor for the Blender Asset creation course. So the first thing we're gonna discuss here is what you're going to need four discourse. Well, the first thing you're gonna need obviously is a PC or laptop that can use the free D modeling software blender. Therefore, in terms of operating systems, you can have even Windows, UNIX or Mac. Any of the free will do absolutely fine because blend up works near identically on all free operating systems. In addition to that, you will require, or at least its would be a really good idea to get a hold off a free button mouse. Because if you have a laptop and you are going to be following this course on a laptop, then using the track pad on that laptop is not going to be adds responsive as using a free button mouse. In addition to that, you should also try and have a keyboard that possesses a number part. The number part is a very good tall for moving different perspectives in the free de Vieux port for blend up. Because we're looking at Freedy modeling, you're looking at a program in which you edit Freedy objects in a Freedy space on a two dimensional screen. Therefore, one of the more common blender techniques is to go into to the views on. This is often done with the number part. Now, with regards to both the free button mouse on also the number parts. Both of these have workarounds. However, it is still recommended that you have a number part and that you have a free gone mouth. Just make life easier while we were using blender so up. Next, How is the course structured? Well, the course is designed as a guide to using blend up in almost any way possible for the purpose off creating assets on. We do this not just by showing you a certain tools, such as the ability to create devils around edges of a cube, but rather to actually create assets in every lecture. So all of the letters in this course beyond this one will be dedicated to creating assets that you can use for video games and animations that has two advantages. The first advantage is that you body and at that lecture will have a free T model that you can use for any purpose. And the 2nd 1 is that you would have had the opportunity to actually learn not only how to create that object, but also how the tools used for that objects were used on the ability to apply it. Those tools to other creations that you might want to look at in the future, whether it be on your own or further down the line in the blender asset creation course. So you know what you need. You know how the course is structured for you. So up next, let's get to it. 2. The Class Project: Hi guys. In this video we're going to be talking about the class projects for our asset creates a course. Now, throughout this course you're going to be creating a wide variety of objects. The whole point of this course is to learn 3D modeling by actually creating 3D assets. So this is what I'd like you to do for your class projects. You're going to be effectively creating your own library of 3D models. But it's very important to get feedback on the models that you create so that you know what you can improve upon in the future. Because of this, I want you guys to do the following. Every single time you create your own 3D assets as a part of this course, I want you to, I want you to publish it on the projects page. That way, you'll be able to get some feedback on your latest creations, to publish your projects onto the class. Go to the class itself and then come to projects and resources located here. Left-click and then select the green button labeled as create projects. That will take you to a new page where you will be able to type in a project's title, project description, and also upload an image. This image can either be a screenshots of your current projects, whatever object that may be, or an actual rendered image. Don't forget that you can't render images using blender itself. When you're ready to publish, your work, just click on the Publish button to complete the process. 3. The Blender Interface: In this video, we're going to be taking a look at the blender interface. When you open up blend up 41st time, you will be welcomed with this. So we have our interface in the background, but we also have what is known as a splash screen in the center that appears whenever you open up a new instance of Blender. When you see the splash screen, you will notice the top half is an image. This image represents the current version of Blender that SHE we're using. For example, in this video, I'm using Blender version 2.92. Below that, you will have access to several different templates. These are different methods of setting up the blender interface depending on its purpose. For example, general is used for 3D modeling, sculpting issues. The sculpting. You can also access your most recent files from the splash screen as well. This would typically be the last five dot blend files that you saved in blender. You will be able to open earlier projects using the open option in the bottom corner. And you will also be able to recover previous sessions if you forgot to save them. Finally, you have two external links to the release notes of your current version and the development fund of blender.org. If you want to close the splash screen, simply left-click anywhere away from the splash screen itself. If you want to bring it back, come over to the blender icon in the top corner of your interface. Open up the menu and select splash screen to bring it back. Let's now move on to the interface itself. Blend out uses workspaces to store various sets of tools for different purposes. You can find the different workspaces up here, individual tabs we are currently using the layout workspace. But if we want to change something else, like the modelling workspace, or we have to do is click on the tab. You can see that the interface has changed slightly. We can also go with sculpting, UV Editing, texture painting, and so on. Each of these workspaces is used for a specific purpose. For example, if you want to begin painting three-dimensional texture, it is you want to use the texture paint workspace. The now Let's go back to the layout workspace. Each of these workspaces represents a different layout or a different setup for the Blender interface. However, the general structure remains to sign. Each of these workspaces is constructed from a series of panels, and each panel stores what is known as an editor type. In the layout workspace, for example, we have four panels, each storing a different editor type. The first panel is the 3D view port, where we can create objects for our sins. We can organize those scenes in the outliner panel located here. We can apply additional tools and functions with the help of the properties panel located underneath the outliner and underneath the 3D view port, we have a timeline for playing and previewing our animations when we create them. Each of AML workspaces uses different panels in different forms. We can edit the shape of our panels by manipulating the intersection. The intersection is any line that you see in between two editors. So here we have the intersection between the outliner and the Properties panel. You will see that the mouse cursor will change as we hover over this line. If we click and drag, we can resize the two panels either side of this intersection. We can do the same down here between our 3D view port and our timeline. So this is a good way, or very quickly restructuring your comments layout or your current workspace to suit your needs. If you want to change the editor type being used in a specific panel, there will always be a button in the top corner. So we have our timeline, for example, we have a button here in the header for our timeline itself. If we left-click on this button, it brings us to a series of different editors that we can use. For example, I might want to change the compositor. So I left-click on compositor and it changes the enterocyte used in this panel from the timeline to the compositor. I can always change back by going to the statement menu. So now let's go back to the timeline located here and left-click. The buttons in the top corner always represent the same menu that the icon changes, depending on which ever of these are active. At the present time. We can do other things as well with the panels and editors. For example, if I hover over the intersection and right-click, we get the area options menu. From here, we can split a single panel into two. If I wanted to, I could create a horizontal split, which is basically a line going across here. And I could position it he in my Properties panel. If I left-click, then it splits the single Properties panel into two, then I can change one of these panels to something else. For example, I might want to use detection node editor. We can also do a Phred score split as well if we want by going to the area options and selecting vertical split, this creates a line going from top to bottom. So I can position this in my 3D viewports left-click, and it divides that single panel into two. I could then change the currently selected editor for one of these panels. I could change the way that the current edits works. For example, in this panel, I can just see the solid base of our object. But if I wanted to get an idea of how my lighting setup affects this object, I can change the view type in one of these panels. I can do so up here in this corner of the 3D viewports. So here we have different methods or pupil shading. The one at the end is the rendered view. If I left-click, it changes form solid view to render view. And you'll notice that the shading appears slightly different. This is because we are now taking this light source into account. So if I grab and move this, you can see the way the light hits the surfaces of the object in this panel. But for the adjacent panel, it doesn't appear to be doing anything could talk to the surface of our cube. And that's because in this editor, we are focusing on Solid View, which is basically for the creation of the objects. And then rendered view, which is a preview of the effect that any lighting will have on those objects. In the case where you have too many different panels, you can join some of these panels together so long as they are the same size on a specific intersection. For example, for our current setup, we have two 3D viewports now vertically going from top to bottom, they are the same size. This means that if we right-click over the intersection, we can choose this join areas option. We can left-click. And now we'll see an arrow, a p in one of the panels, depending on where our cursor is positioned, whichever panel has the arrow inside of it, that panel will be deleted and it's space will be taken up by the adjacent panel. So for example, let's delete the panel where we are in solid view in the 3D viewports. Hover your cursor over that panel and left-click. Now all we're left with is the 3D view ports that had at the rendered view mode. Notice that if the panels adjacent to a specific intersection are not the same size, you will not get the join option. So if I hover my cursor over this intersection and right-click, you will not see the join areas option he because we cannot join this outline a panel to the 3D viewports because it would create a shape that is not rectangular. Another thing that we can do is we can swap areas. So for example, if I right-click here, we get the option to swap areas. If I do this, it will swap my outliner with my Properties panel without doing anything to the panel sizes themselves. I can always swap again to go back. Finally, if we want to create a new workspace that we can't manipulate how we see fit. Simply click on this plus button here to add a new workspace. You can choose from many preexisting workspaces in Blender, or you could duplicates your currents workspace. This is normally used with the layout workspace. So we're going to duplicate current. And then we get layout.css 0001. We can double left-click to rename this. So I'm going to rename it as test. And then we can edit this workspace independently of the others. That covers the basics of manipulating the blender interface. 4. Navigating 3D Space: In this video, we are going to be taking a look at how we can navigate around 3D space. You will notice that the blender interface is back to its default setup. The quickest way to do this is to just go to the File menu in the top corner, then go to New and select general. You should end up with your interface looking like this. Now when it comes to navigating in our 3D view port, there are three main methods. These are orbiting, zooming, and panning. There are also additional tools on top of these, such as the ability to go into 2D views. But let's focus on the main free just for the moment. It becomes a lot easier to navigate 3D space when you have a physical mouse to navigate. So it is recommended when using blender to have a free button mouse. To orbit around our scene. Press down on the middle mouse button, which will probably also be your scroll wheel, and then move your mouse. This will allow you to orbit around your scene. As you move your mouse. Orbiting focuses on a point of reference to orbit around. The default points of reference is the coordinate value of 000. These are the values of the x, y, and z axes, the free dimensions of 3D space. At the moment, we are able to orbit around the center of our scene, which is also where the cube is located. By the way, if you want to know which buttons I am pressing, simply look down here. And whenever I use a specific button, such as the middle mouse button, you will be able to see that in the bottom corner of the 3D view port. Now in addition to using the middle mouse button, you can also use the interactive axes. These are located up here, so you have these different colored dots and you also have these x, y, and c Ghats as well. And this is located inside and access generator. So if we left-click and drag on anywhere in this gray space, we will be able to orbit our view. And that's without using the middle mouse button on our mouse. So the traditional method of orbiting requires the middle mouse button in the 3D view ports. And the alternative method is to use the left mouse button and then move around with your interactive access. The next method of navigating around our free space is to use, assuming. This also uses a point of reference, in this case, 000, 000, 000, and allows you to zoom in and out of that points of weapons. If you scroll up on your scroll wheel. You'll be able to zoom in towards the center of the scene. If you scroll down on your scroll wheel, you'll be able to zoom out. There is also a secondary method known as the Dadi zoom. The dolly zoom can be activated by holding down the control key on your keyboard, then holding down at the middle mouse button, then moving up to zoom in. And that's to move your mouse up, not to scroll up. So move up to zoom in and move down with your mouse to zoom out. So we have traditional zooming with the scroll wheel. And then we have the dolly zoom, which is Control, press down on the middle mouse and move your mouse up or down. Alternatively, you can also use the zoom tool located here. So this is a zoom button that looks like a magnifying glass with a plus symbol inside. And if we left-click and then move up, we can zoom in and down to zoom out. We also have the ability to pan of u, which is moving our few form left, right, up and down. If we hold down on the Shift key, then hold down the middle mouse button and move our mouse up. We end up moving the view down. If we move our mouse down, the view goes up. So these controls are inverted. If we go left with our mouths, our view pounds to devise. And if we go light with our mouse, the view pounds to the left. And this is all done in a 2D perspective. So we move left, right, up and down. We can do the same thing by using the Move tool located here. So we can left-click and drag to pan of you in different directions. Note that this will change the points of reference for orbiting and zooming. So for example, if we were to pan all of you all the way to decide here and then orbit our view. You can see that we are no longer orbiting around the center of our scene. If we attempt to zoom, zoom in to this blank space over here, and not the cube itself. Now if this is something that you did not want to do, then you can reset your view using several different methods. For example, you can go to the View menu located up here, left-click to open this up. And then you can go to Align View. There are many different options here to choose from. A good option is to sense of you to cursor. So in the 3D view port we have a cursor, and it's basically a circle that is both white and red. If we were to center our view to this cursor, you can see it snaps back into place. So now we can zoom in. Zoom out and orbits at the positioning the cursor, which is also at the center of our free the world. Alternatively, you can also frame a selected objects. So you can focus on a specific object somewhere in your scene and orbits around that object. So let's say for example, we wanted to orbit and zoom around this object here, which is our camera object. We can go to View and we can't select frame selected. Or we could use the hotkey numpad period. If we left-click here for frame selected, it snaps the view to the camera. Now we can orbits and zoom on to our camera and notice it seems to a specific point. So this point here, this yellow dots, this is referred to as the object of a gene. It is used to define the positioning of an object in 3D space. If I want to use this tool to focus on y cube object, I can select my cube objects, which by the way is done by left clicking. And then I could either go back to my view menu and select the appropriate option, or I could use the period key on my numpad to zoom in on my objects, allowing me to orbit and zoom on that keep. Even though we're working in 3D space, we can always make the view today. To do this, we can either go to the View menu, then go to where it says few ports. And we can change to top, bottom, front, back, right, and left. So for example, if we go to the top view, this will take us into what is known as top orthographic view, a bird's-eye view of our scene. If we were to go to the viewport and go front of you, it will take us to the funds over graphic scene. Note here that we can only ever see two colored lines depending on the type of you. Also note the direction of the buttons in the interactive axis as we change between these views. So again, we could go live you to go into our white orthographic view. And we see this green line and this blue line. The x, y, and z axes are color-coded in Blender. So as we orbit our view, we have the red line, which represents the x-axis, the green line, which represents the y axis. And if we go into our fonts orthographic view, we will be able to see a blue line which represents the z axis. We can also use the interactive axes to go into these 2D views as well. So for example, if we click on this C button here, it will take us into top orthographic view. If I click on this X button here in the interactive axis, it takes us to white orthographic view. The buttons without any letters are effectively the opposite to the x, y, and z buttons. So for example, we have. This blue button here, this represents the opposite to the Z button. So if C goes into the top orthographic view, then this blue button down here, we'll go to the bottom orthographic view. Instead. We can also use hot keys on our keyboard to go into 2D views as well. If I press 1 on my number pad, I can go into funds orthographic view. If I press F3, I can go into white few. If I press seven, I can go into top view. And if I press nine, I can't reverse the previous view. So 19, be tobacco for graphic free and nine, the left orthographic, and 7 and 9 for bottom over graphic. I can also access these views by holding down the control key and pressing the same buttons. So control and one will take us to the back view. Control and free will take us to the left view control. And 7 will take us to bottom orthographic view. The even numbers 2468 allow us to orbit around our scene. We can use 28 to orbit around our scene or form one rotation, as well as 4 and 6 to orbit around another. Finally, the number 5 key or your number pad or switch between perspective and orthographic views. The main difference between these two few types is that with perspective, objects that are positioned further in the distance will become smaller. And the closer they are, they will get bigger. So in this example, very quickly, I'm going to press F5 to go into user perspective. And I'm just going to activate this tool here. So left-click to activate this move tool. If I just move this object into the distance, you can see it gets smaller. This is while we're in user perspective. If we bring it closer, it appears bigger because it's closer to our screen in the viewports. To cancel this, I'm just going to hit the white mouse button. Alternatively, if we go into our user orthographic view and move our objects on the same axis, which is the y-axis. You can see on the screen that it doesn't get any bigger or smaller. That's the main difference between perspective and orthographic. With perspective, it's like viewing your scene as you would in the real world. Objects that are further off into the distance will appear smaller and get larger as they become closer to your view. This covers all the fundamentals of being able to navigate in three-dimensional space. 5. Cardboard box: up next, guys, we're going to be creating a card or ox asset. So this is just another basic shape. Just a warm us up into the free D modeling pipeline. Not also creation here are going to include the face that elites hole exclusions. He solidified mortar fire the devil modifier on modifying stacking, which you're going to see why is quite important when we get to that point. But for now, let's go straight into the cardboard box. So in a previous lecture, we created a wage, but we spend it a lot of time on just the basics. But now that we've got the basics of what we want here, when it comes to the blender interface, we can just get into it. So I'm gonna start my id'ing my cubes. I'm gonna go at Mitch on t next. I'm gonna open up my operator panel, which would be in a tool shelf, so I'm gonna blowing it up. He on. By the way, the tour shelf is not here. If it's hidden like this and you can't see it, then all you need to do is press the Tiki to bring it into view. But the only thing wouldn't change. Here is the base rotation, the base location. So we're going to go with this said value here, left click, and then we're gonna type in the value off one on What that is going to do for me is it's just gonna sit my object on top old our grid here because by the fault will kind of be half above half below, which I'm not particularly fond off. Personally, I would prefer if, by default, it was just above the blender grid, which you can do if you go file safe, start for you can do that. But that would also involve always having your key involved with the opening off your project. So what we're gonna do now is we're gonna go into edit mode with the tab key, and now we're going to choose the face selection mode. So in a come down here and we're going to select on this icon to enter face select and you'll know you're in face selects because every single face will have a little dots in it . So I'm gonna do now is I'm going to want click on this top face so that only the top faces selects it. So it should look like this. And now I'm going to delete just this face. So how do we do it? Well, when we created the wage, we deleted the cube originally by hitting the X key and then selecting the leak. This time we're gonna select the X key again. But this time we actually have a series of options because we are in head Imode. Now, the option here that we're going to select his face is that each one of these will do something slightly different in relation to your object. But for now, I only want to delete the face. I do not want to delete edges. And I do not want to delete vert disease. Definitely No. So I'm going to select faces and there we go. So now talk off. Our cardboard box is open. So up next, what I'm going to be doing is I'm going to extrude a couple off flaps. Now, Before I do that, I want to get into a good position with the free TV War. So what I'm gonna do is I'm going to press down on my middle mouse button, which is also the scroll bun, and I'm just going to move my amounts around. So what that does is actually allows me to navigate around my scene. And I can only do that by pressing down on that middle mouse button before moving my mouse . So I'm gonna find a good position, and then I'm going to scroll up on my school, will scroll in now, if I find that I am looking at it for a bit of a bad angle, then what I can do is I can pan love you. So I'm gonna hold down the shift key, which is located directly underneath the cap rock ski, and then I'm going to hit the middle button on my mouth again. And this time it allows me to pan my view. So I'm just gonna go up and there we go. So that's a goods starting point for May. Now I can do is I can go into it select, and I can select a single edge. So I'm gonna select this edge here by right clicking on now I'm going to use the extra it'll so the extreme tall is a way off creating new geometry form the positioning off existing geometry the best way to extrude. And there are numerous ways in which you can do this so you can use exclusions, form the tools panel you can come down to mesh on. It will have options for exclusions. But the easiest way, by a long, long way is to just use hockey. And the reason why is if I was to use any of these buttons, it will be Giner. The process with my mouth's over here on that can just make things a bit awkward when you're trying to find the white positioning. So what I'm gonna do is I'm gonna hit the E key with my mouse over the edge, So I'm gonna He e now. Well, that's going to allow me to do is it's going to allow me to pull out some new geometry and I can create my flat for my cardboard box. So I'm gonna position it on. If you're doing this with made in, just position it however you like, So I'm gonna position it down here ons. Now I'm gonna manipulates my view again. Why? Pressing down on the middle mouse button and just moving just a bit to about here. So I get a good idea off what this is starting to look like just by navigating around the vehicle. And now I'm going to select this Such here, and I'm gonna do the same again. So I'm gonna hit the e key to extrude. I'm just gonna move it down to about here. And for now, I don't really care if it's no her effects. If it's not in line with the other flat, it doesn't really matter too much, which is focusing on the basics for now. So I'm gonna left click that to confirm then never gave my views, get a good look and it looks pretty good on Dwight. Now we basically have a cardboard box, but there are one or two things that we might want to look at. The first thing is, this is an object with which you can actually see the inside of your geometry. Now that's in certain situations is a problem. If we were to exports this asset as a cardboard box into a game engine, such is a unity. We would get the problem off back face Carling back face culling. He's where only the outside off a face is made visible, so all faces have normals. You have an outside and an inside to that face. The outside is what could be feud in unity or unreal engine. But the inside is the normals in the long direction. So if the camera in unity, for example, if it sees that then it's not going to richest up those faces. Blender has a way of showing you hardest looks. Now I'm gonna open up a new panel here, located in the Freedy Newport, and to open up that panel, I'm gonna press the end key. So we have a new panel here, which allows us a new set of tools that we can play with. But I'm going to scroll down to where it says shading, and we have the opportunity to turn on back face culling. So if I tick this box, you can now see that we can see food certain faces because we're looking through on the long side of those faces. Now, if I was take this back face, for example, which has come invisible if I was to power, in my view, a way around, almost like magic, we can now see that face. But now this face is invisible. This is what is most likely to happen in unity or unreal engine if you exports on object that is in this condition. So there are different ways from which we can solve this. Mainly they all involve adding new geometry. But the easiest way is to use a modifier. So I'm just gonna keep back face culling on for the moment so you can see how the mortify is going to completely affect this. And I'm gonna go into object mode. So I'm gonna press the tab key, and then I'm gonna go and open up our what mortify allies tap and I'm gonna add mortar fire . Now, the modify we're gonna add is to solidify and what a fire on this will basically maintain at the base shape. But it will actually add geometry so that you don't get this back face culling issue. So we're going to left click and boom. Just like that, we can now see all of our faces and you may even notice the tint off the faces on the inside. Now matches that of the outside. We have effectively here doubled up on our geometry. So all single faces have now been doubled up into two faces with the correct normals on both sides. This is the biggest advantage off the solidify modifier. We also have a Siri's off other options. Now we can flip those normals if it ends up incorrect forever. Reason, although that's very rare. So if we were to flip the normals now, then we can actually see that we're getting minor changes, but it's still actually pretty much correct. In most cases, the only there is where it looks a little bit different, or in fact, the edges. But basically here you would actually want this to be off, because by the phone it will nearly always be correct. When it's off, we can also increase the fitness of this fitness value. Here we can increase that, and that will make our object thick up. Now that's very thick. So I'm gonna do is I'm gonna use a value of Point CEO 15 just so we get a little bit of fitness for our card or box. The last thing we're gonna do here is we're going to add a second modify. So for the first time, we're adding to modifiers to the same object. So we're gonna add our bevel, modify it to give it a little bit of realism around those edges. So we're gonna go out mortar fire and select a level. So we panel view rounds Andi, yet that looks pretty good. So we've got to assume in with scroll will. We've got those extra segments which we can increase. And the more we increased that from watered, it will catch the light. We can increase the whiff if we want to, to make those rebels more parent. But be careful alive. I just be wary that depending on the shape off your objects, the actual shape may offer restrictions. So in this example, no matter how high increase this whip, the Devils will only go out so far, mainly because off what we've got in terms to shape. So the flaps here, where we extruded earlier, these are the reasons why our level here isn't coming out as wide as we may have seen with the wedge. So in that case, we can just use the value of went once a 0.1 seems to do just fine on. I think we're gonna go four segments and that's looks really good as a cardboard box asset with which we can create materials for Andi. If we was, place it in a scene with a light source. We have the devil modifier in effect, so it will be able to catch the light. Once we would be ready, we would apply it thes modifies. But before we do that, when you use two or more modifiers, you want to have a look at the modify it stack. Now the modify it stack determines what modifier is used first for the object. So in particular with this box, have a look at the inside edges. Now I'm assuming a bit and you should be able to see we go couple of dark lines here in a show. Anyone here? Let's have a look at what happens when we change the modifier stack on day. To do that, all we need to do is use the arrow keys on each off these modifiers. So I'm gonna move the solidify mortar fire below the devil on assumes. I do that we get a major change, especially on the inside. So now we can see that the bevel was being stretched out because it's being applied before the solidify modifies. So the bevel was being used first, and then the solidify modified is being used second. Now we can still see that the flaps here are having quite a notable effects on held. A bevel is shaping up, but we can also see how to solidify. Mortify affects The bevel was well, so depending on what you're looking for, you might either go for this smooth cardboard box. But in which case, you would need more segments and perhaps even less with all, you would go with a solidify on top where you would have a very thin bevel. But it would also be very effective one as well. Now, for may it really is. Take your pick. So on the outside, this looks really good, but on the inside, maybe I don't quite like how the light is catching the edges on the inside. It doesn't look quite right to me, So maybe I would have the devil one saw on. Then it would look just a little bit best or not too much difference at this point before have that with increased, then we can determine that shape and it's a really good way of actually changing the shape on the fly. So I would decide good wit so really low, which would be good for May. So point Seriously, we're free. And there we got So that is our card will box time actually often looks a little bit too much. Yet that was good to May. So there we go. Guys, I hope you enjoy this. Let's shut to recap We looked arts deleting faces, the extrude it all. In addition to that, we've also looked at using more than one WaterFire call for foreign object on how to use the mortifying stack system to change the final result. When we're ready, we're going to apply the modifiers now The one thing you should do if you wants the effect to be fully maintained, you should always apply the top mortifying first and then work your way down from there. So we're gonna apply those two and there we got And if we were to go into edit mode now, we would be able to see if we assume in all of that geometry has bean fully applied and can now be edited as part of AM ish. Thanks, guys. And I will see you in the next lecture 6. Sword: my guys in this lecture, we're going to be creating a low Polly sword. So this low police sword assets will be used as a base for different variations off the melee weapon on. We're going to be keeping the tours of creation for this very simple. So what we're gonna do is we're going to set things up in a blender on the 1st 1 we need to do is we need to set up the rights orientation off the few port. So I'm going to go into top for graphic by pressing numbers five and seven on my number Pat . Now I'm gonna assume in on what want to do is we're going to educate it in mind on then make sure everything is thes selective with I and then I'm gonna target the selection. Too visible. So now when I press the Seiki and left click on these Verte sees it would also select the vert sees that were underneath. So now I can hit the s key to scale them on block it toothy x and Y axes so that I can scale them in woods to create the basic shape for the blade. So this is a pretty good start for us, and it's all come from the Cube. But what I want to do now is I want to focus on the top. Now, if I was to try and going to face select on subdivide this. So I'm gonna go press the double Yuki, I'm kick subdivide. We can see there's a problem with how it sub divides up that top face. So an easier method he would actually be to undo this on, then just delete this face on. And what we're going to do is we're gonna go back into Vertex Select, select these two for disease on hit the F kids create the face and then we can subdivide that age, take these two birth disease plus this one here and hit the F key to make a face on. What I'm doing now isn't just by using this shift key on be selecting 1 36 selecting another and then using that to create these other faces as quickly as possible. So just we want a video. If you felt that I was a bit too quick, but now we're just going to drag this up, and now we have the tip off our blade, which is excellent. So we can make that as high as we want. One thing that I like to do to create a nice event. So, like to grab these who oversees and just drag him down on the set Access. I think that's a little bit more of an accurate representation or what the tip off a sword looks like. So now that we've got the tip done, we can now begin to focus on the bottom. So we're going to scale this down with the s key because I just want to get it to a nice size for now. And then we can assume in Azaz much as we can and just try. Get up. Now I'm gonna go into edit mode on. We want to select just the bottom verte sees. So I'm gonna here, I then see Then select the bottom vert disease and drag down on the zed access. This allows us to determine the length off the sword so we can decide here how long we want the sword to bay, and we can always change that later on. So it's starting to look pretty good here we've got the blade itself. So pretty soon we'll be able to start focusing on the handle. Now, we're going to keep the handle just a short in terms off the approach as we are the blades , which gonna drag that down to make it a bit longer. Andi, up next. What we need to do is what you're gonna power in my view. And I'm just gonna add a keeb. So we're gonna use the Cube Is the start of our handle here. I'm gonna come over here and we have this radius value. I'm just going to make that quite low 0.1 80. Resume in. That looks pretty good, actually. So we're gonna scale that now on the zed axis, so s and said to lock it to the third axis and we won't try and find the right value there . And if we just assume in just panel of you, we just want to make sure that it's going to fits. Now we are guns being rotating eventually, but we're going to scale this cube on the X axis just to give it that little bit off with which we would expect form this part off the handle. Now, I must use a value of 2.5 here, cause that's seems like a good value, too. May. And if we pan all of you yet that looks pretty goods. And I'm going to select the blade itself on by pressing seven on a number. Part on gun is a top new for graphic. We can hit the r key on it rotates without us having to lock to a specific access. And I'm gonna use 45 degrees and typing in 45 enter to get it to that point. Now I'm going to scale the cube on the war axis by half of its sewage and also 0.5 on it. We just have a look. We panel of you. Yeah, that looks pretty good. And now we can just drag this down so that it's overlapping with the top off our handle. So bit by bit, we're getting closer and closer to creating are low Polly sword. Andi for me. I want to keep the handle separate form the the blade blade as much as possible. But for now, we're going to add a cylinder on. We're going to change number of for Toussie's from 32 to 16. Change that, radi Stan to a much lower values. So 0.11 and change that depth value down two will has changed at the Badlands one. And I feel I'm gonna need to work on a little bit more. So we're gonna reduce the radius, the Vasa 0.7 That looks much better to may. And then now we can look at positioning it by grabbing on the zero axis and just moving it down. Now, we're starting to make a lot more progress here, so this is starting to look good. But it's also keep in mind the number abilities that we're using here. It's very low amount of overseas at this point, which is what makes it for such a good base model. So now we're going to edit mode for this cylinder. I'm gonna press, see and select these bottom Burgess sees. I'm just going to scale them in woods on the X and y axes by hitting, shift said. And that just creates that little bit off Ah, sort of scaling effect going down the handle. Now we're gonna add ourselves a UV sphere, and I'm just going to be positioning the shoe V sphere on the ferry bottom just to complete this shape. So I'm gonna have 16 segments on what do is. I'll keep her 16 segments and 16 wings and just drag it down, he. But we're going to reduce the size, said It's much lower. So 0.1 looks good and then we're going to drag it into position. And if we assume in, we can actually see that the geometry lines up perfectly with the cylinder because off the number of segments that we use, we used 16 segments and it lines up perfectly with the cylinders, 16 segments as well. So now we've got the base shape. We're just going to add smooth shading in certain places, and that just gives us that perfect base model that we can use to create more complex swords in the future. Now, we don't join these together yet because off applying materials later on. But I'm just going to grab this and Scalea on the X axis just to try and refine at the shape. You can always refine things later on. There's no reason why you shouldn't look to do that, But if we have. Look up here. We can see just how Maney Vert sees and triangles we've used, and that really isn't a lot at all. So that's a really good starting point for creating what is, in fact, a very common asset. And we've done that by just using four, basically four primitive objects. 7. Pencil: guys in this lecture, we're going to be creating a pencil. We're going to be using very basic tools for this, But what we're gonna be doing is we're gonna be creating a pencil, which will have a little rubber on the end of it. So we're going to eat the pencil. We're gonna need the base that's gonna hold. Depends on the rubber on the rubber itself on. We're gonna be doing with this just by using the cylinder up. Primitive object. So I wanna go into blender Now on. This is gonna be one of our speed electorate, so I'm gonna go Food is at pace because there's not really much to follow here. So what I'm gonna do is gonna go shift. I add mesh cylinder, Sukar cylinder. We're going to manipulate its properties in the operator panel here on what we're gonna do is because it's a pencil. It has a few flat sides visible. Anyways, we're gonna reduce the number of verte sees down from 32 2 12 Might seem like a movie low number, But believe me for pencil, that's absolutely fine. Next we've got the radius. So the radius funny that we're going to use. He is a radius value of 0.1 and then the depth value we're gonna use a value off 2.15 so that this asset, I believe these dimensions are really good as a starting point. So I'm just gonna assume in here so we can get a bit of use. We've got 12. Oerter sees a radius of 0.1 on a depth of 2.15 Capital type is going to be very important because we need to be able to bring the top on, grab it up so that we can create the sharp end off the pencil. So we're going to change the cat feel type from n gone, which does not allow us to do that to the triangle fan type, which will, You can see. Nothing has changed yet, but if we would go into edit mode, you would actually see difference. So yet that looks so good to may. I think we're just about ready to go with that. So I am gonna go into edit mode, and I'm gonna do that by hitting tap on my keyboard, and you can actually see that we now have our triangle find at the top. So I'm gonna do is I'm gonna right click on that middle Vertex We're gonna pan off you a little bit by holding the shift key and middle mouths fun. I'm going to grab this blue owl and I'm gonna drag you up so looks like out to that he and seem out and we can see that we've basically got a pencil. Fantastic. So what we're going to do now is we're going to add a Luke up around he And the reason why is because with a pencil, you have the graphite part at the very top and then you have a bit of wood shaving just below it. And then you got the rest of the pencil. Now the gap between the wood shaving on the rest of the pencil that's there. But we're gonna have a problem here. If I go control in our which is to create a Luke up, then we'll see. Did it work here cause we get the purple sphere turning up. But it won't work up here because of the fact that it's all going to a single Vertex. So it's struggling to find the loop. There are a couple of ways we can do this, but the quick y is to just create Lute cut here for left taking, dragging it up to round about he and then we're gonna assume in and panel of you. And we're going to select this actually now, by holding out and then what? Click on what I'm gonna do is I'm just gonna slide it up here, and I'm gonna do that by tapping the G key twice. So this is gonna be an edge slide tall, But we're gonna use going G to move Iran's then G again T h slide. And now I can slide that up without losing too much off the base shape. So all of them there is a big G twice on. I can slide it up too. Well, one left click and there we go. So that looks really good to May said. Now what I can do is I can assume out again on we can actually focus on the bottom part, so I'm gonna go hits happy to go into object mode. I'm just gonna drag out pencil up above where the Freedy curse it is on now I'm gonna do is I'm gonna add a Navarre cylinder. Us. So we're gonna go shift, I mesh and cylinder. Now, this sedan that will maintain a with the properties, all the one we just created. So we're still what the 12 earth sees? We've still got the 120.1 of radius, and we still got 2.15 dead. So I'm gonna do first of all, this is gonna be the base, and I'm gonna increase the number of thirties from 12 to 32 which I believe was the default anyway. But we want this bit to be smoother because it's gonna be made off metal. So we're gonna want it to be smoother if you want to go even smoother than that and not have to use something like this subdivision surface modifier, which would add a lot of geometry, Then we can go up 2 48 and that should do nicely. The lady is ongoing to increase ever so slightly. So it's currently 0.1. But we're gonna use when 105 So it's ever so slightly increased because we want it. We want it to be bigger than the pencil, but We don't want there to be a major gap between it. We want it to be pressing against the pencil itself. Now we're gonna decrease the death until we get something that we like to look up. So I like the look off 0.25 That looks good to May on. We're gonna change the cat field type from triangle Fan to nothing. Because we don't want geometry to be overlapping here where it doesn't need to should turn out to nothing, and then I'm gonna come down, and we actually have the option in the operator panel to change the location. So I'm just gonna move that up to round about he now, assuming I can see that looks pretty good. Okay, so now I can ads the rubber at the end. So to do that again, I'm gonna add another city. Not so shift. I mesh and then, cylinder, we're gonna reduce the radius back down to 0.1. We're gonna decrease the debt. So half of what? The metal. It's gonna be a So we're gonna go 0.1 to 5 and enter. Then we're gonna change the cat feel type from nothing to end gone So we've actually used all free field types in this one lecture. And now I'm just gonna move it up until it's just about in side off. That based it. Okay, Now I'm just going to increase the thirties of bitten walks. I don't wanna have to use a subdivision service late one. So we're going to increase that up to 60 and there we got. So now that's looking really good. A couple of things I'm gonna do here. First of all, let's give a little bit of detail to the metal bit. So I'm gonna hit white click to select. Now what? Metal base. We're gonna hit Tab Key to go into edit mode, and I'm gonna add to loot cuts. So I'm gonna go control and are toe at the luk up. Scroll up once to get two wings and left. Click. Then I'm going to want click to confirm I'm going to select the top off the two Blue cuts by home by selecting I two d selects everything and then holding down the old key right click to select that loop. Then I'm gonna hit the G key than the key. Then 0.5 So I'm using numerical values here to make sure it's all nice, inaccurate, and then press enter. And then I'm gonna do the same with this one, but in reverse. So I'm gonna go. Holt, right. Click Grab said minus 0.5 and enter. Excellent. Now I can do is I'm gonna give it a little bit of substance. So I'm gonna select everything, hit the e key to extrude, and then, without pressing anything, call my mouth. I'm gonna press the SK to scale. And then shift said so that was e to extrude s to scale. And then shift said, Well, without pressing anything on my mouse and that will allow me to get a little bit of substance for this metal base. So I'm gonna use a value over one point c 05 and answer. Then I'm gonna use these flu cuts to get a little bit more detail. So I'm gonna go into face, select. We're gonna select this face Lee Peace. We can go out. What? Click on? We're gonna slept this face Sleep here. Shift cult, right click, then regards to e. Then s then shift said then one 0.8 then and so? And there we go. We hit Tab que we can see now that we've got that little bit more detail. Now what we can do here is we can go smooth now. Smooth shading create a little bit of an issue here. And there are a couple of ways weaken soul. This lighting issue we can either absolute cuts or my per third way is to have a modifier. So get over here adding a mortar fire on I like to use the edge split on that does the trick very nicely when it comes to delighting. Finally, we're going Teoh, just finish up the rubber. So going to select the rubber with first forward, Just going to do a bevel here because the rubber shouldn't be that shark at the bomb. So gonna hit tacky. Let's go into edit mode. Then edge selects here so that he select everything with I I'm just gonna assume in a little bit so we can see a bit there. I won't likely to select that bottom edge loop and then control and be on our keyboard to create the bevel. So I'm gonna create a nice pebble here and I'm going to scroll up on my mouse, scroll up on the scroll wheel one to free. And I should give me enough of the curve. So I'm gonna left click to confirm, and then it's happy to go into object mode. And now I'm happy with that. I can go smooth shading. We looks pretty good, too. May kind of get a little bit often. Issue with the lighting here, but it's not too much. But if you want to, you can always go here with the edge anyway. And that should solve your corporal. Um, very nicely. So there we go, guys, as quick as we could, we managed to go through and creates a pencil pretty much using just based cylinders on a few basic tools. Thanks, guys. On. I'll see you in the next lecture. 8. Basic House one: guys in this Let's show we're going to be creating our first basic house. So this is gonna be a traditional two storey house that's going to have a roof windows on doors. We're not gonna go beyond any of that, which is gonna look hats. A typical basic construction off a house in blender. So certain tools that we would probably want to use for an asset like this We obviously want to use scaling. Why to be, especially when we get to the roof. The subject Fire tall is gonna be particularly useful when we guys be creating the windows and doors face deleting as well for windows and doors. The ability to extrude and scale also will be looking at creating a few frames for things like the windows and doors just to get a little bit more detail in extrusion and scaling off the roof on also Vertex merging. So we're gonna show you how we're gonna do that. So what we're gonna do now is we're gonna go into blend up on Let's begin creating this basic house. Now what I'm gonna do here because this is a building, I'm gonna want it to lie on a pretty that flat plane. So I'm gonna press the five key a couple of times to make sure I mean user or for graphic. Then I'm gonna press one on my keyboard to go into front or photographic. Next, I'm going to hit the G key, lock it to the said access Wieting said next and then pressing too. But that's too far. I'm gonna press one. So it's always one blending unit below for the bottom off the key. So now we've got that we get a look at what's the dimension should be for our house now, because this is a basic house. We're not gonna go on worry too much about getting things absolutely right. But we know it's rectangular. So what we're gonna do is we're gonna open up a side panel here on we're gonna be working on these dimensions. I'm not worried about the scale. I'm gonna be working with the dimensions. So the stars, if I look at it form above, if we say we press one so that's the front, and they were close. So the width he is going to be along the X axis while the debts off the house, which is going from the front door towards the back door. The depth is gonna be along the warmer access. So for the X, let's try something close like six to start with. Now, that looks pretty good. And then let's try something like free for the water. Okay, so that doesn't look too bad. Now, we're gonna do the said access on Bear in mind. I'm doing this in scale. So dimensions are being doubled here if we go to visit. Okay, that looks pretty good. But notice what's happened when I changed the scale here, Well, actually ended up dipping below the line once again. So if I press one, then you could just about see, we dip below the red line. So just as quick correction grab said one answer. Okay, Now we can actually see from that view that it's too wide for its heights. So why much they're gonna do is we're going to increase that to six, and then we gains who grab Said one. Okay, Now, that looks good enough for May. Now going back to front. Now, I think we can go a little bit more backwards in terms of the Why. So let's increase the war dimension toe. There we go. I think that is suitable for our house. Gift is a starting. Remember, you can always change these dimensions later on as you're dealing with the object as a whole. So what's next? Well, what I'm gonna do now is armbands, dude, the roof. But I'm gonna do the roof as a separate object. This is because later on, we're gonna be subdividing up our house in particular, and then we're gonna be cussing in windows and doors. So we're going to for the sake of simplicity, keep the rectangular box that is the house separate, at least for now from the roof itself. So what I'm gonna do is I'm gonna take this top face here, so I'm gonna go into edit mode by pressing the tab key. Gonna go into face elect and select that top face on. Then we're gonna do is I'm gonna go shift and d to duplicate. So there we go. Move your mouths around to make sure it's worked on Dwight click again. It simmers when we did the Mayan pyramids With regards to the room, we separate the room from the base off the pyramid because we wanted to keep things like subdividing and Luke cut simpler later on. So the same thing applies here. Now I'm gonna do is I'm gonna take that selected vice. I'm gonna hit the s key. I'm going to scale it up a bit now. I don't want to scale this up too much, so let's go. Something like 1.5 that looks pretty good to May. So I've got no problem with that. And then we're gonna do is I'm just gonna extruded up Onda we extrude this to about he. So that's a good starting point. Then what I'm gonna do is I'm gonna extrude it one more time, so I'm gonna hit the e key to extrude on. Let's test a few nomis a list wife free. It's a bit too. Marchers try to bit too little, 2.5. OK, so I'm gonna percent to now on at the moment. It doesn't really look that much. Like a house actually looks a bit like shoot box, actually. So her first sake a little bit misshapen for shoe box, but yeah, kind of looks like a shoe box, but What I want to do now is I want to merge a couple of eighties together. Now, the easiest way to do that would actually be food Vertex merging. But what I can do is I can go X select, select one age slipped the other go Bolton em. And then we go at center, they'll come together on label form. What house? Here Now we can ever do in this design, or we can do it in a different design. So Well, I'm actually gonna do is I'm gonna go back one step. It's up, Kay. And then I'm just gonna duplicate this temporary duplicate the whole objects. I'm gonna hit X to knock it along the X axis and just pop it over here. Sigh. Two different ways that I could do. This is depending on what type of room by one. I could merge them as they are. So Colton em keeping in mind that emerges the vergis ease. So it brings together with such as this the method I would use because this is how my house is shaping in real life. He's a little goats happen. Third texts elects, and we can see that those four birds. These are all selected. That's why we've had this merging effective. And then why can do is I go one shift to Oh, Tim, um, merge. And then one and two Holt, I m a much. And then we have two buildings with two different ruth types. Now that one we're going to be working with here, or at least the one that I'm gonna be working was gonna be This one here is currently selected, but I'll keep that in the background for now. Just as a reference point. Just give you an idea that you don't have to follow along exactly with me. For these assets you can always like, follow me up to a point and then move on and then make a few changes depending on what you're looking to do right away. Enough A little thing that you could know if you could always move se this topic around to different places. So if you wanted to say create chimneys or things like that, it might be worth your while to look into perhaps reshaping this depending on what you're looking for. So I'm gonna select this one again. I'm just gonna pan my view so that with looking at our main house here on, we've pretty much now done the roof. It's very low geometry at this point, but that's good enough for me. So I can do now is I can press the tab Key is going to edit mode and then hit the L. Kate Select my roof. So the roof is selective, but not the house itself. That's absolutely fine. What I can do is I can hide the roof, and now I can just focus on working on the house itself. So what I'm gonna do is I'm gonna make sure edit Miley with tryem on what I'm gonna do. Somebody used to stop the fight. So I'm gonna press I to select everything, hit the W key to bring up the specials menu and select subdivide notes that as long as an object is hidden such as my roof, it's cannot be edited by any off these tools. So don't worry about that, said Now we're gonna go subdivide. And that basically cuts up every face into a series of smaller faces without changing the oval shape off the objects. It's just a way of adding a lots of uniforms, geometry very quickly. So what I'm gonna do is I'm gonna increase the number of cuts. So I'm gonna drag this panel out because as soon as we do subdivide, you'll get this panel here that comes up on the first option we have is number of cuts. So let's press this arrow here to increase the number of cuts each time until we get a value that we like to look, hold now, this is a big city. Do you notice that a lot of these faces are very rectangular? Well, that can actually be a bit of a problem when you're creating or cutting up geometry. What's you can do is if I were to basically undo this is what I could do to start with is I can go control and are and had a lute cut in the center. Then I could what kicks confirmed on what that will do for me, hopefully is when I suck the fired this objects up again, it's going to create bets are squares rather than those long rectangles. So I can select everything again, hit the w key and then go subdivide. And if I look at it. Face on, we can actually see. That's a lot more like a square. And it was before. So now I can increase the number of cuts on for me. I'm gonna go to six, but I think five will do nicely. Probably seven. Most of between five and seven cops. I'm gonna go six. So I want to make sure that I get a pretty decent amount of veto on, and that will do me nicely. So this is the fun. Because if we press the one, that's where we end up front, Infographic. And now what we could do is we can start adding in some doors and windows. So I'm going to going to face select on whether you want your doors and windows to go. You can put them wherever you want. But for me, I'm just gonna go one and then hold down the shift key. 23456 That's good for me. I'm gonna go ons. Delete these. Now, Make sure that when we go 123456 when we go to delete if I go delete from three faces, it'll delete all the faces on the CI on a tree in between them sort of birth season edges in between them without getting rid of any UN selected faces. If we were to do this a different way, so delete edges, we might come across a few problems because it will start the leading faces energies that we didn't want it to the league. So make sure we do this. We are deleting the faces. So there we go. So that's the door. Now let's do some windows. So I'm gonna go 12 34 and then it's also do one over here, so we're gonna go 1234 on 1234 So now what we'll do is we're gonna go X delete faces. Okay, That looks pretty good with Starnes. Get something called a house. Now it's starting to look a little bit more like a house. The one thing I will do is I'm just going to expand this spot window. I quite like having wider windows on the bottom floors, and then we're pretty much gonna do the same process at the back. So we're gonna go one, 23456 and then what we'll do is we'll go. 1234 1234 And let's do a proper ward window going out into the back garden. These I That looks pretty good. Hit the XK and delete the faces. Excellent said. Now what we have here, he's We have pretty much a basic house aunt. From here on, we completely much used this as a building block. If we like for pretty much any house that we want to create, which is absolutely fantastic. Now we can do different things from here. We can start adding in the modifiers to make things better. So, for example, I can go to this wrenched up here, go on mortar fire on. Maybe we could you solidify, and that just makes it look a little bit better. So this is actually good way of adding the frames as well. So if I increased the thickness, if you could just about see that we're getting a few of the frames coming in. Uh, and that's really good. So that's a really quick, quite off just creating that well structure. So it looks a lot more like a house now, just by using that one mortar fire, it's got a bit of me will be of substance to it. I'm just gonna press the one key on the now I'm just going to get read or the soil of solidify mortar fire on. What we'll do next is we're just going to look at creating a couple of frames. So what I mean by this is if I go into edit mode, I can go, So we'll start with balls. 12345678 On what? I'm just gonna dio He's just going to hit the shifty to duplicate this frame. So it's gonna be a bit separate. Form the rest of the mesh on the reason why is because when you apply textures and materials that a frame is gonna be very different materials to the rest of the house, something like it's confirmed. And then I'm gonna hit the e key. So extra routes and then we'll do is just like click. And if I was to scaled, it's I could scale this in, and it would actually scale it for me. But I have to be careful here. So one thing that I would do actually is I'm just gonna go to the side fuse. I'm gonna press free. Doesn't matter, Can see at the moment he's gonna assume in on pan y view on. We can sell where it is because of the gizmo. I'm just gonna hear the e key, and that's just gonna allow me to screwed out. I'm just gonna extrude out just a tiny bit just a tiny bit. So maybe point CEO, too, But I'm gonna make sure that's intruding out and not in woods. So let's just grab that yet. So that's going in the minus direction, actually, because if you look, if you look down there, you can actually see it's going in the minus direction. So I'm just gonna undo that on what we'll do is with the E key again goods. Why? And then we just do minus 0.2 and enter. And that's one too far. I meant to do Seo Sierra two. So that's a mistake. Controls its go back. And then what wouldn't gonna do is gonna grab Why, minus point CEO, too Excellent. And there we go. So now we've got a little bit of a frame just being forms. One thing that I can do he he's I can select the tops here. Onda. We can Gs, however, just bring him down. We can create all different little effects here. But what were just doing? The next lecture is we're just going to using this method. Just create the rest off the frames four our house just to give it that little bit more substance. And then we can create the windows within those frames. Thanks, guys. I don't see you in the neck. 9. Basic house two: Okay, so let's continue with the creation off our door frames. Now we're going to do here is I'm just kinds go vote to select our door finds consuming just to make sure that the correct geometry is selected. That's good. So then I'm gonna go press one on number pants to make sure in fun or for graphic few on one thing does indeed. IKI to extrude right click announced this scale in. So we're gonna get that effect here. And I'm just as a test just for the moment, I'm gonna go, Let's go point nine size and answer. And I just make sure this is works. I'm gonna pan around and we can just see that little bit of a frame there. Now, if you finding this difficult is too thin, just take a few steps back and just increased. So increase the debt for the frame just to make it easier for you to select. Or you could just simply he selected select the entire house and hide it with the HQ if you wanted to. I'm not gonna press the h G because then it hides and they want to bring it back. Bring the roof back as well. Algo if I go hate to hide it, don't think it will make too much of a difference at this point. But obviously here we've got just the door that we can model. But I don't have the house. There myself is the reference point. So I'm gonna go Owen Ph just to bring it back. So we've got that and it's coming along quite nicely. The only problem here is that we have a look at the bottom. So I just pound my few to the bottom. We can actually see that we have thes edges here that are not quite what I should say. Now the best thing here is to actually going to Vertex select select the bottom face and see where it is on a certain axis. So it's minus one. So then what we can do is we can select this for Tex and then change its value on the set access to minus one as well. So the best way to do that is just to come over to where we have the value left, click and go minus one. And that way we can position it precisely where it needs to pay. Let's do the same over here. So we'll select this Vertex and then go minus one. An answer. Excellent. Now, what we can do finally is we can select that edge loop. So I'm gonna go into its select he owns and just select that absolute excellent. And then what I'm gonna do is I'm just going to go and we're gonna press E and then we're gonna bring in. So it's gonna be point CEO too, along the war axis. There we go. That's pretty good too. May know that you can always press what access you access you want? Sorry. After you've done the numerical value, as long as you haven't pressed. Enter. So I'm gonna pressing any key. Now on. Now, if I have a look, I've got my door. Fine. Excellent. That's perfect. So what I can do now is because I don't want this to be a revolving door on opening door that opens and closes. I don't really care about that at this point. So what? I'm gonna dio he's I'm just going to make sure that but truth is selective, which it is, I'm gonna hit there, and that creates my door with its store. Fine. Simple. Is that now? Of course, you can always go into more detail on this If you want. While means do so. But considering the stage of which we are at, I'm just gonna leave it as it is. So up. Next, let's create the back door on Will do a similar process, but will go a little bit quicker. So I'm gonna go oats and click the whole thing. But I'm gonna make sure that the bottom is not selected here. So I'm gonna go shift on the selectees because of anything they need to be selected to make door fight. So go shift day to make super cut and like, Click. Then we're going to hit E then one. And because this is going the other direction, it's a positive value for its come out. So it's gonna be 0.2 an answer. Just checking to see if that's correct, which it is, which assume in yet. Then we're gonna go scale. No, yet we're gonna extrude first. Gonna get e to extrude on Dwight Click then scale 0.95 and then so next will come down here and still got the bottom bits. So we'll go into Vertex Select on. Let's select him both because they're both with the same set value. And then we're gonna go select minus one. We love. Let's canceled out his double check yet minus one and in. So they're going out. Let's have another look because that looks a bit off to May. Or is that just the view? Let's check that one. That's good. That's good. Okay, it's fully the angle, which I'm looking at it, But I saw is the sort of thing that you need to be constantly checking. Don't just leave something. If you ever not sure of something, always make sure that you're just looking up just to make sure there's nothing wrong. So what we can do now again is Weaken. Select that H with Colton White. Click, and then what we'll do is go E. Then minus 0.2 but on the war axis presente and then hit the F K. Now, the one thing I'm gonna do here that we could have easily done with the door at the front is again make it safer objects, or what could do here instead is Aiken go shifting day. So we got a new objects again, likely And then it's best and that creates our door. So in facts, let's do that at the front. So I'm gonna go and delete the fun ex, delete the face, then select the appropriate geometries kinds edge select colts Select fifth day so that we duplicate it on Dwight Click, then hit the F k. Excellent. So now we're really starting to get somewhere with this house. We're pretty much almost done. We now just have to do a similar process with Windows. Now, this is gonna be a little bit easier, because with the window frames, we don't have to worry about taking a bit off the bottom. So let's create the windows. So what we're gonna do is we're gonna start with this window here and we're gonna select it by hitting Bolt on Dwight. Click on. What would you do, though, is simply is we're gonna have the e key to extrude look into the war. On what ways? That guy that's going positive directions, we're gonna go 0.2 Aanenson, Miss check. See, that's works yet. That's work nicely. Excellent. And now what? We're gonna do this time is going to scale it. Now. This scare scales a fair bit better than doorframe. So gonna go 0.9? Lava? Have you noticed the mistake of Done right? I forgot to extrude. So I've got to cancel that here the extrude button again and then hit the escape so that I could bring in And then I'll go 0.9 five and answer much better Now I can extrude along the y axis again. We're gonna go in a negative direction this time. So it's minus of 0.2 and answer. And just as I did with the door just now, I'm going to hit shift day to duplicate and like, Click. Then I'm gonna hit the f k. And that creates my face. Fantastic. So now let's just repeat that process for the remaining windows, and that will be it. So I'm not gonna do as much talking now because maybe this is just a bit of her repetitive part where we're just making sure that everything is going to pay exactly how it should be . So pretty much everything come doing after his remaining windows is the exact same process that I did for this window here. So if you are following along with the lecture itself, now is a really good time to just focus on your own house. Rather than having to just pause this video, just focus on your home house while I am just finishing these off here again. As I said in a previous lecture, actually, don't like to just skip these. I know it's repetitive, but I know that when I was learning to use things like three D modeling software, I even want to see these bits because she never know when a mistake's going to pop up. So mistake pops up for me doing this video. Then you guys can see first hand how to deal with it. So that's just it's true that once you want to a little one, it's true. Stale 0.95 extrude more minus 0.2 and then we're going to shift deeds duplicates. Always remember to do cake Shoe, preferably wants your glass to be a separate object to your fine right click, and he the F K and now for me to Pakistan. Also, another thing to know. While I've been doing these glass windows have noticed in the use of the long white vans. So just make sure you fix that. Why? Just going to where it says shading newbies and just flipped the direction. So for me, I'm just gonna select these two now, just so we get out away fit collection where we got much better. So now we can go to the back or the front liable. Yet it's still the front on. We can do the windows here. So for May to select the appropriate parts off our when nodes create the window frame on, let's create that flame. So this one is minus, I believe. Delicious double check that's and make sure Always double check if you're not 100% sure you And if you 95% sure always double check, you should never know. So e to extrude s to scale and then 0.95 and then we're gonna extrude the other way. So e y 0.2 answer Shift day to do the kite and f to fill in the face flip direction If the normal little on my rounds Simple two more left. So Olt select extrude white minus 0.2 extrude. It's and then 0.95 extrude one 0.2 50. Make sure you duplicated it, right? Click then after face on, we're almost done. That's been done perfectly there. Now we've got one more window to do so oats and click and I'm gonna go e to extrude y minus 0.2 and enter e to extrude Esther scale 0.95 and answer E to extrude. Want to look into the X to the Y axis and then go 0.0 to an entire, then shifting to duplicate like click on here the f k. And there we go, guys. Congratulations. We now have a basic model is pretty low police geometry for a house. But we now have basic mobile off a house that we can use for an unlimited number of things . My challenge to you. Now Can you go away and repeat this same process with this house here? Thanks, guys. And I will see you in the neck 10. Mayan Pyramid: theme in this lecture, we're going to be creating a Mayan pyramid now. Mind style. Purim. It's a little bit different to Egyptian style ones. On by default, we're going to have considerably more detail. So this type of asset can obviously be used Eire via in historical scenes for image creation or adventure type games. So what we'll be doing here is we're going to be using a certain set of common tools once again. So here we're going to be introducing the insect. All as well as Theobald 82 duplicates bits of geometry in edit mode. We're gonna be using Luke cut and slide, and it's true. Told us well, to create this object. Now the thing to know he is that especially for tours one free and four. I used these for the majority of objects that I create as well. Most blender artists. The abilities Dupree in edit mode is more like a trick than actual tall. But I'm gonna show you exactly why that's trick is so useful. So let's get on to creating the Mayan Pyramid Asset. So we're gonna go into blender and I've got my screen cast keys active. I've also got the scene in use Alpha graphic, which is absolutely fine on. I'm going to start with our tea for sheep once again. Now, what I want to do is I want to create a base for this Mayan pyramid first and foremost. So I'm going to change my few. So I'm gonna press one on my number pad to go into front orographic on what I'm gonna do just to make things easier. So I'm just gonna lift our cube up so that it's sitting nicely on the red line, which is the line that represents the X access. Now, I could just grab my blue line here, which allows me to drag it up and down. But then I wouldn't be able to get it exactly right. It would look right. But I'm a bit of a perfectionist, so I want to get this flush order into that red line. So I'm gonna do here and, you know, right click on my mouth to cancel on what? I'm gonna do these. I'm going to grab my entire objects by pressing the geeky, which allows me to grab it, and we've Durant. Then I'm gonna lock it to the zed access by hitting the key on my keyboard. And now we can't get moving up. And I saw me the up and down. If we just I just hover over here. Can you see in this corner here, my mouth is just gonna disappear off the screen for sex. But can you see the coordinates here? These are the sea coordinates. So I can use that as a reference to see if I can find roughly or exactly where it's going to go now for me, He I think the value of one will be exactly what I want. So I'm just gonna do instead of just left clicking to confirm my positioning. I'm just gonna type in one. But I'm not gonna hit one on the number part. I'm gonna hit one only be talked off the keyboard itself. So I'm gonna press one on that. Positions the cube nicely on the x axis notes that you won't quite be able to do this if you have the num part emulator enabled because with the number had emulator enabled, you will pretty much override the ability to use numbers to position. You're objects, so I'm going to let click, and now it's in a perfect position to make sure that it's in the perfect position. I'm gonna open up one of my side panels, so I'm just gonna come up here. So where there's a new plus and I'm going to left click now, I'm just gonna scroll to the talk. But I gotta make sure that my mouse cursor is within the confines of this side or bar. Because if it's not, I'm gonna end up assuming in and I instead And I said, Come to the top. I should be able to see that the location value off my Cube is at 1.0 perfect. So now what I want Teoh is I want to scale our Q alone the X on y axes. But no, the bed axes. So I want to minute, like this value on this value now I'm gonna do here is I could easily do this and ever several ways. You could do this so I could easily just scale It's five. You in the really report. But instead I'm gonna do a numerical value. Now I'm gonna want excellent want to be the same because of my own pyramid It's basically cubes stacked one on top of another. So I'm gonna Dewey's I'm gonna do reference first I'm gonna go x left, click with my mouth Curse it down until it highlights the war access and release that allows me to change both of these values at the same time. So I'm gonna change them into 10. Impress Bente. Now we can see that it's made a major change here. And if I just hand my few by holding down the middle mouse button, I could get a good few off the result. So that looks pretty good. However, I think it's a little bit too bulky cause I'm looking to create multiple these, and each one is gonna be smaller than the previous. So I think I don't want to change this their value, because that's gonna be more a reference point for skating. But I'm just going to have to increase the X and y go. So let's increase them both. Now, toe 15% up on that looks pretty good. Let's try 20. Okay, so 20 might be and will be on the big side for May. But we're going to keep that as it is. I think that will do nicely. So up next, we're going to begin actually editing the pyramid. Now, to do that, I'm going to just close off. Actually, no. I'm gonna keep this open on. What we're gonna do is we're gonna go into edit mode, so I'm gonna go object mode down here and select any mode. Now I'm gonna go into face elects. I don't want to select this top face with the top face selected. We're not gonna use the inset tool so up to use the insect. All the quickest way is to press the R key on your keyboard. Someone impressed the RK and that uses the insect all. And now what it's done is it's created a new face, and I can scale the size of the face by moving my mouse. Now, I'm not just gonna play this by I because I want things to be quite uniforms in how they're going to be scaled with each level. So if I type in a new medical value, say 0.9, for example, then it basically reduces the thickness by that amounts and 9/10 Now that's not good at, so I want to be much, much bigger than that. So I'm gonna backspace once and then place one. Now, that looks a lot better to me. So I think that's gonna be a great starting point. I'm going to left Click, and there we go. So now I've got a new face. So what's next? Well, now we're going to extrude it. Now we know for my reference earlier we go back into object mode. We know that this first level has a said value or one when it comes to scaling. That's perfect. Because now I can scale it up along visit access by that amount to create the new levels, someone to go back into edit mode on we can see that that face is still selected. I hit the geeky to extrude, and then I'm gonna talk one. Now I'm gonna press enter on. It actually looks a lot smaller. So what's the problem here? Well, the problem is that what I've done is it's a purpose form. Steak is I've purposely misinterpreted what the one value in object mode actually meant. The one value in scale is the actual scale off the original cube. But here we have the mentions now I've done he is. When I extruded this top face, I basically increased through dimensions along the Z axis from two to free. So if I just hit control when said once we can see it has the mentions of 40 40 and two which are Aled double scale because the queue used the mentions all to to to not 111 So what we need to do he is, if we want to make sure the levels of the saying, we need to make sure that we are adding the same amount of the dimensions each time. So the correct method would be to go into edit mode again, extrude. And this time we're gonna type in the value of two and present. And now if we hit one to go to find few, we can actually see that the two levels are justice towards each other. On that said access per se said. Now we've got the building blocks of our Mayan pyramid. Now we can start to accelerate this process a bit, so it's basically a repetition. Now we're gonna hit the insect key and I 0.1 bonanza. Now if I press the number seven key on my number parts and seem out bit. We should see an alpha graphic mode that these look pretty much the same thing. That should be good. So that's what we really should be looking for when we're looking at it from above, said, Now I'm just going to Pan. Why've you, Andi? What we can do now is we can once again go e to extrude and talk to left click to confirm. And now we're gonna be a business here. So let's do it again in set 0.1 answer extrude two ends up in set 0.1 Penta extrude to answer. And now we're starting to get our mind Pyramid. We can collect Former Top Yet that all looks fantastic too May. So that looks exactly the way that it should be constructed. If we go into object mode, we can see that the location values have remained the same. Rotation values have remained the same on the scale. Values have remained the same, so that's pretty important here. When we were editing for someone like a Mayan pyramids, it's actually a good idea to focus on your dimension values, Robert, than the scale values, and that's a common mistake of law. Beginners tend to make So at the moment, we can I go a Z value of 10 because we've got five levels now, what I want to do, so I'm gonna add two more levels here. So we're going to go back into edit mode and we're going to go in set 0.1 Answer extrude two ends up inset 0.1. Answer extrude too. Okay, so this now is going to be at top level. So what I want to do festival is I want to create a room at the top of this pyramid. So to do that, I'm going to hits the R Key one more time. And this time I'm gonna type in 0.2. But that looks much, much thinner. So I should go 0.1, OK? Because now we've gotten to the point where the top is so much smaller than the bottom that even though the same values as we've always been using are the same values, they're still not as much space to work in. But that's OK, so I'm gonna left. Let's confirm, and that's what we got. Now what? I'm gonna do now ease. I'm going to have my top room at the top of the mine pyramids. So we're going to be creating legal with a room at the top. Now, I'm gonna want it separate from the rest of the pyramid on the reason why it very simply is because the room is going to have slightly different geometry. So because of that, it can sometimes be difficult when you have to part of the same object. But they are shaped so differently. So we're creating a room on top off all of the's, basically steps. So what I'm gonna do is I'm gonna duplicates this selective face I'm gonna hit shifty to duplicate ons. Now, we've got that new face, but he's not gonna go anywhere. What I'm gonna do isn't gonna, like click so that it ends up in exactly the same places it was Excellent said Now I can do is I'm gonna hit the e key to extrude it up. I'm gonna want this to be considerably high up, done the actual levels, but not too much higher. So let's try four. First of all, looks to be on the thin side. Let's go. Five be careful there. Make sure we press the backspace, So let's go follow Hons. Okay, so that was pretty good. We're gonna press left. Clicks confirm that is gonna be quiet. A big room at the top of this morning. Pyramid on. I think one of the denies I'm gonna extrude it two more times by value. Once we're gonna hit the E key by value of one and left leg, then I'm gonna do it one more time. I'm gonna heat to extrude value of one left click. Not a reason why done that is because I actually want this middle edge here to come out with it. So I'm gonna scale out. So I'm gonna go to edge Select. I'm going to select an Edgeley and just let the edge loop. What we have to do is we have hold down the old ski on a keyboard, Andi Logic and that will select the entire edge loop going a little wildlands. Now I'm going to scale it as I Scalea. I could bring out taking a close eye on the values in the bottom corner off the screen, as always, doing earlier on Let's try value of 1.2. That looks a little bit much for me. I'm gonna go one point 15 on that. Looks good. So now compress enter. Excellent. So now I've got myself a room at the top. All this Mayan pyramids. In the next lecture, we're gonna finish off creating the door to our own as well as constructing a little bit off a staircase that we can use for the Mayan pyramids. Thanks, guys. And I'll see you in the next lecture. 11. Mayan part two: Okay, guys, it's time we completed our mind. Pyramid. So, what we have so far, we've got the basic shape of our pyramid. We've got the base on the room on top. Now. The way we've done it is these are effectively two parts of the same object. So if I go into edit modes at the moment, I've actually got the chops selected. Now I can be select that by pressing the A k so that I can show you exactly what we've done . So we've actually selected and created two separate objects within one or parts or islands . So in blender there technically called islands. But if you were creating, say, a call different car parts, he just Corbyn parts. So what we have here is we've got two separate parts. We've got the base which we can select by hitting the L key on a keyboard and that will select whatever island we are hovering over. We could select the top room once again by pressing the L key, but notes that's pressing. The Elke does not be select previous islands, so it just adds to what's been selected. So what we'd have to do is we have to press the key and then he the l key on top off the room. So we've got these two different parts and that means that we can select a part like this room here on Weaken Grabem. We can manipulate it completely separate off the base below it. So it's gonna white pick that to cancel. Now, what I want to do now is I want to create a door. Now, there are several different methods in several different ways of going about this. There are two in particular that I like to use. Each has an advantage and a disadvantage. So the 1st 1 is the one that we're actually not going to do. But I'm just going to show you it now anyway, just so you know, you can do it. He's known as the knife told someone hit the one key to go into funnel for graphic because actually, we want to be in the front to start with so that we can see which face is actually gonna be the front of our pyramids. So we can put the front door there. Now the knife told, actually involves us cutting geometry manually. So I have to do here. For example, ese, I'd have to actually, Pan, why've you said I could get a view off the bottom edge here so that I can actually use the knife tour? And what have to do is I have to press the K key on my keyboard, which changes the curse out so that it looks a bit like a knife with a green dot, and now it has a whole lot more I cursor over on age, left, click, and I can start cutting lines now. There is another problem here, so I can move this across left, click each time, and you can see that's that shouldn't be quite right. It seemed to be disappearing, but not when we're just hoping over. So I could left click each time, and it's always creating new geometry. But as I come down here to the edge itself, it disappears. Now The reason why that is in this scenario is because we have geometry on top of one another. So this edge is actually on top off another age for the base pyramid, and that's presenting a problem. So here we have to do is we'd have to hit the Elke on our people on. We could drag the entire cube up, but we don't want to track it up randomly. So I'm just gonna cancelled out by right clicking. I want to use a numerical value, just so I know absolutely sure where to move it back to. So at the moment, this entire island has a zed value or 17.5. So what I'm gonna do is I'm gonna make that 18.5 and first enter, and it just brings it all up by one Blend the unit now what I can do you so I can press one on my keyboard and making sure I'm in front over graphic is when you in the using the knife tall. You will want to be in a to d view to get the best results. Now, if I hit the K key on my keyboard, I can start creating my door so I can go one to free. And then when I'm ready, I can press enter to confirm. And now I have my new geometry, which I wanted to I'm going to face select select that new geometry here the XK on delete that face, and now we've got the door, so that's one way of doing it. But the disadvantage here is it's no completely accurate. We haven't got perfect positioning here on. That's a bit of a problem. We also would have the problem if we wanted to apply textures to this. We've created what we called an end gone. So an end gone is basically shape that has more than four edges. Now blender is a lot better with n guns than it used to be. But you might still get a few situations with Blender, where it doesn't like any guns when you are creating textures and materials for that specific face. So that's something just to beware you'll. So instead what we're gonna dio, I've shown you that purely to show you how to do it on, yes, we will be using the knife tall at certain points for of our assets. But right now, it's not the best tool to use, or at least that's what I believe. So what I'm gonna do is I'm gonna hit control and said numerous times, and soon we get rid of the new geometry on place, our blue back to where it was before. Now I'm gonna do is I'm gonna hit the lib cut tool, which is controlled and are When I do that, we can see that we get these purple lines purple wedges on what I'm gonna do Cinemascope scroll up on my scroll wheel once so that we have two edges. Now I'm gonna left click. I'm white news. I can move the second position them anywhere I want along this line. But I wanted to be nice in the middle, so I'm gonna right click to confirm. And now we have extra geometry. The disadvantage here is the fact that we'll end up with geometry in places where we don't need the extra geometry. But the advantage to that is that because it's done in a uniform manner, it does help make texturizing materials easier later on down the line. Now, I don't want the actual water encompass this entire front faces. It's doing right now from top to bottom. So I'm gonna add a second lieut Cup. We're gonna go control and are, and I just want the one some going to hope for our U s. So it's about here. Said it's gonna go vertically left, click And now I can drag it up and down So I just want a bit of space between the top of the door on where we begin to Ruth So this time I'm just gonna play by I on I think there will be So I'm gonna left click And there we got Excellent said Now what I can do is I can go face Let once again select that face here the XK and the leader face And now we've got a door Nothing stores a bit big but I'm just gonna leave it But what you could have done is we could just go control and said Go back into say edge Select on We could go bolt on Dwight click to select one edge loop And then what we could do is weaken go shift cult right click to select the other Edgeley And then what we could do is we could hit the s key to scale, but being careful not to manipulate it too much. If we go Essen and X, what we can do is we can just scale those two along the X axis. So I just scaling in something that's a bit more suitable. Like so. And then what I can do is I can just reduce the height, the doors Well, so I can go out. And why click on all that have to do here because it's just one loop cart. Not the to is instead of scaling, I can just get this blue arrow here and just drag it down to about here. So now I can just go face select again, select the face until e and that looks bad. Okay, so now I'd say at this point, we're not gonna do anything more off the top. Let's focus on the stairs. Now, this is the main reason why I decided for this asset that I would have to separate islands . So what we've got now is we're going to create a bit of a staircase. But the problem here would have been if I used blue cuts. He we would have had a few minor issues with the shape on connecting things up together. So we kept things simple. We kept them separate. What I'm gonna do now is I'm gonna hit the l key on the top room. I'm gonna hide it. I'm gonna hide it by pressing the hate each key on my keyboard. So now we've gotten rid of it from view. It's not been completed. I've just hidden it. And that's fine, because what I can do now, we're just gonna press I to select again to the select Make sure everything is these selected I don't want to do is want to create to Luke cuts Seth ago controlled all. So what do here is create that Luca on scroll up one. But there's a problem there because that doesn't quite Look what I want the stairs to go down straights as if it was just the one. So the best way to do this is to actually create the one left click, and then I should concede you movie. It follows the tree on a tree off the actual pyramid, which isn't what we wanted to do. So I'm gonna do here, so I'm actually going to right click, and then I'm just gonna move the old by grabbing it. I'm hitting the X key. That way it will move across our objects without altering the geometry. Because if I don't press that XK so if I cancelled up and grab again. If I don't press the X key as I move it around, we can see how much it manipulates the object. So it's very important that we lock it to the correct axis. So I'm gonna do here is let's experiment one or two numerical value. So we press one for example. That looks OK. Let's try to That looks better. Let's were free. Okay, so I like the value of free. So I'm gonna do now is I'm gonna press enter. Okay. Next. What I'm gonna do is I'm going to create another loop cup, so I'm gonna hit control and all, But this time we've got new problem because it's not uniform as it was before. It's not. There's no lying line of symmetry in this direction because now we've got straight lute cut here, but we've got a lot of steps on the other side. So what I'm gonna have to do, he is. I'm gonna have left click and drag it old away up so that the new Luca is pressing against the old Luke up. So I'm gonna left click on Walter here, is gonna grab lock it to the X axis. I'm gonna want it to go in the opposite direction. Now, the value I used last time was free. Now I want this new group cuts to be free units the other side or that middle points. So I'm gonna use the value of minus six, Not minus. Reeks by use minus free. That new Luke cuts goes to the very center. But I want a good line of cemetery for my objects, which is why I use minus six. So both of these blue cuts are free units away from the center, if that makes sense. So if I press enter, we now have something that we can use for a staircase. So now I'm gonna dio he's I'm going to create two more loot cuts. Now, this will be a little bit easier. I can go controlling our scroll up once and left leg. Now I can position it, so I'm gonna keep it in the Senate for the moment. I'm gonna right click, and I'm gonna hit the s key to scale and lock it to the X axis. And I'm gonna dragon both outwards until I find something that I like the look off. So what I'm gonna do now? He's I'm guns. Find out there. That looks pretty good to me. And I'm gonna left click. Excellent. So now we're making a bit of progress. What I want to do now is for reference. I want to bring our room back, so I'm gonna hit I to d select every think and then bolt and hate on my keyboard to bring back the hidden room. Okay, so this now looks pretty good. Why wants do you now is I want to basically bring up some of these so that we actually get something, like a bit of a railing. So I'm gonna go and going to face select, and I want to speak specific faces. So I'm gonna dio ease. I'm just going to go pick this face, and then I'm going to go way down to this face here so we'll do here isn't gonna hold down the control key on my keyboard. Select this face. OK, Excellent. Now gonna hit shift to select this face and shift control to select this face. So now we've got everything that we want selected, but I don't want to extrude all with this, so I'm going to show you a little bit off a trick here that we can do. Let's see if this works. So I'm gonna get dues when go to select, and then I'm going to select check up the select. So if I select check out thesis elects, what it does is it basically selects every other vice. Now, it doesn't quite work. He because it's only really worked on one side. It hasn't worked on the other. Now we can manipulate certain values Detroit on get it right. But it's unfortunately here, it's not quite working on this opposite side. So what we have to do is I'm just going to thes select everything for the moment on, Let's just do one side at a time. So going to select this talk face and then out will love the control, almost pressed the wrong button yet. So control, right Click. And then I'm gonna go select check of the select. Now what I'm gonna do ease. I want it to be the ones that go up. So I'm gonna change the offset value so that we can stop it. Rounds were gonna come over here, and I'm gonna change the offset value from 0 to 1. Excellent. So now I can do is I can hit the e key and drag him up so well, do you know it's just eat drug up on Let's use the value off to and then press answer now, it's not gonna be the best staircase that you've ever seen, but it just so you know, it's early on in the course. I'm just trying to let you know of all of these awesome tools that you can use. So now let's replicate this on the opposite side. I'm gonna select top face control, select the bomb on no. Here. When you're selecting geometry, make sure that you have nothing that's unwanted in your selection. So I'm gonna have to cancel that. And Chris, I press a press, I not once that hold the shift key or the control key select. And then it's done it again. What it doing that again? Well, at the moment, we've got a little bit of a problem with. It's creating a new pathway here. So we try that again. That's definitely not selected control. Select the bottom one. Okay, so something's wrong here, which is a bit Well, it shouldn't quite be doing that, but this is just a bit of trouble shooting. Sometimes blend. Art can do this sort thing where it just does something that is completely unexplained. So what we can do instead is weaken. Just hold the shift cakes. There's not too much geometry and just select the ones we want. Now we're not going to select him all, actually, because we don't need to in this method, but it's just a bit longer overall. So just let alone the top ones and hit the e key to extrude and press two. Excellent push. And so and there we go. So we've got a little bit of a stairwell woops and ratings either side on if you want to, my challenge here would be Can you manipulate this geometry so that it looks a little bit more like a traditional staircase? So things that I might want to do I might want to select these two and extrude amount along the y axis, but then I won't want might want to do something that actually changes the shape and makes it a little bit more straight down. So maybe what I could do he's I could do a face feel so let's see what that looks like. I'm gonna go select edge on a woman Dussan said this edge Hold on shifty. Select this search and hit the F key. And that creates a face. If we assume in we create that face. If we go one hole down ship to F key again creates the face. Now, if I was to be a bit cautious here, I've actually extruded the bottom out quite a long way. So if we pan off you around by pressing free on a number pad, I can actually see that the angle is different. So why needs to now is on its hit one on my numb pat so that I come to the front and parent want you a bit, then control and said, But I mean to do that many times until I get back to about you. So what I'm just gonna do now is I'm just going to hit the e key again to extrude, and this time we're going to do it by the correct value, which I believe is a value off to an answer. Okay, so that looks about now we're going to do is we're going to go back and we're just going to create those faces again. This is optional, but of course it will just make it look a lot better, so let's do it. 12. Mayan Three: way we are going to go into it. Select, select these two edges and he GfK excellent. Now will do the next one. Select these two edges. Make sure we hold down the shift key on selecting the second Age and hit the F K on which is going to continue this process away up to pretty much the top. So 12 on it, making sure that we've hit that f k on. I'm just going to be a little bit quiet now because you don't really need me at this point to just explain every single time because I think we will get the idea in a somebody slipped 12 on. I'm just going to be doing this since here we finish now. There's another thing I'd like to know is that some people, when I do these videos, they like to pause it. But personally, I think it's better for you to receive the entire process, even if it is a bit repetitive just so you can see exactly what's going on there. Okay, statins pretty good now notes that we have a big discoloration here between these faces on the faces up here. Now, first of all that's actually happened because what I was doing these faces, it was bottom first and then top second. And then when I got to hear, I accidentally swapped it lands. But that actually shows us that we may have an issue with normals. Now, normals are something that's very important for you to be aware off, especially if you are going to be creating things for video games. So normals are basically every single face in something like blender has an outward facing side on an inward facing side on. If you have them the opposite way around, then if you export that asset into a video game, then that face actually becomes invisible on. This is an effect called back face Culling. Now we can check to see if this is the case here by activating back face culling in Blender . So making sure week off that side panel opened up, we're gonna come down to where it's a shading and select that face Colin. Now, once I do that, I can actually see that the faces if I see men that were here before, have actually disappeared. Now that's not good. That's one thing I really don't want. So what I actually want to do here, he's I'm just going to sort out the normal issue. So what we can do to even go because they don't aren't too many of them. I'm gonna go one. Hold on, Schicchi one and face Let's to 34 and five, making sure that the correct faces are selected on what we'll do here. He's, If I press controlling and on my keyboard, then I have effectively done what we call making normals consistent. Now that's an actually works perfectly. For some reason, it's done the bomb free, which is good. But these two here are not the lightweight land so far. Activate back, face culling again. Now these two are missing. Now again, it's a little bit weird why Blender has chosen to do that now, but it doesn't matter too much. So what we can do is let's come over here and let's see if we can find some for the normals here. So there's nothing really for correcting almost there. So what we can do is we go options, maybe have a look around our other Look here. We've got normals for shading side there we go. So shading U V's on this side panel here is where we can find the normals. Now we can do one of two things we can offer. We calculate or flip collection. If I week help you like he it doesn't seem to be working, which is fine. But if I flick direction, it does work. Excellent. So I can select the bottom face now and flip Direction Fantasticks. And now all of our normals are facing the correct way, which is perfect. The next thing I want to do just to play safe is make sure that we don't have any doubles. So what I'm gonna do, he's going to go on press the tab key on top again. I'm gonna just panel I'm making sure everything we look for at this common sight go back into edit modes on what you're gonna do years I'm going to select everything I'm gonna do is gonna go back to tools and let's see what happens when we removed doubles because we don't want any geometry that is not needed to basically geometry that's sitting on top of each other where it shouldn't be, so I'm gonna can't tools and I'm gonna go downs where it says removed. Doubles on left, click, and that's removed. 28. 30 sees. Excellent. Now, if we were to have a look as one thing that is very important for us to check, I'm gonna de select everything and hit the Elke on our roof. Okay, minor issue when we do this. So removing the doubles has basically joined the roof on the base together. Now, that can be fine, but when we're applying textures later on, it's actually going to make mapping the textures a bit more tricky than what would be necessary. So I'm gonna do is gonna hit control Zed, hopefully to the point where I can just select the island. Yes, I can. Excellent. And why I just want to do here is I want to hit the l key. Make sure everything's the selected here, the Elke. And again, I'm just gonna drag our room up so that it's not sitting on the base at the crucial moments when hit G said to and ends up next, we're going to hit by a to B, select everything. No, to select you, just the base this time because the base is the only one we want to be focused on. At this point on, we're gonna go removed apples. And this time we've removed 24 30 seats. We moved 24 doubles. Excellent. Next I'm gonna press I than l on the roof and we moved Doubles no overseas removed. That's absolutely fine. Now I can hit the geek eke and then said then minus two, then enter. Just arrested back on our base. Excellent. So we're left with one final task and that used to fill these in here sudden, the process is pretty much the same. We're gonna make sure a little bit of an angle and just assume in as much as we can and I'm gonna do is gonna go into edge, select then one shift to we don't need the bottom one or with do now expressed the f. K. And it creates that face on will just complete this process across the board. So we just do that now, and by the end of it, we will have a much better looking stairwell. Que make sure that you've done it on both sides. So we come over here, we can actually still see now just a little thing to know you might have no is that we can actually see through the objects on this side, even though with on the faces he that's because of the back face culling effects. Remember that if we face will have on inside Andan outside. If I was to turn this off now, we can actually see the insides off the faces. I said, Let's go 12 and start just putting those bases in. If I hit back face culling here, it's just that little bit of a problem with these new faces. So I've got be mindful with that. I want to 12 12 12 and that's getting better. So now if we just used these ones and these ones, the normals look pretty good, actually, So it's just these two of the bomb he that presented a bit of a problem. Actually, that one is well, looks like this presented a problem and I think the normals seem to be a bit. We're depending on which faces you choose. But don't forget. If you ever come across any faces like that, it's actually there's one up here as well. Don't forget you can always go into face select select the faces in question. Go to shading and newbies on just click flip direction. I was actually gone wrong. Why? We should be weird there. We got nah, just to make sure that face culling just to make sure there's no issues whatsoever. Excellent. And there we go guys said, There we have our what? Mayan pyramid. If you want. You can always do finishing touch So we can always perhaps extrude a little bit out here. So what I might do? Hughes and Michael extrude free and top click Extra free answer. And then we got Lee with an entrance. Why? Up to the door for more on Pyramid? So congratulations, guys. That was quite a lot to cover for. Warts. Yes. Still looks like a pretty simple object. But this was actually quite useful for you guys to know about certain concepts, in particular, the whole issue of normals on back face culling on also, perhaps, just as importantly, the usefulness in the strategy off actually having separate parts off the same object rather than making life difficult for yourself. I'm just trying to make a single solid block with Aled. Different shapes around that single object. But thanks, guys. On. I will see you in the next lecture. 13. Basic table one: guys in this lecture, we're going to be creating a very standard table. So this is a typical first objects for many aspiring Freedy artists because it's an object that has multiple lines of symmetry. It's an object that is very easy to create, and it wires some of the most common hall fused in blender to complete. So examples of tools that we may be using in this lecture include the ability to scale the application off. Luke cuts extrusion Z Andi using the levels hold. So let's begin creating our what standard table here. So for this, we are actually going to be using our cube because it's a very good starting point on. What we're going to want to do is we're gonna get a good view off it. So I'm gonna start with a front view, so I'm gonna press one or more at number. But on now, we're just going to position our Cube. Now we're going to do the top first, and then we're going to use the geometry from the top to its crude, the legs. So what I'm gonna do? First of all, it's and guards who expound the outline. A panel up here and then I'm going to right Click on and we name. So I'm gonna rename this as we call it Basic table and press. Enter. So we've got stopped for basic table. Next. I'm actually just gonna go out this along the war said Axis. Just drag it up here on day release. So now, actually, that might be a bit too. I was down a bit. So now what we're gonna do is we're gonna have the base up here, and then we're gonna extrude the legs down so that they rest on this red line. So up next, while in front off a graphic view. I want to scale this now, going to want to scale this. If I'd assume in a little bit, Tom, let you I'm gonna want to scale this sort of It's very thin. So I'm gonna do is my favorite way of scaling is to open up the side panel, move up to the top on. We're just going to influence these values. Sorry. The said value, for example, we decrease that we begin to flatten the chief on that axes. So I think I'm gonna go for value here off 0.1. I think that would be a very good starting value. Now notes that when we changed a scale, we will also change the dimensions. So just keep that in mind and you can actually do to flip side so you could actually change the dimensions of that changes to scale accordingly. So let's resort that back to its original value. Andi. Now what we need to do is we need to press the number seven on our number. Pad on what that does is it brings us into top of graphic few. So we need to do that. We need to expand this base. So we're gonna start with the X axis on for the X axis. Let's test a couple out, so I'm gonna start with a value or fire on. Then we'll use a war value off to now. If I hit the one key, that looks pretty reasonable to me. If anything, it might be a bit too hard up. Well, I'm going to want, so I'm gonna drag it down on, and I think that will do. I think one thing that changes is just gonna make it a little bit thinner on the said access is a little bit too thick for my life. So I'm gonna go Sierra 10.8 and enter. There we go. So we've got these dimensions now, which we can work with. That's excellent on it. We just panel view around. I'd say that's pretty good for a basic table. So I'm modeling this basic table off what you would typically see in a school classroom, since that's the easiest type off table to create here. Now I'm gonna do is I'm going to begin it, creating Luke cuts so that we can extrude Alexe. Now there are, in fact, simple ways or doing this, for example, we can actually create the legs as separate parts of the objects rather than extruding. However, I would like to take this opportunity to look at the use of Luke cuts and extruding with you guys so that you get an idea of how they work was obviously there will be situations where they will be required. So we're gonna go into edit mode by hitting the tab key ons. I'm gonna do this form the top off a graphic view on what I'm gonna do start with isn't to start the loot cuts on all four sides so stood out and hit control in all and then hover my mouse into Garcia Purple line, left click, and that just allows me to drag it. Now, what I'm gonna do if I want to get this, actually, I'm actually going to drag it away to one side. So it's pressing against the age off the objects and then left. Let's confirm, then one guns do is I'm going to hit the G key without pressing anything else. So I'm still grabbing that Luke up the X key to lock it to the X axis. And then I'm gonna type in a value to move it across the X axis numerically. So, for example, if I do see your point for life, then it will move the blue cut by that measurement across, form the age off the object. So now I compress Ansel and I've got that good starting point. So now I'm just gonna do that same process, all four sides, So going to go one and then can he grab, then war? Now, you gotta be careful that you make sure that it's the correct value. So where four. It's gonna be positive or negative. So for this one, it's going to be negatives. There's gonna B minus 0.5 and enter, and you can tell whether or not it's gonna be positive or negative form, that's all orographic few by the directions off the Avalos. So obviously the arrow of the exact CC's going in this direction. So any loot cuts they're gonna be traveling in that direction is gonna be positive on any loot cuts that going up the war access would be positive as well. But if they're going down like the blue Cut that we just might, then it would be a negative value. So let's do the other two all the way to the end. Grab X minus 0.5 and then we'll just do one more grab boy points five. Okay, so that's a good start. If you pan all of you, we've got that geometry down there. And now what we want to do is we want to be able to just extrude out some or geometries. We're gonna need a little bit more than this. So let's go again. It's gonna go all the way down. Then we got wrapped. Why this time? I'm gonna go point to and then we're gonna do that away around, So go to the top. Grab Why minus point to now Where's the ends? Grab necks point to and finally grab X minus point to on excellence. And now, if we reverse this so I'm gonna hit control. And seven, let's go toe bottom, all for graphic and then go to Faysal it then I've got a loop of faces here that I'm going to extrude out much geometry form. So I'm gonna start here on If we hope down the old ski, we won't be able to select the loop here because the loops are continuous around the object . So we can't create the loop using that method. So we need to do is we just need to hold on the control key at each 2nd 1 so that we can create that Luke. So I'm just gonna undo that, actually, just so you can see that again just to see how I've done it. Someone. Lisa, Let's everything select our first face here. Then I'm gonna hold down the control key on Dwight. Click on that. Links them together and keeping the control key held down. I'm gonna select every other face in this loop, and here we get the full you selected on. Now, what we can do is we can extrude this out. So I'm gonna hit the one key, and then we're gonna eat to extrude, and that just brings it down. So we're gonna want this to be quite feel so I wanted to be a little bit thinner than the table base itself, So we're gonna go 0.6 point 06 said point CEO six unanswered. And there we go. So now we've got just a little bit more substance of the table on were actually almost done . So just to complete the table itself, we're going to select by holding down the shift key. Those four faces those faces that make up the corners off that loop, hits one on a number pads and then we're gonna hit the e key to extrude. Just extruded these legs down to wear that red line is. Then we're going to left click to confirm now, before I do that, I'm just having a look, and I'm thinking maybe I didn't do it too low. Something's gonna do, so it's gonna go a little bit below the red line. It's, um that I'm gonna hit the tab key and I'm just gonna drag on my table back on the ready line. And there we go. Guys, that's pretty much years. We've now created a pretty basic model off a class you stole table. The final thing that we're gonna do here, it's just going use the bevel home. Now, The reason why we're gonna use the devil's hole here is because in the real world, no objects, not even the really sharp ones, like anything like a sword or a knife. Even they don't have perfectly straight edges, which is what we're seeing in blender so reassuming on this corner, fruits are whole. We can actually see. This is a really straight edge. I have a really strange that really straight edges. This simply does not exist in the real world. So if you want to add realism to your object, then doing something a simple as using a bevel to create curved edges can actually make a really big difference. Now the fifth started. This is if you're using it for things like animations or video games, then it might not be depending on the assets that you're creating. It might not be that visible. And it might not actually be that important for creating the realism in your scene because it all depends on whether or not people are going to be drawn to that object. So this is very much optional. But if you're creating scenes and then you're gonna want to hit Pataki, then you're gonna want to go into edge select hold down the okay on just select the edges around. So because of the German food has been created, we're gonna have to have shifted. Now, we're gonna do that aware hands on what I'm gonna do. He for this talk, I'm actually gonna set the bottom as well. So let's select the bottom. It's a shit out, and we'll see if this works, which it should do. But the devil talk can be a little bit over pain sometimes. And I'm gonna hit Control Bay. You should be able to see kind of but level being created. Now we do have an issue here and that use with the fact that it's not really doing a good job with this so we can see that the devil's crossing away in two wards, the center of the table. And that's a bit of a problem. So what we're going to need to try and do here, he's Let's test a few things, So going to just that move around, see what we can do here. So what we could try and do is to try and do to top one first. So they see it. That words control bay. Now that works a little bit about but the problem we have for the table here ease the fact that gs kind of, you know it does it. But it just doesn't quite do it. So what? We need to ease this scenario. I'm going to scroll up my school, Will. It's a couple of times I'm gonna make it not too sharp. So gonna go back here and enter then we're gonna do isn't just gonna drive select that bottom set there on because we've used the BEVEL tour is actually now allowed us to select a way around again on one. Just gonna do this and you're going to write that down just a little bit. Just a little bit and it's, ah, pretty unorthodox way of doing this. There are simple ways, but this is just a little bit of trouble shooting. I mean, a lot of time you actually won't come across this issued of main reason why we've come across the issue here, where the bevel tool hasn't really worked. The way we wanted it to is simply because off the way in which the geometry was created now this wouldn't be so much for problem if we had created the base separate form the legs. However, it's not that big of a deal on. We can, of course, manipulate the geometry. And now we've got the press. It's happy now. Got just that little bit of a curve. Now my challenge for you ease. Can you go away and just do you the same thing that we did for the top off this table with the bomb and also perhaps the legs as well. Remember, no object is perfectly sharp on. If I was to go to have key on it, we was just select. They said he I could go control, and they and that would create the bevel. Now with the legs, you'll actually find that this is actually a fair bit easier to do than with the bases. Know enough, she almost treats interfere, So I can just go like that's a little bit a couple of segments by scrolling up on my scroll wheel on When I'm ready, I can just let think and confirm. And if we go into object mode, you can already see the impact that that's hard. It's just created like a real with flexion off lights. So he's in fake light sources when in sort of a few in blender and you can see how the lights, you can get an idea of how it would catch those edges, and that's just adding that little bit of extra realism to otherwise basic objects. So your challenge now guys, would be to go away and see if you can bevel as much all your table as possible. Thanks, guys. And I'll see in the next lecture 14. Basic table two: hi guys. So we're gonna go back to the standard table that we create in the previous lecture now, but I wanted to be mad at me for this, but I purposely challenged you to do things in a quite difficult way. So what we did in the previous lecture was we finished with the challenge off using the bevel tool to create levels for our object. Now, the reason why I gave you this challenge was because I wanted to. There was a second challenge in that and that was to see one if you would be able to create the bevel across the entire objects. But also, second of all, if you would be able to see that there was, in fact, another way of doing things now if you weren't able to do this, that's completely fine. But basically the reason why I gave you the challenge and the reason why we're doing this lecture now is because lender is extremely versatile on. If you want to do something across an entire object, there's pretty much always gonna be a modifier for it. So while blender has a Bevin Tong, the bevel tall can be used to do an entire object, or it can be used to do part of an object. But if you want to use the entire object, a really good way of doing things is such issues A bevel modifier. That's right. We actually have that. There were mortar fire on, and I again don't be mad. Our perp sleep did not say this because I wanted to challenge you guys to secretly challenge you guys to see if you could figure this out for yourselves. Now again, if no doesn't matter. But the main lesson here is that whenever you want to use a specific tour, cost your entire object. Most of the time you're probably gonna find a modify it that does that action. So we're gonna use the bevel modifier here. And if I see him in straight away, we can actually see the effects that the bottle level modifier is applying on our objects. And it's doing so across pretty much most of the objects that we can see now it would seem in yet there we go. Now it does offer a pretty comprehensive amount of control. So what we can do, for example, was we can add a few segments said It's had five seconds, for example, and now we can see very quickly that we go once a bit. Old geometry here, being added now notes that obviously, at the moment we can't see the new bedrooms being added. But the same thing here is pretty much being applied, as with the bevel tool where we have issue, but it doesn't MMA as much. So what we're gonna do here is we're gonna decrease that wit because we don't want that they're able to be too noticeable. So we'll go 0.4 on. Then we can apply our their motor for a simple was that So have as many segments issue one theme or segments you have. The smoother it will be, the less the rough are, but obviously less geometry, which is always good as well. Click apply identically going to edit Mo's. We can see that we've got with that new geometry. Thanks, guys. And I will see you in the next lecture 15. Round table: Hi, guys. In this lecture, we're going to be creating a round table. So this round table is going to be created using two separate pieces. We're going to be first creating the tabletop Andi, then the lakes. Now, when you're creating an object that has multiple parts, it's a lot easier just to create those parts separately rather than just trying to extrude everything Kin as a single piece. Therefore, this time around, we're going to be creating the two separate parts of our table separately and then joining them up afterwards. This will also have an added benefit when you eventually move on to creating materials and textures for these objects, as the fact that they will be separate pieces means that you will be able to more easily apply it different materials to those pieces. So let's going to blend up and create a round table. Now the first thing we're gonna do is we're gonna create the table top. So what I'm gonna do is I'm gonna get rid off Cube entirely, so gonna press the X key and delete, and then I'm gonna add in a new primitive object. So I'm going to go to add Mitch, and I'm going to select one of our primitive objects. Now for this, I'm going to choose cylinder because that will certainly work best for me for creating this round table. So now that we've got our cylinder on before I do anything helps it all. What I want to do now is I just want to come over here to this side panel, which is otherwise known as the Tours panel. I'm just gonna track this up because what he is here when we create a new object, uh, certain different factors that we can't manipulate in order to shape our new primitive object. So we have the ad cylinder option here. Now, it's very important that we work on this immediately after creating the objects because assumes we perform another action, this menu would disappear. So for may, I'm going to look to increase the number of third disease that we have here from 32 to 64 and that will make our table talk a lot smoother. Now we have different options. So we have the death, which is also particularly useful. So I'm gonna decrease this step from two on. I'm going to go for a value of about wind CEO five, So we'll have it quite fin. But just be wary that when we're creating the legs, the thinner we make the table top, the more closely aligned we're going to have to align the tabletop to the legs. Finally, we've got the radius, which basically allows us to increase. In this case, it lasts to increase the X and Y axes on the scale, whereas the debt focuses on Lee said axes. So let's increase that to something sy. One Queens six would be good on then. What we can do is we got something called a cap field type. Now it's currently set to end gone, but we cannot just said it to nothing. All we can set it to Triangle found now because of the way that we are creating our table here. We don't need to worry about this too much as long as it's either end gone or triangle fan . Now. It used to be in blender that when you apply it textures and materials, it tends to not like M guns. When you map those materials onto objects, however, Blender has gotten a lot better. It's recently. So whatever one you want to choose is up to you. I just for now leave it. The four which is then gone and now I'm gonna do is I'm just gonna grab this and move it up . And you know, is the Sooners have done that sooner. So perform the action. This panel here has changed. So it's gone. Formed the ad cylinder handle to the translate panel. So it's Norman allowing me to manipulate my previous action. So now I can just move this said value up and downs wherever I feel it needs to go. So that's used value of one final on. Let's have a look at this from the front. So they hit one on my number pads and OK, so assuming a bit on up next, what I'm gonna do is we're gonna add a smooth shading to start some smoothness to our object. Now, one thing to know is that particularly when we're doing in guns, you get a little bit of distortion with the lighting. But we're not gonna worry about that at this point. There are ways in which we can work around that. But for now let's focus on just completing our actual table. So we didn't do the legs now, so we need to do the frame on. In order to do that, we're going to open up the art of menu with Shift and I on this time we're actually gonna select circle. So we're select circle. I'm gonna have the same number of 30 c. So I'm gonna come over here again and I'm going to select 64 birth disease on here. We've got the radius option, but not the death option, because it's not solid objects at this point. We've also got interesting enough to feel type so we can choose nothing and gone or triangle fan. But for now, what we're gonna dio ease, We're just gonna choose nothing on instead, off creating a feel. What we're gonna do is gonna go into edit mode. We're gonna hit the e key, and that's going to allow us to it. Shrewd. She on the tree, former 30 sees. But this is the important thing that we're gonna do now. We want to scale it in. So without pressing anything else after you've hit the e key so don't confirm anything. Don't try and position it anywhere. Just hit the e key and then press the SK, and then you end up scaling form extrusion. So I'm going to sky. What? It's in a bit and we're not gonna go to farming on left lip excellence, that Soo min, we're making good progress there. Now, this tabletop is getting in my way a little bit, so I'm just gonna hide it. So I'm gonna go into object mode. I'm going to select the table talk, and I'm gonna press hey h on my people to hide that table tall. Now, I'm gonna do you something to select our base here. I'm gonna select our actual frame on. I'm gonna go into edit mode. I'm gonna make sure everything is selected and I'm gonna go into face select now, get the e key to extrude. I was just gonna screw down just a little bit if you want to, like, get bit more control over how much you can extreme something If you hold down the shift key , for example, then it reduces the rate at which the extrusion responds to the mouse cursor and that allows you should just get the right value that you want. So about here will do for me. Left. Take. Excellent. So now, if I have a looking up from below, we've got quite a bit of geometry, but that's absolutely fine on what I want to do. You very simply. So I'm gonna select. I'm gonna hit control on seven guns. A problem Infographic on. I'm going to select the following faces. So I'm gonna select these to a talk. These two it aside and you'll notice that I'm actually using the lines for the axes to help me here. These two on these two I wanna do is these legs are actually gonna be quite long, but it doesn't really matter too much. I mean, if you want to make sure legs you can always true go 12 free four. But I'm just gonna go like discs are likely a symmetry. And then I'm gonna hit the e key. I'm just gonna extrude these. Damn. So we've got nice big legs here for our roundtable, and that is pretty good too May. So now I can hit the tab key. Grab that up, make sure we're in front alpha graphics so that we can do. She asked right on That's looking for needed. I like the look of that. I'm gonna hit old and hate each to bring back, uh, talk. We're going to select the top. What I'm gonna do, you gonna hit the one key I'm gonna assume in a little bit and want to do is I'm just gonna move. This is just about rests. It's home now. If they overlap, believe me, it really doesn't mind because the geometry itself is not connected. So it's not really gonna have that much of an effect whatsoever on the end result. But we do need to do now is we need to join these up together there to several objects at the moment. So fire increased the size of my outline. A panel. We can see that we've got the circle cylinder on the surface that two separate objects, so I'm gonna do is I'm gonna have a cylinder selected first shift white, click the circle and then I'm gonna join them together by hitting control on D J. Well, that allows me to do it. Allows me to join them up together on we've now got a single object which we can now re nine as out What around table? An excellent. So there we go. We've now got a round table. Now the last thing I'm going to show you, something that might help with any smoothing issues that you might come across. So what you can do is one thing. I like stories. You something cordon age, split mortar fire, which I tend to think work quite well. So you're gonna make sure that you have the top selected like this soldier geometry around top selective. You're gonna go to the modifies tab, add mortar fire, and then they'll be an option called edge slip. Now, as soon as I do that, I'll actually find that the smoothness has actually fixed itself. So I hit the tab key. The top off our table looks much better than it did before we used the expert modifier. I can turn off this modifier, at least in terms of its visible in a few pool by just clicking on this, Iike on here. That's what it looks like before so we can see it smooth. But it doesn't look back, right, And that's off the and we can actually see that we now have a nice, smooth service at the top off the table, but also the sides still looks smooth as well. So that's a nice little trick, especially with simple objects. Just using that edge. Spit modify out to get the right amount off, smoothing for your object. Thanks, guys, and I will see you in the next measure. 16. Drinking glass: guys in this lecture, we're going to be creating a drinking glass. So it's a very simple objects with simple tools such as object deletion, adding a primitive object face deletion skating loop cuts Onda a solidify modifier. So let's create the drinking glass and we can do this any number of ways. But we're going to keep things really simple. He some guys get rude over my keys and replace it with a cylinder. So games were using the cylinder, and I'm gonna hit the T key to open up the tours panel on. I'm just going to increased the number of for Toussie's from 32 to 64. Some doubling up on a number of 30 sees the reason why I'm doing that. He's because there are different ways you can do this. You can. I have a reduced the number of third sees and then use subdivision surface modifier to increase the smoothness. Or you can increase the number third sees up to a point that you believe would be smooth enough. So 64 we assume in I think 64 would be smooth enough. Four on assets or this size onder type. If I really need to. I could always go bit higher. So maybe 72. It's a value that I like, but it doesn't really matter too much, Aziz. Long as we get the smoothness that we're looking for, we can also you smooth shading to get a good look at how the object would look when it's smooth on my looks pretty good for the moment up. Next one going to do is I'm gonna delete the top face. So I'm gonna go into edit mode and then face select, select our top face, and then I'm gonna hit the X key on Delete that top face. Now, at this point, we actually pretty much have all we need for drinking glass. But there's a number of different things that we could do to perhaps create minor altercations. Perhaps we can scale to increased size, make it into a point glass, give it a couple of Gru's etcetera. So let's experiment a little bit with what we can do. So I'm gonna open up the side panel. I'm gonna add a background images. I've got it. Ticks Currently, image has been added and we just need to open, so I'm gonna go to the folder where I'm keeping white reference image, which is my asset creation image. Fold up on. Then we can choose the asset, but we won't know I have. Actually, I have a couple that I can choose. So we have a proper point glass here, and we have a smaller point style class here, which is a little pickup. So I'm gonna go with this one on. We've inserted it into our scene. So in order to view it, I need to press one and five on my numb pat. And there we go. So now I'm going to be using this as our reference image for our glass. So we're gonna go into any mode. Andi 11 do now is we're gonna press said on the keyboard on what that would allow me to do is when I go into Vertex Select mode, I'll be able to select a lot off the verte sees on top or bottom without having to pound my camera view. So I'm gonna hit the sea key on my keyboard to enter circle select hold down the left mouse button. I'm just going to just almost paint over the area where the vert sees art. I want selected. Then I'm gonna want clicks confirm. Now I can begin to shape my glass. So I'm gonna drag this up so that it reaches about he could You have to keep in mind that the reference image is exactly that. It's a reference image on if we're looking at an object form an exact side on view. So we're looking at this directly from the front. That's a little bit different to what we got in the reference image itself. Where were Actually we were looking at this reference image in real life. We'd be looking at it form an angle slightly above, which is why we can begin to see the inside at the top. So we always need to keep things like that in mind when working with background images. Next, I'm gonna express I, too. He selects everything and then see again and select all avert sees on the bottom like let's confirm and drag them down. And we're gonna drag him down again to around about he next. We're going to look to scale these outside gonna hit the s key to scale these for disease. And we're going to scale them out, too new enough, the age off the reference image. And then we'll do the same up top. So across the I, then see select the third sees and scaled them out. So at this point, we just turn all of you. We are getting closer and closer to the reference design. The one thing that I recommend you do whenever you create an asset like this, where it's just so easy to create so many different variations is just begin creating duplicates off your models so that you don't stop this crap. So, for example, he that looks like a pretty workable glass in itself, so I can do is I can just go shift d to duplicate locker to the X axis and just maybe across. And then if you ever want to come back and I connected that so I can go more to fire, give it a solidifying waterfall, let's give it a fitness. And then there we go. So I've got a glass. I sit there, but let's get back to this one because we want trying it, this one similar to the reference image. So we're gonna go to object mode which you were coming in and then go to edit mode by hitting the tab. Que hitting said It's my The face is invisible. Ah, Now we're just going to look to begin creating the loot cuts needed to make this a smooth glass going around. So we're gonna go controlling our and then we're gonna left click. And I'm just going to like this one up to about here, and we're gonna scale that our little bit and in which can ads or loot cuts in the necessary places. So we go here and scale in, and I would just begin to look a little bit more like the point glass. Now, one thing that we can do is we can do things like the old devils. So if we go control and b r keyboard while we have a loop off first see selected, we can beveled out, so it becomes multiple off those loose. So I've hit control, be to bevel, and I can determine how far apart I want them, and I can also scroll up on my scroll wheel two ads, some additional loops on. This is probably a better method here than just using a subdivision surface mortar fire when we don't really lead tohave the seas everywhere around our object. So we can find a good position here and left click and then we can just manipulate this so we can go rightly aan ultra to select one edge loop shift old white click To select this one has to scale in just sad and sub So now we're starting to get a little bit better with regards to the general shape or our drinking glass. So let's do the same up here, go into edit mode, select this loop and hit control be to bevel. I was gonna make that reasonably want. And then we're gonna go 12 free, tracked a bit more and confirmed on that Should we go into sorted few? I should make things look a little bit nicer. So we have a look now back in edit mode back in front of a graphic. What we have here is the makings off a pretty decent drinking glass asset. So pretty much were need done here with regards to our drinking glass. He looks near enough What we would want for our asset. It looks pretty much be in the same shape as three reference image behind it. So if we go back into object mode and solid view by pressing tab and then said we have a couple of things that we might want to deal with, for example, there's a little bit of a shading issue at the bottom. Best way to deal with that would be to add a lute cut. So go into edit mode, controlling our and it's add the Luke up and just push it down towards the bottom. That does create doubles at the bottom of the object, but it's a very quick, on simple solution to solving those shading issues. Also, what we could do here is we could always just create a level. So if I was to go back into head, it modes we could, for example, drag these up. So we're gonna drag the same loop before by hitting G twice. And what that does is it just grabs the lute cut that we have before. But we can't move anywhere apart from the existing geometry, so we don't change the shape. And if I just dragged invite up just a bit to about here and then we assume in we congrats this bottom lube with salt and light click weaken go control and be Just add that little bit of a bevel just to smooth things out a bit. So I contract that up and I think, Oh, I didn't one segment by scrolling up from school Well, and then left. Click. And now if we hit its hop K, we should get a very, very clean base where the little bit of a bevel was. Well, which is exactly the sort of thing that we'd be looking for there. So the last thing that we need to do he's adds one more mortifying if we haven't already done so, which is the solidified modifier. So what about solidify in increased thickness to about Point Seo 25 and enter? And there we go. So we now have our drinking glass assets. Thanks, guys. And I'll see you in the next lecture. 17. Wine glass: the asset that we will be creating in this lecture will be a wine glass. The tools of creation it will be using include, for text construction, the screw mortar, fire on the solidify. So let's create a warrant glass asset. So the first thing we're gonna do is we're going to get rid off the geometry of our cube, but not the cube itself. That means we're going to be going into edit mode by using the tab key hitting X on deleting a with the verte sees next, we're gonna move into the corrects few. So I'm going to press one on my number, pound it to go into front perspective and in five to go into front lithographic. If you're already in Alpha Graphic, you won't need to press five up Next. We're going to be creating out what background image so can open up the side panel, enable background images on, add an image we're going to open, find the source of our image and then open it up from there. So the image that I will be using here will be this one glass in each. Now I can see that it's a little bit off center, so I'm gonna need to edit slightly. So to do that, we're going to just scroll down a bit on we come. And if you like this value here until we get something that we want So we're assuming on the image that looks close enough to center for May. So now I can begin creating the image itself as a free T asset. So we're going to begin by creating at first for text by moving our mouths towards the very bottom off where our object is gonna be it Control on the left, click. Now, before I begin adding more overseas, I'm just gonna hide the gizmo. And now I can begin extruding form our original Vertex. So by holding down the control key, we can't begin creating the outline off our objects. Now, the thing we've gotta make no off here is that we want to use to screw modifier. So at the moment, if I'm doing it like this, there might be one or two problems later on, but we shall see. So I'm just gonna pump it away up to here. I'm just gonna follow the outline as best I can now, because we're using the screw modifier. We don't need to go all the way around the objects. We simply need to go to this points he and we're actually pretty much done. So we don't need to do the other half because the screw modify it is going to allow us to manipulate the trauma tree away around. So our next we can go into object mode by his in Turkey to get a good look at the outline off what we have done so far, it looks pretty good to may bear in mind it will pull you sub served just to add a little bit more geometry later one. But if you're not going to use subsurface, then you are guns. Want to add a little bits of geometry here and now To do that, go back into edit mode and just select two off the verte sees hit W and then subdivide, and then that would allow you to add the extra little bits of geometry that you need now for me, I am going to be using subsurface. I'm gonna look a very smooth wine glass here as an asset. So now I'm gonna go into object mode again. We're going to go to modifier at mortar fire, and we're going to select the Where is it? Where is it? Where is it? Where is it? Screw modifier. There is. And there we go. So we now get a pretty good baseline off hours through mortify up, made wine, glass. Now we can obviously see that there were some things that need to be touched up so we could go into edit mode on. We can be in finding some verte sees and just manipulating them said that we get a little bit more or the effect that we're looking for. So I'm just going to taper that in now is starting to look a bit different from the reference image. But when we do the mortal, sometimes we can see that, you know, certain things needs to be changed. Estimate the model look just a little bit about So what I'm doing now is I'm just very simply making some important changes. Woman does. We're gonna putting these foresees down a little bit, and that is good. So if I pan live you around, we can actually see that the base seems to be quiet, thick here, perhaps unnecessarily. So So we're going to have to just might the one glass invisible Andi weaken? Just do that by hitting this. Oh, I like on he on for me. What I'll do is, well, just manipulate. So we're gonna just blowing these up a bit. So we're gonna go 123 and four. I'm gonna grab along the Z axis. I was going to let these up a bit. Got this One are manipulated. It's it in words. So we're just gonna flat in that base just a bit. Now we're going to with stored of you. Although I modified in effect on, I think that looks a lot nicer. So what much do he's again? He's glad that going in because it just like it's been a little bit thinner in certain areas. And there we go. So that makes a lot better. So we just have a look. We've got bear in mind that while using this screw mortar fire, we do have a gaping hole here. So what we can do is if we were to make the mortify invisible again, I could hit one, and I can grab this for text. He on. What I'm gonna do here is I'm just gonna extrude it in toward center like this doesn't have to be touching because you can always merge it later on with other Vergis ease. But we just extruded into the center and left click. Now, if we bring our Weinglass back and change our view, we should be able to see that we have a much, much smaller hole on. It's also going to be a hole will be able to deal with very easily once we apply the mortar fire. So a few things here, one of them regarding that normals the normals obviously look incorrect. But that's not gonna be a problem, because we can just add a solidifying mortar fire and that will straight away sold the issue up. Next, I'm gonna add a subset, or you can just increase the number of steps if you want to. The reason why I'm adding a subdivision surface for this wine glass is because no matter how many steps here are increased by, if I increase that to 60 didn't you have a look of the outlaw in the outline? More still be jagged number. How many steps you increase. The screw modifier by the outline will still be jagged because of the way that the original . Sure enough, it was constructed Now, obviously, I can always go into any mode, and we could always just correct that. But my preferred method of four doing object that he's supposed to be smooth anyway, like a wine glass would simply be to reduce the number of steps down to about eight on, then add a subdivision surface on top of it. So we get a reasonable amount of geometry, not too much. But we also get that smoothness of the JAG ease around the outside are mostly gone on. We can then increase the number of subdivisions to ever we need to create a smooth and object as possible. The last thing that we need to do here is first of all, even though we've added solidify, it doesn't look like it's thick enough for May, so I'm gonna increase the thickness 4.12 point zero to just to get a little bit more fitness on. Also, we can actually see here a little bit of an issue with regards to the shading here. So what we can do is if we get the tiki. First of all, we're gonna make sure that everything is going to be smooth shading. So gonna go object mode check. So that's flat. And that's smooth. So we have a look at the difference between the two. No much difference because of the amount of geometry. But if we get some key, if we just grab this a manipulated going to wars, the center, we can see that it begins to help solve the issue. But no quartz enough. So sometimes you will get this issue where it just creates what we call artifacts in the tree on a tree. So one thing that we don't really want to do is we don't really want to write this in too far in its self is then that will drag the actual handle inwards, and we actually want to keep this nice shape. So what we can do is on now I'm just going to First of all, we're going to apply the modifies, so we're gonna go apply. But we're gonna make sure that we're in object mode, so we're gonna go apply a ploy now. I'm not going to apply the subdivision surfaces. Yet if I go into edit mode, we can see that we have a lot more geometry Thanks to the screw modifier on what we can try and do so color things we can try. We just have a look at the situation in object mode. OK, that's the situation we've got. If we were to go back into edit mode and add ourselves Luke up and add it all the way up here on that makes it a tiny bit that up. Compare the two not so much that we trying out of Lucca here again, we get similar issues. So what we might need to do here is we might need to go select. A lot of these were to seize in the center here the X key on delete these verte sees, but also with just under Luke cuts. So we're gonna need to go backwards a few times, So gonna go control and said a few times until we've gotten rid off those additional loops , then we're just going to go x the leader of Earth disease on. OK, so now we've got to do is we've got to take some of these curtsies and bring them in. So one thing that we can try is let's try it with the bolt and click. And then let's try old M merge at Sensor. Now straight away. That looks a lot better. And the reason why we've been able to merge those Vertu sees there, but it hasn't done anything to the outside we go to tap you is actually because of the solidify modifier. So that now looks a lot smoother on thanks that the solidify modifier we've actually been able to grab the birth sees on the inside of the object and merged them together without manipulating what's happening on the outside so that someone's keep in mind whenever you get a situation like that, where you're creating an object and there's a whole you want to feel, but you don't want to manipulate the outside shape, solidify is actually a great way off, effectively doubling up on the geometry so that you can use the geometry on the inside to close up any holes that you might get. And that's pretty much it. So when you're ready, you can always hit apply for your subdivision surface, and there we go. So Now we've got our nice little wine. Glass are set available for use. Thanks, guys. And I'll see you in the next lecture. 18. Cocktail glass: Hello, everyone. In this lecture, we're going to be creating a Freedy modern off a cocktail glass. Now, in this lecture were going to be using the method off to the Vertex construction in order to create our cox. How glass. So basically what we're gonna do is we're gonna create an outline, but what we want the basic shape to be in two dimensions on, then we're gonna use specific tools to create a free D model. So a few tours of creation it will be using, and we're not gonna be using too many here. But we're gonna be looking at using for text deletion for text, adding on the screw modify. And that's really all we're going to need for this. For the most part. I mean, you can always add things like a solidify mortify at the end of its substance to to it. But to get the basic model, this is basically all we're going to need. So let's go into blender and begin creating the Cox How glass, Now, what we're going to need to do first ease, this is going to work entirely in edit mode, but we're gonna want to do this in two dimensions. So the first room gonna want to dio, he's we're going to want to press one on a number pad, which is going to bring us into front for graphic. Now, as a matter of preference, would either 30. We never I create models like this is I like toe have the red line, which represents the X axis quite low down on my few ports. So I just hold down the shift key on the middle mouse button and I just move the scene. So that's the Red line is fairly lottery doesn't need to be at the bottom, just fairly love. And then I got a lot of space above to work because I treat that that Red Line has theme invisible plane, that more objects it's on. So what we need to do now is we need to get rid off this cube, but we don't want to delete it entirely. We want to use the object instance, but not the geometry. What I mean by the object instance is basically the existence off the Cube, so we want to delete the geometry, but not the cube itself. So at the moment we've got the keep selected in an outline of handle. If I was deleted now entirely by pressing the X key on deleting that he would be gone. So now I can edit the key, which is actually what I want to do. So what I'm gonna do now isn't gonna undo that. We control and said Then I'm gonna go into edit month by hitting its have cake. And now I'm gonna hit X again and select the league vert disease. What's happened now is I've gotten rid of a lot of the geometry for the Cube. So we have a look up here. We can see we have Nobody sees no edges, no faces, but that you still exists. And what that means is that I'm still in edit mode because if we just believe that you wouldn't be able to access edit mode because that wouldn't be on object to edit. And now we can begin creating our glass. So to do this, we're gonna have to do is hold down the control key, and I'm just going to position Why? Mouse cursor? So we're going to start off at the bomb. Hold on. Control on Always do is left click on that will have created a single Vertex. If we have a look up here, we created one courtesy. Now, you don't need to hold that any buttons while doing this in between the disease side. At the moment, I'm not touching anything. And now we're gonna come to do is I'm gonna just position my mouse cursor again, playing things a little bit by I for not old. The better method is to actually import on image off the object we're trying to create. But we're not gonna be worrying about that for such a simple object. So I'm gonna have this court close to the blue line Hold on control on left, click. And now you should be able to see that we have our thirst, Edge said. Now we go on edge that we could work with, said Now our guys be using as a little geometry as I can for this some guy into position my mouse cursor again on control. Left, click. So now we're gradually beginning to create that copter loss. So let's find another good position. So moved up, then across a little bit. Control. Excellent. On that is actually pretty much all you need to do now, we don't need to. Do you want along the top here? Because then that's just gonna make unwanted geometry. But if I just go into object mild, this is basically a We're going to need to create our what? Cops. How loss. This is it. Now. One thing about changes, I just think that's a little bit too flats for my liking. So I'm just gonna grab that 36 there. Just move it up. Nice car, people. There we go. OK, so now what we gotta do is we've got to add our modifier. So many breast taps going to object mode. This is our objects ons. Actually, before I do that, what we're going to start doing here is we're gonna start naming the object, so we're gonna come over to where it's it's Cube. I'm going to, like, click and select 39 I will be named this as our co tile glass. Just so we know without a shadow of a doubt, what is now we're gonna make sure in the modifies tap and add modify on the mortified at work in a use for this is to screw mortar fire, So I'm going to left click On whom? Straightaway? There we go said. Now we actually have Afridi model of a cocktail glass that's absolutely perfect. But the better thing about this is if I just kinds your funnel for graphic mode, he's This is using a mortar fire, which means if we press that's happy, then it kind of works like what the subdivisions surface mortar fire would do. It's basically so the subdivision service modify works the same way you add the mortar fire on. Then you cannot. You only edits the geometry that was available for applying, Modify said Arrested. This we can't edit yet. So what we can do is we can actually manipulate his little geometry as we need in order to find the shape that we are looking for. So maybe if I think that's a bit too flat there, we can bring that up or Danny, we need to. And there we go said Wait, we would basically now have that Cox How loss. Now if we just have a look, a screw mortar fire, depending on what you want to use this object for, you can increase the number off steps on render steps. So number of steps is how many times we go around that bit by bit. So if I was to choose four, for example, press enter, we would only end up with four edges if I was to choose five. We have Father Jeez and selling. And so so if I want this to be reasonably high Polly, I can always go. Let's go 48 boy. For we, I I'm not, should be good. And also, you've got the option to smooth shading here. Which foreign objects such as? A cocktail glass? Obviously it's gonna be a glass, So I strongly recommend using the smooth shading. Now there are other options here, but I wouldn't worry about using these at this point. None of them are really going to be necessary. The one thing that you could do is you could choose this really auction and that will flip around the normals. However, for such a thin objects like a cocktail glass, the better solution he would actually be to just add a solidify modifier which may add more geometry to the objects so you might want to decrease steps to something comes all say 32 steps. But at least then you won't have any issues with the normal stuff. You were exporting this into unity or a new engine or any other video game engine. Then you won't get any issues with the objects or least you shouldn't. So there we go. And the last thing we're just going to do is when we created this model. If I just assume in, we also created a whole. Now what I'm gonna do fairly simply is I'm just gonna feel that whole off that we applied a mortar Foy's So let's apply thesis, Elif I first. But wait, we can't. It's not letting us white because we're in edit mode so you can't apply modifiers. Well, you are in edit mode. It won't allow you to do it in object mode. We're gonna go back into object mode on, and I'm not too worried at this point about being able to see the faces of mean what's flat shading and smooth shading. But it's pretty much doing the same things of what the screw modifies doing, but for analysis, deploy and deploy ons. There we go. So that looks pretty good on all I'm gonna do now is I'm gonna press. It's happy. Press A to make sure that nothing has selected. I just consume in here wholeness. How? Because we don't want no how? Hold down the key on Dwight Click to select all the votes for Toussie's On which is gonna hit the f k. And there we go. So now we have a model or our cocktail glass. Thanks, guys. Andi, I will see you in the next lecture. 19. Cutlery fork: guys in this lecture, we're going to be creating a cutlery, fork, tools or creation would include Vertex Construction. The minute mortar fire H creation face fills subdivision surface portion editing on the solidify modifier. So let's create our cutlery fork asset. First step here is to get rid of the geometry Ford Cube, but not to the Cube itself. Because we want tohave the object remain in existence so that we can use its edit mild. So we're going to go into edit mode. Why? It's in the tab key and then x on delete Verte sees next. I'm going to position the few port so that it is top infographics. I'm going to press seven and then five to go into top off a graphic few, which I can see up here. Next, I'm going to out the background image that I will be using to create the fork. So I'm gonna open up the side panel. I'm just going to enable my screen cost keys cause that hasn't been done yet. Hands were going to enable background images. I'm gonna open it up when we're going to add an image. So why did you select open it will take me to my file directory, and I will find a place where I have bean keeping those reference images. So the asset creation folder here, the images on then I will select pork and now I have the fork available should be used now . The thing to note here is that this is not a perfect reference image by any stretch off the imagination. It's actually for some reason, very much bent out of shape. It doesn't look. It's when you look at the actual image. But you can see at the bottom that we are looking right down the middle off the objects. Yet the full he tends to be been to one side. So in this example, what I'm just going to do, he's There were two values here, and they allow us to go either vertically or horizontally alone. The blender grid four. Our background image so far just left like he then that brings out objects up and down. This one will bring it side to side. Now, this is one of gonna want to use here. So at Ciro, it's just a little bit too much in this direction. So if I go and look like once. The problem we get is that it's back in the other direction. Now, if I try make this 0.5 then that just about gets me what I want. So it's just about down the middle so I could make use of that, Which means now I can't begin creating my object. So I'm gonna hold down the control key and left click at the bottom here. Now I can begin extruding verte sees form this point. Now, for now, I'm going to get rid off the gizmo because I don't want to be left clicking on I've with these arrows. So I'm gonna come down, I'm gonna turn off the Bismarck Now I can come back on, begin creating my over to seize by holding down the control key on left clicking every time . I feel that there is a need to add a Vertex so it's gonna copy and it doesn't matter if its exact too the picture, especially at this point. Remember, the picture itself is not always going to be perfect. Andi is just, quite literally a background image. It is used for reference, especially if you were to create original object based off of an existing one. Now, here, we're just gonna create the object as it is, for the most part, with the exception off. Perhaps this little give it down here. We might not want to use that. But the matter is, just continue with the creation off our the disease to create the fork itself. So go. Then why do you assume in a little bit? Excuse me? So was semen in a panel of you. And now just control and left click. I just wanna make sure that I'm gonna line these up. So we've got one Vertex here on one Vertex here. I'm gonna want to try and line them up in a minute. Just in Khost. I haven't already done so Place he's done. He and that will do for me. So once I get back to this green line, I don't really want to create any virtue sees on the other side because I am going to be using the member modify suit. Okay, so now we're just going to be doing a bit touching up, so I'm gonna bring back my Afridi gizmo, which is gonna begin positioning our geometry. So who example, I've got a Vertex here, but not not one on the other side. So I'm gonna have to this protects ships, Click this Vertex Andi hit the w key to open the specials menu and click subdivide. So now that creates an additional Vertex, which I'm just gonna drag up to here and position now. Actually, I'm gonna need one more here, so I'm gonna do that again. So gonna hold down the shift key, Select top one w set the fire, then drag that knew the techs into its position. And that's looking a bit there. Now we're gonna tidy up this one here as well on we can see that we're going to need another third, Tex. So gonna go one and two w subdivide, and you're gonna drag that down. And the reason why we're doing this is when we're gonna do the face feels later or we're gonna want the geometry to be aligned as best as we can. So we struck this time. That looks pretty good there at one. Then we have one. And to w subdivide, we just go out that drug it down there. Excellent. So that looks to be bell we're gonna go one and two because these who need one, they will do. She's pop up there, then double you subdivide. Excellent. And then we're gonna like this one up, and I was gonna create enough of the text here on it's not completely necessary. But if we do this now, it will make life easier a bit later, Warne, and you'll see why when we get to it. So I just like that once come down a bit and then we're gonna quote one more Vertex to go down about he's who is in line with this one. Okay, so what we can do now is we can just move down. Just check to make sure everything's good down here. It's not as important because there's no as much major change to the geometry Bear in mind will be using subdivision surface soon. Okay, so that looks good. If we were to come out soon now on going to object mode, that's what we've got so far. Statics pretty good. So now I'm gonna add the me about modifier. So I'm just going to close this style panels that don't need it at the moment on. We're going to go more to fire, and we're going to select mirror and that will create the mirror on the other side. We're also going to enable clipping on What was gonna do is I'm gonna assume in on assume what? Into the intersection here. I'm gonna go into edit mode, left click on just drag it and said it pushes against that. Yet that's green line. Seem a little bit pan live you down because we still need to do the bottom as well. Beth, click. And just like that, now we can see him out. I'm going to object Mode on. We can see it's quite well aligned now. So now that we've got that, we can apply it. So we're going to apply that moving mortar fire on. We go into edit mode, we can see that we now have the trio entry to edit. So up next for us is to begin face field. So I'm gonna open up the side panel again, and I'm just gonna decrease the opacity. All the background image from 0.52 point 05 it might stopped for almost invisible, but no coin. So now we can just begin creating the face feel. So we're going to start at the bottom on work our way up. So when a 123 and F 1234 and death on which is going to work our way up like this. So again, this part of the process is probably the most tedious on is perhaps even more tedious if you have even more geometry on. That's why, like here, for example, we've actually got that sees quite far apart from each other because the shape here's quite uniforms, so we don't really need much geometry. Here. You can go. 1234 I'm gonna make sure we selected for because while triangles are fine, we want to be is consistent as possible. So we want to make sure that we're always getting the quads 34 on. It's just a continuous process. Until we're done Now, I'm not going to pause this. I'm not one of those who likes to pause here. I'm pretty sure that whenever I watch videos like this one learning how to create something , I like to see the whole process, even if it's obvious what's gonna happen next, which is why I'm just letting you guys follow along with exactly what I'm doing. So at this point week and start going 12 on, then just for now, I'm just going to do the tops because there's a little bit of a challenge here for us. So gonna go. 1234 1234 Interestingly enough, there's been normals issue here, said a moment with the wrong way round, which is surprising but easily dealt with. And then what will shoot? 12 34? Yeah, that is interesting with the normal's not being in a correct way around, and it's a bit weirdest of why that's the case. But again, as I said, it's really not that much of a problem because it's quite easily dealt with. It's a little bit weird to me, but again, no one might be too much about it. Why an axe? We're gonna have subdivision surface coming up soon. 1234 Try from the other. So I just see what happens. No, that's working pretty fine. So, yes, sometimes blender convey a little bit weird with how it wants to create the faces like he there's no real reason as to war. We're seeing the normals the wrong way around. It's just something that you might have to deal with from time to time. So I'll just deal with that in a minute. Once we got a little restituto that your country. So it out. And then one. Yeah, that one's gone wrong. Now, why itself? Which is a bit weird. And I just creating that same pattern? No. To what you know. Okay, so what would you gonna do now is we're gonna go into face, select, and I'm just gonna settle the faces that I need to change direction by holding down shift key. Open up the side panel with tea on my keyboard, go to shading you these on flick direction. So what is quickly is that now it's gonna close that up again with the tiki. Ah, Now we just have to deal with the trio retreat down here. So what we can do is we can go one, 234 hours to make a face there, and I will make a couple of middle faces 1234 because wherever possible, we're still gonna create those courts. And that's pretty good. So we can have 123 here, But we're gonna need to be a little bit cautious. So he won't gonna do not the moat, Not the wisest idea in the world. But we're just gonna create what we're calling n gon, which is a face that has more than four sides. But since it's going to be the only one for our four, it shouldn't matter too much. Okay, so what we're gonna do now is we are going to add a couple of Luke cuts. But before we do that, we've got our basic for shape here, and I'm just going to create a duplicate off this asset. So we're gonna create a based form, and we're gonna do that by pressing shift in day, looking to the X axis in, just moving across That way, we can create different types off the same objects from the base form. Now we're going to select the four originally ons were going to go back into edit mode. I'm gonna be select everything by pressing I on. We're going to try and adding a few new cuts, so I'm gonna go controlling our how would you can add salute cuts now As you can see, the creation off the end Gone has created a little bit of an issue here where the loot cuts are not going to go straight up to the four tips. But for now, let's we're not gonna worry too much about that. So I'm gonna do for Luke cuts and then I'm gonna left tick. Then I'm gonna want take to confirm foursome, But next, I'm gonna add in a couple off modifiers. But before I do that because we've now got new geometry here, I can start joining it together so I can go. 1234 That looks good. So 1234 and create the face. But I've got to be a bit careful because that has created a face on top of another face. So I have to do is control and said, Go face, select and get rid of the end gone. So gonna go x and give it a device now? Sure, it is the lead only the face, but it's instead deleted some geometry. Didn't want it to say I'm gonna go Control said again. We're gonna go x on. We're going. Try only faces and there we go. So before we lost these edges here, but now we kept them. So now we're gonna go to that. Excellent. On we can go. 1234 Get the f k created face. Bullion. Do the same on the outside. 1234 F K. Created Vice 12 free. So let's try. 1234 Okay, so we're gonna just go Control are here. Create one. Will you cut here, then Weaken goes 1234 When he hit the f k. And I actually got to be be careful here to make sure it's right. So we're gonna go 12 free, and it would go f that still create a bit of an issue. That's a weird one. So what we have to do, he is, perhaps creates a line here, Then the line here, create a face and then 123 create face. So we're not. We have covered triangles, but that doesn't matter. And then we can create the rest off the faces. And now we have an objects that doesn't have any in guns whatsoever. So 12 it's a And then flip the direction of those in the next lecture. We're going to be finishing off the modeling or 20. Cutlery fork two: So we have our base shape here for our fork. We've got the geometry pretty much as good as we can make it. And there are a couple of things that we can do. One thing that could be a good idea might be to just maybe add some overseas. He and he just add a little bit of potential smoothness around these 24 sides. So what I mean by that is if I just show you were gonna go 12 and subdivide, and then 12 I'm just gonna suffer for it. He now what we're basically gonna do is we're gonna teii these faces and I'm just gonna delete him, making sure to keep the Texas song and undo that hit The X clean here only faces on. What we're gonna do is I'm gonna get with this face, Andi, he If we go into Vertex, let's What we're gonna do is we're gonna join it, the faces up like so. So I'm gonna get with a couple of faces, actually, So we're gonna get rid of this one, so going to get rid off the face. And we have to be really careful when we do this because it does Take some Johnny shoot with it that we don't want to. So I'm gonna go x only face, and then we're gonna age select, select this, such he and delete the age. So now we're gonna dio he's We're gonna go into X elects. We're going to select. They said she age. Truck it out. It's likely six year drug it out. Just might. It's a little bit often nicer shape. And then we can go. One, 234 and create our place here. Then we can go. 1234 Create another face and then we can go. 1234 and create another face. So now we have just courts now here on this soil actually haven't end guns. We need to sort out so in lines of face elects and get rid off this face. Why? Selecting it? Hitting X on deleting only faces. Now we're gonna go into Vertex Select select one and two on south of Allied. We're just gonna brewing this one up on position it like, So that's pretty good. And then we're gonna go. 1234 create face 1234 create a face. So now that's just improving the issue with the Troma tree that we might have had earlier. So now we can replicate that process on the other side, so going to delete the faces that we need to leave. So going to go on, delete this vice on this vice on guns don't excellence. And we're going to select these two edges. We're going to still eat them next. We're going to go Vertex Select on. We're going to go 12 and free it adopting Yuki and subdivide. So we get a little bit more geometry on both sides and then here, which is gonna begin. Begin joining them up 1 to 44 and then we're gonna try on and make match these up as best we can with the other side of 1234 and join. So that looks a lot about so a panel of you on We need to go one on too. W subdivide, select this one. Andi. Why did earlier was I just hit the g key and I just moved into position. But a better way of doing it is actually hit g twice. So if I go g then g again. It's like a vertex slide so we can actually move it up and down without shifting the edges . So I'm gonna move the Vertex up to about here and it doesn't make any change it all to the angle off the edges. So now I can just go back into face, select, select the face and delete it. And then I m going to Vertex select again and go 1234 Creative face 1234 And create that face And there we go. So now our whole full possesses geometry in quads with the exception off the very tips on bottom off the full itself. But that's absolutely fine, because those are the bits that we're going to have its going to be quite sharp. So for me, I'm just kind to hit double G. I'm just going to basically take thes two edges. Is there a little bit distorted for May? I'm just going to tidy things up. So hidden G twice to go into Vertex slide. So she's gonna slide. Our birth sees across so that we can get better positioning. OK, so it still looks a bit We're still looks a little bit off, but again, it doesn't matter at this point. Because now we're going to start using the modifies to really get the effects going. So I'm gonna hit the tab key to go into object mode we're going to at the mortar fire on we're going to select solidify. We're going to give it a fitness off 0.2 to give a bit fitness we can't quite see from here . But we pan all of you, we can see that we got a little bit more fitness on. Then we're going to next add our subdivision surface mortar fire so that it looks pretty good on. I think I'm gonna finish only thesis subdivision if you value of one button. Now, I'm gonna push it up to two so that it just looks a bit smoother for us. And I'm going to also enable smooth shading in this side panel just to give it a bit more smoothing. And I was looking really good, so if I have a look lit from above, that curve looks beautiful to May. Now, if I have a look here, I can see kind of like a few abnormalities that you wouldn't expect someone going to edit mode and we're just going to begin touching nose up a little bit. So contract out and I can see that kind of comes out a little bit too much here for my life . And to like that, our and family a bit blacked out as well, Like a little bit more. That looks a bit better. Not perfect, but it doesn't really matter too much to me at this point. Get it perfect. But we just want to get it so that it would be very difficult. Two spots these kinds off abnormalities on our objects. Keep in mind that we're company working with the suburb, even surface mortar fire in effect. So what we're seeing when we go into object mode each time he's we are seeing the end result after the subdivision surface, which is basically what we're looking for. So I think I'm pretty happy with that. I'm actually quite happy with the grooves down here. They look pretty good to me. One thing I'm gonna do, so I'm just gonna grab this vertex and just driving in a little bit. That's really a little bit too much and there we go. So that looks pretty good to make. So once I'm happy with that, there's just one thing left for me to do to get the type thought that I want and that's to use. A bit of proportion were editing. So I'm gonna move my camera to the correct view. Andi, I'm going to go into edit mode by once again hitting the tab cakes. I'm doing a lot. I'm going to select the following virtues. I'm gonna select 123456 So these overseas I'm going to select here. I'm going to enable proportional editing by coming down. He left clicking and then clicking, unable. And now I'm just gonna go to aside few. So I'm gonna press control and free making sure it's correct. Control and free on. What we're gonna do is we're gonna grab this hour here on move it down. So going to expand a bit now the thing he is that gonna be careful not to go too much with the influence so thin. Now I'm going to track that down to about he looks pretty good, but because I dragged this locked down as well I want to just drag these up. So I'm going to, I assume in cult and click for this edge loop he control free. And I'm just going to write this up, but I'm going to which use the influence by scrolling up on the mouse. So I'm just swollen. Just bring that up. I actually want this one's come up to here, actually, just to create a nice little effect. And there we go. Now, that creates a really nice looking Freedy effect for our assets, which is fantastic. And we have look a side yet that looks pretty goods. Just that little bit of a dip coming formed tips down to the main body. An excellent. So there we go, guys, we've now got our four asset that we can use now if we want to create a bit more than give it down in the center, we can go one and two, and then we can just write them down. The really would choose to influence and then just drag it down just a little bit more, but not too much. So then we get a little bit more off a dip in the centre than we do at the sides, but there we go. That's what fork done and dusted. Now, remember, you can always take the base model here on just redesign and just creates any particular model of a fork that you want. There are loads of different patterns in which you can do for singular objects. But the last thing we're gonna do now is which is going to apply the modifiers, So going to apply to solidify hands applied a subdivision surface. Now, as I said before, I'm just gonna take these down to one because I don't think it's necessary. Toe have too much geometry. So I'm going to click the plant and there we go. So now we've gods, our four assets ready for use. Thanks, guys. And I will see you in the next lecture. 21. Cutlery knife: Hi guys. In this lecture, we're going to be creating a couple every night. Tools for creation that we can use for this include Vertex Creation sub Provide face feel solidify mortar fire on the subdivision surface, mortar fire. So let's create our cutlery knife Now. One thing to know is that when we create a knife, it's not going to have a line off symmetry like hours spoon on folk assets. Therefore, we're not going to be using the mirror modify this time what we will dodo is pretty much the same process apart from that. So we're going to first of all, select our pew and then go into edit mode and then delete for that sees next, we're going to move into the funds off a graphic. We'll have a talk Infographic by pressing seven to make sure we're in top of a graphic. Next, I'm gonna open up a side panel on. We're going to enable background images. Next, I'm going to add more image and open, and it's going to be more noise. So there we go. We've got our knife picture in the background here for our free TV port. Now it's very much toe one side. So I'm just going to edit that a little bit. It doesn't really matter too much here. As I mentioned a moment ago, we're not going to be using the mirror modify up. So we don't need it to be perfectly lined up with the war axis line. But it's always nice to get into the employ preposition. So we go to a value off about points free minus that looks good. Some We're gonna be working my way from the bottom, going up. Okay, so we now have the background image ready. Let's begin creating the geometry certain, assuming a couple times a kind. Why the just so the background image is large enough on the screen. Now I'm going to go control and left click to create a Vertex. And up next, I'm just gonna hide this gizmo. So I'm going to come down to this icon here on left clip. Now I'm gonna soothing just a bit more on pan Wife you so that I can just about start to get these as close to the reference image as possible. So now hold on Control and left, click and just begin constructing the geometry for our north. Try to use as few Bert sees as you possibly can. This way, you help reduce the final geometry count at the ends after you've used the subdivision service Mortar fire. Now, for me, there's a little bit different here, so I'm going to make use of that. Give it by adding a few the disease. So that looks pretty good to me as a starting point, and then always pan with you up on will begin adding the disease on where possible. You notice how I might adding as much distance as I can wherever there's no actual curve in the object. If the object shows a straight line, then I'm just gonna make the vert seizes power part as possible so we can do one up here and then we can begin to bend this around. Now we get into the sharp side, which actually tends to bend a lot more than the blunt side off deny, So we're gonna have to start adding in a few more burr to seize. Now. The thing to know he is that I haven't added many virtues sees on this side, but I am going to require that now because of the amount of thirties I'm having to make on the other side. So let's just keep going along here for now. We are. You need to use geometry where it's really needed. So we just come down here. And as we begin to hit this little group, we just need to add a few more These voter sees here, we can pan off you a bit. And here what we might do is you might just grab these. Just begin lining them up as we go. It's weaken. Going one down about here and just bring these around like so's. We can bring that one there. And now I'm going to do is which gonna take these two courtesies and we're gonna merging together. So I'm gonna make sure both far selected by holding the shift key going vote and M and then we're going to merge at center now just kind of doing that a little bit across. So it's a bit more central to the image will just drag this one across and down a bit as well. A little bit more curvature. Andi, which go late over more. Excellent. OK, so we've got the basic outline. But now we need to make sure that we can match up that you're much right. So we're going to First of all, we're going to reduce the opacity off the knife. Why come to the background image and reducing the opacity? 2.5 And that will make the knife image almost invisible, but not quite. And I was just going to begin the process or creating the faces working away form the bottom up 34 on the planet is just to keep this as simple as we can. So against to subdivide this on when we're going to select this for text, we're gonna hit G twice, one to which enables for text slide on. We're gonna slide that Vertex so that it's in line with this one is closer. Close enough. So now what's gonna go at this one here? That will she just bring that up on? I'm just gonna the now go. 1234 and F 1234 and f. Now it looks like we'll have additional vertex on one side. So I'm just gonna do is I'm just going to grab this one and track it up a bit. I got this one truck out of it and then we're gonna goes one and then to And then that's just supper for that once home. So what? 12 free. And then once you free force, we still got one unwanted vertex he that we're not going to need to use. So what I'm gonna do is we're gonna go x on going to dissolve the Vertex. And what that does is it get to divert ICS. But it keeps on edge between the two, the two seas of either side. So now we've got that we can continue to work on. Why up 1234 Vertex create and we'll just continue. And at the moment it looks a little bit both. But don't worry too much about that at this point. Who's gonna grew up this with Double J? And it's just about aligning the's so that the edges don't look two bads. There we go. That looks bell. So, you know, one, 234 and grab. And then we're gonna just go out that one with double J and drag it up and you can see that base shape is starting to take shape. And now we have to begin thinking about having Verte sees here. So first of all, I'm going to just line these two up. So gonna go double G, slide it up till it's about on par, and then next we're gonna go. 12345 So good. Let's go select this for Tex whole shift. Select this one. It w and subdivide. Then I'm gonna hit the T key to open up tours Panel on increased the number of cuts to five . Now I can take each off those verte sees on line them up, so we just double check 123 for five. Yet that looks good to may. So gonna go double G drug dancing here, and we're just gonna line them up. So that's they are pretty much parallel with the opposite side. And again, this process wouldn't be required if we had the freedom or using your mortar fire on. Obviously, you can, in certain instances, used modified to create something like a knife. But because the line of symmetry isn't perfect here because we've obviously got a flat, blunt side and we've got a sharp side that bends a bit. We couldn't use the mirror mortar fire for this style off creation. So now we're GYNs who just joined those ones up. But a good thing about this style was that once you've done that, you pretty much done. And all we need is the modifiers. Just make sure that it looks exactly how you want it. So I'm just gonna quite that one there. Just try and line these up. Just a little bit better in navigate. Doesn't really matter too much because you will be using subdivision surface later. One. But here, we're getting there. We're getting towards the end off the face. Feel parts. We're gonna take these two to seize, and we have a look. If we just fill up top the stars ones who? 34 and fill up a face there. Then we can just go double cheese. Just grab putting that down a little bit and we got 12 That's weaken. Go. 123 and four. Phil, the face. And now we've got 123456 birth seats. Okay, so we need to create six more on the flat side. So going to subdivide form these two it w subdivide. And then we're going to use the value old six on and we just no need to line that up. So we're gonna go just long these up as best we can, so that we can feel in the face is Okay, So now let's finish this up. 1234 234 1234 Almost there Always very tedious this task. And there we go. So now we've got a With the face is necessary for our fork are knife forever. How in the world is that fork? So what we need to do next? He's select all of the faces that have in correctional moves. So the top three faces have all correct. Normal. So I'm gonna do is I'm gonna hit the sea key to enter Circle Select. And now if I hold down the left mouse button I can select any geometry that thesis Urkal passes over second disco Dance the bomb and, like click to confirm that Go to shaving you these on flip direction. Excellent. So now one going do is I'm gonna add a loop cup he's gonna control in art at a Luke up left click and we'll want to do he is. I just want to add one Luke cut in the center. So I'm guns you like, click to confirm that. And now I'm just gonna add the modifies just to see how it looks. I'm gonna go into object mouth on and I'm going to goes your modifiers and add more Terfel out solidified. Now I'm gonna use the fitness off 0.2 and and so on. We just need to pan all of you so that we can get a good look here. So that looks pretty good to start with and up next, we're going to have our subdivision surface to give it a bit more smoothness. And we're gonna set the number of subdivisions to to, and that helps us to create a pretty decent looking life shape. Now, we've even got a pretty nice groove here. But what wants do now is I want it. It's hockey to go into edit mode again on what I want to do is just wants a ring the handle up. So we want to just find our little bit. So I'm gonna go out these two with the shift Kate. I'm going to enable proportional editing. And then what I'm gonna do is I'm just gonna grab it. So I'm gonna activate my Freedy, gives my again and just club that up. Now what? It does, he is it just bringing it up a little bit and then down. It's not really fattening it, So I need to do first, he's actually turn or proportional editing and then Draghi up first. But in that case, if we have a look, it's just creating that divot at the bottom there, so gonna want, But just my selection, making sure that I select the right for disease. I'm just gonna drag that up, but I also want to do the same on the bottom. So I'm going to have to at this point, enable mortar fire in order to do that. So what I'm gonna do is I'm gonna go to object mode that's looking better already. But I'm just going to apply our solidify mortar fire, but not the subdivision surface. Then we're going press stop to go into edit mode again, and we're just going to see we can select the geometry night. At the moment, it's a little bit hidden, but we can select it and then drag it down and you can just see how it just begins fat in that that hand will be it. And that's nice. Smooth effect. Thanks to the subdivision surfaces, we can just pan off you a bit, consume in, and we can just see that creates a nice, smooth who effects so we can drag them down a bit more. And then we can also drag these edges at the top up again. And it just helps to make the knife look a bit more presentable. Bit more substance. I think the last thing I'm gonna do here with regards knife isn't just going to glad these guys here. I just think it's a little bit too thin on the sides, which connects dragged that up a bit and then we're gonna dio the opposite down here and just drag them down a little bit. But making sure the week be selected the previous surgeries drug that down, and that's starting to look better, said. Now we can steal the other side so we can go 12 34 yet drag that up a little bit, just playing this one by I and then 1234 Be sure to select the right ones on drug that a little bit. Okay, and there we go. So now we have a usable north asset. Now, if you really want to add the detail in, then if you want, like, really, really stick. What you can do here is having just used to subdivision surface mortar fire. You could perhaps take the Eddie's on the sharp side off the knife, and you could perhaps bring them closer together. Or you could do the opposite effects on the bland side and make them further apart. Just Teoh. Give it a little bit more than added sharpness to look. But once you ready, get the top. He's going to edit mode or object mode. Lava. Make sure that's your knife is as percent Fela's. You can make it and then apply your modifier. But if you don't want, replied a lot of five straight away, if you might want to, Eddie, if you want to come back, don't forget, you always have the option off duplicating your objects at any point with shifting day, locking it to the X axis and then just placing up somewhere to the side. And then we can take the original on the floor. And there we goes. And now we have a knife asset that we can use in nursing. Thanks, guys. 22. Spoon: in this lecture, we're going to be creating a simple tablespoon. So tools of creation will include Vertex Construction. So, basically, to create this asset, we're gonna be working completely. Form scratch without using the geometry of primitive objects. We're gonna be looking at the mirror mortar fire, the ability to face feel, Andi, the abilities used it. Solidify subdivision surface modifiers, Andi proportional editing. So let's create our spoon in a blender, and the first thing we're gonna do is we're going to delete a cube, but because we want the object itself to exist. But we don't use any of extreme actually. What we're going to do is we're gonna hit the tab key. It's going to edit mode, hit X on a keyboard and select Delete Verte sees. So now the cube object. If we have a look up in our outline, a panel stiff exists so we can still use edit mode. But it has no geometry, so we can start completely from scratch. Next, I'm gonna go into top or photographic few. So I'm gonna hit seven on if I need to five on my number. Pat Andi woman do now is I'm going to add a background image off a spoon to use as reference. So to do that, I'm just gonna go and open up the side panel. Andi, there's a subsection norms, background images. So I'm going to take that box open up and then select our image that will allow me to add a new image so I can go impress on the open button. He and that will bring me to my file directory on. Then I just need to find the image that I want to use. So for me, it's going to be in my asset creation file, which is here, and then I'm going to select images. Obviously, yours will be somewhere else if you have one. So we're gonna double, click and select spoon, and there we go. So now we've got an image off a spoon that we can use as a reference. Excellent. So now I'm gonna do is I'm gonna begin creating the tree or the tree for our spoon based off this reference image. Now, for the moment, it's just gonna be pretty much for two dimensional objects. But eventually, with help off thesis allude If I modify on proportional editing, it will become a free the asset. So what? We're going state. We're gonna assume in as far as we can without losing any of the spoon off the pace that we go. One more in. That's just a little bit too far in. So that was good to May. And now I'm gonna do is going to come down to here to where we have the green line hold down control on my keyboard on I'm going to left click That creates a single Vertex And now I'm going to extrude format Vertex by continuously holding down, controlled and then left clicking each time I want to add a new Vertex. Now I do have a minor problem here on that is the gizmo. So the gizmo at the moment is getting in the way. If I try and adds a Vertex here and left click, it just goes on to the y axis as if to say Okay, you want to move this now? That's no, I won't. So I'm gonna, like, kick to cancel on. What I have to do is I have to hide this gizmo, so I'm going to come down to the info bar at the bottom and I'm going to click on this icon here which see Free the manipulator wicket. If I click on this, then the Freedy gizmo disappears. Now, by holding on controlling clique, I can freely added the disease without it's getting in the way. So I'll just continue to add Verte sees after long the reference image and then eventually I'll be able to go pretty much half a whale bounds. Now, I don't want to go away around the spoon. I just want to go half the way around because I'm gonna use the mirror modify out to do the other half. You're gonna come up about that, So that was pretty good. Now we're just gonna do a couple touch ups here in there. So I'm just gonna select a vertex on Now that I need the food beakers are all over the really gizmo again. I'm going to activate it so that it is, and now I can just begin dragging. The verte sees to be pretty much where they need to go. Now you might be to end up assuming in and pounding the view just to make sure you get them in the position that you want. Remember, if it's still looks like it's a little bit sharp, like down here, for example, we looks like make use more courtesies. Remember that we will be using the subdivision surface. Mortify eventually. So it's not too bad if you don't find on using the subdivision service mortar fire, then you can always advert disease here. To do that, you would go select one select. The next one is closest to it. So we got 12 here he w on a keyboard and click on the subdivide option. And that adds an additional Vertex on that for May just make things a little bit smoother. So I'm just gonna scroll up now. We're just gonna finish with the base shape. So you want to try and get it as close as possible to your reference image because obviously your reference image tends to be that over were world object, but it doesn't have to be exact as long as it's a very reasonable replication. If you do respond. Okay, so if we see mouth, I'm going to object mode. We can see the outline off our object. Massive. That's excellent. Now what we have to do is we have to add in our miller modifier. So to do that, I'm just going to bring this out, open up, modifies tab, a mortar fire, and then we're going to select the mirror modifier. So we do that on because I've been doing this for me. Top off a graphic view. It's already pretty much done it perfectly for me. So we assume in we can actually see that we've got geometry on both sides. Now, we can't edit the geometry on this side until we fly the newer modifier, which we're about to do. So first thing I'm gonna do is we just got enable this option called clipping because that will just helps. I just wanna clip these two together at the top and bottom, so I'm gonna go into edit mode. I'm just gonna assume right in so that I can see on if we just move that across Eventually , we'll actually find that we can't move the Vertex across the green line because or the mirror modified. So I'm just going to position that there and then I'm going to scroll down pine my view, and we'll take this one and okay, so that will seem out again on if we go back into object mode. It should be a constant. So it should be able to have geometry going away around our spoon. So when we're ready, we can click, apply to apply Thamir a mortar fire. And when we do that, we could go into edit mode and now we've got the geometry to use. Excellent. So now that we've done that, I just want to not get rid off our spoon in the background. But I just want it to not get in the wires much. So I'm gonna do is I'm going to manipulate the opacity or my background image. So where we have background images in the side panel, we have an option called opacity. Now, what I'm gonna do is I'm gonna turn that a substantial way down. So about here looks good. So I can still see my spoon. But just barely. Now I can't basically work on the geometry itself, So that's what we're gonna do now. And we're just gonna do a bit of face feeling. So let's start from the bottom and work our way up. So we're gonna go 12 on who The f k? Hold down the shift and select the bottom face and create the face. Then we'll go one Teoh, 34 and face on, which is going to do this away. Up to the top. It's a little bit on the TV side, this sort of method, but at the same time it can be very effective. It does give you a lot of control with regards to the basic shape off your objects. So at this point, if you're just following along with May, then you can very simply just focus on your own objects while I complete mine. But I do enjoy it, too. D vertex construction because I just find that regardless of whatever level you're at when it comes to free D modeling, it's just very, very simple just to get used to stray away. So now we've got these guys here, so we've got the actual top of the spoon itself, and he didn't want to try and keep the geometries level was possible. That's why we used the mirror modifier, because that goes a long way into making sure that a lot of these edges are perfect. He strike, going across so we're almost done here. Just got a couple more left to do. Number go. Wanted to free four f wanted Teoh free. And if Ok, so if we pan all of you, we've now got a very flat version off our spoon. So a couple of things that weaken do One thing that I'm gonna do is I'm actually going to have a loop cup straight down the center just for now, on the reason why I'm doing that, he's because I just want to begin adding a little bit of extra geometry here. Now, I'm going to go on like click. And actually, before I do this, I'm just gonna undo that. And this is actually good base marker. Now we have an object like a spoon. You could have many different subtle designs on. This is a good starting point for pretty much any of those designs. So I'm just gonna do I'm gonna hit the tab key on. I'm not gonna duplicate this objects with shifting day. Lock it to the X axis and drug over there. Now, if any point we mess up with our spoon, he then if it's something that we can't undo then we can always go back to the original here or to duplicate Rather. So that's what really handy things get used to. So I'm gonna do is gonna hit the tacky. And now we can add that Luke up. And we can actually add multiple Luke cuts if we want to. Now for me, I think I'm gonna add four li cuts under what Click on this should help us a little bit later. One with regards to our subdivision surface. So I'm gonna go into edit mode object mode Barber, add more to file. I'm going to at the solidify modifier. Now we pan our view. We should be able to see that we've just started to create a bit of fitness now gonna create a bit more. So we try 0.2 How looks a lot there to have a little bit of fitness Now, Now this is more of a metal spoon, so it's got a bit of fitness, but just not too much fitness. And now let's add our subdivision surface on top so the subdivision surface will help us. Just if we just press seven on number pardon. Assume in. It'll just help us move around with those edges. So I'm gonna just pump up the number of subdivisions to to, and that's beginning to look really nice. Just turn on smooth shading as well. On we get these nice, smooth curves just based off what we created before. Now we just need to have a quick look to see. There's any difference when we change the modify stacking. So if I move the solidify, mortify it down, we actually do see a slightly noticeable fete around the edges of the spoon between the two on. Actually here makes it look a little bit more free dish because of the shading. But I actually don't really like that at this point. I think for now, I'm gonna keep the solidify up top up next. We're just gonna use a bit off proportional editing because I want to grab some versus sees it for the spoon on it to create a little bit of a dip, because obviously no spoons are completely flat like this. So we're going to go into edit mode, and what I'm gonna do is I'm going to select one, hold down the shift key to free and four. We're gonna slip these covert disease. I'm just gonna track them down. But if I track them down now, it looks a bit weird, doesn't it? As we dragged down, you know, spoof. Don't suppose go down quite like that. So I'm gonna right click to cancel. I'm gonna enable proportional editing by coming down to this icon left click on Enable. So now proportional editing has been enabled and that will allow me when I grab those verte sees to also manipulates the birther sees that are close by. So let's panel of you a bit to get a good angle. So we push free and then just tilt our view a little bit A lover. We've got the other spooning away, so we're gonna go control free to look from the other side yet, But it's good. And now I'm just going to drag this style on. We can scroll down on the squirrel, will to increase the influence and scroll up to decrease. I'm gonna scroll this up a bit and it doesn't go too far down. So we go down to about he and we can actually see. We get that diva and that looks quite a bit better. So we just press free on a number part. We can see the effect that has on that. That looks pretty good to make. What you gonna do is I'm just going to left click to go back on. What you can do is I'm gonna reduce the influence just a bit and just drag danced a little bit more, Just get a little bit more a into the center. So we have a look yet that looks pretty good to me. So one or two more things that we can do. I mean, it's basically done now, but why am I do is I might select this set or edges here. So I'm gonna go out on what click I want you gonna do is I'm just going to rack these up a bit, so gonna just drag lemma get the light amount off proportion that I want Andi Yet that looks pretty good to make a sinkhole. Just remove these across all the more access. Just trying to find a position that I like the look off and they would go and I just gives our spoon just that little bit more character up. So no we go, we're going to object mode. We have a spoon that we can use as an asset on When we're ready, we can apply out what modifies so we can apply it to solidify and then the subdivision surface. Make sure you've got the correct number of subdivisions that you want. So before I apply, I'm just gonna 1st 7 to go in to top off a graphic view unsuited in a bit. And if I go down to one, that looks pretty good still. Now, the fingers as an asset, that is a spoon, which is gonna be very small in your scene and almost unnoticeable. It is no much point in having its be ultra smooth. So for may, I'm more than happy to keep it at one. So I'm going to apply. And there we go on. If I ever want to make any changes, I don't necessarily have to change this spoon. I can always use the base that I duplicated earlier. Thanks, guys. And I will see in the next lecture 23. Dinner plate: Hi, guys. In this lecture, we're going to be modeling a dinner plate assets. So examples for tools for creation that you might want to use with something like a plates , you might want to be using things like the devil to all the ability to extrude and scale on . We'd be looking at things like smooth shading because it's a very smooth object on the solidify mortar fire. So there are because of the simplicity of the object, there are actually several ways in which we can do this. So for this lecture, I'm gonna show you perhaps the easiest way of doing things. So what we're going to do is we're going to go into blend up, and we're going to start by getting rid or that cube, because this would be a pretty poor starting points for a very circular object, such as a dinner plate. So we're gonna delete it, and then we're going to pulling in, uh, my inclusive objects. So gonna go out, mesh. Andi, for this, I'm gonna use a circle. Now the number of third sees that you might want to use could be quite important if you're planning to use thes subdivision surface modify our, which I'm actually going to do here. Then you actually want to start with a low number of 30 sees because you don't want this to be a higher number. And then at the slip, suddenly fire mortar fire on subdivision surface on top of it. So I'm gonna take the number of for to seize, and I'm gonna grant down to 16 keep the rate is at the same, but I'm also now going to do the field type. So the fill type here can be one of either end gone or triangle fan. Now for me, I'm gonna go here with triangle fan because with them gone, I might get one or two problems with extrusion shootings. I might know, but I want to go a triangle. Fine, because I think that would give me a little bit more flexibility. So when I do that, it feels that face and you also have a few other options here. So generate you these alliance of you etcetera. But we don't need to worry about any of this. We've got what we want. So now what we're gonna do is we're gonna go into edit mode And if I seem in this is what we have so far Now, this is excellent. This is exactly what we want to start with. It's nice and low, Polly. Most of the time you're gonna going to create an asset such as a play. It's not really the focus of any particular scene unless you actually wants do, like a really impressive texture on it. So what we're going to do here is we're going to select the edge loop, so against you go it's select hold down the okay and just select the outer edge loop. Now we're going to both extrude ons scale. So we're going to start by extruding and then, without pressing anything else, we're going to hit the s key to scale. Now I'm gonna do He's honest. You're gonna hold down the shift key on the reason why is when I hold down the shift key. While scaling, it reduces the influence the mouse cursor has on the scale in effect, so increases and decreases are slower light. I'm about to release my shift key, and you're about to see the difference. So this is what it looks like now with the shift key currently being pressed down and then assumes I release we get a major change. So it's a lot more sensitive to the scaling. And I don't want that here because of what I'm doing is on creating the geometry for what will be sort of the base underneath the plate. So I'm gonna hold down the shift key. Just drag it out. Not too far. That looks like that will do nicely and then left leg. Excellent. So now that that's done, I can now look at the ability to extrude in scale one more time. But now we're gonna do the rim, so against you extrude then sky. And this time we can stay out a bit more and that looks pretty good. Teammates and I are gonna left click, and then I'm just gonna drag it up on the zero axis. Not too far. Doesn't need to be too far, but just a little bit. That looks good to me so that it looks a bit more like a plate. So now we're getting somewhere on up next. What we need to do is we need to go below our objects, and we're just going to extrude out the base so you'll know that plates will always have that little sort of or that ring that goes around the bottom of the plate. And that's what makes contact with table. So when he's going to face select this time and select that face loop So I'm gonna assume in and pan my view because the tricky thing about selecting the face loop here's because their faces are so small. If I put my mouse cursor in the wrong place, so old and click it ends up selecting the long loop. So I'm going to hold on the old key with my mouse cursor over he on. Then what? Click on that war. Allow me to select the appropriate face loop. So now I just got pound one of you and then we're just gonna extra Who's gonna hit the IKI once again? I'm gonna hold down the shift cake so don't want this to go very far now that spring it down to about he So that was good to May left plates confirmed, and that's looking a lot better Now. However, there is a problem. So when we've extrude it extruded this, it drags. It created new geometry and then it drags it dance. And now we have all with these holes. Now, that's a real problem here for us. We don't want that its whole But there are a couple of things that you can do to deal with it. First thing you could probably do is you, before we do face feel. So for example, we go into edge select. I could go one and to and hit the F key, and you could do that away around. Now, if you want to do that, that's absolutely fine. But I'm going to show you the second why? And that means I'm doing this. So I'm doing the exclusion. And now, instead, off extruding as it did before, I'm going to start by duplicating on den extruding. So just double checking. Okay, so that's the extrusion has been cancelled. Bear, I'm gonna like flicked council. That movement, and then we're gonna do is in ago shift D so that I've duplicated at that face loop and then, like, thick and then what I'm gonna do is I'm going to extrude again. So now go, Percy to extrude shift and just drag it down until we find a good position that we like left, click and there we go. So it looks good at the bottom on it looks good at the top. Now again, another, a new thing that poor pops up here is a bit the norms issues. So you might know it's that the norms of these faces are incorrect. So again, what we can do is we can just correct those normals by selecting everything. And then if we were to go to shading and knew these weaken go re calculate. But that's done it the wrong way around for me so we can select everything. That's why we calculating again doesn't quite work. But let's go flip direction on. That looks a lot better, but we still get this problem. So let's double shit one more time. So will select that and flip direction ons yet, so it's still a problem. So what we can do instead, I'm just gonna flip that direction back. Well, just select that face loop on its own flick collection on ourselves issue and I will still have the issue with the normals on the other side, and that's a problem for something like a play But ultimately we want all of out get to be solid. And as long as it's like this, it's not really a solid object. So the best thing to do he is to start by adding that solidify mortify. So we're going to stretch out. That's up. So let mortar for our that mortar fire and then solidified and that just as the geometry at the bottom of the plates, and now it's a completely solid objects if we want to, we can apply a bit more fitness, but it's not really necessary here, so we'll just keep it as it is finally. Well, not quite finally, but now we can hit smooth shading, and I should in See that creates a little bit of a problem here. But what we'll do now is what's go flat shading first before we go smooth shading on, let's add that silly subdivision surface so we're going to left click to Activate Subdivision on. You can increase surrender samples to have two or free it's up to you. And if we go smooth shading now, you actually see that that's pretty much disappeared. So the difference here between smooth and flat really isn't that much. It's all if I go down to say Ciro, you can see the effects off the smooth shading, not looking very good there. We got toe one. It actually gets rid of it completely straight away. That's a very useful thing to note there, if you ever find that issues smooth shading is that it could be often soul with subdivision surface mortar fire. Now, depending on how smooth you want it to look, you can increase the number of subdivisions. But to be honest, in most cases, one would be very suitable here because it's supposed to be a low polly geometry object regardless of what seen use. And if we just pan, all of you, we can't really tell that it's low party, so it's still under 1000 Verte sees here. But that looks pretty good to me. That doesn't look too bad until we get really close and then we start to see the edge is going arounds. And again if we de select the objects that we said the camera again, this thing doesn't look as bad. We actually have some artifacts around the edges, but we can always sell that in different ways, but it doesn't look too about now with the guards that edges first fall, it looks like it's mostly the lighting that's doing that. But if we need to, we can always add a look up and just drag that up to the correct position and confirm. And if we were to go into object mode now, that looks a lot better, so that pretty much get rid off that issue. So there we go, guys. That is pretty much the fundamental way or creating an object such as a dinner plate. Remember, modifiers such as the certified and subdivision surface would actually be quite necessary for an object like this, which is why, if we just moved up, it's why we were to add a circle to prepare the geometry. It's why we actually start with a low number of thirties. So even if you decided to start with, say, a Vertu sees it, doesn't look spare court all really, really tracking edges. But actually, if I was to use a solidify and then subdivision surface more to file on it, then it would get very spherical very quickly, so we don't really need to worry too much about using a low number of thirties to start with. So there we go, guys, that's our plate. Done and dusted. Andi, I will see you in the next lecture. 24. Square plate: I think this lecture we're going to be creating a square plate. The tools of creation are going to be in very similar two previous creations off similar objects. Such a cereal bowls, Andi irregular dinner plates. There are guys. Be a couple of changes, though, because of the basic shape, such as the primitive object that will be using aunt, how we're going to be creating the base or this plate. So let's get into blender where we can create the square style dinner plate. So what one do, first of all, is I'm going to be getting rid of our cube because the cube is a little bit too complex of a starting point, even though for this object it's actually a much better primitive object than it has been previously for other objects, such as the cereal bowl. So we're going to delete it by pressing X, and then one bones do is I'm going to be using a playing for this. So shift in I mesh plane, and that's a pretty good starting point for us Now. What we're gonna do here is I'm gonna scare all the sound up just a little bit. So when hit the s key to skate it up on. The advantage of using a plane here is that when we scale it, it will only scale on two axes. In this case, you're only scales along the X on the war. It won't scale up on the set access because it has no height on that axis. So I'm gonna scale it up just a little bit on for now. We're just gonna go this use if I do 1.1 and we just looked below. Just make sure yet that's absolutely fine. So we go and check in the tools top. We can actually see that the scaling is 1.1 on free. However, because it has zero dimensions on the Z axis, this zero value doesn't mean anything. So we could basically make that a scale of 50 50 50 and that would still be zero. That's pretty good. Now what we're gonna dio he's we're going to use the in settle. So the insects old is a very handy feature that allows us to select a singular face. It works best with single faces on the allows us to extrude and scale one face on top of another. Let me show you what I mean by that. So we're gonna go tab into edit mode, and then we're gonna hit the my key to inset. And I saw it move my mouse cursor gradually towards sense how you can see that the selected face is getting smaller and in fact, Nujoma Tree has been created on four sides. So what we're going to do here is which is gonna make this a very Fierman inset. So we go 0.9, we get that. So that's obviously too much. We get 0.1, that looks a lot better, but it's still a bit too thick, often insets. Let's go with 0.5 2.5 on that looks about there. And then if we press the enter key, we've now got that new geometry. So if we're going to face select, we have these faces around the outside that we can use. Excellent. Now, up next. What I'm gonna do is I'm going to select the loop that's going away around the outside, so I'm going to go into it. Select select one. It's to make sure that we're selecting the quick geometry and then I'm gonna hold the okay and like, click. And that's gonna stay, let alone the edges around the outside. Now, this time I'm going to extrude and scale because Lavin and scaling in which the insects all likes to do, I'm going to want to stay out. So I'm gonna hit the e key again to extrude and then the s key to scale out. I'm just scale to sell and we're gonna use the value. Or let's go one point free. That looks pretty goods online press enter to confirm. So that is starting to look a little bit better. So what we can do now is well, that Jorma true on the outside, it's still selected, which is gonna like it up. So I'm going to grab the said axis and drag it out Now we don't need to drug up too much, just a bit. Let's pan off. You bit see how it is. That's perhaps a tiny bit too much. There we go. So now we pretty much got a square plate here. Up next. What we're going to do is we're gonna take this geometry here so the fin faces on. We're gonna create that base now to do that, what we're going to do is we're going to select 14 these faces. So we're gonna do that by selecting the loops. We're gonna hold down the old key and select, But look what's happened. I've done that on its selective completely the wrong loop. So what I've got do Here's I gotta be very careful about what loop I select. If I want to get the right loop, I've got to place my mouse cursor in the white position. So I'm gonna do here. So I'm gonna, like, thick up here close to the intersection between these two faces. Self assuming a bit more. We're gonna look at the intersection up here between this face and this face. And this is where I'm gonna hold down the bulky and like click. And that's where we can select the right Edgeley. So we've got to be careful about where our mouse cursor is when we're selecting these loops . Now, if you may know by now, if I was to extrude this, I would in fact be creating some gaping holes on a plate, which is not what I want. So if I was to hear the e key to extrude and go down. You can see quite clearly we're getting these holes in our plates that just shouldn't be there. So I'm just gonna go with the easier method is something of what click and then control. One said you won't do it. I don't want to do is I'm gonna duplicate that geometry of shift and d So it duplicates it and then won't click. Said it ends up in the correct position. And now I can do if I pound My view of it is I can now extrude and just bring it down. Not too fast. You about their looks Really nice Left click Confirm And there we go. So now we've got how, uh, base for our square plates. Now, once again, of course, when we do this, we get the little issue with the normals here. So obviously, as before, there are multiple ways in which we can deal with the normals. So I'm just gonna go to shaving you these. I'm just gonna select that age group again. So bolts click to select the loop. Andi go to re calculate, and there we go. So now we are almost ready up. Next I'm going to use a solidifying what a fire Or am I cause what I want to do here is a once given nice a bevel round the outside, so I'm going to go edge select on. We want toe. Just give a little bit of a bevel on the outside. Let's see, we can do this so we're gonna go out and click on to use the Bevin tall. We're going to use the hockey or control on they now he it's not really doing anything on. That's because we don't have geometry in the right areas to do that. So what we can do first, in the meantime, is we can just give the whole object a solidify mortar fire so we can go to the modifies, tap out mortar fire and shoes solidify so that looks a lot better on actually probably looks good as it is, But in the meantime, let's see if we can do this again. So we're going to go back into edit mode control bay and again. It looks like it's trying to do something, but it's not quite sudden. What's our next step here? So the very tall is not working. What about therefore mortar fire? Let's go out, WaterFire devil And again, that doesn't seem to work, But we are in edit mode. So let's get rid of that going to object mode. Let's go add mortar fire and bevel. Now he it does seem to be working, but it also seems to be working in areas that we don't want it to. So here we've got the rim here that we don't really want it to be affecting. So we're gonna get with it up every mortar fire. So what can we do? We want to get a little bit of curvature on these edges, but how we gonna manage it? Well, what we can do to try first is we can apply as solid defined mortar fire. So here I'm going to go a ploy. And now what we can do is if we go into edit mode, So gonna go object mode that it mode on, As you can see, actually, we got two sets of edge lutes selected. So before we had one. Now, after applying the solidify, we actually have to If we tracking crow and be this time, we're actually getting a little bit better in effect, so at the moment it's very, very sensitive. But the devil was there. The Bever was working. Now what we can do is we can hold down the shift key, hopefully on, and as we scroll up, it makes it a lot less sensitive, which is much better for us. So here is creating the devil. And while I'm holding down that shift key just to keep the sensitivity low, I can scroll up on my skull with a couple of times, and that just adds a little bit more off a curve. It shop around the sides off our plates. So I think if we go back down, that's basically 123 And I think three looks good to May. Are there left lit, going Teoh object mode, and to me, that looks quite a bit better. So it's not perfect at this point, and I was still a few more things that we can do. But for now it would assume in we can actually see that the sides going all the way around out plate just have that little bit of smoothness to them, thanks to that level, mortar fire. And of course, we could always do that. We want you to with the geometry down there. That's something come actually going to lead to you guys to do now if you want to. But for now, that's it for modelling our square plate. I'll see you in the next lecture. 25. Cereal bowl: in this lecture, we're going to be creating a cereal bowl. So it's all's a creation that we might use include the box select all for text deletion extrusion on the solidified modifier. So we're going to create our cereal? Well, on the first time we need to do is get rid off our cube and replace it with a more appropriate starting points being a UV sphere. So gonna go X to delete the cube and then shift. And I we're going to add you ve spirit. Next, we're gonna reduce the number of segments on brings to the ubi sphere because we might want to use the subdivision surface modify later on silicon. We're going to harm them to 16 boy, and that should give us a good starting point. Next, I'm going to hit the one key on my number powder to go into front for graphic view. I'm gonna go into edit mode. So I wanted to. Now is I want to get rid of the top half of our UV spear. And to do that, I'm going to press devalue key on my keyboard. I'm going to ensure that the limits selection to visible option he's turned off. So I come down he to this button on my left click to make sure of its fourth, and you'll be able to tell if it's off if you can both see on select True Your Objects. So now we're gonna push one again. It's go back into front over graphic, and then I'm gonna press the B key on my keyboard. Select along the top for Toussie's Pan my view around so that I know that only the bird sees that I want selected have been selected. Hit the X key on delete averted. Sees up. Next, we're going to begin just sorting out the shape of our cereal bowls. We're going to start with the bomb. So what we're gonna want to do is we're gonna want to create that little limit, the bottom so that the cereal bowl would be able to sit on a surface and stood out. We're gonna add a loop cancer controlling our absolute car left, click, and just position it relatively close to that in our age. So left clicks concern. Assuming a bit on that looks pretty good to May. Now what we want to do is we want to get this search loot. Apologies. This edge loop on this edge away on the same level. Now you might think that we can just select it'll on, then go to the side panel on Just use a single value. But let me show you what happens when that occurs. So if we select this edge loop, we can see the value is minus 0.89 If we select this edge loop, it's 0.92 Onda. We select this for Texas, actually minus one. If we were to select them or so we have that selected, then we go shift. Old click. Andi, keep shifting. Holt held down. Click again. We've got them all selected, but you might notice that the said value is actually a little different Now we want to change this to a single value se minus nine and ends up. We love our apologies and minus quinine, and then it hasn't flattened him. That's simply the median value off these free sets off geometry. So what we actually need to do here is we do need studios one at a time just to make sure that that doesn't happen. So if we decide that this inner edge loop he's basically the level that we want the old to start up. Then we're going to first of all, place that edge loop in the correct position. So for me, I'm going to go from minus points, nine so minus 0.9 and enter, then I'm going to select the bedroom above and make that same value, so minus nine and then I'm gonna do to sign with this for Tex here. So we're gonna go minus 2.9, and there we go. And that's just flattened out that cereal bowl. Now what we can do we want to is we can perhaps scale these loops in just a little bit. So if we just vote on click and then shift holds and click, then what we can try and do is we can scale it so that it just comes in just a little bit, but not too much, so that their looks good to May, because we just want to maintain just that little bit off a spherical shape at the bottom for something like a cereal bowl. Next with the same versus selected, we're going to go into face to let mode. It's shift d on a keyboard to duplicate those faces and like that, then we're gonna go into fun off graphic again. Hit the eq ing to extrude and then I'm just gonna hold down the shift key and just drag it down so it just comes down a little bit to something like that will do nicely on left leg. Now, I also know that when I use subdivision surface, it's going to make this particular area a bit too smooth for my life because subdivision surface will try and make your entire object as Pericles possible. So to prepare for that, which is gonna add a couple of Luke cuts, so gonna go into X Elect and then we're gonna control our and down and control and up, and hopefully that should prevent any issues later. War. It's not that we found the fulsome we can do to talk on for the top. I'm going to have a pretty large rim. So what we're going to do is we're going to select the room Is is now. And then I'm gonna hit the e key to extrude and then s disco, and I'm gonna scale out here. So going to skate it out to something client that looks pretty good. And then I'm just gonna drag these birds. He's down a bit. So now that looks good. It's starting to look more like one of the cereal bowls that I've got a home on. Now we can begin to look at potentially using some modifies. So first thing I'm gonna do is I'm gonna add that solidify mortar fire. I'm gonna go to the modifies tab, add mortar fire and then add Solidify on. That looks pretty good. So may on, I think, for a cereal bowl which might be of a ceramic material, I think we need a bit more fitness to it. So let's go 0.2 for this one. And again, that looks pretty good. And now for the icing on the cake, we can add that subdivision surface, mortar fire, and we can see that it's looking pretty good. If we were to go into object mode, that's what we can see at the moment. And then we go smooth, fading. That's the result we get. So that's looking pretty good. If you want to, you can always increase the number of subdivisions or changed the order off the modifier stack to get slightly different results. So for me, where is when I did my pastor bowl? I actually the third having solidified on top this time. I actually prefer having the subdivision surface on top because it just makes the whim look , that little bit pickup for me. So it's a little bit too thin for my liking here, but when I have subdivision surface on top, it looks just that little bit thick looks a little bit about so I'll do. It was well, isn't gonna pump up the subdivisions. Just make it look even nicer on I'm just gonna touch up in one or two things. So one thing I might want to do is I might want to add a little bit of the loop cut near the top here, so I'm gonna go controlling all I'm gonna out of League Cup. I'm not gonna go away to the top here. I'm just gonna have it just only orbit below on. That's just going to help sharpen like that age just a little bit. Just so we can see when it goes towards the rims. Ever go back to object mode that looks just that bit sharper. You can see just how the light reflects off. That part of the objects is up hand live you as a little bit more. Well, I'm looking for the last thing I'm gonna do here is gonna go back into edit mode, and I'm just gonna select this outer edge. I just want to drag that down just a little bit more. Stay out. And there we go. So now we've got a cereal bar, which looks just like the one I got a time and it looks really good. Could use it for anything that we want to remember. If it's too much geometry, then you can always come down the number of subdivisions to something more suitable. So here the difference is actually quite noticeable. But you're going form with one subdivision. You're going for 1666 per theses, a way out to six and a heart. Thousands of actual someone's keep in mind. But remember, for something like a cereal bowl, it's gonna be a pretty small object in your scene. So this would be scaled down crude example, and it's pretty difficult to see any abnormalities with smaller objects. Thanks, guys. And I will see you in the next lecture. 26. Coffee cup one: e guys in this lecture, we're going to be creating a coffee cup. So tools of creation that we can use here include being such as busy A paths scaling object joining face feel solidified mortar fire on the subdivision surface modifier. So let's create a coffee cup on we're going to do first is we're gonna delete our cube and replace it with a cylinder. So we're going to press the X key to delete our cube and then shifting I and adds our cylinder. Next, what we're gonna do, I'm gonna open up the side panel here by pressing the tiki. I'm just gonna drag up this operator panel in the bottom corner. And if we drag that out, what I'm gonna make sure is I'm gonna set my cap feel type and change it from n gone to triangle fan. I don't need to worry about that wall radius Order number third sees at this point. But if I want to save geometry, lay along when I used subdivision surface mortar fire, then reducing the number of first sees might not be too much of a bad idea. So we're going to left click on Refuse that to 16 Verte sees now. If we assume in on our cylinder, we can see that there's quite a bit less geometry. So compare that to 32 and we can see there's quite a noble difference on that will have a pretty major effect on when we use both the solidify on subdivision surface modifiers. Remember, the Sylhet, for mortify in particular will more than double the geometry off any object because it's making those flat plains on adding geometry on top of it to give it a free the effect. So now that we've done that, what we can do next is we're going to Chris one on a number part to go into front view on it was still in perspective. My, which I'm in right now. We can plus five. So now we're gonna do is we're gonna go into edit mode, So gonna go object mode and edit mode. And for the moment, I don't need this side panel, so I'm gonna get rid of it by pressing the tiki. And now I'm gonna do is I'm just going to make it so that I can't see any of the faces and I'm gonna do that by pressings said on my keyboard. Now it looks like some excessive changed. But to make sure that it's absolutely works, we're gonna go to object mode. And now we can see that we can't see any of the faces for objects. We can only see the edges on Dvir Toussie's. So now I'm gonna go back into edit mode and we're going to add some Luke cuts. So I'm gonna be selects everything by pressing I and then we're gonna hit control in all. So we've got Luke cuts now ready to be added. We're gonna scroll up on a scroll wheel, and I'm gonna go for a grand total off. Four Blue Cuts for this. Some guys have left click, and I thought, we need to position them anywhere over them where they're already at. So I'm going to want click to confirm. Excellent. Now I'm gonna do is I'm just going to maneuver thes age routes into place. Now it's actually, at this point perfectly acceptable to leave it as it is because there are local coffee mugs that have pretty much this shape, so they're very much a cylinder. However, we're just gonna take it one step further and I just want the cylinder Teoh fatten up a little bit around the middle. So we're gonna do is going to start at the top and work my way down. So gonna hit the Beaky, making sure that nothing that I don't want to be selected is selected. Ungar Click and drag with the Beaky to create book selection. Then I'm going to release. And now all of those top courtesies have been selected to If I pound my view, we concede a with the bird sees have been selected here. Now, I'm just going to drag this down a bit because for the top of my coffee, Mark actually want the geometry to be quite close to the next edge loop. Because it was just I just a slightly sharper effect at the top. So drag it down to about he and now I'm going to scale in now. You can use numerical values or you can play by for simplicity sake. I'm gonna use numerical values, so we're gonna scale and it would go 0.9 that goes in a bit too much for may someone go 0.95 and enter. And that looks pretty good to May. So up next we're gonna focus on these two groups to win ago Ault and click and then shift boats and click to select those too late loops. And now we're gonna city s key to scaled out. I was gonna scale out to about one point. One looks a bit much to me. Don't Don't you think so? Let's try 1.5 on that. Looks quite a bit about suppressed. Ends up to confirm that. So again, you don't have to follow along with the exact values. You can always play it by I, but a top one was scale value of 10.95 The second edge loop is a scale value of one on these next two edge loops have a scale value or 1.5 We're going to leave this search leap as is, and we're gonna press the key, then be on box, select the bottom verte sees Now I'm gonna scale this in to First of all, I'm gonna play it by I just a little bit and keeping my eye on the values in the bottom corner. So if you can see where the screen cast icon is with the mouse. If you look below that, you should be able to see the numerical values for the scaling. And I think we're going to go for a value of 0.9. Here's we're gonna go 0.9 and Kenta and they will go to Now we've got the very basic shape or our coffee cup up next. What I'm gonna do is I'm gonna select this for text at the very top of my object because factory or maturity top is completely unwanted for our coffee mug. So I'm gonna hit the X key with it selected and select delete, and that just gets weird or a with that geometry on top. Now comes the slightly more challenging bit or creating the handle. So I'm gonna 1st 1 it's going to funnel for a graphic view. I'm gonna hit the red key to go back to how it was before where we could see our faces. Now I'm gonna go to object mode because for now I want this to be a separate object, and it's going to need to be a separate object because we're going to be creating a busy a path So I'm gonna drag my come along here, and then I'm gonna position my Freedy cursor. So I'm gonna open this up this side panel and I'm gonna find my Freedy cursor on. Let's just put them all back to zero at the moment. So my freely curse was there, and for now, I'm just gonna move that along the X axis to about the value of 1.5. Okay, so now guns begin working on our handle. So the first thing I'm gonna do is I'm gonna as what is going to become the handle itself. So I'm gonna go shift and I But it's not gonna be a mesh this time. It's going to be a curve, so we're gonna slip curve on. We're going to select path now. There are different options here that we can select, such as the busier. But for now, I'm going to be creating a path. Now, as we can see, we created a line here. Now this is in fact, a Lionel geometry, but it's classed as a curb, not a mesh objects at this point, if we would go into edit mode, then this path has a Siri's off points, one white flick to free five on. What we can do is we can't begin manipulating the location off each point to create what will end up being our handle. So starting with this coordinate here, we're gonna try, get up on the set access, and then we're gonna take the 36 at the far end or the corner at the far end on we're gonna grab that. Now we're gonna position that where we want to on we've got to keep in mind exactly where it's gonna go. So we want to use the geometry form our coffee mug as a reference guide on the reason why we want to do that is because eventually we're gonna want to join together the path to the actual cup. So that's glad this one. Now let's zoom back in, and we can physician it by moving up on the said. And it's basically just the case or moving all of these into what we would see as the correct position. So really again, it's just a matter of playing by I until you can see something that you like The look off. So for me, if I travel out a bit more bit too much yet. Okay, so that was pretty good. Now it holds go into object mode. I could would straight way see that. We need a little bit of work down here, so we need to have a track this in Aled dragged out. So I think I'm gonna do is gonna go back into edit mode on a strike that in a little bit back to object mode. And it's still a little bit off so we can go back to edit mode, drag a little bit more, check one more time, and that was good. Not to me. So now we've got the basic shape that we want the path to become up next. What we have to do is we have to create something that's going to be used to form the geometry off curve. So what we're gonna do here, these were gonna go shift and I curve and then circle. So we're gonna wants create circle from the curves I'm not using circle form the mesh object. At this point, I'm gonna be choosing the busy eight circle option. So I've chosen the Bosie a circle, and if we pan all of you. We have Ah, circle here I'm gonna do is we're basically going to make this into geometry based on the circular shape. So to do that, I'm gonna make sure back into frontal for graphic. We're gonna select our handle, and I'm just gonna drag this side panel out. I think I can press the end key here is Well, let's get rid of that side panel and then we're gonna come out about two today. It's happened for our path, which is located here next to the modifies tap on. We have a series of options now, one option in particular, that we need to use his bevel objects. So at the moment, there's no options here for bevel object we're going to left click on. We actually get one option. We get the busy a circle as an option. Notice how we don't get the coffee. Margus an option. We only have to base a circle. But as soon as we do that, have a look what happens straight away so instantly we get a law off what looks like geometry and it does take you in on itself. So what we can do is we select our busy a circle and stay it as we scale down. You can see it begins to fix the issue with the sizing of the handle. So let's test a few value. So we hit the S key and sigh 0.1 that looks pretty good, but it might look a little bit on the thin side to me. So I press enter there just to see and one again. It's a little bit thin for May. So from there I think I can scale up and I think I'm gonna scale up by 1.51 point five on the Black Sea's and then enter, and now that looks much better. But we actually have a new problem here. And the problem is when we convert our path into an actual mesh objects because it's not an actual measured moment, it's gonna have a lot more geometry down the coffee mark. Now that's a little bit of a problem when we are planning to join the hand or to the coffee mark. So what we actually have to do is we're going to reduce the resolution off the handle, and to do that, we need to make sure that the busy a circle is the one that's selected. And over in the data tab for the busy A circle. We're gonna go to resolution, and we're gonna change this preview resolution that don't worry about the render resolution , because pretty soon we won't need this Circle it all. So I'm gonna change the preview resolution from 12 away, down to one on that basically turns it from a circle to Diamond, and you can actually see that it has that effect on the handle. So now that we've done that, we're now going to convert our handle into a mesh object. And to do that, we're gonna go bolt and see, and that brings up the convert to option on. Then we're going to select mesh, form, curve, meta serve or text. So going to left kick. And now that handle is a mesh object. If we was hit Tab que, it's going to edit mode, we can actually see. It's now a mesh object. That means that this circle is no longer of any use. So we select the circle on deleted. So we're starting to make real progress here. I'm gonna go back to funnel the graphic on. What's that next? Well, we got to join up the coffee cup with a handle. So what? We're going, Steve, is it gonna drag this closer? And I'm actually going to say this bit for the next lecture because we're running a little bit short on time here on. We've got to think about also doing if you touch up things like the modifiers. So up next, in the next lecture we will be joining these two objects together and we'll be using techniques such as the face fields. Do so as well as using for modifiers to finish up. How? What? Coffee cup. Thanks, guys. And I'll see you in the next. 27. Coffee cup two: Hi, guys. So in this lecture, we're going to be completing our coffee cup model. So the first step is to actually join these two up to become a single object that we have a look in the outline. A panel which was going to expand here. We have two separate objects. We've got the nerves path on the cylinder. So the cylinder is the coffee camp, So I'm gonna rename that we're gonna double click and 39 as coffee mug. As long as I can spell coffee killer correctly. And now I'm gonna do is I'm gonna want click to select our handle and then shift. Likely to select our coffee mug. And then I'm gonna hit control and J on my keyboard to join them together, making them the same object. So now I can do it. We're going to funnel the graphic mode. Is Aiken begin working on joining these together? So how do I do this? Well, what I'm gonna do is we're gonna go into edit mode. I'm just gonna pan one of you. Now if I assume in a bit, we can see that we want to join this jeong tree up to he now, At the moment, we actually have just just a minor problem on that relate to having these faces here. So what we need to do is we need to get rid of these faces first of all, so gonna go shift? Click 123 and four. How we're gonna tell you? So I'm gonna go x on delete faces. Ali. Yes, we are. So I just want to catch you out there, guys. So we've got quite a bit of spacey now. It's almost too much space. But we're not gonna worry too much about that at the mine. So what we're gonna do is we're gonna go to X select. I'm gonna slit one inch here. So this one here to and three, and I'm gonna hit the f k to fill if ice. Now, at the moment, this looks very bad. If we go into object mode, this looks very bad. This is what we call non plainer on. This is basically a mess because all faces should be flat on. This face is not flat, not by any stretch of the imagination, but don't want because at some point, we're gonna be using a subdivision service modifying to fix that issue. So don't worry about that. Now we're gonna hit the tab que instead to go back into edit mode, and we're gonna select one shift to free and F Then we're just gonna complete the process. So we're gonna go one, and to that s and then 12 NF Okay, Now we can do the bottom as well, so we're gonna go one to free join them together, and then 12 and then one to free and if and then 12 and death. So now we pretty much gotten connected, which is good. And we've also got a few holes now in a coffee mug. But then again, that's not really gonna be too much for problem unless you actually going to be able to look inside of your coffee mug. But apart from that shouldn't be a pork until now. What we're gonna do is we're gonna use a couple of modifiers, so we're going to start by going into and it mode or get my glover. I'm just gonna open up the side panel because I want to apply smooth shading to see how it looks. So that's smooth shading That looks not too bad at the moment. We can see a little bit of an issue with the handles, but we can fix that. So we're gonna go to the modifies tab. We're going to add more to fire on. I'm gonna add Solidify on that first of foremost gives us some show on a tree to work with only inside of that coffee mug. Now, the fitness over coffee market tends to actually be quite high. So at the moment, it's 0.1 But good fan. You here would actually be point CEO. Free on that would give you a reasonable man of fitness for your coffee mug. Next, we're going to ask subdivision surface water fire, which is located just below solidify. I'm going to left Click and Shreya. Why we can see that That makes things are substantially amount that a lot imply even there . So we're gonna go to view on. We're gonna pump this up to two and you can see every time we do that, it just gets better and better, So I recommend he a suitable value. Oh, a lounge Free. So for me, here, two seems a little bit if he can still see a little bit of an issue on. I think free works better, said Alexa. Lots mover. Now, in terms of the number of 30 sees that we have for this one object, 37,000 is actually not too bad at all. Keep in mind that when we started with the cylinder with the base cylinder, we went from 30 to the disease down to 16. We will foreplay end up with free levels of subdivision anyway at the end of it. So we would have been looking at a lot more geometry had we not reduced it at Star. But that's pretty much it guys. Now there are a few things that you could touch up here. For example, we've got resume in at the bottom. We've got just a little bit all a shading issue here, so we go flat shading. We can actually see where the subdivision surface has been applied. It's actually created some rather interesting geometry at the bottom, and we go smooth shading. It kind of covers that over, but no, too much. Now you can do things such is add Luke huts, perhaps idea in excellent form a tree. Perhaps you could exclude in scale. So one example. What you could do is you could perhaps delete the bottom off this objects so we can go into Vertex select. We can delete that middle vertex, and that creates a whole. But what I could do here is I just go old and click. And here the f Cade's create face. Now he, in this example would actually kind of creates a very, very similar issue. I mean, sometimes that works me. Sometimes it doesn't. But other things we can do, we can always create Luke up and drag it down as far as we wanted to go. And that, for me, solves that issue completely. So sometimes the best thing to do is just out of Luke up Onda position it correctly, and it just gets rid of those little shading issues. But there we go. Guys, that's our coffee mug. Andi, I will see you in the next lecture. 28. Vase: I guys in this lecture, we will be creating a bars asset. We will be using the following tours of creation. We will be using object elites on replacing the base Cube with a cylinder will be using the typical modifiers such as subdivision surface and solidify modifiers on will also be using basic tools such as Luke cuts, face delusion and smooth shading. So let's create our falls. So the first thing we're gonna do is we're going to delete our cube. So I'm going to press X on my keyboard on the elites. Next thing we're gonna do is I'm going to add in my background image that I'm going to be using for reference. So I'm gonna open up the side panel on make sure I take background images who opened that up, Add an image, and then we'll open and we will look for our reference image for me. It's located in my asset creation folder under images Onda. We have the vase, so I'm going to double tick. And that brings the vars into our scene, but only for my two d view. So at the moment we're looking at it from a three dimensional angle, which is why we can't see the image. If I was depressed one on my number part it will bring me to fun off a graphic view where we can see the image. So now I can do is I can begin using the reference image to create how what laws. So what I'm going to do first is I'm going to add our base objects with shifting I mesh on a cylinder. Now, with regard to the number of for to seize that we're going to be using if we open up the operator panel in the corner, I'm going to have this down to 16 because off the potential use off a subsurface water for that later on. Now we're going to look at positioning our sitting us. We're going to bring it down to about here where the reference image begins. I'm gonna hit sake into edit mode, and now we're going to begin shaping the sitting out to look a bit more like the Fars. So I'm gonna go into Vertex Select mode by coming down here in clicking on this icon de selecting everything with I hitting the be key to Enter Box Select and creating a box election. But before I do that, if I was to release now and pound my view, it would not select a lot of my other theses in order for it to set under the Virgin sees that I want. There were two ways in which I can do it by Geneva in enable the limits selection divisible button or Lovett disable it causes company enabled. Or I could simply press see on my keyboard. So if I was to go on the selector rethinking Percy, then it would make all of the faces invisible, allowing me to select pretty much any of the for Toussie's. So now I can push be again over the box over and release. And now we have a with those birds see selected. Now I'm going to just drag this up to around about he So at the moment the shot was taken off. This reference image is, of course, from the perspective of a cameras. It was taken in perspective mode, in a sense, which is why it's not a perfect reference image here, because we are trying to look at an object dead on on. This is just looking at it for my perspective, P, which is a little bit different, and it's partly why we can see a little bit of the inside up top. So which is going to make sure that the top off our cylinder is in line with the service points out at the top of the balls. Next, we can begin adding some loot cuts. So I'm going to start by adding a lute cut where the vase is at its thickest. So I'm gonna go controlling our left click. I'm going to drag it down to about here. Next, I'm going to hit the S key, and I'm gonna scale that out until it's about touching the whiff off the reference image which drag that down slightly. And there we got. Now we need to begin looking at creating some geometry where it begins to get thinner. So gonna go again? We're gonna go control in our at the leak up. Position it where we need to position it left, click and scale in. Now I'm going to the select that we think with I because our next step is to why didn't the top outwards? So that is touching the widest points or the reference image. So again, we're gonna hit the Beaky to select a with the Vergis Ease up top Here s key to scale our on If we just go into edit motile object mode, I just hit zero key so that we can see all of the faces again. We can see that we're just beginning to get the basic shape, but it's still a few things that we'll need to do. So we just go back to where we were before in edit mode. So the next step here's perhaps the out of a bit more geometry where needed. So, for example, we may need to add blue cuts he and he So we're gonna go out of lute, cut to about here and stay out and then had another Luke cut about here on also scale out just to make the base shape seem a little bit more usable for what we used subdivision surface. Next, what I'm gonna do is one of the select everything with I he'd be for box select, and I'm gonna slip these verte sees here, and I'm just gonna drag thumb up. It's gonna direct them up to about here. I'm going to scale them up. And now I want to add two more lewd cuts. So I'm gonna go controlling our left click drug, this one down to about he where it's just about to begin bending in a different direction so we can see with the reference image expending in woods on. Then it will start to bend up and out. Saddam goes, he s key to scale in. And then one more lead cuts around about he won't. So it's finished and scale that in. And now we hit Tab Key to go into object mode on and then hit the zed key to go into sorted few. We can see that we're not getting much more off that faras shape up next. We need to get rid off this top face because we don't need it for a vase. So we're going to go back into edit mode, go into face elect and select this top face here The X key on delete that face. And now it's starting to look a little bit better so we can push the one key again. Presti Seiki! So that we can see throughout object on. I think the base shape is certainly there. Nice. And now we can begin thinking about using the modifiers. So let's go into object mode. And that seems to go to solid few for the moment. And we're gonna go add mortar fire, solidify. Now we have to pound the view and we can actually see the sort of five modifiers works. Andi, in general of ours will be very thick material where we will be glass or ceramic. So we're going to use the value of point Ciro free five, and that will give it a reasonable amount of thickness. In fact, I'm gonna go a little bit more 0.4 That gives it just a reasonable amount of fitness there . Next, we're gonna add that subdivision surface mortar fire to just smooth things out of it. I'm going to pump up the number of subdivisions to to and then I'm going to enable smooth shading. And there we go. So now we're pretty much done and dusted. We now have our basic falls shape. The only thing that we could perhaps work on is perhaps the bottom here because ultimately the bottom looks a little bit too spherical on do you have to wonder whether or no If you placed this as a real world object on, say, a table, would it not just tilt to one side? So if we have a look at our reference image, it's gonna hit the set key to make sure that we can see fruit. If we have a look at the reference image, we can actually see that the base is quite a bit. Well, it's a quite bit flatter than what we have, So I'm just gonna move that back into position on. What I'm gonna do is when it hits the tab key to go into edit mode on Let's try adding a little loop cut at the bottom to controlling our left click. I was gonna hallelu car and we're just gonna drag it towards the bottom. I'm not gonna have it quite touching just above, and I'm gonna left click, go back into object mode, hit the said key and there we go. So that's a much flat base that we can use on. We know that if we were to place the object down on the table, we wouldn't just roll to its side if it was a real world object. So there we go, guys, that is Our vase are set, done and dusted and I will see you in the next lecture. 29. Lampost part one: Hi, guys. In this lecture, we're going to be creating a lamppost asset. So lamppost assets could be used as physical objects that lights the scene in ST on road based scenes, they can be more effective as a light source when you are creating dark hut environments. So talk for creation here would include exclusions, scaling duplication, the edge, spit modifier and the subdivision surface modifier. So what we're going to do is we're going to create our lamppost in are seen on. The first thing I'm gonna do is I'm going to bring in the appropriate primitive object, and that is going to be a cylinder. So we're gonna go shift and I may on a cylinder. Now, I'm just going to open up the operator panel here on. I'm gonna choose the number of third sees that I want to use now, while we will perhaps be looking to use up the vision surface on, I will be four. This lets charges so you can see what's gonna happen is we're gonna reduce the number of thirties down from 30 to 16 and then I'm gonna use subdivision surface later on to give it more detail and a bit of a smoother look. Next radius. So our radius value, we're going to be starting up with the base off our lamppost, which the design I'm using is going to be a which is stolen posts. So the way it works is we've got wants Ah, big bit towards the bottom, where obviously you have things like the generator old, whether you find inside the bottom of it, which powers the light bowl, that's gonna be at the bottom. And then it's gonna tape it in words and then head to the talk where the lamp is gonna bay . So for us here, we're going to use a value of 0.2 fire an answer on for the depth value. We're going to use a value off 2.5 here. So a radius off 0.25 on a death off 2.5. Now we have a look there just a starting point. We can see that. Maybe that might be a little bit too thin for I'm looking for our form, looking for it to tape in and up. So maybe 2.5 might be a bit much. So we have a look we go down for now, I actually think instead of gun 2.5, let's keep it a default. Let's just keep it tooth. And now and then what I'm gonna do is I'm gonna come down to be cut, feel, type on the cattle top. I'm going to select. He is nothing because we're gonna be looking to screw this soon. Then we're going to go to location, and I'm going to use a set value off one just saw a lamppost will sit on top off the blend , agreed rather than going right through it. So once I'm happy with that, I'm gonna go into object edit modes by pressing the tab key. And now we're going to look at extruding. So I'm going to de select everything using the A key. Next, I'm going to turn off limits selection Too visible, which is this button here, and that's going to allow me to select through my measures. And now I'm gonna press the sea key to you Circle Select on. I'm gonna hold down the left mouse button and pan across the vert, sees that I want to select and then white click to confirm the selection Now I'm going to hit the e key, which will allow me to extrude on the's ed key to extrude on the zed access only. So I'm going to screw this up on. We're going to use a value, he off 0.6 and then answer. Then I'm going to scale this inwards, so I'm gonna hit the s key to scale on. We're gonna use the value here 0.7 as we scale in. Now, this won't change anything on the said access or it shouldn't. But if you look in the bottom corner off your screen, you'll see that it is scaling on the X one and said, But don't worry too much about that because it shouldn't reduce the said value in reality here. So we're going to left click confirm on Did yet That looks good. If any. Think it's was probably still a little bit too far out for me. So I might just hit control and said to undo, Then he s again. Then try 0.6 Now that expel. So I'm gonna press until on what basically did. There was I just did what you would traditionally see in just free D modeling Basically I tried one value. Didn't look right. So I undid the process and tried again. Now that that's real Freedy modeling it, you're never gonna get it first time. That's why I've intentionally typed in the wrong values initially, even though I actually do know what the value should be. So I did see her 0.7 on purpose knowing that it was a bit too thick just so you could see that, actually, no, this is what is going to happen when any Freedy artist is creating an asset for the first time, you're going to be trying out these different values and you've got to try and get for the white one. So here we've got value of 0.6 as the scaling in for this part of our lampposts, and that looks pretty good to me on again. If anything else on reflection, it's looking like this part here is a little bit too tall for my liking. So I'm gonna do is I'm gonna grab zed access, and I'm just going to rock it down a bit to about here and now that looks a little bit therefore I want. So now I could do is to consume out, hit the e key and extruded upwards. I'm gonna lock it to desert access and we're gonna move it up to a bounce here, So that looks pretty good to May. And now I can do is I'm gonna pan my view by holding down the shift key on the middle mouse fun and move up. And then I'm gonna assume in on top part of the lamp post. And now I'm gonna hit the E key again to extrude said to look into the set access on, we're gonna move it up by about points. Five an answer, and then we're going to scale it on a scale it till we get something that we like to look off. Now I think two might look a little bit short to May. I'm going to go with 2.25 and then we'll come out. And yet I looks pretty good. Someone quite big lam at the top of the lamp post here. So now I'm gonna do is we're gonna hit the e key again to extrude inoperative is their access, and we're gonna bring it up. Oh, a value off one and then press Enter sir Alex Pretty good there. So now I'm gonna hit the IKI one more time to extrude said key. And then we're just gonna blowing it up on we go quitting full of again on ANSA, and then we'll skate in and I'm gonna use the value here off 0.5 and enter. So that's looking pretty good. It looks a bit weird. He I think we need to add a little bit of definition because this this faces here for going to face select on, then holding bulky and white click the this is gonna be the actual lump on above and below is going to be what the lamp is going to be inside. So what we need to do here is we just need to add a little bit of detail. We're gonna do that by hitting the e key to extrude then the SK to scale, but you can see it's scaling on all for you access. So what we need to do now is we need to hit shift and said to lock it to the x and y, but not to scale on the said. And then I'm going to use a value or 0.9 and push enter on that. We hit the tab key. We can see it just gives us that a little bit more detail on the top. Now we seem out yet we're getting a bit of a better impression or are lamppost here? So what I can do now is, for example, I can go shading and let's go smooth to see how it looks on. It doesn't look that great when we have smooth shading. So certain things you can do to solve this one solution is you can actually Luke cuts. But my third solution is to have a mortar fire, which is the edge split. Modify us. I'm gonna add this edge. Spits, modify and make sure caution in the modifies tab at the age split on and straightaway, we get an instantly, better results where we've got a lot smoothing across the faces, but we still have sharp edges where we want them. Now you can change this split angle to determine what edges you want to be sharp on what you want to be smooth. But he it doesn't look as though that's gonna be a requirement for May a subdivision surface modified here. Then we can see that we get a little bit too much smoothing here 30. Lampost part two: So if I was to change the spirit angle now, then we can see that bits and pieces of changing, But it's starting to look a little bit weird. So when we're using subdivision surface here, we are going to need to out a few cuts in. So I'm gonna do for now is I'm just gonna hide subdivision surface, modify out form the few poor, and I can do that by pressing this arrow key. But before that, I'm just gonna check what happens when I changed the modify its stacking. So the modifier stacking is very important, as it can determine how your final image is gonna look. So if I move the expert Pallone subdivision surface that looks better on its go back to for E. C. What that says. So that looks better than what it was before. But it still looked to smooth to may. Now, if I decrease this value, we're starting to get a bit of progress here, so value off 11 more. So it's just not quite smooth enough. So we use this is the base and then we go up to 12 on. We've got the problem here that it's just it hasn't scaled in for plea like it should. So what we can do here is we hit the top K, then control in arts at Lucca and which can absolute cut down here and then controlling all And I tell you, cut up he now if we placed atop K, the result is much, much better there. But we still have a few issues elsewhere as well. So here, that's what we've got with subdivision surface. So what we need to do is which need to add a couple blue cuts on. The ironic thing here is I probably don't even need the exhibit mortifying anymore because the loop cuts. They're going to do that job for the mortar fire anyway, So far here, that and we can see that's looking a bit there. But if I was just getting rid of that, that's what we get before Andi. This is what we get now. So if I was to just move this Luker up a bit here and then hit sake, we do still get that sharp edge. So we just increase that yet that's looking a lot there, so that's a lot smoother. And now we turn off you down here, we can see again. It's just a bit too smooth for my liking it. We have a look in edit mode. This is what we're getting. So what we need to do is we need to hit shift control and are just add that Luke on. Just stay put in a bit true about here and the other look. Yet that looks pretty good there and then control law down to about here. And yet that's looking good. Now reading Want I haven't pressed thes edge loops against the ones above and below is if I did that. If I hit G to grab thingy again to enter Vertex Light and I pushed it all the way down said it to that. It presses against that age group low and left click. If we go into object mode now, then you might just see that it becomes just a little bit too sharp. So if you want that, that's absolutely fine. But for me here, that's just a little bit too sharp. I'd like it to be a little bit smoother, so I'm gonna go into edit mode control and said a couple of times on I just want to give it a little bit smoother. It's almost like a devil. So we're making good progress here. There are a few more things that we need to do first thing when he still is, when he's come to the top here, going to edit mode. And then we need to select this top edge loop with bolt on Dwight click, and then we're gonna hit the F key to create the face. Now, be careful. Here is once again, it be subdivision surface is in effect now, what you could do if you could apply it, But what we're just gonna do and says I'm just gonna add Alucard. But this one, I'm just gonna push it right to the top. Okay, that looks goods. And now we're gonna do the same thing at the bottom. So I'm gonna pan of you by holding shift here, middle mouse button all the way to the bottom. We can rotate a little bit, go into any mild bolts and flick, and then f Then we're just gonna go control enough again at that Luke, cut and push it down to the bomb. Now, at this point, what I'm gonna do is I'm just gonna hit Tab Key and going to see what this looks like. It We don't have the edge bit, modify some going to turn off the displaying a few Poor Andi. Yeah, it's okay in most places, but we still have the problem with the lamp itself. So what I'm gonna do is I'm actually gonna keep the expiate mortar fire because I think that we expel. So the final thing that I would like to do here is I'm gonna hit it. Sad keys go into edit mode once again on we're just gonna create a panel here. So the panel would represent the entry point for with an engineer wanted to gain access to the inside of the lamppost. So it's good to catch that little bit of realism to the object itself. Just makes it a little bit more like its real world counterpart. So I'm gonna do here is I'm going to turn on limit selection. Too visible. Go face select. And I'm going to select one to free and four. So I'm gonna select these four faces. I'm then gonna hit shift on D on. I'm gonna duplicate the faces then right? Clicked Confirms. So what I'm doing here is I'm just gonna separate it because I want to actually smooth these out. But I don't want it to affect the original object. So we're going to now Kit the P key on a keyboard on that brings to separate option, and we're gonna separate by selection. Now, I'm gonna go into object mode and you can see there's a little bit of weirdness going on here, and that's because we now have two objects in the same place. What I'm gonna do is I'm going to, like, click, and you can see that we actually have something that's now been selected. So we're gonna go tab again, and we've actually now got this here. So what I'm gonna do here is I'm gonna select everything and we're gonna hit the s key. And then he said K and we're gonna scale that on the zit access going down to round about. He actually let's go a bit further. Scare was there down a bit more. And then what I'm gonna do is I'm gonna go into Vertex Select mode. I'm going to select this top for Tex. He on What I want to do is I want to grab this and pull it up. But I want to use proportional editing so that it influences the disease to the both sides . So I'm gonna enable portion where you think by coming down here, clicking the Spartan and clicking enable now I can do is I can grab it on the zero axis here and weaken drug thes up. Now, there's a lot of influence here. I'd like a little bit less. So with my left mouse button still being pressed down, I'm going to scroll up on my scroll wheel until I get what I'm looking for. So that looks pretty good to me. So I'm going to release on. What want to do now is I want to replicate this stand below some going to actually create Luke. Cut now on. It's probably better to do this before, but don't worry too much. If you've done it office, I'm gonna left click on, then right click to confirm. Then I'm going to scale these for to see so that their level one is that access because they're going to need to be for what I'm gonna do next we're gonna hit this vins it, then see about, then answer. And I'm also just gonna turn a proportional editing now. So we're gonna disable that. I'm gonna de select that. We think with my then hit C Select the Virgin sees at the bottom and confirm. Then I'm gonna delete those birds sees with X and edges. Now I'm gonna do is we're gonna make sure the origin point is in the correct place. So I'm gonna hit the tab key. Then I'm going to go set origin origin to geometry. Now, the problem I have he is the fact that it's gone to the middle off the currently created geometry. So I made a mistake here. Well, I've got to do is we're gonna make sure the origin is set before I delete the bottom half. So guys hit control. One said, Then tub then control and said enough a few times. But now nothing's happenings. And now I've got problem here because I've bean fluctuating between object mode and edit mode. I can't actually go back and restore what I had before, but then again, that's not too much for problem. What I can do instead is select A Vertex said it is a solution. If you ever come across this problem, I'll select this for Tex. Then I'm going to set the geometry there. So I'm gonna do, isn't it? Go shift and s and I'm gonna go cursor to selected. Now I'm gonna come out of edit mode and we're gonna go set origin origin to free the cursor . And there we go. So that's in the right place. What I can do now is I can go out mortar fire And then as the Miller Mortar file, I can disable the X axis who become over here on enable visit access. Now we're starting to get somewhere here. So a couple more things that I wanted Teoh, I want to get rid off edge spit. And for now, get with a subdivision surface on. There we go. So now that's starting to look a lot better. So we've got emerging applied, which is excellent. Locked to desert axis perfects. We can just go floy and there we go. So now we gots what we're looking for here. What we can do now is we can just go subdivision surface and that will just smooth things out a little bit to help with the geometry. I can increase that to to if I want to On all So I could go into edit mode, face select, select all faces with the a key and then hit the e key to extrude ongoing that out of it. Then I'm gonna right left clicks confirm we go into object mode. There we go. So we've not got a lamppost with its own access point at the bomb. So we have a look. Here we go. We've got objects. We've got our lamppost done on dusted. The last thing you might want to do issue might want to start looking, applying modifies so we can go apply here. Then we can go shift, right click and then join these ups of control and J And there we got Thanks, guys. And I will see you in the next lecture. 31. Roads: guys in this lecture, we're going to be creating loads on DPA robes. So creating a road is a lot simpler than you may think. Because we only really need free things for this to work on. We can actually create loads in pretty much any length or capacity that we want. All we're going to need is a plane object. The path objects Andi to the curb modifier along with theory mortar fire. Now what we're going to do here. So actually, that's four things. So I got free up there, but it's actually four, but really and truly, once you the playing objects, you only need the free below in order to make that plane objects into a road. So what I mean by a plane, objects is we're going to go shift and I as we go into blender Adam ish and we're gonna select plane. So we're gonna make this PSA plane into a road. Now, before I do that, what you gonna do? Something scaled istan to about Quinn to and enter. Now what I'm going to do is I'm going to add my path. So we're gonna go shift a curve and now I'm going to select path to construct 1/2 here. So we've got a path here. I hit the tab key to go into edit mode. This path has several different anchor points from which we can manipulate the path on. This is what we're going to be using to create our actual load. So the first thing I'm gonna need to do is I'm gonna need to create the outline of the road using just a path. Just ignoring the plane for now. So I'm gonna do is gonna get its object mode and let's use the Freedy grid here. So I'm going to just move this across on the war on access to about here and then move it across the X axis. He So what I'm going to do now is I'm gonna hit the tab key. That's basically we're going to scale this out. But there's a problem because we get the s key. We can't scale out the path if we're going to object mode and hit the s key now we can. So, basically, when it comes to pubs, we can't scale them out unless we've got everything selected with the escape like that. Because It works a lot like a regular mish objects. It isn't technically a mesh object, but it still has those geometry points. That's scale in the same way as thieves. Geometry on Afridi object. So if we want to scale this out in edit mode, we gotta make sure that we pressed a couple times to make sure it's highlighted so that we can scale. I'm just gonna do it in object modo social. I'm gonna bring it back over here, and then I'm gonna hit the SK and we're gonna sky without okay up next on hits habit to go into edit mode. Let's select this Vertex here or its anchor here. I'm just gonna position it around about here. Now I'm gonna do is we're gonna hit the e key, and that's gonna allow me to extrude on additional anchor point to our path. So I'm going. So, having hit the IKI, I'm gonna hit one to lock it to the war axis. I'm just gonna bring that over to about here. So if I hit the seven key on one number parts, I've been going to top off a graphic view to get a good look at how this is shaping up before I further manipulate my path. I want to do a quick test here because I want do the entire path and then find out that forever reason our road is not going to stick to the path. So what I'm gonna do now is I'm gonna go into object mode and actually, you can see as soon as we go into object mode, it actually starts to curve. So it's not straight as it would be in edit mode. It actually begins to curve by the fall, which is excellent. So what I need to do now is only do select our plane here, go to its multiplies tab, add modifier and select curve. Then we're going to choose the nerves path as our objects on. What should do is it should bring us in line with the path itself. However, if we look here, we can see that that's not quite the case. It's not actually fitting onto our path at this point. So what's the problem there? Well, let's do a couple of things to have a look. So we changed the formation access to why then we can actually see Yeah, it actually does there stick to the path that time, but it's gone a long way. So exits there, barbell where the path should be, Why it's on the path but not actually facing the way we want it to. If we go said on again, No, quite doing what we want here. So let's try a few others minus X minus one and that's just double check that, because that looks slightly promising. So we pressed seven again. But we still have it just a far long. Why, Oh why? And in Wana said so at the moment. Here we have this issue because now I can't even see it. There it is. It's about there. We have this issue where it's just not lining up he where we would want it to line up. So what can we do here? Well, the big problem here is the origin point. Parts can mess themselves up a bit with different origin point. So if the nerves park, which is what we've got here, has a different origin point to our playing objects, which is here, then obviously we start to get these issues. So I'm gonna do is I'm going to close that. So we don't have the curve modify anymore. Then I'm going to select our path. Yeah, on what I'm gonna do is I'm gonna set the origin to the Freedy cursor and then set the geometry to the origin. So that's what we should have. Let's try this time, deceive it works. So against go out, mortify our at curve in select nerves path and straight away, we can see that's already locking itself to the end off at half on this side, which is excellent. So we don't need to change the deformation access, but we can actually see it's working Corp Alina, because no matter what access we choose, it's still ending up exactly where it should be. Just that a different angle. So we're gonna go with the X axis because that's obviously the right way to go on. What I'm gonna do now isn't gonna add more mortar fire, and I'm gonna add in a way. So we've got theory mortar fire on the one thing we need to do, because if we increase the count, it looks good. It looks good. It looks good, but eventually it's just gonna stop going straight and if you just would assume in is a little bit difficult to see. But that's apart and we can see it start to curve away. And the very modify was not taking that into account. So we need to do here is we actually need to change them water for their stock so that the away goes above the curve, and now we can see that our road is starting to form, and that's basically all there is to it. We just got a couple of modifiers. Make sure, I suppose the most important point here is to make sure that the origin point off the object is the same as the origin point off the part. That's probably the most important thing here to remember, because obviously, as you've seen, you can get into difficulties when that is not the case, so I can do now. I can go to my path. It's ABS key, and now we can just begin, especially from top infographic. I can just begin creating well, I want as my load I can do to send anyway, I like as can you inside you're following along with this lecture. By all means create your own load that you can use to go with other assets, and then once you're happy with your path, you can go back. We're going to with an S curve here, and we'll just increased, the Arai said. It goes away around our part to help us create our loads. So there we go. Guys, I hope you enjoyed that lecture. I really do love the path to all. If you can learn to use it well, there's no end to things that you can actually create, especially with things like necklaces, chains or even roads and paths, which obviously you would look to create in larger scenes or outdoor scenes. So it's a fantastic tall to get used to. Anyway. That's it from me guys for this lecture. So thanks, guys, and I will see you next time. 32. Necklace: E guys in this lecture, we are going to be creating a necklace now, as a necklace is a small asset. We should look to keep the geometry as low as possible unless the necklace is a specific focus off a particular scene. So certain tools that we're going to be using four creation will include scaling duplication. The use of the array on curve modifies on the busy a circle to create a path for the necklace to form when we used you a mortar fire. So let's go into blender, where we're going to be creating our necklace on. The first thing I'm going to want to do is create a tours, objects that we can use as the base. I'm gonna go shift and I add mesh. Our tours now, you might know, is that this looks a little bit different. So what you would expect when you create a tours on That's because I have changed presets slightly in the splendor file to make it what I want. So what changed was the scaling here, but I didn't just press the s key and scale this down. Why did was I came over to the operator panel here. We just got going to sound a bit on a few things that I changed. But the major thing that I changed was this minor ladies value to this minus radius value allows me to scale down the size off the torch tube without actually scaling down the object as a whole. If I was to increase this value so I'm going to left click here. You can see that the tours is getting more bulky. Bit more substance to it now for you. The base value here will be point to fight. This is the typical value for our tours object, But for the case of the necklace were using very fin material. So I like to use the value of around Quint Ciro seven when creating an object such as a necklace. Other things that weaken do are changing the numbers off segment. So we've got major on more nuts segments Now, for May, I'm going to use values off 48 on 24. Now, 24 minor segments is actually significantly more than the standard. I think the the fault should be around swelled, which is half off that. But the reason why I increased The number of these segments is because I don't want to be using the subdivision surface modifier. As I said at the start of the lecture, We only want to use subdivision surface when we need to. We don't need to do it. If we have a small object, that's not gonna be the focus of the scene, especially if that scene is an animation or video game. If it's a still seen Andi, the necklace will be over the focus or on the character. Who is the focus off that still seen then? Yes, she want want to add a bit more geometry, Fire, subdivision surface? But for many, I don't want to. But at the same time, I do want a reasonable manage geometry. So I'm just gonna increase the number of segments up until I find something unhappy with Now, I could go 24 which looks pretty smooth, but I think I'm just gonna dial it back down 20. I don't really think I need more than 20 here, and that gives us just under 1000 vergis ese for this specific objects, which is good. But if I assume in a bit, I got what will eventually be a little bit for problem on. That is the fact that we've got new edge loose coming down in Visa is here. Now, this is where I'm gonna want to stay well out along the war axes. Our tours object. So I'm gonna need to try and find a value that consult that. So if I go down one or two, then we can see no matter how much we change the major segments here, this will always remains here at the center, which isn't quite what we're looking for here. The problem is as well that if I do go to an ord number, I actually gets the edge loop. So we just come in here just so you can see a bit about you should be able to see the edge loop is still here on this end. And then how many times I increase it? That always remains. But if I was to look up, he when I increase it to an odd number, then yes, we actually get what we want. We get that little bit of space in between the edge loops because we're gonna want to use that to scale out our tourists. Now, if we were to try and change the number of minus segments again, it really doesn't do that much difference. So what could we do here? Well, let's see. We can do on the other side. So we pan off you and look down and we can see. Actually, it looks like it could work. So we go up here? Yeah, it looks like it could work. We turn those major segments down, so that's what we can see there. And we concede that there actually lining up. But if we were to decrease this, we can see that the troops just moving around almost rotating based on the number of majors segments. I know it's quite difficult to see that on your screen, probably. But I don't want to go into edit mode at this point. If I go into edit mode, I'm gonna lose all with this. So at the moment, that looks pretty good to me there, and that looks pretty good to me up there. So let's see if we can get a smaller number of major segments. So we try for year again when we assume in, and we think OK, That's not quite what we're looking for. Let's reduce it a bit more. So if I go to less to 46 that looks good. And if I pound my view up, that looks good. Excellent. So now I've got something to work with here so that I can scale out. So I'm gonna press seven on the number Pat. Now, Andi, we're just going to go into edit mode. Why his indeed, Sapp K. And there we can actually see that it's actually perfect. So that's exactly what we want. We want to have no edge loops coming down the Y axis line. What is going to allow me to do now is I'm going to de select everything by hitting I then on guns, come down here and talk it Talk. It was that I'm going to toggle my selection too visible, and now I'm going to hit the Beaky on box. Select this Half of that sees on all they do here is we're gonna grab it on the X axis by left clicking here. I'm just dragging that. Our I'm not gonna drag out too much. I'm going to drag it out so that there's just a little bit, so that's pretty good. Now, you can obviously go as far as close as you want for this necklace. Designs are not exactly university. You can always get different legs. But the may I'm not gonna go too far here, so I'm gonna go about he on that Looks good. Suffer going to object mode yet that's looking pretty good. Now, I can't forget to go for smooth shading just to give it its smoothness on. That looks like a very good starting point. So up next, what I'm gonna do is I'm gonna censor my Freedy cursor because I moved it out place. So shift s because it's a sensor. And now, guns. Who? We set the origin here, so I'm gonna set the origin and have it stay where it is. But I'm going to move the object itself. Sichuan ITRI to origin. And that will just sent up the tours up next. What I'm gonna do is I'm just going to scale this, Stan. So I'm gonna hit the s key to scale. I'm going to use the value of 0.25 so I just want to make it small because then we get. This is a very small asset that we're creating. Someone is seeming again. But before I do anything else, I don't want to have any issues with the origin or with the paths that I'm gonna be using in a little bit. So what I'm gonna do is I'm just gonna apply this scaling. If we have a look in the sorts up, then we can't. You see, the scales are 0.25 only export and said values. Now he we actually want these to be one just as a precaution. Because sometimes if these values are not set toe one, then when you do things such as setting objects to pubs, you may get a few issues. So what we're guys do now is we're gonna go objects, a ploy and select scale. And now he's scaling on X Y and said goes back one. But the object doesn't change its size. It's just that we're confirming that this is the appropriate scale for our object now. So we're closed. That side panel with the N key and now one guns do is I'm gonna hit shift D two duplicates . I'm gonna lock it to the X axis. I'm just gonna move this over to around about he and then I'm gonna rotate on the X axis by 90 degrees. Okay, so that's looking good. It's looking a lot better now. So up next, what we're going to do is I'm going to reset the origin again, because with regards to the origin points, we're going to be using a couple of modifies we're gonna views in the Orion the curves on. We're going to be combining these two together and using theory y after joining. So we're going to select one, then shifts like the other on. Then I'm gonna hit control and Jay to join them up. So now that they're one objects, what I'm gonna do now is I'm gonna go sit over gin on geometry toe origin. Excellent. Up next. What we're gonna do is we're going to add our busy a circle, so I'm gonna go shift, and I we're gonna go curve and circle next. We're gonna go back to our objects. We're going to go to the modifies type at border fire on. We're going to select the curve modifier, then for the object we're going to select busy eight circle on that's gonna join the objects along the path of the busy a circle which assume in a bit there that among we've got this minor problem off the geometry, bending out of shape. So what we need to do here, we could be one of two things we can either scale down now necklace or we can scale up the busy acre. Now for me, what I'm gonna do is I'm gonna scale up the busy a curve because I can always scale with Aled down later on. So what I'm gonna do is I'm just going to the s key to scale on the busy A curve and just scaled up to about here and now I can do is I can select our objects here and we're gonna ads on a lame or to file on what we have to make sure, because this looks very straight at the moment. So we were to turn our view, and if we were to increase the county at the array mortar fire, yet we can see we've got a little bit of a problem here where it's not quite matching up to the busy a path. So what we need to do is we need to change the mortar for livestock if I just tracked it. Sounds a bit. We need to press this hour with theorize that if it goes above the curve and that way, the necklace will continue to follow the curve away around. The other thing that we're gonna do is we're just gonna change the relative offset value here a little bit. So at one, we concede it's not quite what we're looking for here. We're gonna make it one lot. So seo 10.9, we can actually see that That looks perfect. And I saw we've got to do, really? So now we can just increase the count until it joins together so we can see yet that's joints governors. No overlapping. That's absolutely fine. If you are a bit of a perfectionist here, then you can always select the circle and just scale it up a little bit until you get the exact shape that you're looking for. But there we go, guys, that is our necklace fully created in a blender on. We can always change the base shape here, but just keep in mind, that's when you're looking to change the shape of the path. You want to change the shape of the path after you have basically connected under right the object to the park. Because, as you can see here, if I begin to change shape off the circle, we can see we're starting to get quite a lot of overlapping here. But regardless, there we go. Guys, that is our necklace really created in blender. Thanks, guys. And I will see you in the next lecture. 33. Chain: I guys in this lecture out, we're going to be creating a chain. So chains are often used in dungeons or medieval type scenes. They conform different shapes and so should be modeled to reflect that property. So certain tools of creation here include the ability to duplicate the model multiple times the ability to apply on what scale on, and you're going to see why that's going to be important later on, using curves and pubs to form the shape on delivery modify up to form the appropriate length. So let's go and create our chain in blender so currently can see on the news all for graphic. I've got no primitive object. C up delete keep because I'm not going to be using like you. Why I'm going to be doing is inbounds for using a tourist object. So we're gonna go shift and I mess, then tours. Now there's one thing that I'm going to change about my tours, and that is the number of segments. So a trip here that trick here that I learned quite a while ago is that if I was going to edit mode now, when I'm not going to because then the quiet panel disappeared. But when you create a tours is a primitive object, you will get geometry a loop or thirties, going around the very center queens off each side off this wing on. That could be a problem if you want to expand the shape of the ring because it would be uneven on both sides. So I'm going to do here is I'm going to reduce the number of major segments down from 48 to 46 on. If you want to reduce the amount of geometry that shoes, they are all, then you can use something like 23. But for me, I'm just gonna keep it at 46 for now. So with that done, 46 major segments, what I'm gonna do, He's a manager. Press seven on my number. Part two. Going to talk with a graphic view. Now I'm going to assume in, and then our guys go into edit mode. So this is what we have here on. If I kept the number of major segments at 48 we would have had an additional Luke cut he and he on the problem with that would be that if I wanted to expand half off. This tours out to create the correct shape for the chain lock, as we will call it. Then we would have had more geometry on one end down on the other. So what I mean by that is if I just limit the selection to visible, hit the a key and then be to box Select. If I was to box that all this, then if we had that geometry, he in the sensor, then it would mean when we pull this out, we would have uneven geometry on one side. It wouldn't make too much of a difference here because of how small the objects will eventually be. But it's just something to keep aware off when creating objects in this manner. So I'm just gonna pull this out to round about he so this was pretty good. I'm now gonna hit the a key to be selective, you think? And then I'm gonna attitude it cuts. So what I'm gonna do is it's gonna create a little river not up here, which is basically where the objects thickens up a little bit because that's traditionally what you might see on certain chains. So they hit control and are to add Melouk arts quote up once on the scroll wheel and then left Click. Then I'm going to want click to confirm, and then I'm going to scale it. But I don't want to scale it on the X axis, so I'm going to use Shift on X to lock it to the other two. So I'm gonna bring this out and left click. And if we just turn our view over, we can see that's pretty much exactly what I'm looking for here. No, if you're going to subdivide its so I'm gonna come into object mode and go smooth shading if you want to give it a little bit more smoothness around these edges And if you're going to subdivide this, then what you might find is you might find you might begin to lose their not a little bit. So the base shape of that No, it is just fading away with the smoothness. So in that case, what you might want to do if you want was go into edit mode and you might just want out of Luke cut to go either side off your not just keep the base shape a little bit more parents than what it would otherwise be for me. I'm not going to use subdivision service for this because smooth shading seems satisfactory . I'm going to get rid off subdivision surface. That looks good to me. You gotta bear in mind that you're gonna be applying things like materials to this. You'll Scott their mind that it's not going to be the focus off your scene. Unless you have a very specific type of scene in mind. It's not gonna be your focus. So my recommendation here is just don't use subdivision surfaces. It will just save you time on your renders. So next step is we're going to hit seven to have a look for me. Top off A graphic on what I just want to do is I just want to scale this down, so I'm gonna hit. It s key to scale. I was gonna skate quite a ways down to bounce point to its was you size on next. I'm just going to set the origin, so I'm gonna set the geometry to the origin and semen, so that should help us with any potential issues down the line When it comes to creating out parts. Next thing I'm going to do, because when when we do things like scaling on rotations, this can cause issues later on as well with our paths. What I'm gonna do now is I'm gonna go to objects, apply Onda Ploy scale. So now if I go and open up this side panel here, you actually see that the world of dimensions have changed. The scaling is at 11 on one now, whereas before it would have been scaled 2.2 point 2.2. Because that's how we scaled it down previously. So I'm gonna close that. And now I'm going to do the kite. I'll watch Shane here. Someone hit shift in day to duplicate, lock it to the X axis and drag it over to about here. Then I'm gonna rotate it on the X axis by 90 degrees Permanente. So now we're starting to get our chain here. So I want to do now is I want to create the busy eight circled I'm gonna use for the path. Now I have accidentally moved my Freedy cursor, so I'm going to have to recent at that by in shift and s and then curse a dissenter. Now I'm going to hit shift and I at a curve and select circle. So I've got my circle here on. What I can do now is I can go back to my Shane on before doing anything else. I just want to join knees together so that they're both a single object. Because if I was to are a curve modifier here, it would only apply to the selected objects. So this one isn't affected at all. So I need to do. He's joined knees together. So select one shift, select the other hit Control and Joy I. And there we go now, because off how I join them together I selected this one second. I actually ended up moving the origin point again. So I need to do is I need to go set origin point on one to do so. I'm gonna go origins Afridi, cursor and then set over Jean Origins of geometry. So that's pretty good, Andi, Now I can do is I can use the curve modifier. Somebody used the curve water file select my Bessie a circle And there we go. Now the thing that we have to keep in mind here, guys, he's the curve. He's going to try and curve al geometry on. We got a very mind that change will mostly be made off heavy metal materials, so this shouldn't really be right. The easiest way to deal with this very simply is to just make circle bigger. So it's going to see him out, make sure the circle selected and then hit the S key to scale our circle. So on a scale, it is because I won't on that will dramatically reduce the bending effect it has on each part off the chain. So we knew closer. We should be able to see that it's looking a fair bit better than it was before. So now what we can do is we can use the lime mortar file white selecting our Shane years. We're gonna go out mortar fire, and then we're going to go out with a wry Andi, as we can see here, this looks almost good, but we come to God valuable one. But because we want these guys to overlap, we're going to have to juice that how we're gonna reduce that 2.8 so 0.8 looks good because it fits inside the loop very nicely. And then what we'll do is we'll just increase that now. He We have a bit of a problem theory. Mortar fire is not falling around the curve. It's simply going in a straight line, so it's completely ignoring the curve. So what can we do? Well, if we were to change the order here off the modifier stack, so put the array modify above the curve. Then we can see that it applies to away first. Then it places the awry around the curve itself afterwards. So if you ever you come across that problem when combining arrays with curves, then it will generally be because the array modifier is below the car when it should be above in the mortar fire staff. And now we need to do is increase the count until it goes this far away around as we want. So he 25 is a little bit too a little, but 26 is too much. It's overlapping. So the solution for me here would simply to be to once again grab the busy a circle on just scale it ever so slightly so we can hold the shift key. We want to reduce that influence or hold the shift. People scaling. And then just position it so that now here, we've actually got a full Shane Luke. And there we go. So we've now got our chain. Now, you could also make this into a necklace if you wanted to, which would be absolutely fun. Or you could use different types of parts for this. So, for example, we could use a busy a curve. Let me just delete that. So I'm going to use a busy acre. And then, if we were to just drag this out a bit, drag this out. I'm not gonna do too much with this. This is purely as an example. We could select the shine, and then we could change the object to the busy a curve, and then it would use the curve instead off the circle. So then you could edit the curve to shape the change, like so? So we can go edit mode. Then we can go out this rabbit done, and you can see how it's impacting the change. So there we go, guys. That is how we can create a chain using the modelling tools in blender. I'm gonna set back to circles. It looks really, really cool. Thanks, guys. And I will see you in the next lecture. 34. Rope: my guys in this lecture where guns be creating a wrong so first thing you're gonna think off rope. That actually sounds quite complicated to do in Freedy modeling, but it really isn't like all objects, there are many different ways that you can do it. The way that I'm going to show you how to do it is actually for me, both the simplest on the quickest way on it. Can I ever get you really good low party results Or if you need really good high party results So all we really need here is a two D shape to start with a couple of modifiers, So we're gonna be using screw India very modifiers on a path for the shape to follow because ropes, they could be quite bendy, very complex shapes, just a model. So we're going to use a path in order to create the actual length and shape off our rope. So now we're going to go into Lender where we're going to be creating our so first thing I'm gonna do is we're gonna create our base objects. Now the primitive objects will be using here is actually going to be a circle not cylinder , no cube, but a circle. And you're gonna see what we do that in a minute. So I'm going to make sure I'm in the top off a graphic mode on company in use off a graphic . So I'm gonna press seven on one. I'm bad going to topple for graphic, and then I'm gonna go shift, and I Adam ish on. We're going to add a circle. If we drag out the operator panel, I'm actually going to keep a lengthy settings exactly as they are, including the number of courtesies. Now, we can reduce this if we want Andi, you might want to. If you want a low polly rope, you might want to go down to 16 or even as low as 12. You could probably get away with 12 here because off thes screw modified that will be using later on. But for me, I'm just gonna keep at 32 on that. I was gonna assume in a little bit come down to his object mode on. We're gonna switch this up to edit mode now. One guns do is I'm going to be duplicating this circle two times, so we're going to be creating a two D version off the shape off our Freedy lope. So I'm gonna hit shift indeed, Duplicate then X to lock it to the X axis will drag it across until the edge off the circle is touching the Y axis, green line and left Click. Then I'm gonna duplicate again with shift day, Lock it to the Y axis and drag it up until the bottom is in line with the X axis line. I'm going to left click, then grab on one who are the X and just move it into position here. So it's about half way in between. Doesn't have to be perfect, but just lining up as best you can. So now we've got free circles kind of like a pie chart here on What we need to do is we need to get rid of the majority off the vert sees that are inside, not all with them, but just the majority off them. So I'm gonna assume in so we can get a bit of a better view, pan my view a little bit. These select everything by pressing I and then hit C on my keyboard. Scroll down the scroll will to increase the area off effect. I'm just going to try on select a lot off the Verte sees that I will want to select. So that looks pretty good for May on going to just right click Andi. What we'll do now is we're going to delete the selective vert disease with X on the lever disease. So now I want to do is we've got a few more verte sees left over on. What I'm gonna want to do now is I'm going to want to merge, diverted sees that are inside. So we're going to, for example, select these to the seas. It's cult and M and emerged at center. Then we're gonna need to do the same over here, select these two courtesies, all 10. Well, salt em merge at center. And then finally, these two virtues ease out at sensor. And if we go into objects view, it looked a little bit weird, but this is exactly the source shape that we are looking for now. What I'm guns due here is I'm actually gonna make a mistake on purpose. What I'm gonna do is I'm gonna add the screw mortify our now And then what's gonna happen is you're gonna instantly see what's wrong when we do a certain mistake. So the question is, what is the mistake I'm about to make? There's one thing that I forgot to do here that I should do before adding my screw modifier . No, I'm not gonna do it. I'm just gonna go out the screw mortar fire. So we know excited, and I'm gonna turn the screw up to 10 inches value I'm gonna want here. So now we pan off you on. And what in the world has happened? It's big. It's huge, actually, but that's not the problem. We go to the circles that are making a screw effects. But one of the circle was, if we look, is basically going straight up, and that's know how a proper rope should look. Now, by looking at this, you probably might be able to tell what we forgot to do on its related to not just the modify itself, but actually the origin. So if I was to undo this now, why deleting the screw, modify our press seven on my number parts and then soon in we can actually see that the origin point is still in the center off that first circle. It's not in the center of the object as a whole. So what we need to do is we need to come over here, set the origin and then set the origin to the geometry or the geometry to the origin. Both would work perfectly well in this case, but I'm going to do because it will make things a little bit simpler later on when we're adding the path is we're going to be adding the geometry to the origin. So that's gonna move all of the geometry and sent to it around the origin point at the center off the blend of greed. Now we're gonna pan live, you again consume ALCs. We know it's gonna be big. We're gonna add more to fire on. We're gonna add the screw modifying increasing up to 10 here and there we go to now that looks much, much better. And he looks very smooth as well. That's because we've got the smooth shading box ticks. If we just drag this out, we've got the box of smooth shading. And if we antic that, we can actually see all of those faces. That doesn't really look that good. So go smooth shading there. The angle here. We won't need to change its whole. We do that, then it will basically unraveled, Alok. But we can do it. We want to and actually can help us create perhaps a slightly different rope effect to what theologian looks like So we can increase this up to over 1000 on We can actually see starting to cause problems at this point. So certain things you could do, such as increased the number of steps here to just make that as smooth as possible. But for me, what I'm gonna do is I'm gonna reduce that back down to 16. I am a Giusti angle back down to 360 because the white is at the moment is absolutely fine . But there's one thing we need to do now, Andi. It has to do with the normal. So as you might be able to tell, the normals are the long way around because we got the darker shade of blue or this bluish gray on the outside when we should have a water gray on the outside instead. So we're just going to take this flip button to make sure that that's correct. So now we've basically got the model down. Now we just need to create this shape. So the next step here, we're going to hit shift, and I we're gonna add a curve and then I'm going to select the busy eight circle. Now, you can choose any method you like here, depending on what shape you want. You could have easily gone busier or path there, but I've been with the busy a circle on one guns do with that created. I'm gonna go back to my at modifier on. We're going to use the curve modifier here. So it's a little bit different to the generate ones were using a deformed modify. This time we're going to left click, and then the objects were going to use. Is the busy eight circle have that looks a little bit weird in a moment as because Off are the formation access. So currently we're on the X axis. But for this, we actually want to be using the zero axis. Now that still looks weird, but that's down to the facts that be scaling between the physio circle Andi. The rope itself are now related. So at the moment, the scaling is a bit off here. So what we need to do, He's We need to basically scale this down by he s key. And as I bring that in as as as a scale it down, it gets more and more like the original shape someone's Scalea down to the level that I want. So I'm gonna scale it down to about T. And if we zoom in, we've now got something that looks like it's following the path off our best. A circle. We just pan, all of you, we can actually see. It's following that path quite nicely. Now, One thing to know is that a very useful tip here before you use the curve modifier, make sure the origin off the busy a curve is the same as the origin off the objects itself , in this case, the wrong, because we don't want to have any deformations in the scaling on. Having two separate origin points can be quite troublesome, but because of both the origin points are at the center of the blender grid. Here. It's made things a lot easier. So we're nearly done here. So one thing I can do is I can just go into my busy a circle going to edit mode on. What it's gonna do is I'm just going to make our busy Acer just a little bit more offer free thief shape like that. So that looks a bit better. And you should be able to see that the model itself is following along with that path. Now what we can do, we're gonna select the rope again. We're going to add one more mortar fire, which is going to be the rain mortar fire on. And what we're gonna do is we're gonna change that older a little bit, so we're gonna move the array modifier up above the curve, first of all, then I'm going to change these values that its company, one on the X we're gonna make that Ciro, and then we're going to make this value one on the zero axis on Boom. What you can see straight way is that the array now follows along with our selected busy a path. If I increase the count, you can see that it's falling away around now. What created path, which is fantastic. And now we've got our right. The last thing that I'm gonna do, he he's at the moment. The array modifier will just have it. We assume in we'll just have this sort overlapping. So what we need to do is we need to click on this merge button, and that should clean things up nicely. So there we go, guys. We know No, this relatively quick and simple way off creating lope in blender. Thanks, guys. And I'll see you in the next lecture. 35. Words: Hi guys. In this lecture, we're going to be creating words as actual assets. So, for example, you will obviously watch an animation or video game and time to time. You're going to see words I have are on a billboard as a physical object or as writing in a book. So we're gonna learn how we can create those words in a blender. We only need to talk through this. Really? So we're gonna use the text hole to create the text where we can actually edit the wording and we're going to use to convert to Meshed Hole, which is going to be converting that text into an actual mesh object. So I'm gonna go into Blender on The first thing I'm gonna do is I'm gonna create the text sets, create text, we're gonna go shift, and I on it should be your fifth option down underneath metal. So text left, click And there we go. So we go our text Now, At the moment, if I just bring our properties panel, we've got certain things like the radius, the ability to line a line of you location and rotation. So, for example, if I was to press five and then one on my number. Part two going to funnel the graphic. Few. What I can do here is I can actually alliance of you. And you can do this with a lot of other things as well. But I like stories with text. His text, in most cases will tend to be flat and facing one direction. So I'm gonna get a line to view, and that just rotates the object so that it is a line to the current view in the view port . So if I move this, it will remain in that position so I can move behind it like so. But then, if I untech this box, then it goes back to the way it was before when it was first created. And if I take it again now, we can see it's directly facing me again, despite the fact that I am a completely different angle. So I'm gonna press one again on a number parts, and you can see the difference from this angle here. And I'm just going to turn this off and on. Now we've got the radius, which is basically the size of the text, so I'm gonna make this a little bit bigger. One point freeze. Good to May on now on guns do is I'm going to go into edit mode. So I'm gonna hit Tab Key is going to edit mode. Andi. What? We've been at it mode. It basically works like any type in flow glam. I'm going to use backspace to get with the let letters and then I'm gonna twi pee in my own word or phrase. So let's shoes Lender. And there we go. So now we've got a text that says blender. So what other things can we do here? Well, there we go into object mode. We can do or normal things that we will get well soon with a regular mesh so we can grab the surrounds. We can rotate on its axis and we can also scale it. Note with text so that the origin point does not straightaway originate form the center of the objects is no is not a mesh object. So what does? It actually starts from this water corn up by the fault. So we were to set that origin somewhere else. So say origin geometry. Then it moves the origin point to the middle. All's our objects will not quite the middle, but close enough. And then you can grab it. We can then rotate it and then scale it based on that new origin point. But this isn't something that you need to do in most cases. So I'm just gonna go origin back to Freedy cursor just to reset it the way it was before. So a couple more things I'm going to show you here. You've got things such as the resolution. So you've got the preview resolution and the render resolution. If we decrease that all the way down to one, you can actually see, it's basically the amount of geometry that the object would create, so we'd have to increase that up to a suitable value. Now, even though the preview is 12 which is quite high a lot of times, that's just not necessary. I mean, you have to go down to five before you can begin to see the rough edges from a distance. So I just like to use six as a good value. The film was important, So the fuel value here, he's for it. We're gonna make this object free day which is what we're about to do. So I'm gonna do is we've got geometry settings here. I'm just gonna quest one. It's going to fund Infographic for the moment. Andi, first thing we've got is offset. So we were Nick like the offset. It's basically something that makes the she almost tree just a bit bigger or smaller, depending on what value you're looking for. So we can go over quite small text here with a negative offset. Then we have the extrude ability. So we use that we can't actually see anything in this two dimensional view. But if we pan all of you, we can actually see that it's extruding out. So now we're creating a bit more substance. Then we've got the devil. So we increase the level which assume in then it just creates, um, nice curvature along along off the edges on. Then we've got the resolution, which basically adds more bevel segments to those edges so we can actually create some really smooth looking text. So I'm just gonna increase that offsets to about here. So say if I'm happy with what I've got, how do I turn it into a mesh object that I can use to attach to, say, a billboard. Well, the easiest ways do is well, you just convert it. So we're gonna go object, convert to on its Olten see if you're looking for a short cut. So let's just do that. We're gonna go Olten, see? And then you'll have two options. Curve form Meshal text or mesh form curve Met up surf text. So we're gonna go mesh form text. We're going to left click. And now we go into edit mode. We will actually see that the text now has actual geometry so that it can be used as an actual virtual world. Objects that can interact with other objects in your scene notes that once you've done this , you can't change the letters anymore. You can add more words to this one object because it's now already a mesh object. So we lose that ability to edit the typing text. But there we go. That is how we can't create text as a mesh asset in blender. Thanks, guys. And I will see you in the next lecture. 36. Pillow: Hi guys. In this lecture, I'm going to be showing you how you can create the model off a pillow. So my preferred method here for pillow is slightly unorthodox. One, we're actually going to be using the cloth physics system on the timeline to actually create the shape that we want for our pillow from using a basic object which in this case, is going to be applying. So tours for creation would include a sub vital exclusions cloth physics onda animation on you might think what animation is a tall for modeling, but in this case, it actually will be, and you're going to see why now. So what we're gonna do is going to start by bringing in our objects, which is gonna be shift I mesh Onda flame. Then I'm going to scale this out along the y axis, so it's a bit more off the shape of the pillow, so I'm gonna hit the s key, then one then 1.6, then enter. Now I'm gonna sue in a bit. You can see a bit more clearly on. We're just gonna go into edit mode and we're going to subdivide this up now. Now the number of times you subdivide will influence the results off how the pillow is going to look, in fact, for this method, there are quite a few different factors that can change your final result. But it's a starting point. We're gonna hit W subdivide, and I'm gonna open up the operators panel when I'm gonna change the number of cuts to 15. Now, the good results here, the minimum you should be looking at in terms of number of cuts is going to be 10 now. It could be a little bit less if you have a smaller pillow, but 10 here is the minimum number for the shape of this size. I'm gonna go for 15 someone, place, answer and there we got So next What we're gonna do is we're going to extrude the stops. We're gonna hit the IKI and it also locks to desert access because all of the verte seas are going in a singular direction anyway, so it's gonna lock to that direction. I'm just gonna bring it up a little bit and left click. Okay, so at the moment, all we've got is basically a subdivided cube now, essentially, So what we need to do is first of all, I need to bring our timeline back. So to do that, I'm gonna hit the tab key. It's going to object mode. I'm going to come over here where we have the line that separates this properties panel with Afridi Vieux port, and I'm gonna wait till that mouse curse that changes its appearance. I'm gonna go right click split area, and I'm gonna hold on my mouth, uh, about he and left click, and that will split the three D. If you pour into two panels now for the bottom panel, I can select the timeline. And now I've got my time on. So the next step, because if I press play, not nothing's going to happen, which is born. Well, I'm going to do now is I'm going, Teoh, extend this out and we're gonna go to the physics top and we're GYNs be using a cloth physic. So going to use the cloth physic on, we're going to be determining first bought the mass. Now at point free, the mass is way too high. As a starting point, I recommend C 0.5 So that's a good starting point and then you might want to go higher or lower, depending on finish that you want next. I'm gonna open up the cloth collision section here something a left click, and we're gonna enable self collision. Now, at the moment, the quality value is to So I'm just gonna bum that up to five because I want to make sure that it's not going to collide in on itself in any of the edges. So at this point, what I'm gonna do is I'm gonna press play and let's see how it works on Boom. There we go. So pause it on. As you can see, we actually have a pillow here just like that. Now there are several different things that you could change Too older, the effect. So having pressed play, I stopped on any frame that I want. And if you go to frying, to who example, we can actually see that it's quite flat, but it's just getting to puff out. But obviously we can also see it. The science there, it's a bit straight there, so I don't really like that. So we come to seven, and that looks a lot like there and there are certain things that I can change here. So to change things, I can just press this button is go back to the first frame on. Maybe I want to bring this top set of faces down. So I'm in the edit mode. I'm just gonna bring it down to about there. Let's make it really, Finn. Let's try again. See how it works. Okay. So certain things you need to keep in mind here. So first of all, Yep, the sides are it Finn out there? But now we got a little bit of cell collision gun on. The quality at five is still a bit too low. Now, I don't really want to have to increase that too much. So for me, he it's a bit too thin on the side, so I probably just go back 12 was before tab on will just rack that up a bit again, and then we try again on that Looks a little bit. There, you may now bear in mind is that we can always expand this and go smooth shading on it could make things nice and smooth. And if we want to make it even smoother we can always go and add ourselves a subdivision surface modifier just to improve the definition off the pillow. So a couple more things that gonna change your final is over. What I'm gonna do now, Easy. I'm just gonna go into edit mode again and drew like that up. Just it's hard any more, because when we're in supposition surface, those flat sides tend to curve out a little bit, which is a really nice touch. So I'm just gonna drag it out the tiny bit more. It might be a bit too much. Okay, so another thing you can do if you can triangulate the faces. So to do that, I will go make sure everything is selected and then go control and t on. That tends to have a minor impact on the animation because you've got different types of geometry days you got triangles instead of quartz. So if we go or get mode and then fly, you get a little bit of difference here now, actually here because the triangles it's gets going a lot fatter. So if we go back and get rid of those triangles, let's see how it would work. We got rid of the triangles, which we have done. And then Chris play again. Yeah, you see it. It's not want as puffed out as when we try and delay them, so things to keep in mind if you want to really puffy pick, pit pillow. Then you can always triangulate faces at that extra geometry, and it tends to happen that really nicely. It's not a couple of things that you could do. I'm just gonna hide subdivision surface for the moment. You can go to physics top, and you can change the must. Now this is gonna have a massive effect. So we changed that mast summit, my 0.1, which is double the Mass and then pressed play. Then we have a knife he states really pushing in so far. Pause it when we have a look at that. Can you see it besides here, where it's really trying toe push in on itself on That's just happened purely because of the change in months, so you'll be looking at an appropriate value here. So who would to try it? Point C 01 this time, and then Troy then we could actually see that it's going down a lot slower because of the massive gravity, is not having as much of an effect on. Also, it's not having out as much. We've got a very thin pillow now, but actually decides, Do look Pitino us in this form. So there we go, guys. That's pretty much how I prefer to make pillow assets in a blender of are things that you can choose although they won't make as much for difference because you're looking for the basic shape include things like structural on bending on, of course, cloth collision. You can always change that, but make sure that sell collision is applied. That should help you point a bit on another thing that I kind of forgot here is to increase the quality here as well is here. So you've got cloth collision here. That one is actually for May for other objects. Wells Disc one is for itself. I believe so. I need toe pump that up bit turn at Mass. Stan, we have a look cause yes. Oh, that looks really good. We go into edit mode, have a look around just to see the things correct. Yet that looks good. Let's play again. Yeah, So we're not really getting any overlaps there at all because of increased the quarterly there. But anyway, that's it from me guys. The last thing I need to do here because, as you know, as soon as we go into edit mode, we tend to lose the shape. So what we actually need to do is we need to apply the physics modifier. So, actually, if we go to the modifies tab, you can see we've got a cloth mortar fire, and we need to apply that we want to keep this shape. So I'm going to employ. And now if we go back to the beginning and press play, nothing is gonna happen because no physics are applied. But what has happened is we go into edit mode. The effects off those physics on the object have bean maintained on. We now have our really soft, fluffy pillow. Thanks, guys on I will see you in the next lecture. 37. Duvet: Theo in the previous let shot. We created a pillow asset on in this lecture. We're going to go one further and create a do vase so we actually have to assets to go is part off, perhaps, of full bed asset. Now we're going to be using very similar tools here. Compared to the pillow. Now, this could be a little bit trickier. Van the pillow because off the position that you want the do vote to go or on top of your bed it's a larger asset, but in particular, this is an asset that is larger than the object that it tends to sit on in terms of its width. ANDI length. So what we need to do here is we're going to need to make sure that we position it correctly when we apply the animation in terms off the tools of creation, the only will difference here between do they lecture on and the pillow lecture is going to be the use or placeholder assets, which we're going to be using for that cloth simulation. So in blender, we're going to start by creating the placeholder assets. So the first thing I'm gonna do is I'm going to create a plane to act as our floor. So we're gonna go shift and I mesh and playing. I'm gonna scale this up by 12 just to make sure that it's big enough. Then I'm going to add a cube that's going to act as a placeholder assets for the actual bedding itself. So I'm gonna go shift, I mesh on cue, we're gonna bring the cube up, and then what I'm gonna do is me to skate it on the zero axis, so scale sk then said by C of 0.5 and enter, I'm gonna pound my view to see how it looks on. What I'm gonna do now is I'm going to scale it on the X axis by 1.5 and then scale on the Y axis by free and answer. Now, if I have a look yet, that's a perfect looking placeholder. Asset dimensions are broadly similar to that old single bedding. So now what I'm going to do is I'm going to add our do base. So we're gonna use a plane to start off with this. We can go shift and I add mesh in select plane. I'm then going to drag the plane up above the placeholder asset here. Now, keep in mind when you do use the simulation, then the heights off, the do they form where the bed is will determine how it's going to end up. So I'm gonna do here is I'm gonna first of all decided dimensions. So I'm gonna press seven on my keyboard to go into top over graphic mode. That's the number seven. Now, The one problem I have used in this mode, I can't actually see the bed because it's the same color as the floor as well as being the same color as the planes. What I'm gonna do is I'm going to select the bed with right click. I'm gonna go to the materials tab and I'm gonna give it a new material. Andi, that's pretty much ordered me to do here because as soon as I give it that new material, it's becomes a lighter shade off white here. So now I can distinguish between the bed, the floor on the plane, and that's all I need to do here because after all the stress, the placeholder assets, so this is perfectly fine. Some guys for seven against going to top off a graphic, and then we're going to start by scaling along the X axis. We're gonna hit the s key to scale on what looks like we are not on the correct object. So I'm going to right click to council that make sure that the plane is selected and then hit the s key and then x on. We're gonna play this more by I just so we can get an idea. I think that looks a good length. So we're actually looking at approximately doubled in length here. So we type in the value of two and enter. That looks fine to me. And now we're gonna go along the y axis. So what I'm gonna do here is if I scaled bus along the Y axis now, then it would cover both the top and bottom eventually. Now, with the Dubay, we want the cut off point to be around about he and then we want a little bit of excess to go off about here. So what we're gonna do is gonna hit the s key, And then why? And we're going to scale it up till it's nearly the size. Yeah, off the actual bed. So about here. So a value of around 2.8 looks good to may an answer. And then I'm just going to track this down to about here. So what we'll get when we do the simulation is will get just a little bit of bedding, just draping over at the end as well as the sites, just to make it look a little bit more like he would imagine a scene involving a bet to look. So next. What we're gonna do isn't just going to go back to our place holder assets. So we're gonna go to the floor. First of all, I'm going to go to the physics top, and I want to do is I want a collision and this is going to stop. If the do they falls off off our bed, it's going to stop it from falling food of floor. Now I'm gonna choose to bed itself and do the exact same thing. I'm going to select collision. But the one thing I want to do here is I want to increase that stickiness value. So it's coming. It's zero. Andi, for now, I'm just gonna put it out 9.5 because I don't really want the Duve eight starts sliding off . Off. How? Work? Bed. Next. I'm gonna choose the do they itself. We're going to hit its have keys going to edit mode and what we're gonna do is we're gonna have a league cup on. The reason why we're gonna add Alucard is we just want to make the faces Morva square shape rather than rectangular shape. When we used to subdivide it, all that can sometimes help were things like simulations so controlled on our left click on Dwight Click. It's not perfect swear, of course, but it is closer to a square than it was before. Now we're going to select everything by pressing a a couple of times, hit the double U K on a keyboard and select subdivide. Now we're going to increase the number of cuts and the more cuts that you make here, the better your simulation will be. So you have to look at Do you want more geometry or do you want less geometry but love a quality enough and may I'm going to go for value of ran 12 here, which is a reasonably good value, and it probably leans more toward decide off preserving the rendering time for doing this. But low is quality, but I can always use a subdivision service, modify our afterwards to help improve that. So now we're gonna do is I'm gonna hit the IKI to extrude and we're gonna extrude it up. And remember, how far we extrude this up is enough a factor that will determine the effects off the simulation as we would have seen with the pillow lecture. So I'm gonna bring up to about here, and then I'm gonna press the tab key to go into object mind. And now we're going to at ourselves a cloth physic. We're going to keep the values as the fault for the moment so we can have the default values as placeholders. But we need to make sure the cloth collision is set to appropriate levels. So I'm gonna set the quality off collision with other objects here to five and activate self collusion. Turn that up to five and I'm going to increase this distance value toe one because that can actually have If anything, this tends to have more of an effect on self collusion than the actual quality level. So I tend to put that upto one. Now I'm gonna do is I need to get my timeline into this view port. So I'm gonna cover over to where freely view port meets the properties panel, right click and then split area. And then I'm just gonna come to about here, split the area. Andi, change this to the timeline. Now, if I pressed play, we get the beginning off our simulation. But also, we can see here quite clearly that work needs to be done so we can see as it plays. It would actually cross out a bit, so that's gonna look okay, but it's still not quite what we're looking for. So let's change a few things. So the first thing I'm gonna do actually is I'm gonna add smooth shading to it on. Also I'm gonna do is I'm gonna quit increase the number of steps for a simulation itself. So this will increase the quality off the simulation per fine, but it will would increase the amount of rendering time. So I would do is just get increased that to seven on it. Try again. So Let's press play, Andi, if anything, that actually does look a little bit worse at this point. So we need to think about how we're going to change that. So, what we need to do now, what can we do? What would make a really big change? Well, if we were to I'm just trying to pause it here, change the mass value. So as we might know from the previous lecture that mass value might be a bit too big. Select Tri Pointe CEO six here, which is 1/5 off the original mass. So we press play now and it seems to be looking a bit better, and then we just pan all of you here we can. Okay, so we're making a bit of progress here on this is B of a patience game here because you always looking to see if you can get the right sort of shape. So what we're gonna do he is, which is pairing of you a bit. And we can tell it just edges in a bit there. So I'm gonna do is I'm gonna pause it. Go back to the start on and let's just love without a little bit. I'm just gonna reduce the number of steps to six here. And let's decrease the mass a little bit more selection 0.0 free this time and press play. Andi from this angle, that's already looking a lot better, is it's coming down. So let's pern our view. Hons. Okay, so now we're actually really starting to get somewhere with this. So what I'm just gonna do is I'm just gonna let that run for a few seconds just so we can get a look off what the final result is going to be. So we're gonna let this run into 60 and then see how it looks. So there we go. With that 1 to 61 it's sitting and nicely on our bedding. Now that looks pretty good to May. But I would like for the ends here to just come down a bit more now, two things that I can do to help with that. I can change these values here. So, in particular, the stiffness of the structure. So if I was to turn the stand toe one so it was on 15 before and turned it down to one. Let's test that and then let that fall, and then you can already see differences there just point changing that stiffness value. And it already looks a bit more like a cloth. Actually, maybe 15 definitely seemed a bit too high here. But what will do again is we're just gonna let that dit down. I'm gonna let that deter Teoh 60 flames and we'll see how it looks after 60 frames as a direct comparison to what it was before. So when you're creating soft objects like this soft body objects, the process here, well used foil an hour now, actually, that could be a good affection. I maybe you don't want the bedding to be neatly made, and sometimes this can actually look even better when it's all wrinkled up. But for us, we're actually looking for a little bit of the middle ground. So I'm gonna increase thestreet fitness again to value of five on. Let's try it this time. So again, as with the previous two, we're going to just let it run for a moment, and then hopefully we'll get something a little bit more what we're looking for now. We also have to keep a night while we're looking at the simulation. If there's any bit of self collision going on and I think from here, looks like we might have a minor issue with self collision. So I'm just gonna let that run a little bit more on Dhere. We can see it. A little bit of a problem we've got with this load. Structural value is it's kind of floating a bit on Don't really want that. So I think we are gonna have to go thirst of full to increase that structural value, not up to 15 again. I think we're gonna go 13 this time. But in addition to that, what I'm gonna do is I'm gonna a mortar fire and I'm gonna add the subdivision service mortar fire. Now, the stacking of the modifies tab might have an effect as well. So we're gonna press play just to see how it looks on. That's actually already looking better once again and we can see that it's just dipping down a bit more here. And if we pan off you yet, that looks very, very Noyce. Course we gotta make sure not to lose a few. I think of gone underneath. That's one of difficulties off panning while the actual animation is being played. And if I was to let this go for even longer, we can actually see that. Yes, it is beginning to dip down what a bit more than what it was before. So I'm actually quite happy with that. So the one last thing I'm going to do to try is I'm gonna swap the order off the subdivision surface on the cloth mortify allies. So we changed too. And we're gonna see there doesn't appear to be any difference. But we just have that there and go back to the start and press play and let that play. Then we actually do get this difference on the difference is actually in the frames per second of it's taken to render. So we're actually getting quite a little change here If we pan off your and I hope you can see the wing calls, however, so I do toothy quite a substantial increase in the geometry on actually looks bare as a cloth, but we don't really like the look off thes edges, so it's just something to keep in mind. However, if we were to pan off you, we'll just wait and we'll just have us look at the effect at the science of the bed. Then that could be better works. We can see the Winkle, so it's looking better already as a result subdivision surface. But if I was to try and power in my view, which it's currently struggling at the moment on just waiting, I'm gonna try and pause this Now. There we go. Andi. Yeah, we can kind of see there's definitely noticeable, like improvements here. So the pens on, if that's really what you're going for. Personally, I don't like how sharp the ends are starting to look here. So for me, I probably go cloth physic first. But there we go. So what I'm gonna do now is very simply, I'm just going to press play, making sure from the start, because I think this was probably my favorite result off the lot. Now, again, there's no, like, vital wrong here. We've we basically have the model on. It's just all about determining what values you want in terms of how much geometry the mortal possesses, how much quality you want for the collisions, how many steps you want there. Any mind that If you increase all of these values, you will get better results than what you're seeing on your screen right now. But it's going to take quite a long time for those results to render. So once you're happy what you got to let's say I'm just happy with this. So I'm gonna go to fame. 70. I'm gonna make sure that I'm on frame seven. Am, not frame one. And then I'm gonna go to the modifies tab and I'm just going to apply it that cloth mortar fire. And then we have a look we can actually see. It's draping over. The edge is quite well. I compress the tab key going to edit mode, and we can actually see the effects that the cloth mortar fire has hard on that, do they? So there we go. Guys. I hope you've enjoyed the lecture. Andi, I hope to see you in the next one. 38. Mattrees: guys in this lecture, we're going to be creating a mattress for our what? Bed asset. So the mattress is actually a very easy object to model. So in addition to it, we're also going to be creating a bed sheet to wrap over the top off the mattress. So talk to creation here will include Luke cuts, exclusions clause physics on animation. So we're gonna go into Blender on one. Going to do here is I'm actually going to use what place? Hold a bit. And I'm just gonna more than that because it's already good size we already creates here. A Dubay. I'm sure you're do face probably a lot better than mine, but I'm quite happy with it. Away is on. What I'm going to do now is I'm going to move the Dubay onto a second. Last. So to move this to a seven layer, I'm gonna make sure the boob a selected hit em on my keyboard on going to select this square here. This is going to move my Dubai onto another layer and to access that layer. I just come down here and left click on this icon. So that's where my do they is, which is fine. I'm gonna go back to the first layer by clicking here. I'm going to select a que which is going to be my mattress on here because we're starting to get more assets in. I'm going to start the renamed process. We're gonna name this as the matchless, and then we'll have the plane as the fool. And then plane will seriously were one which is going to be our Dubai. Now, the pillow is not part the same blender file. So when we are finished with everything else with this asset, we can easily appends the pillow into this scene. So I'm gonna do now is I'm gonna select my mattress. I'm gonna go into edit mode by hitting the tab key on DE, depending on what? Your guys, he use your mattress. Four. You can add as much John trees you want. You could even add a cloth physics simulation to the mattress itself. However, even in high level animations Andi, hi level quality figure games. If you ever get bed, I don't tend to see myself that they do too much with the much through southern in the base shape. You know, you'd have to look at nothing. There were a few scenes in perhaps some of Pixar movies where Couch tell would go onto a bed and it would actually manipulate like an actual bed. So if you wanted to do that, you could easily just add the cloth physics. But it would take quite a bit off manipulation to get the results right. But let's just keep it really low geometry, fanatics. We won't need high geometry. So gonna go control and are I'm gonna position while Luke cut here. I'm going to left click and then drag it away to the top and left. Like then I'm gonna grab it with the geeky look into the said access, and I'm going to use a value of minus 0.1 and then first ends up. And the reason why I do this is simply because I'm creating two of these Luke cuts wonderful above one for below. So we're gonna go control law again. Left click, Drag away. Don left click again. Hit the G key to grab. Said to look into desert access than 0.1 on ends up so you can assume in. So what we're doing here is most mattresses. They have edges or lips at the top on bottom, all the actual mattress. So we're gonna create those lips. So we're going to go into face select. And now I'm going to select the top on bottom face loose. So I'm gonna do that by assuming in and planning my view that I'm gonna hover the mouse cursor over this edge here on. It's very important that we get the positioning walks you could get getting positioning Long will end up selecting a different face loop. We're going to go out on Dwight Click and that selects that talk face loop and then shift boat. What Click to select the bomb. Next, we're gonna hit the E key to extrude And then without doing anything, Hills were going across the S ky to scale and then we're gonna use a fab. You're 1.5 Now we look there. That's why it noticeable. Even though it's one point Syria five, it's quite noticeable. So that's why I didn't do say 1.5, because that is just absolutely ridiculous on its not what we want. So 0.5 is probably the maximum you could do this, I would probably go a bit lower myself, though I go 0.2 and ente on that looks pretty good to me. Now again, you could adds geometry. You could subdivide this up and then used some cloth physics. But may I leave it as is because you always have to think about exactly what is an asset guide to be used for. And even if you're gonna have characters in a video game on animation, who are gonna be like lying on top of the mattress? It's unlikely that your GYNs be looking for the details to the extent that you would see the mattress actually manipulating to such an extent that you would see in the animation as someone sits on it. So what we're gonna do is we're just gonna leave that as it is, and hit that sad kids go into object mode. Now, one thing that you can do if you want. If you can bevel with these edges, However, the reason why I'm not going to bother with beveling is because we're going to put a sheet over the top of it. So we're not going to see the mattress itself we're not gonna see each geometry, so that's not really something that I think white to worry about here. But what I'm gonna do is I'm going to create our sheet. So first of all, I'm gonna go shift on s to make sure the curse that is back to the center and then I'm gonna go shift and I and add ourselves another plane. Now I'm going to drag that plane up above our mattress on. Let's press the seven key on a number part and seem out, and now I'm going to shake this. So we're gonna go s then Becks and put me out when I'm gonna bring out wonderful and then s then one and it's got to cover. The whole match was quite comfortably, so that looks pretty good. Now I recommend that this when you create the sheet that it's smaller rather than bigger up . Because if it's too small, then what? After you've done your simulation, you can always grab the eighties and just extrude and down, so it wouldn't be that much for a problem. Whereas if it's too big, you can start to have geometry more likely coming in on itself. Asian manipulated. So here. I'm just gonna keep this as it is. So it looks pretty good on one there. Do not go into edit mode and add one Luke cuts in this center left, click, then right click to confirm that goes into the center. Select everything. Why pressing? Only a couple of times, then I'm going to hit w key on going to subdivide this up and I'm gonna subdivided are 12 times so was set. The body makes up 12 times to get the of geometry. This is probably the minimum that I would have if you're looking to use this as a cloth simulation for going over the entire mattress by my even say have more. If it does look like the quality is not good enough, then maybe just subdivided up again, or you could just includes the number of cuts. So just for the sake of it, I think I'm going to go a little bit overboard for my tastes are gonna go up to 20 on that . Why? I probably won't have to do anymore. Cuts also don't forget you also have the opportunity to triangulate the faces with control and t this adds additional edges inside of those faces. Andi can actually help quite a bit with your simulation at times. So I'm just gonna keep that as it is, because it's just another way of just adding those extra pieces of geometry. Just makes it clear, with better to look up. I'm gonna go into object mode now, and I'm gonna click smooth shading to make sure that the object is smooth. So we have flattened smooth. They don't look any different here a moment, so it's a bit difficult to tell, but as long as you just clicked on that button, it should be mine. Next, we're gonna go tacky back into edit mode. Armed is gonna hit the e key. I'm just gonna extruded up, but just a little bit. Not too much, Just a little bit just to give it that little bit of fitness. Now we're gonna go back into our object mode and we can actually see that the lighting is taking effect a bit more. Now that we've given it a fitness, then we're gonna add close. So we're gonna add the cloth physic. Make sure wouldn't physics tab when we do that on by the way we do have presets. Hiss. We have things like Autumn Denham level robots that can all help personally for something like this, I would either go with cotton or silk. Now, Sil is actually probably the better off the to between these two. But you have to keep in mind Darts. It's very, very slippery silk. So you might get when you do or similar simulation, you might find that it kind of slides off your mattress. Now, bearing in mind that this mattress already has a collision, physics applied to it. And it has his heart stickiness value which will help to prevent how what cloth form sliding off. So what I'm gonna dio Actually, somebody used Caughtem as the base. I'm just going to increase the steps up to six. Make sure the quality for cloth collision is set to fire and self collision is also set to five with the distance sets a one now, because Thekla itself is actually quite thin, so it's probably thinner at them Dubai and hats peanut in the pillow that we created earlier. So I'm just gonna increase this distance value to a value of point to so hopefully that will help. And also we have friction force. Now, this is also very useful, particularly if you're going to go with something like soap. You might want to look at increasing the friction value here, but for now, I'm just gonna keep it as it is. So keeping these as they are, let's have a quick test. So Chris ply and we can instantly see that they were going to be things that we're gonna have to deal with here. Okay, so at this point, we know that when I work clock, physic really tapers in as it's doing now, it actually turns to be because for high and mass value So what we're gonna do is we're gonna reduce that mass value from point free 2.5 Now we Troilus again, we instantly see that we're getting much, much better results. Now, I would be quite happy with that myself. But there are two things that I'm going to change here, So that's coming down. And that's actually looking pretty good. Two things in their change. Number one, the's stiffness of the structure. So I'm going to produce this down from 15 and we're gonna try something like eight. The second value I'm gonna change is the spring value. Now, this is a sort of secret gem when you're creating this kind of physic because at five, what we saw from the previous time we went the animation a couple times ago when the Mass was really high, was the mass actually tried to almost converge in on the center. Now, spring actually will help to reduce that effect to an extent. So the pilot screen the That's what the result will be looking for. So lets the water up to 10. And now let's do a little test render on. We can see that's actually looking pretty good. So what spring is going to be doing is, if you see, like, the sides here on decides on the all around the that she then normally when we do this, they are most likely to sort of converge in woods because off the Lord spring value, But he you can actually see that it's gone down really, really nicely, and we're actually getting really good effects, and we're only 45 frames in. Normally we'd have toe wait beyond 60 before we get to this point but because we've changed our spring value, we're actually getting some really good results. So I'm just gonna pull. Was that now? There we go. On, as you can see, the bed sheets. Well, we do kind of need it to be a lot thicker, but that's OK. And in fact, I'm just gonna leave you guys to do that as a challenge. So your challenge now ease. Can you basically create your own bed sheet? But all you really have to do here is just make it bigger so that you get these sides coming closed Shut down to the bottom of the mattress on then one she could do that. Then you can go into edit mode and begin perhaps using proportional editing, moving things about in try and wrap the bottoms off the bedsheets underneath the mattress. So that's a challenge. I'm actually going to lead to you guys now. So really interested to see what you come up with when we come into the next let shot where we're going to be creating the bed frame are also going in my finished result. But I'm gonna lead that challenge to you guys and I will see you in the next lecture. 39. Bed frame one: so we've almost done now with the creation off a fall bed set, all that's left is the bed frame Now compared to the creation of the pillow mattress. And do they? This is going to be a quicker and simpler task. So we're going to use duplication the array modifier on the 1,000,000,000 WaterFire as tools to help us create a bed frame. So I'm gonna go into blender on. If you completed the challenge off the previous lecture, then hopefully you will have complete. It's your sheets that covers up your mattress. So what I've done here myself is I have completed, found the settings that I wanted and then on what I did was I used. If we go into edit mode, I use proportional editing. Begin grabbing the troops towards the bottom off this mesh on, just start to drag them down and in scaling in underneath the actual mattress. So it almost gives the appearance that the cloth is just completely covering up his wrapped around our mattress Object. Now, one question you might ask, if you are aware of it, is why would I not just use the shrink wrap modifier? Fordice thestreet Matt rap modify For those who may know about it, he's the growth way, and it's located in the deformed section of modifiers on It's a great Way or taking up Lo Polly base object on. Then, using that shrink wrapped modify, you can actually wrap it around a given object on that could be really good if you are looking to create things like cloves. But the reason why I didn't new shrink wrap here was because I wasn't really interested in covering the bottom. So if I go object mode and I'm just gonna hide this floor here so that we can see you will see that the cover does not go underneath the mattress. Quite. It kind of goes at the sides underneath, but it's not. You can still see, and you can still slept the mattress itself if you look underneath. So that's the way that I chose Do It went doing their sheets because I just like that effects and also like using cloth simulation because it it just makes the final result. Just look a little bit more natural to May, and then on top of that, I just got my do. They and I just let it fall on top off our sheets here bearing one. When you do that, make sure the sheets have a collision modifier so that you can have the do they interact with it. And also make sure that you applied the cloth modify out from four when it comes to the bed sheets themselves. So you can see here there's no more crop modifier because I applied it. And then when I applied it after that, that's when I started using proportional editing to reshape it. Just so if it wraps around the actual base mattress. But enough of that, let's actually create the bed frame. So what I'm gonna do is I'm going to Hite Holt on page two, going back my plane, and then I'm gonna select everything by placing a couple of times. And then I'm gonna hit the hay h key toe, hide everything because they don't need it there at the moment. Next, I'm gonna get rid of my timeline here because I don't want it for now. So I'm going to go on joined to off these panels together, and there we go. So we've got no more timeline. Next, we're gonna go shifting s curse up to center. Okay, so let's start creating our bed frame here. Now we're gonna start with the bars. So what I'm gonna do is we're gonna do it based on a metal bar style. They're fine. So we're gonna go shift, I mesh and cylinder. So what I'm gonna do is I'm gonna bring out the operator panel on how many verses do we need? Well, I'm just gonna keep this at 32 working for you to be fine here. One thing I'm gonna do is want to change that rotation just on the y axis. And I'm gonna change the rotation by 90. The grease, then we're gonna reduce the radius down to about 0.15 on will increase the death to around about. So we'll go with four here. Now, these might be pretty fic, so I'm gonna reduce the Rageh. Stan Teoh, Just Queen one. And I looked a bit better to May on next one. Going to do is I'm going to use the mortar fire, so gonna add mortar fire and then awry on. Then I'm going to change the offset value here to the war access. So we're gonna go for value off zero, and then we have this camera will want access. Now, the one thing I want to do is make sure the rotation has been applied because that can have an influence on certain modifiers. Such theory mortar fire. So I'm gonna do is I'm gonna go object, apply and apply rotation and scale on the reason why then that just now is because I noticed that when I had done the ray modify our originally and it was set to the X axis, the second ball was actually below. So it was reacting as if it was on the zero axis rather than the X on. That's because I had rotated it by 90 degrees on the wire axis. So what we're gonna do now is we're going to increase this value. I'm gonna increase its a five. So we have a relative offset value of five is a good starting point, and then we can increase count. Now we have to keep in mind here. The bed frame compared to the size off the bed. So what I'm gonna do very quickly is gonna go Owen Hey h to bring everything back that was hidden before on what I'm gonna do is I'm just going to just temporarily, I'm gonna take the mattress. So I'm gonna make sure the mattresses selected Andi. Also take the cover on top of it. So we're gonna go into the outline a panel. I'm gonna have mattress, then shift left click plane because we don't want click when we're in the line. A panel we left click on. Then we'll just do the data as well. Which should be that one yet. Going to grab on and movies? Of course. Ah, that was this. That was a welcome. So control said to undo. See, God, be careful, cause that in a moment you still have that cloth physical in effect. Now for me, I'm just going to apply it here on then. That way it won't do that again. When I try and move it. Whenever you try and move something but the cloth visit applied, it will try and with up to its original shape. So I'm gonna go one Teoh and free. And this time, Okay, so just moving the's in spa's Ishan just to give me an r d off How long we need these two Bay on. Actually, that's not too bad going along the X axis. That's not too bad at all. We do need perhaps one or two more on the awry itself. So if I do two more and then move these guys across, that doesn't look too bad at all. In fact, it's almost perfect. I think the one thing I'm gonna do it's just increased the relative offset to 5.2 and then we can smooth this to the side Smiley and there we go. So that looks good. Now I know that I can continue construction in the confidence that we have a bed frame that's actually going to be able to fit our bed. Now, if you look, you'll see it. The sides that it doesn't quite come out away because it do, very. But that's absolutely fine because we're not gonna have anything coming up, which is gonna have someone gonna cross. So should we make any changes here? Let's play a little bit safe. Let's just scaled out on the X axis. There was a slightly so to about he and I did gives us just a little bit more room to work with. So what's next? Well, we're going to hide everything again. Except for how, uh, actual bed trying. So I'm gonna select the wine, which is gonna be the floor. I'm gonna hide that. I'm gonna want to free make sure that those were selected. So we've got the do bait, mattress and plane Hit the hate. Skeeter. Hide. Now I can continue with my bed. Fine. Knowing that it's a good size. So what's the next for us? Well, we need to get a couple off bars going across either side. And after this, I'm guns. He used that. She so I'm gonna do here Isn't hit shift. I mesh and key That's gonna creating. Pull us next. I'm in a position key, so we're gonna position it at one end, and then we're gonna stretch it across singing a position here. Stay down. Seems something like that on that looks pretty good to me. So what I can do now is I can hit sap. He's going to edit mode, go face select, select this face seem out a bit, and I'm just gonna drag this old way across. Said Now that bar goes away across our holes that are gonna be providing the base for our mattress. So that looks pretty good. So what I can do now is I can do a new up mortar fire. So what I'll do here is I'm going to go set origin on, then origins Afridi cursor. Then I'm gonna go to modifies Tab, make sure I'm in the modifiers top, click add mortar fire and then Miller and then straight away by the phone, it will mirror itself on the X axis. When I'm happy with that, and I am happy with that straightaway. Then I can just go apply. And now we have the structure either side of the frame. So it almost there. Now, guys, what we need to do now is we need to just add some Stan some legs on the four corners. So I think I'll do isn't just gonna take these, too. And I'm just gonna drag him out slightly because I want to use the 1,000,000,000 waterfire next. So when a dragon that slightly and then I'm gonna take these two, and I'm gonna do the sign. So I'm gonna who had them along the war access and drag him out slightly. That looks like it's a tiny bit too far. And now I'm gonna do is we're gonna go into object mode on. We're going to ARDS those legs. So we're gonna go shift a mesh on. We're gonna go sit, end up on quite usefully. It's maintained my options from before, which is really good. So I can do here is I can basically position this one where I want it. So I'm gonna go to about here on in terms off the heights. It looks good. I'm just gonna do is I'm just going to lock it up. Teoh around about he and there we go. So that was pretty good. 40. Bed frame part two: on. There we go. So that was pretty good. And now I can drag this in because we don't want to do is want dry skin, and then I'm gonna scale it on the X and y. So I'm gonna hear the s key and then shift. Onda said, And then we're gonna scale this out to about here. Said I looks pretty good onto perhaps you want just do a little bit more because I don't really like the look. I ever saw it here. Someone hit s. Schiff said we'll stay a bit more. See how that works. Yeah, that looks pretty good to May. So what I can do now is potentially I can mirror this onto this side here. So what I can do is I can go make from an object mode. Had mortar fire on weaken. Go. Mila. Aunt, he looks like we're gonna need to a certain little things. We're gonna need to go Set origin origin to the Freedy cursor on. There we go. We can see it's working. I'm just gonna turn off the y axis, and there we go. So that was pretty good. Now we can use objects here so if I was to use this object here, So we're gonna be This is our cubes, which is gonna line that as we nine, Glenn has been a little bit fiddly with me to die. We nine Azaz brain side. And then if we select this member, object to Frayn side and then it doesn't quite seem to work out the way we want to you. So the thinking is here is working, but it's not because the object itself isn't quite central. We just no want getting. And as you can see there, we can move that we can position it if we need to. So what we need to do here is we need to go shift, select those two on, as you can see, Actually, it does work, but it's just because the positioning off the frame isn't quite where it should be compared to the actual legs. So what we need to do here is which need to be selective everything on now I'm just gonna get read. I hope that so that will, with these two. And for May I think my solution here, Robert and going backwards is just going to duplicate these So what I'm gonna do is when hit shift D and that allows me to duplicate Hit the why Valley Value on. Then just position it on the other side, so it's gonna make sure that's all correct. And yet that looks pretty perfect to May. To the sizing is correct. We now have pretty much our bed frying. So what I'd like to do now, these were going to first of all, apply Alice, and then we go select these two and apply these on. What we can do here is we're gonna join these two up, so we're gonna go one and then shift and select, and I'm gonna hit control and Jay to join. Now, I've done that on purpose because you can see a little problem has occurred. We have lost pretty much all of our array here because we've joined two objects up one of them, loses its array or lose its modifier stacks. I'm going to go control and said, and I'm gonna have to make sure that this is applied first. So I'm gonna go apply and then shipped Select the sides, Control and Jay. So now they're together, which is good. So we've got free separate pieces here for what will effectively be the same object. Now, it's perfectly acceptable here to just join knees up on. There's absolutely no problem. If that's one of what you want to do, it's perfectly acceptable. There's no problem with that. So But just to show you the ultimate alternate method, we're going to be using the 1,000,000,000. So I'm gonna select these two, first of all, and we're gonna actually we're gonna select this one, so gonna add more to fire on. Then we're going to select Julian, and then we're gonna add more to find we're gonna add another 1,000,000,000. So gonna have to billions. Now we have a look. We have ceiling that thought, Siri 01 cylinder dot Siri zero to. So the 1st 1 I'm gonna do sit in it. But seriously, well, one. And we're gonna change that Teoh union, and then we're gonna do the same thing he is. We're gonna go union cylinder dot Siri zero to on what that should do is it should allow us to unify those together. So what we're gonna do is we're gonna go apply, apply now. We'll still have the original objects, but we can now move them to the side. And there we goes. And now, guys, we actually have our bed frame so we can do one or two touch ups here, so I don't need these anymore. I'm gonna get rid of them. We're gonna go, ext Italy. Click next. Really? On. What want to do now is I want to send her this object someone ago to Yama treats origin. And that would just send to it nicely. And now I want to do is I want to perhaps at a few bars here. So I'm gonna go shift, I mesh, then cylinder. And that looks pretty good. I'm just gonna road site that on the war access by 90 degrees and enter. And now I'm just gonna position this. So I'm gonna go to here. So this is gonna be the front. Make sure it's position. I'm just gonna bring this up to about here. Assuming a bit. I can see it's a little bit on the short side, so I'm gonna go s than X. Just scale it until it goes inside. Doesn't matter if it does and just pulled out across. It's a little bit more even now, I'm gonna hit shift day locket to desert access with K. And I'm gonna track this down. I'll drag it down to about here so that these goods and now I'm gonna do is I'm just going to select both of these. So we have the bottom one selected shift Select the top soon. I'll be it shifty to duplicates and want to look into the war access. I'm just gonna position them roughly towards the back off the bed. So positioning tiny bit off which gonna move it slightly to about there. That looks pretty good to me. And you could base to go into his much detail as you want with this. So this side, for example, said this, so it's gonna be the front. So what we can do is we can go into the tab on. What you gonna do is I'm gonna add some loot cuts here, Controller. I had a few Luke cuts, so if I had five carts left, click, then white click. And then I'll do the same again. Down here. Second foul controller, make five. Luke. Cuts and white. Let's confirm. So now I can do is. Maybe I can just bring these up. We've a bit proportional editing. And as you can see, it's a little bit on the flat side there. So we perhaps need a fume or Luke cuts if you really want to make a real curved effects. But for me, I'm actually gonna go, and I actually think I'm gonna make a bit of a weird shape here, So I'm gonna bring these up to about here, and then I'm gonna do the same for this one. So I'm gonna go control or tap key. Rafa, I'm just gonna grab that. I was gonna drag that up to about here. So now we've got just that little bit more detail at the front or our bed. Fine. And then we've got the back as well. So there we go, guys, that's pretty much here. I'm pretty much gonna leave it at that. So I hope you've enjoyed this series of lectures where we've basically bean creating a bed set. If I was to hit old and hate each and we just bring everything else back into few. Let's just finish off by positioning these. So we're going to go and select Dubai. Now what? Mattress. And then we're going to select the sheet as well, which is the plane. So we're gonna rename that just to make sure we know what it is as the bed sheet. I don't want to do something, dragged these into position, He's gonna drag him up as well, because at the moment, the bed itself, it's just falling underneath. So I'm just kind of position that and then we're gonna go wanted to free with the shift key , making sure we've selected all free again. So make sure you've selected your match with your bed sheet on your Dubai and just drag it up. And the one thing I'd recommend here is not destroying. Position them straight away. What I would recommend you do as a final challenge for this is first of all, for May, I can see a couple of issues, so I didn't join those guys up, but I can correct that in a minute. But you can see that the bedding is now too small for the bed frame. So you could perhaps scaled a bed frame down on dwell on just trying for everything by iron . Maybe you can use some of the physics that you've learned off in these last few lectures and try and get the objects of full on top off the bed frame so that it actually falls and actually sits on the frame itself. Not for me. I'm just gonna get control. Was that a few times? Because I just want to combine these guys with the bed frames. We're going to select a lot and go Control and J. And now I can extract that all up, and then I can go right click and then shift, right Click a couple of times on God be careful now, because now I've selected the bed frame, so can was come up here. So do they Bed she and mattress and dragged up on. There we go. So my final challenge to you would be if you thought of along with these lectures, See if you can just get that sizing, right? And then use perhaps some physics that just have that mattress. And do they just fall on top of that bed? Fine. Just so you get a really realistic looking effect with the objects actually positioned on top of each other. Rather Dan having those little annoying gaps in between. So if I was to drag this down, it would be difficult for me to get it to sit on top, because obviously, I'd have geometry gone through geometry, which you won't have if you use the physics with high enough quality. But thanks a lot, guys on I hope to see you in the next lecture. 41. Flag: Hi, guys. In this lecture, we're going to be creating a flag. So tours that creation for this would include the cloth particle system, the pinning ability, a collider system on the subdivide toll. So even though it sounds complex, it really isn't that complex It'll But it is a little bit different to the standard means of modeling, whereby we just edit flat faces only do things like exclusions, pebbles, etcetera. Now, we actually analytic that we want, we're gonna have to a ploy, a specific system. So what we're going to do, first of all, is we're going to delete the Cube because we don't need the Cube, and then we're gonna go to front or for graphics. We're gonna press one and then five on our number. Pat. Next, I'm going to create the pole that will be used for the flag. So I'm gonna hit shift and I No. And then, cylinder, I'm gonna open up the side panel with the tiki on reduced the number of for to seize from 32 down to 24. I don't want to be too low because I don't really want how to use subdivision surface on the pole, but I don't want it to be unnecessarily high, Eva. It is gonna be a fin poll. So we're going to price smooth shading on. We're just going to make it. Finner. So gonna hit the s key to scale. But I'm not gonna Scalea down on all three axes. I'm just going to scale only x and y. So I'm gonna hit shift and said to lock it to the X and Y axes, and then I'm just gonna bring in, like So Now I'm going to extrude alive a scale it up the zed access. So talkative, said and scale it up to about here. That was a good source. So now we've got the pole up. Next, we're going to create the flag itself. Now, to do that, I'm going to be using a plane as a primitive object. So gonna go shift and I ADM ish and then flying next, I'm gonna rotate the plane on its X axis by 90 degrees, so I'm gonna go rotate with the R key X to lock it to the X axis on, then 90 and plus tens, huh? No, I'm just going to like this to the side. I'm gonna scale it along its X axis until I get some that I like the look off. So that looks bad there. It's pretty good. I'm just gonna position it near the top off the pole. And now we're going to scale it on the set access to something like that. So that looks pretty good to May on. What I'm gonna be doing in a minute is I'm just going to be placing this side off the flag just inside the poll. Just so we conceded it's pretty much connected to the pole, but I'm not gonna do that yet. Next, what we're going to do is we're gonna go into edit mode on We want to subdivide now, uh, flag, because when we're going to turn it into a cross, it's gonna need a lot of geometry to work with so we could turn it into a cloth now, but it really wouldn't do anything. So what we're gonna do is we're gonna hit the w key and then hits subdivide, but this number is actually going to be very, very high. So we're going to do 50 cuts now. You could do more. You could do less, but I wouldn't do too many less than 50. If you want to create a realistic looking flag, my recommendations before I believe you want to have, like a really professional looking asset, you might want to go for something like 70 or 80. But just keep in mind that the Vertex count does increase one substantially each time. But now that we done that, what I'm gonna do is I'm gonna assume in the pan love you, and I'm gonna they select everything with I. So I'm gonna do is I'm going to be preparing our flag. So I'm just going to select this side off edges are assuming in pretty far, holding down the bulky and then light clicking on that allows me to select a lot of these verte sees on the very edge. What going to do now is I'm going to pin thes and reason why I'm going to pin knees is because when we apply a cloth physic, then gravity will actually take effect on our object and it's gonna drive the object down by pinning Verte sees we can prevent gravity form affecting that part of the object. So I'm gonna show you how that works. We're going to go to the object, stays it up on. Then One of the orphans we have is to add a Vertex groups. So I'm going to hit this plus key toe, add a Vertex group. We're gonna double tick to name and we're gonna nine this Azaz flag pin an answer. Now I'm going to hit the assign button and that's going to sign a with selected averted sees to the flag in a Vertex. So let's click now that's done. So what's up next? Well, we're gonna go, but a moment which go into object mode and now we're going to add the cloth system. So we're gonna add a cloth physics by coming to the icon at the very end here and left click, and we're going to add this cloth busy. So guys, you left click And there we go. It's pretty much applied. Now there are loads of little steps that you can manipulate to change how the crop is going to simulate. Perhaps the two most crucial ones are the cotton options that you can change the preset from cottons it down level level or soup on the steps. Now the steps of the moment set to five. Now I actually find here Is that the higher the quality of steps, the better simulation off the cross. But you can't go too high here. You gotta be very careful. What wise? It's going to potentially crash blender, especially if you've got a lot of verte sees. One thing we do need to do does is enable pinning. So pitting is not yet unable to We're going to enabled up on. We're going to select the flag peen Vertex Group. Now I'm gonna do is I'm just going to bring our timeline into the actual blender interface . So I'm going to find an intersection and, like, sick, I'm gonna choose split area and find world. Want to split the area, but here looks good. And then I'm gonna change the bottom panel to the timeline. Now what? What happens when I press play in the timeline, you can see that the animation is playing on the geometry is now falling down as if it were a cotton base flag, which is excellent. That's exactly what we want. There are a few things that we can touch up, though we technically now finished the modeling stage, but one or two things that we can do to touch up. First of all, we're just going to drag the flag so that it's pretty much just about inside off the hull, and then we can just test that. And that looks good. Excellent. Next is the pole itself that a poll is going to require a collision. Physic on. Well, that's gonna do is it's going to stop how, what flag from going through our Powell is. Obviously, it won't do that in real world. So we're going to activate collision on this time. When we played press play what we should get and you can already begin to see. The difference is the cloth will hit our poll, but it's not going to go through it now. One thing to note he is. If your number of steps for your cloth simulation is too low, then what you might find is you might find the cloth steel tries to go through, have a geometry even with collision applied. So you're gonna need to make sure that the number of steps is suitable Now. As for me, why now? I'm not gonna worry about increasing will decrease in the number of steps. I'm certainly not gonna decrease the number of steps because that's absolutely fine. But if you wanted to slightly higher quarter, you might wanna go six or seven, perhaps even eight, but with steps you really don't need to code too high. So maybe for me, six do. Because, you know, five didn't seem to be too much for a problem there. It's all on. It was just gradually improved. You can actually see that behaves just that little bit more like cross the Mawr steps You increase it by. But just be a bear in mind that the higher the quality of steps, the longer it's going to take for you to what we call bake the animation. So that's pretty much it. The last thing, though that we can do is because this plane is still effectively to the object. We can add one more modified to it so we can go to modifiers and you can actually see. We've got the cloth mortify in as a mortar fire. We're just going to add solidify now. We don't need to worry about increasing the fitness, that's all. What we just basically done is we've added the uniform water for so that when we press play , hopefully we won't see any off the incorrect Normal was coming from which in this case looks excellent. So the last thing I'm just gonna do he's just at smooth shading, and I just as a bit of smoothness to out flag Chris fly. And there we got Annette. We have a base are set for a flat. Thanks, guys. And I will see you in the next lecture. 42. Picket fence: in this lecture out, we're going to be creating a picket fence. So there are quite a few different tools of creation for this one, because the idea here is that the object itself is going to be whether to be simple. But we still need to use multiple difference tools in all the two created. So let's go straight into it. So sort things that we might be looking to use. The scaling Luke cuts a visibility select is an interesting one. I've included there because at times you might want to be able to just simply look crew your object to be able to select geometry in certain places were often always moving. The few around we've got circle select a Vertex elite deletion. Which is it quite important. One for the way we're going to do it, the ability to feel edges and faces, exclusions. And, of course, we have to modifies for this. So we have the array modifier on the solidify mortar fire again for an object like a picket fence, the solidify mortar fire is optional on. It won't really make too much of a difference here because with a picket fence, we're unlikely to see the inside faces anyway, so solidify modifier wouldn't be a requirement. But it is, of course, as always, with just about any objects. It's always that additional extra. So let's create our picket fence. We're gonna use the cube as our base once again. So I'm gonna hit one on the number pat to go into funds or infographic Few. If you are in perspective, you remember You want to press the five key on the number parts going toe infographic on. What we're gonna do is we're just going to shape our cube first and foremost. So I'm going to First of all, I'm going to reduce it along the X axis by half. So we're going to hear the S key than the X key. Then we're gonna go 0.5, then answer on. Then we're gonna do is I'm gonna hit the free Kate my number pad to go to write off a graphic view I'm gonna scale on the y axis. So I'm gonna hit the s key to scale. I want to get to the war axis, and then I'm gonna type in the value 0.1 five and then in tough so it's 0.5 scale on the X axis on also 0.15 scale on the Y axis. Now, if you think it's a bit too thick, you can always just do 0.1. But with a picket fence that tends to be made or would I like toe have quite thick would just toe flesh out the objectivity. Finally, we're going to extrude the said access. So I'm gonna press one once again. Then I'm gonna get s said on we go to that looks like a pretty reasonable stalling point. So gonna press center on. We have all basic piece of wood here. So up next, what we're going to do is we're going to extrude form the top here. So we're gonna go into edit mode, make sure we're in face select on we're going to select the top face. Now I'm gonna press one once again to go to funds or for graphic, and then I'm gonna hit the e key, and we're just gonna extrude this up. I'm gonna extremely up to round about. He looks good. Okay, so now what we want to basically do is we want to get that sort of like arrow shaped at top on. To do that, we're gonna need to add in a cup. So gonna hit control on our toe at Imola Cup left, click and then right, Click on what that will do. Ease, interest, position that Luca exactly. In the sun up. And now what we need to do not It was added that Luke cup, he's We need to get rid of some unwanted geometry. So I'm gonna go into Vertex Select, and I'm going to press a first of all to make sure nothing is selected. And then I'm going to select one and then hold down the shift key to free and four. Now, I have selected those four Vertu sees. I'm gonna hit the X key on Delete the courtesies on that will delete A with 30 sees edges and faces that are directly related to those selective foresees. So now we've got something that looks like this, and it looks a bit weird if I seem in. So we've got some geometry that's just hanging there, but now we're going to start filling in some faces. So what we're gonna do is going to select one on to and then we're going to hit the F K. And that creates a face. Then holding down the shift key, we're gonna select this third Vertex and here the F key. And now we've got full face that so we can do the same for the other side one and two on If we actually hold down for the 3rd 1 is well, and here the f k, he actually works even quicker. So we've now got the front of our picket fence. Now we can pan off you and do the back so you can do one to free and create that face. And then a quick away he is Hold down the shift key, please select this Vertex, Then select this one. And here the f k and we go another face. And now we have to do here is just select 12 free and four hit the F k to fill that face in . And then 12 34 and hit the f heat. Feel that facing and actually can see. We've got the start of our picket fence now, so we're actually making some good progress. But you can also see why I mentioned earlier that the solidify modifier was an optional extra for this because all of the geometry is faces on the outside. It's an object that has an inside and an outside, so we can't see any of the inside faces. They're not gonna cause any issues for us with our picket fence. So what's next? Well, what we're gonna do is we're gonna create a second part, or this object on that second part is going to be the wood that goes behind the picket that's gonna be used to link up the fence. So what we're gonna do is we're going to actually, we're going to stay in edit mode because we want this all to be the same object. I'm gonna press paid to the select and I'm gonna go shift and I and Select Key Now, don't worry about the fact that at the moment it's sort of swallowing up our picket fence because we're about to deal with that. So it's gonna pan off you, and it starts by working on that war axis. So we're gonna hit the SK two Skiles and look into the why on Let's make it so it's pretty much the same way ask the picket fence like that. So that looks pretty good. And then what we can do? It's if I create the seven key so that I confuse the object from the top. I can just drag that. And so it's just about behind. So that is pretty good too. May on now I can do is I'm gonna scale on the set access. So I'm gonna hit the s key, then said we're just going to reduce the size he to about someone this on that looks again pretty good. So now what we've got here is we've got something that we can really use to create our fence. We've got alot geometry that we need. Now what we have to do is use the mortar fire. So what I'm going to do isn't on its happy to go into object Mild on if we want to. We can always scale this. So we hit the s key and in the Y key, we can wish scale that to make it a bit thick in our if we think it's a bit too thick Personally, I think it looks pretty good. Maybe we go 0.95 just a little bit thinner will do the trick. And now what we can do is we can at that over the mortar fire. So let's go to the modifies tab at the modifier and select right on straightaway by the phone. We get on additional picket for offense. So now we're going from 1 to 2 banks to deliver a modifier. Not to increase that, we're going to need to increase this count. So if I increased account of 15 for example, then now we have a total off 15 parts to our picket fence. Now, for now, we have different options in terms off the offset value. So we've got relative offset. We've got constant offset, but it's obvious here that we don't need to change anything. This is all working out exactly how we wanted to. And that's basically it, guys. So, congratulations. We've now got a picket fence, so my challenge to you would be Can you use this picket fence? Andi actually use it for the houses that you may have created earlier on in this course. So remember some lectures back? We created the houses. Maybe a good picket fence would be the first step into creating a garden area. Four hours houses. Thanks, guys. And I will see you in the next lecture. 43. Building with archimesh: guys in this lecture we are going to be building with the arc iMesh add on. So this adult is absolutely fantastic for being able to construct buildings such as homes at great speed just through the use of sliders. Mainly with this out on weaken creates almost any shape for our building. Andi even comes with a few basic objects that we can use to fill the building out tools of creation. For this lecture, we're only really going to be needing the argument. Add on itself is gonna do pretty much everything or us. So let's have a look in blender at the Arc Inish Add on for creating a building So Walken do First of all, is make sure that the add on is usable. So we're gonna go to file ons, user preferences. And then we're just going to come up here as long as we're in the add ons section left, click and we're gonna type in arc on. That should make the Ark emission out on a visible. Make sure that the box is ticked. If it's not text, we won't be able to use it and then make sure that you select save user settings. Once you've done that, make sure to close user preferences cause you shouldn't be needing it anymore. And now we can use the or commission. Add on. Now we locates the argument add on in the tours panel mainly, This is where we're going to be able to use it. So if you don't have the tools panel visible So if you're a few looks like this, then you compress the T key on your keyboard to bring into few. And speaking of side panels that we just came to enable our screen cast keys just to make sure you can see what's going on. Andi, In the tours panel, we have to go down to the very bottom that there will be a couple of others here that you might not recognize. For example, the measure option here or the layers out on these guys are also add owns that I've included, but we're not going to use them, so don't worry about them. If you don't have them, the one we want is our commish. So I'm just gonna drag this side panel out quite a bit on, and this is what we've got. So we've got elements such as rooms, columns, doors, cabinets, stairs, etcetera and we've got a few props to go with it, including Japanese curtains, for some reason, so we can install any of these into our scene. We also have display ins. Which accounts help us to display certain things, such as the measurements off our objects. So we'll be using that just as an example on. We've also got pencil tools, which is an absolutely brilliant hold we can use. But I'm saving this for another let shop because of just how useful it is. So hear what I'm gonna do is I'm going to add a room element to my scene, so I'm going to left. Click on we conceded. It's at is something, but it actually looks like it's shaped like a door, But it's not a door. It's actually just a sinking a wall, so that's a bit confusing. Shouldn't just create a room for us. Well, the Arkham ish add on will give us the very basics here so that we can work form the basic . So what we got is a very simple thin wall, and then we can edit this to create room now we can't operate in the operating panel. We have a look down here. It's telling us to go to the properties panel by pressing n to define the parameters. Now also has an option off importing, which is basically, we can save our presets when using this. Add on and then we can import them into new files. But let's not worry about that for now. Right now, what we're gonna do is I'm just gonna close this up a little bit on. I'm going to get the n key toe open up Properties panel on the side. Quote away, Down. And here we have the options for our room now. But this I'm actually gonna do is I'm gonna come over here and I'm just gonna make that as feared as possible just for now. And that way I'll be able to just drag this out a bit more so we can read what's going on. So why drag it away just so we can have a look at what's here? We've got the room. We've got the height of the room. It's fitness. The ability to inverse the normals number walls. Now that's important on the parameters for each wall. We also get a baseball here. Now the baseboard is what you see. We assume in its despaired the bomb. Here's the skirting board. So we also get that included, which is very useful because most homes on most buildings will have this at the portable moves. So what we're gonna do now is we're just going to create a room here, So I'm gonna increase the height, for example. So we're gonna go from 2.4 up to free, and that makes the wall. Oh, yeah. Now, if I come over to display hints, I can click on show on, it will basically show the measurements that I wanted to. So it's telling May. Okay, this is one is headed me. What object is selected and it's telling me the wit, all that's specific object as well. So what we're gonna do here is we're gonna close that up a little bit again. Andi, we can give it a big bit of fitness now. This is quite important because obviously no objects are Ciro Fitness in the real world. So we're just gonna give it a bit of fitness. So Quincy or free will do absolutely fine. If we can see here, it's got a little bit of fitness. We go down than it has no fitness. It all this is effectively the same as using a solidify modify on objects. So up. Next, what we're going to do is we're going to just edit this wall bits. I'm gonna I assume out on we're just going to increase the length. So I'm gonna increase the length and I'm gonna use a value of 10 for this. And now you can actually see that the measurement here has changed. So when I using 10 blending units in length on what I'm gonna do now before adding malls, I'm just gonna click on a band's. And then I get a series off new options. So I've got being such as the angle, the ability to go curve, the ability to make certain parts of the more visible or invisible depending on what I want to select. But financial gonna keep that visible. The orphans go curve on the auction for peak and factor. So I'm gonna show you very quickly what these do Pique is basically what's happening when you go advanced. He's It adds an extra 36 in the middle here so that you basically have two edges lined up next to each other. That's why you can see that the measurements are 55 instead of just saying 10 so I can increase the P. And it basically brings that face up. So it creates barely recognizable type of shape that you see in many homes and buildings. Now, I don't want to use that from one. Of course, you can always use it for yours when you play out. We also have factor value on this is no as often used, so we can move it from side to side on. It tends to be. When you use this, you tend to just go away to create a shape kind of like this. That's me again. We're not gonna bother with this, which is gonna go back to zero Andi back to zero again on actually, for this war, I'm gonna curve it. Some guy in said left click on the curved button, and as you can see, that's allowed us to curve this entire wall. So now we've got curve water we can use now we have of options as well. So the angle here allows us to change the angle formed the origin point. We're just gonna leave, as is for now. We have the front of value which basically determines how the curve is going to work. Now, bearing in mind as we change this factor, value the length off each wall, increase on the increase based on how much we changed that value by someone's gonna turn that back to one. We got degrees. So we increased this. We can, actually, if we were to go to safe 360 we gay was create a fully circular room, but notes here that those few interceptions And when that does happen, then it will be up to you when you've finished these parameters to actually manually edit this. So the Arkham a shot on is not perfect in this respect. But he's really, really useful for creating that base. The me If I go back to 1 80 I think it was yet That's what I want here on Finally, here we have the number of steps. Now, this is basically like the resolution soy. So the more steps we have, the more many walls are added here. Now If you want this to be truly curve and you want your war to look really nice, you're gonna want quite a higher value. So let's disco you 32 for now. And that's pretty good value there. So when I go back to the tour's panel later, Aiken, go smooth shading, and that will look pretty nice. So up next, what we're gonna do now is we're gonna add a couple of rooms, so I want to fill up the room. And when I said rooms just a second government walls. So we're going to increase the number of walls here, So I'm gonna go number horse from one to to, and you can see we've now got a lot to that has been added in to our room. So we scroll down, weaken Seawater is here Now, I could go advanced if I want to, But for now, I'm just gonna keep war, too, in basic mode. So it's just manipulating the length and I'm gonna use a value or 10. And now we've got that war going away across 10 blending units. Now I can add 1/3 1 and you know is the process that I'm doing here where I'm editing each wall before adding the next one Pretty important because you get things like this. So now we've got new old I did, but it's going out long waits for what I want. I want to create it. We press the seven key on a number pad. I just want to create closed room here. But that was going in the opposite direction. So I need to do he is I need to go into advanced and change the angle. So if I was to change the angle 280 degrees here, it basically flips that wall around to what I wanted to pay. So now I can go length 10 and ends up excellent. Now on to the fourth wall. Except I don't really need to add the fourth wall. The same ways have done the others. What I can do is I can come to room on go close wounds, and if I left click there, then you can actually see that it connects the two walls that are disconnected so that it allows me to create a full room just like that. So now we've got our own custom room that we can use in our scenes. That has a couple more things that we can add to this on. Those are the floor on deceiving. So the ceiling, of course, creates a seeming on. The top of your room on the floor will obviously create a floor but the bottom of your room . Now, this is absolutely fantastic for us because it just that allows us to, with a little bit of practice, create any room or any shape and size that we want. Just by using this are commish Toll. So let's explore just a little bit more here. I'm just going to bring this panel out on. I'm just gonna turn off display hidden because for me, there just a little bit distracting on first thing when do is gonna go to tools and then I'm gonna select smooth shading. Now that doesn't look too great to May. I think there's a few issues with the lighting on. The best way to solve that issue is to actually going out this Properties panel again. Simpson swirled up. He inserts a bit small enough, and I'm gonna go to mortar fire at mortar fire on. We're going to use expect on with straightaway. We see that's a lot better. Also know is that the solidify modified its been added here. Now, I didn't add that here in the modifies tab. It was added when I created the room in the first place. So it was when we applied that fitness earlier on in the lecture that we actually managed to get the solidify motor for sooner with Donna is actually looking really good. The last thing I'm gonna do is I'm just going to add a door here So one can do is gonna go back to our commish. I'm gonna come down, up on, and we're going to go with a door. So I'm gonna click left, click, and that's gonna create a door for me. Now, once again, the properties panel is required for this song. Gonna close this up a bit, open this side up and we can see that we can edit Go. No, If I was just trying, rotate this now with the RK nothing happens on That's because we've certain objects that create, such as the boar we get more than just door itself. So we actually have a group off objects here So it's a door group. We have a look in this outline a panel. And if I open this up, we can see we caught free things is we got a baseboard. So we seem in a bit. You go. Ah, well, we have a baseboard there. You've got the home. So it's the whole off the door on, then. Still incorrectly, by the way. And then you got the door. Fine. Now the doorframe, obviously you have a couple of things. He got the doors, the mesh object on the doorframe itself. You've got two things there, and then it just open these up. You've got the whole so you can select the whole objects here and then you got the baseboard. See you with the opportunity to select the baseboard here. Now, it's a little bit tricky here, but what we're just going to do for now is we're going to select the door group as a whole . Andi from here. This is how we're gonna rotate on position it. So an empty is created here to have gone empty. That's what these lines are on. This is what we're going to use to move and rotate our doors. I'm gonna hit the geeky to grab it. I want to look into the war axis, and I'm just gonna move it down to about here. Then I'm gonna hit the R key to rotate said to lock it to desert access on, then 90 to rotate 90 degrees. And there we go Sooner is looking pretty good. Now what we want to do again is we want to edit the door. So it's a bit tricky to get the auction's back up, but they do come back up. So if we were to go doorframe and make sure that selected, then we actually get the properties back so we can now begin manipulating these. So, for example, we can deal with the frame width, but have a look what happens there as soon as we do that so assumes we do that. It's actually rotated background. Thean corrects way so that there's a bit of a problem, but luckily we actually have a rotation option here to solve that issue so I can just rotate this and I'm gonna rotated by 90 degrees and there we go for himself. So we also have a few other options here we've got being such as the frame fitness on the frame size that we can edit Onda basically here it's just a matter of playing around with the settings, seeing what you like and then when you're happy, you can pretty much join it up with the room itself. So in order to do that, what we need to do is we need to use a 1,000,000,000 WaterFire. So there are actually a couple of ways that we can do it. But I first used two billion mortar fire on what I also want to do here is make sure everything's lined up nicely, said that it's pretty good on both sides. It just looks a little bit on the thin side. He So what I'm gonna do is just grab this and move it across ever so slightly. And c, we can gs get what we're looking for. So that looks pretty good to May at this point. So what we can do now is we go and select our object here, So we're going to select the room itself on what we want to do here is we want to add a 1,000,000,000 mortar fire to it so we're going to go on and add more to fire at Glion and then we can choose what we want to connect it with. So we're gonna go with objects ons were going to go with Let's try this one. So the whole So at this current option with intersects is the operation room, Actually, pretty much disappears, so we might want to change our operation. Here we go. Difference. That looks interesting. And let's see what happens if we were to apply that difference now. So what we need to do first is we just need to apply to solidify on edge fit modifiers, and then we can go of tribe 1,000,000,000. And now, if we were seeing throughout this out and this does involve trying to get the right part off the objects that weaken moves, we are actually looking for the empty here on their we can actually see that we've actually created a hole in the wall itself on. That is perfect, because now we won't have the faces overlapping course in any issues with the door when it comes to tech chewing or if we want to use this room in on interactive State, so we want to use in a video game and we want people to be able to go through the door then that if she was pretty much sold so there we go, guys. That's a introduction into how we can use the are commish. Add on in order to create rooms have put much any shape and size that we want. My challenge to you now is see if you can create your own room just by using the our commission. Thanks, guys, and I will see you in the next lecture. 44. Building with archimesh two: my guys in this lecture, we're going to be continuing with building using the R Commish. Add on. So we're just going to experiment a little bit more into what we can do, using the ad or not to create her building and perhaps fill it out of it. So we're going to go back into blender here, and this is what I've got. Now, if you follow it along exactly then obviously this is so what you would have Or if you wanted to go about and create different types of buildings with different shapes, that would have been absolutely fantastic as well. So just follow along with the prince falls or what we're going to be doing here on you should be good to go. So what we can do these prices seven key that brings us into top off. A graphic view on I think I'm gonna do is I'm gonna divide this up into free looms. So we're gonna have one day one there one day one day, so 12 free. So if I was to going to topple for graphic and then go into grease pencil if I was to just draw a line so I could do with the grease pencil is I can say create a line and then I can go perhaps down man and in perpetual, another line going perhaps to here and then one more he So maybe this is what I want the actual look to end up has so as a bit of a rough sketch will have free separate rooms into a little bit of an area here where you can traverse between those free rooms. So what we're going to be doing is we're gonna be looking to create some walls, it roughly in these areas. So I'm just gonna keep my group spent salt markings there For now. We can always erase them here. We want to, but I'm just gonna use them as a reference. So it's a good idea to perhaps use degrees pencil from time to time as a reference if you're trying to perhaps mark out what you want to create, especially if it's something like a building. So for us, what we're gonna do is we're going to go back to the orca Macheda on. I'm gonna add another room. So for a room here, we're going to start by going to the properties for it and going down to room. And I'm gonna increase the height so that it matches the height all our actual well building here, which is I believe it's free, making sure type in free on. We're going to give a fitness off 0.0 freak. Suddenly, that was what we chose for the building itself. So we can't move it here at the moment in the properties panel. But if we were to try and just use the normal our keys here, then we don't need to get any problem with this. So the reason why I say that is because some of these elements have the properties in the operator panel Ramadan in this panel on when you move those elements or props, then you suddenly lose all of these features. It's a little bit of a We'd I wouldn't say it's a bark. It's just something that perhaps recommends that they looked at at some point. But we're just going to manipulate that so we can move it over there. So it's just about pressing, who put seven and soon down assuming and as much as we can go and then we can just line this up. So I'm gonna actually going it back to about he because that's when the world starts to bend. Some agree Spencer's away orbit out of place, but that doesn't matter little. I was gonna move this across to about that. Okay, so that looks pretty good. Now, what I can do is I can increase its length. So we're gonna go toe one increased length, and we're going to increase it to about we use a value of 4.2. There we go. So that was pretty good. Bye. Stolen Al grease pencil mark in. If we look as well, we can see that, actually, we've got the skirting board on one side, but not on the other. But that's not gonna be too much for problem, because what you ship it would do is you should be able to select the base bore itself. And you can, of course, manipulated how you want to. So, for example, here we could duplicate this with shift and d andi. Then if we lock it to the waxes, So I believe we can just position skirting boards Lupica over onto the other side, we assume InBev a rough shop there. Ah, yeah, That looks pretty good to May Sonata with on that and that's pretty much another war done. Now the big question is do we need to join this wall up to the building itself? We've control J. My recommendation. He is not. Keep it separate. I just makes things like a prime materials easier. If it's class to second objects, it will just make things easier down the road. So what we can do now he's We can take the object as a home, so going to make sure that it's selected search wound got serious ERA. One I want to do is I'm just gonna duplicate with shifting day lock it to the X axis and just move it across until we get just a little rough gauge. So it's pretty good there. Now, the thing to know is, as I selected, it did no stupid cates the baseboard. So first we're gonna make sure it's in the correct position. So I'm gonna pan wife, you seven assuming just so I can see it's connected and yes, as just about connective, which is perfect. So now what we want to do here is. I just want to her my few and we want to try and select the baseboards. We're gonna go select from the outline shift. Select. So we've selected both baseboards. We're gonna go shift. Indeed. Duplicates. So they're both selected and duplicated. Lock it to the X axis and just move it across until we get that perfect you area. So does that look goods? I'd say that looks good enough. Actually, we look there, we can actually see that the baseboard are duplicated earlier with just a little bit out selects. Just take this one and holding down shift. I'm just going to move that in just so just about touching. There we go. And then you compound my few and do the same on this side. So gonna pan, all of you we can kiss. See, there's a little bit of gap between the skirting board on the wall, and we don't really want that. So he's gonna go grab again on I think it's on the war axis, is it? Yes, it is. Hold down the shift key so that we can get more control positioning nicely. That excellent. So now that's done, which is fantastic. on. We've put much now gots this second room here. But this is still a whole room. So I just want to perhaps divide this up into two more separate rooms here. So to do that, I'm going to create another room, love it and duplicating this time cause it's gonna be a different length. Anyway, some guys go room and we've got a room here. So we're gonna come to the corporate ease panel here, change that height up to free and give it that little bit of fitness. But now, if we were to rotate this, we need to rotate it on the zero axis. We basically need to rotate it by 90 degrees and for center. So that's a good start. Now we can increase its length. I'm just gonna sue now on. This will be definitely less than 10. So we're gonna have to again play this just a little bit by actually for seven kinds. Talk photographic. We should be able to six is highlighted. It's almost Ah, excellent. So we're gonna sue in properly because we just want to make sure there's no space between the wall on the skirting board there. So we're gonna grab it a little bit more. So with too much hold down the shift key. There we go. That will do me nicely. So there's just that tiny bit of gap, actually, because it's going board. So I'm actually thinking on 2nd 4 we're just gonna moving up. Just seem a bit more. Too bad. This And there we go. So that looks good. Good enough to may. So we assume out and get a good look at our room. Yeah, this is good. So now we've got free separate rooms here for our design. Now, the question is, do we need a door here where we're certainly not Canadian Door? He or he butts. Overall, I think that looks good enough. I don't think we need door here. It so on. Now I'm just going to think about perhaps adding a few things to our room. So with regards to the grease pencil, what we can do is from go grease, pencil arise. And now what you should be able to do. He's just a raise with the grease pencil. Now, to do that, what we would have to do is hold and drug the left mouse button But then we've got to make sure that we use something say continuous, drawn. So we enable continues drawing and then go arrays. We should be able to continuously arised the grease pencil. Now it's just only orbit Vigee. So that's ah, being a bit stubborn now, which is quite interesting. Was that a raised? Let's just have a look. So I'm just gonna come out of that. Doesn't look No, it's still there. So sometimes it can be a little bit visually the grease pencil when you're trying to erase something. So I'm just gonna do is I'm just going to hide a without objects with h So yet we can still see our grease pencil there when the press seven consuming on. Let's try again. Is she trying to see if we can a lace this Now? There we go. Excellent. It's just a little bit fidgety. The grease pencil sometimes. So you might have to try a couple of times to get its who actually get rid or what you drawn earlier. So now to get everything back, I pressed hates before now gonna press Olt h to bring everything back. And there we go. So now I've got something that's starting to look like a port building. So what can I do now? Well, I can go. Are Commish on? Let's see what we're gonna add here. So we've got things like shelves, cabinets and stairs. Now, these are going to look to add. Actually, this seems quite interesting to me, So if I was to perhaps add a shelf and there we go, so equal shelf here, and I might want to position the shelf somewhere. Now, I've got to be careful here because the shelf has an operator panel and doesn't show up. He in the properties panel, unlike the room which doesn't have an operating panel but does have a properties option in this side. So I'm gonna close that now on. We have different options here, so I'm just gonna bring this up on one. Also, gains do. He's I'm just going to We set my view just a little bit just so we can give See it more clearly. So we copping such as the number of units so we can increase that. We've got things like the unit sizing. So we've got sizing on both the said access on the one access so I'm gonna do is I'm just gonna increase that bit. And we're gonna use the war as a beautiful reference there. You've got things like side fitness. You got things like the shell fitness that you can manipulate. So I'm actually gonna have that quite low. So not too much for the shell fitness. And always see, you've got things like the depth and height. See what depth here which can clean the shelves out on. You could just play about with this to see how you want to create it. So for May, what I'm gonna do here is I'm just going to change the type from four side to four legs. So you got free options. You probably won't end up choosing none unless you're gonna fit shelves onto the wall itself, which can be very, very useful. But for me, I'm just going to choose four legs because I like that model ons. When you're happy with it, we can begin to position it. Now, bear in mind that once we start positioning our shelves, this will disappear. Just keep that in mind. So I'm going to position this que in this room. Let's start to fill up this room. So I think before I do that, I'm going to increase the number of units to to now the 2nd 1 we create seeds has a few different options or lava. It's set differently. So we would change that, yet it still changes. Okay, so for this one, what we've got to keep in mind is that the top panel here for the shells will change any existing shells. But if we add units after that, then it doesn't affect those units to that's something to keep in mind. Or that another little bug that you have here with, er Commish. But I am actually happy to keep that as it is. Actually, I'm not. I'm going to go back to one because I'm just going to duplicate. So I'm going to not take this on position it and you can see options have gone from the operator panel, so I'm gonna move this to about here, and then what can do is go shift day and X, she d and X shifty on X. So now I've got a little bit of an office workstation in this room here, so thanks, guys. We've started to begin filling out building a little bit. I hope you guys are enjoying these lectures. I love using the arcamax ships. Just so useful, so powerful. The one thing I'm gonna say dough ease. I do recommend learning still how to actually model a lot of these props first before just using them from here simply because they're quite simple things to learn. So they are great starting point. For example, thes shelves are not exactly difficult to model once you know what you're doing. So it's actually a good thing to practice on before moving on to more complicated models. Thanks, guys. And I will see you in the next lecture. 45. Building with archimesh three: guys in this lecture, we're going to once again continue with the Arkham ish at all, because he's just 1,000,000,000 on and we just want to play about with. I mean, I could play with this ad on Aled Day. Andi, trust me, I have done that. So what we're gonna do in this lecture is we're gonna add a few more pots and even add a second floor, so I'm gonna show you perhaps the best way in which we can add stories to our buildings with our commission and basic tools. So what I'm gonna do, he is I'm going to start by creating a floor to go on top or this room here. So when you first create rooms, you do have the opportunity to create ceilings as well to go with it. But I jet tend to not do that because I want to obviously be able to see what I'm doing. As I put things in and around on, we tend to actually save that part of the building till the very end. But what I'm gonna do here is I'm just going to create a roof here, so I'm going to go into edit mode. Gonna go into edge, select. I'm gonna hold down the Opie and just select that entire top edge. So I held down the okay and then right clicked to select the entire top edge. What I'm gonna do now is I'm going to hit the F key to create a face. Now, why I actually want to do here is I'm gonna want to separate this part off my room. I wanted to be separate because I want to late one. I want to be able to hide this face easily without having to hide everything else on. It's easy enough. I mean, if we press the page Keene now, it just hides What? Selected? No problem. But I also want to Sinclair warn about perhaps texture ring and adding materials like floorboards to that specific face. So what I'm gonna do using and hit oats and hay h to bring it back? Then I'm gonna hit the peaky. I'm gonna separate by selection. I said now, this floor on top, if we just selected in object mode, this floor is actually separate. So why can do is I can hit the geeky to grab on. Nothing's happening. So Why is it doing that? Well, we're going to object mode on. We can actually see you to something else been selected. So now I need Teoh Press. Select this roof hit Haiti just to make sure that nothing has gone long there. So many hits Olt age because everything's fine I want to do is I'm just gonna drag out just for a moment. So yet that seems fine to me, Andi. Then we'll just do isn't hit Control said to put it back down where it was. And now what I want to do is I'm gonna create a hole in this floor because what I want to do if I pressed the hate key here to hide that I want to create some stairs. I'm gonna create some stairs going up to here. So I'm gonna want to create a hole here so that you can actually like if you had a character in this room, you could actually walk up those stairs and onto that second floor. So what I'm gonna do first here is, rather than creating the hole in that floor that I've created but now hidden, what I'm gonna do is I'm gonna create the stairs first, So I'm going to position life really? Curses. So it's kind of Well, once it so about he should do nicely on what I'm gonna do is I'm gonna come over here. It make sure we're in the our commission section and go stairs. So we've got the stairs there, which used excellent. Now it is going the long way. But we do have it in the operator panel, which means if we were to roads hate this, then we would actually lose our options here. So we need to make sure that it's correct. First, in how many steps we've got, how y is exceptional. So if we press the zed key on a keyboard will go into WiFi mode. So everything coz in WiFi on what that allows me to do. It's if I press free or my keyboard on the number pats impound my few. I can actually get an idea off how many steps I'm going to need to reach the next floor. So I'm gonna press up. Oh, more keyboard until I get close. Now I'm thinking here that it might be a little bit too steep, so you call options here. Such is the width and depth. If I change a depth, for example, I can make the staircase a bit steeper. Now that looks much better to me. It's taking us a little bit less room to get up the stairs. Now. We've also got the shift option, and that allows us to make it steep as well. So it's very similar to the bet, but we're just gonna leave that as it is on. We have a few other options. So, for example, we have the ability to close, decides on what that does is it basically makes it solid going up the steps. If I pressed the Zeki again, you can see it's going up the steps and you go. A few are facts, but it's basically a solid object on in this case. I'm not going to do that. I've also got the width to think off, so let's increase the whip value a little bit more. There on we will start the chance for fairy. But we're not something that you would choose normally because what this would allow you to do is if you take that, you get this little scroll option here and If you increase that, you can see that he steps get bigger and bigger. If you decrease it, they get sworn smaller. But for me, I'm gonna turn off. Will, you don't need it. Include deformation handles Don't really need that at this point. But we got things such as fitness, the hort, the side. So here, this is a useful one because we can actually get the steps to go beyond the original parameter, which I actually quite like that Look off. So I think I'm gonna use that value there on the front, which does the same for the very front. But I don't really like that. That's our assuming here. What the front does is it just makes to step on. It just brings it out. But I always think obviously, stairs like types exist. Of course they do. But I always think, Well, someone she's gonna trip. So for me, I'm just gonna turn that down. Zero coming out of sight will do me nicely. Andi. I'm pretty much happy with her. That looks so. What I can do is a compress said again, freegan Oman on pat on. Let's just add a few war steps to about here. It's a 17 steps. Seems through the trick, each just underneath how, uh, floor or where the four was going to bay so we can look to increased the high. Possibly so we go 0.145 Excellent. So that's exactly what is went. 145 just brings it up so that it's pretty much dead level. That's excellent. So what I can do now? He's If I pound my view, we're just gonna position this so it can fit into our room someone across the Zeki to come out WiFi mode. And then I'm going to hit the R key to rotate on the set key to look to the set access, and I'm gonna rotate by 180 degrees Aanenson. So that looks bad. And now I'm just going to pan. Why few? And we're just going to vaguely position it, first of all. And then I was gonna hit seven. We just have a look here. There's a little bit of room Bart for me. I'm gonna want just that tiny bit of room there, but not too much. So that looks good. And there we go. So now we go upstairs. So now our counts. I just imagine a character at the moment now he can actually come into this room and just walk up those stairs. So now what we can do is we can focus on creating a hole for the next floor. So we're gonna do is gonna hit Bolton Page to going back. That's floor on. What I'm gonna do now is I'm gonna left click here. So that's gonna move my Freedy cursor, and now I'm going to do is gonna hit shift, and I and I'm going to add a keep. So this cube is going to act in a very important way because I'm gonna use this cube to cut a hole in our floor, so I'm gonna position it too round about here. So this looks like a good starting point. Then I'm going to select our floor here and then make sure that floor is selected. So if we were to grab it yet, it's the forest selected. Excellent, because you never know what blend us. Sometimes you think you've selected one thing that you've actually selected another and now we're gonna add a mortar file. So before we do that I'm gonna press the key just to make sure we're in the right place and we're actually not. So we're gonna take that Q and just moved over to here. Andi, there we go. So we're gonna have the key over lapping we've out stairs. But don't worry, it's not gonna do anything to the stairs because the stairs are a sexual object. So what we're going to do here is gonna select the Ruth, make sure it's selected, and we're gonna add a mortar fire. So the mortar fire we're gonna add here is a 1,000,000,000 modifier. So going at the 1,000,000,000 on it, we press the same key so we can see what's happening. Let's go with objects on. Keep now at the moment, that's clearly not what we want. So we're gonna change this form, intersect to difference Onda. We won't be able to see. It's really until we apply. So let's apply it. We're gonna take the key, move it way, and there we go. So now we actually have our whole in the floor so the currents are can actually woke up and into the next floor. That the one thing I'm thinking off here. If I'm being a bit picky, maybe there's no enough space on this side. So I would do is hit control and said the cop, the times and still not wonderful I came back. So let's my cube on. Woman do isn't a skate on the one access Not too much that I'm gonna set K and I'm gonna reposition it. Some of the reposition it too, about he That looks pretty good. It's not exact. We can always move the stairs themselves. We need to. So now I'm gonna select that roof again. Andi, we're going to this time. Click apply again. Select a cube. Move it. Why? Price said And there we got. So now that looks a lot about on. If you want to make any more changes again, I'm starting to think. Now, um, maybe it doesn't need that much space on this side. So again, it's sometimes it's trial and error, but it's really good, cause then you can always see what needs improving. So I can take this now and maybe on a scale in a different way. This time I'm gonna hit the top k face, select, select this face and just moved in a bit. Then a press that's that's going Teoh locate mode. Said to get a good look. Still needs a bit more editing. So I'm gonna go back into edit mode. Track that in a bit more. What about now? Most good. Maybe just a little bit to here yet. Let's give that a go. So not complex said on. We can go back to our once again applying a mortar fire. Perfect. So now that looks perfect to me. That means that we now have the ability to have a character go into our room and then go up the stairs onto this roof area. Now, one going to do is gonna select the roof, and I'm gonna hit hate to hide it. And now I'm going to select the room itself on What we're going to do is we're going to hold shift and select the baseboard as well. So we're gonna come up. We're gonna make sure yet you got the room on baseball selected, but not the floor. I don't want to slip the floor here. I don't feel one eating. We're going to actually, we're gonna do something else as well. We're gonna enable snapping, which is gonna snap to increments for now. We're gonna hit shift in day and that's going to create do picker off this room. So I'm gonna hit the Zeki is well, to snap it to desert access we moved up to about here on left, click And there we go. So now we've got a second story on with even got a baseboard because we were actually wise enough to duplicate the baseboard as well. Now, if we were to hit a to de select everything and I wont and h to bring back the floor Now you can see that we've actually got two stories, and now we can actually begin creating this second floor as well as the bottom one. So let's have a look at our building in use. What I'm going to do now is minutes start positioning myself around about you on. I'm going to use shift in F on shift and F allows me to go into work mode. So he I'm just moving my mouse around and I can actually I'm almost like I'm the count to video going so I can actually walk in different directions, so we just play about. This is sec. We're gonna hit the w key. And if I hold down double you, I'm just moving and a move My mask Curse Who around on? It's just allowing me to move pretty much straight. But as I move my mouse cursor, that changes the direction that I am going. So with this walking due is I can hit w key and we can move inside. And here we are. So we're inside the room that we've created now Very cool. So now I can move in between the rooms, know that I'm not an actual character. So I should just store with door. We can indeed, well, crew, any objects here we are just a camera here, but it's a great way of seeing how your room is going to look for its desired purpose So we can go here into the curved room and look, there are shelves. It does seem that we are quite small at the moment, so we just move outcome are up a bit and hit the W K. We can make ourselves appear a little bit cooler. So this is what we got so far for our curved room which looks excellent knowledge. Try going upstairs on Oh, if you're just wondering war, that is that little line there. I believe that's the camera. I think it's the camera. Yeah, so it's like the camera with the lamp, but it's not something to worry about. So now let's go up the stairs and then we've got the stairs. And if I want to move to decide to compress the in A to move side to side, we could put stop you key on. You can just head up. And here we are seeing now we're on the second floor, So thanks, guys. I hope you enjoyed this lecture again on creating with the or commission Adam. As always, feel free to perhaps do your own thing here. Creates your own rooms, make your own building as biggest you want with as many things as she wants in it more. We'll do a deal with a court challenge here, guys. So what are nice? Do? Almost is an optional extra is this is the asset creation course on. I'd like you to see if using the our commission on oil or No, you don't have to. If you don't want to you can create your buildings by more conventional methods like we did earlier on in the course on Just create building as big as you want on Put as much of your created assets into that building as you possibly can there anymore that you can use things such as the 1,000,000,000 mortify our to shape you're building. However you see fit if you need any custom holes created, you've got the modifies there to be used on DWI need Just go crazy with it, see what you can come up with. But anyway, that's it from me for this lecture. Thanks, guys on. I will see you next time. 46. Building with archimesh and grease pencil: my guys in this lecture, I'm going to show you how you can bill using the grease pencil. So this is a fantastic way of creating buildings or varying shapes by using the grease pencil to draw the layout of your building and then use the ark Ameche add on in order to create it. So we're gonna need to tours of creation here on those are the grease pencil on the are commish Adam. So let's create our building using the grease pencil. So there's been you need to make sure is to make sure you have the are commish. Add on installed. You can do that by going file and user preferences and just typing in. Ah, and that she'd bring up our commish. Then you saved uses settings and make sure that you close the user preferences. Next, what we're gonna do is we're gonna go into top off a graphic mode that needs to be talked for graphic because we're actually going to be creating the two D layout off our our commish. So we're gonna press seven on the number part, and that's gonna take me into top photographic if you takes you into top perspective. Make sure you, Chris five on your number pad to switch between the two until you're in top lithographic. And then I'm gonna come up here to grease pencil in the tools bar. So we have few options here. What I'm gonna do is I'm going to assume out a bit, and then I'm going to set myself up so I can create this room easily. Some going to choose the poly option to draw party gone lines with the grease pencil. But before I do that, so I just collected. But I'm just going to right click, come up. So I'm also going to use continuous drawing, So this will allow me to continuously Truell with more grease pencil. So I'm going to turn their own, then slipped Holly. And now we're going to begin creating our shape. Now, I'm gonna use a simple shape just to start with to go one to pre full and five, So no, I've done that. I'm going to right click on my mouth, stick in turn. And now I'm gonna do is I'm gonna go to our commish. Andi In all commish, we have Henson tools, so we have a few options here. When we create our room, we have the ability to close the walls to create a foreclosed room. Yet I want that the chance to create floor. I want that on the ceiling. Now I want to see inside my room, so I'm not gonna create the ceiling. So now I'm just gonna go room, form, drawer And there we go. So now we've actually got ourselves a room that we've created using the goose pencil. Now, the one drawback here is when you finish strong. So we assume into the corner where we finished it to this panning the view you can actually see that year. That doesn't look too good. Now you can always edit that his soon issue created your room. But that's a little something to keep in mind that it's just no brilliant at closing things . Obviously, it closed room there. But even when you pressed up, but it's not perfect. So you're gonna need to edit that a little bit, But that's a basic example. Now, let's do a bit more off a complicated shape just to show you just how far you can go with this. So I'm gonna hit the X key to delete. But when I do that, it doesn't delete everything. So I need to make sure that the floor that's also been created a separate object gets deleted as well. So x and deletes on the baseboard as well. So several things get created there. Then it hit seven, and now we're going to create a new shape. So we're gonna go back to Greece, spent so on. We're gonna go poly, and it's create ourselves a new shape. So we're going to go 12 and all I'm doing is just tapping the left mouse spotting here. Now, if your lines are slightly off, it doesn't really matter too much. Blender tends to compensate quite nicely most of the time, but I'm just creating, I want probably look of it with I'm just creating a putting run shy on what might do. Here's let's create better than our never be than all because what I'm gonna do here. So I'm just going to show you the limitations off what this talk do. So if I go 1 to 1 doing now isn't trying to create the curve as much as they can, and we're going to see that works. And then I'm gonna come up to here. There we go. So that looks like an insane shape. Now, let's see how much of this works now. I don't think it's gonna work. You're going to see the limitations now, So we're just going to hit Enter. Just to come out of that gonna go are commish Now we've got our room. Here we go room from draw on. We can actually see that. Yes, it's created. Oh, but it hasn't created it exactly as we've drawn it. So there are certain bits that it's ignored and certain bits that it has used. So this is perhaps the down sides using the group's pencil. He's It does struggle when you make thes shapes really interesting, shall we say so? This is a very unorthodox shape on. We can even see here that it's almost completely ignored. The fact that we've done this curve on just outstretched get made a straight line and then joined up here. So a few things to keep in mind. But it's still a fantastic tall for creating pretty complex shapes really quickly. So my challenge to you guys now is Can you create your own building using a combination off the grease pencil on the argument. Add on. And I wanted to see just how crazy you can make that building. Look, I also know that even though we create this, if we go to the properties panel and slow rolled away down notes that we can actually edit what we have, so don't worry. If it doesn't look exactly like your grease pencil outline, you can always edit how your room looks if you just go into the properties tab on, just come down to the bottom where it says rooms. So we've actually got he opens for heart so we can just increase that higher. We've got fitness value. We've got all of these values still here that we can use for our created room. Thanks, guys. And I will see you in the next lecture. 47. Top hat one: in this lecture, we're going to be creating a top hat and Argento. The simplicity of this objects were actually going to create this one objects of a variety of different ways. Just to show you that there's no one way to do any assets you can pretty much take on different styles to create the same thing. And you can end up with slightly different results. Sometimes it may be better. Sometimes it may not be as good. Sometimes it might be exactly the same. But for this first method, we're just gonna keep things extremely simple. So we're gonna be using things such a just deleting the object cause we're not gonna be using the Cube. Instead, we're gonna be act using another primitive objects on. We're going to be editing that objects of fire exclusions. Andi scaling. We may also finish by using a solidified modifier to give it a bit more substance. So let's use our blend up tall to create a top hat. So first thing I'm gonna do is I'm gonna get rid off my cubes. I'm going to select it here. The X key on delete. Now I'm gonna a primitive object, so I'm gonna hit shift and I on my keyboard at a mish on the Michener on guns we using is going to be a circle. So a circle by itself doesn't have any faces, which is exactly what I want to start off with here. So I'm just gonna assume in on our circle until it cos most off the Freedy Vieux Port on What I'm gonna do is I'm going to reduce the number of 30 seats from 32 26 thing. So if I just bring up that operated panel just so you could see I changed this value for 1 32 2 16 Now what that does is it actually makes it look less like a circle on look more like a multi sided shape that has a with ease, like rough looking edges. But that's what we want. And the reason why is because at some point, we want in abusing the subdivision service mortar fire to actually add that extra smoothness so we don't need it well off the back. There's also the opportunity to determine the radius so it will increase the radius. We effectively increase the size of our circle, but We don't need to do that right now. And also the cup filled type from which we can choose one of triangle fan which, if we would go into edit mode, we would see it made up of low two different triangles. I'm not going to do that. Because if I do, I'll lose your for your panel and gone, which is basically the face you see here is a single face. So not multiple four angles converging together and formally, nothing. So we're actually gonna go with nothing to start with on. What we're going to do is we're gonna go into edit mode by hitting the tab key on the keyboard. And I'm going to hit the e key to extrude geometry. So But he's in the e key. I can begin to extrude and I can dictate what direction I want the extrusion to go in. But that a top hat I actually wanted to scale inwards so wanted to extrude in on itself. We're offered and going up or down in different directions. So to do that without pressing anything else off the pressing the e key, I'm going to press s on my keyboard to scale and then I'll get a drag our hats in. So I'm gonna drag the geometry in that we drag out, We can see the color of the faces is different when we track it in. Now, off of these methods will work Absolutely fine if we drag out the normals are correct. If we drag it in, the normals are incorrect. But this won't matter for long. So for now, I'm just gonna drag it in to get something that I like. Look off, and then I'm going to press left. Click. So that was pretty good too May. Now I'm going hit the IKI again. But this time I'm going to hit the Zed key rather than the s key, because I'm gonna lock this to desert access. Now, I'm just gonna drag this up so I get something that I like the look off, So that looks pretty good to me, but he ons left click. So let's panel of you around on. Yeah, that looks pretty good to make. So what I might do actually use on my truck, that town you more so I'm not the biggest top hat in the world. And now we're gonna do is gonna hit the one more time and then s again, I'm gonna scout listen pretty much as far as it can go, but it doesn't really matter up, because what I'm gonna do next is I'm going to left click, and then we can emerge a with those birth disease into the center. To do that, I'm gonna hit cult and M, and I'm gonna merge them at center. And now all those that sees happen merge together. So now, straight way, I've now got the basic shape off our top hat, which is excellent. So now, like me to do is just out a couple of modifies just to talk things up a bit. So I'm gonna go back into object mode. We're then going to go to the modifiers tab on the first modify our I'm going to add is going to be my solidify. And as soon as I at the solidify modifier, you'll notice that normals are now correct. That's probably the biggest advantage off the solidify modifier is its ability to pretty much ensure For the most part, it doesn't always work, But most of the time it does. For the most part, it will fix any of the normal issues because it's basically adding the geometry required to creates a solid object. So you don't have any normals that are exposed to the user's view. So once you've done that, you could determine your fitness. Now, this hat's not gonna be too thick. We're going to use a fitness value off point to 5.0 to 5 over on an answer, So that looks pretty reasonable to me. I'm also gonna come over to the tools panel here on select smooth shading to make it nice and smooth on. At the moment, you can actually see the smoothness looks a little bit weird, but don't worry too much about that. One of the reasons why that's the case is because of the lack of geometry. So what we can do here is we can add a modifier and add subdivision surface on straight away. You'll see that looks a lot that up. So we've subdivision surface. We get quite a few instances where we get quite a bit smoothing. So we were to go to two who example We could actually see that at the very smooth on depending on what you want. This could be exactly what you want or it could be not what you want it all. So, for example, who wanted to keep that original shape but just had the smoother geometry we could hit its have key to go into edit mode on begin adding salute cuts. So, for example, I could go controlling our left click and then drag this new Luke cuts up to over the top or close to the top. So I think I'm gonna have it close to the top side like it's have a little bit of bend just a tiny bit and left click the straight way that looks a little power and then I'll hear controlling all again left click Drag that down to around about he. So I get a little bit off smoothness around that age love than it just being a sharp fall off so bad he looks good. Left leg. I don't really good to may. What really looks good here is actually the outside limb that looks really smooth when you have the subdivisions set to to, so that's pretty much it as pretty much all we need to do to make that top hat, using very basic tools with no a lot geometry a toll. Now, if you want to create different models, different versions from the top hat, what you do is you would simply go into object mode, shift Andy to duplicate your top hat locker to the X axis, or any access access that you want and just place. And then why can do is I can take Let's bring that back here little bit. Then why can do is I can edit the new one. So I could, for example, throughout the loops at the top so I can go bolt on Dwight, click and then shift old right click to select to loose at top, and then I can drag that up to increase the height of the top hat. Keeping in mind is that I've actually got of the attacks in the center, so I'm gonna need to cancel that. Hold the shift key and try and select the Vertex in the center. And if you can't see it, you can always turn off the subdivision in edit mode like so, and then we can just drag that up. He so it's really good on That's the result that we get. We just turn everything called. So he we actually have the ability to take the base top hat. I manipulated how we see fit. So, for example, woman do here isn't gonna grab this again and just drag it up just a little bit. And there were guys that looks pretty good to me. We've got two different assets that we can use a relatively small top hat on a relatively to one. Thanks, guys. And I will see you in the next lecture. 48. Top hat two: E guys in this lecture where guns be creating another model of a top hat, but we're going to be using on alternative method. So this time we're going to be focusing on the for text construction Mefford to create a to be outline off our top hat on. Then we're going to be using the strew mortar fire to create the Freedy version based off about two the outline. So let's create our second top hat all of 1/3 since in our last lecture, we actually created two top hats, So this will be technically off 3rd 1 on. What I'm gonna do is I'm going to delete the Cube, but I'm gonna delete it in edit mode. So I'm gonna go to edit mode and then I'm going to delete the Vergis ease by pressing X on deleting 30 sees next. We're going to go to front or photographic mode by pressing one on a number part. You should also press five if you are in perspective. But I'm coming in all the graphic and now our guns do is I'm going to create the geometry for our top hat on. I'm only going to need to use a few Burgess sees here. So I'm going to come to about He looks good. He control on left click. So that's one Vertex not gonna go one to summon the parkway in control. Left, click. As to that disease now, we're gonna calm up to about here. So I'm actually doing at the moment is I'm using the grids. So it might be really difficult for you guys to see. But obviously, if you look at blender yourself on your own screen, you might be able to see the grid divisions on. I'm just using them to create the outlines. Who again? 12 great divisions across 12 great divisions above control and click and then one to quit divisions on. I'm just gonna have it pretty close to the line and left, and that's it. That is the top hat. That's all we need to do in terms off the geometry. Because now what we're gonna do is we're gonna use a special modifier to create the Freedy version, just form thes four verte sees. So to do that, we're going to have that mortar fire. So we're going to just wrap this panel out at the mortar fire and is going to be screwed modifier. So I'm going to select the screw mortar fire and you can see it's done something straight away. So which personal view you can actually see? We have a top hat on that has just occurred, just form activating the screw modifier. So what it's done here is it's basically duplicated this geometry multiple times around. The Origin Point, which you assuming it's located here, is center of the blender quid, and it's basically duplicated that same germ freak multiple times going around the origin point. Now, if you want to, you have different controls here, such as the ability to change the access so we could go to the Y axis. So did it rotates around the origin point on the wire or the X. But in this scenario, it's very clear that the Zed access is exactly the one we want. We also have the ability to use screw tall, which is quite useful if you want to make something like a staircase. But if you want to create a top hat, not so much, so I'm going to white Kids Council that on it is pretty much perfect the way it is. Now we have things such as the angle and the steps. So the angles, basically, how far around does it rotate? So 300 sixties perfects if we decreased that you start to get escaping hole, which we don't want so will turn up back to 360 on the steps. Is basically humanity almost going around, So 16 is actually perfect. We would increase this to say 48 for example, and you can instantly see how much smoother that makes it. Andi, you can do it one of two ways so you could ever have this as a low value say eight, and then add a subdivision service modify on top of it. Or you could just increase the number of steps to a really high value say 60. Now, by comparison, if we just have a look at what that does to geometry, what I'm gonna do is I'm gonna turn that back to 16. I'm gonna go into object mode. I'm just gonna create do picker off this hats were gonna go shift and be locker to the X axis and drag this one across. Now with this one, I wanted to keep it on the amount of geometry to each one has so both of them at the moment they have 128 30 seats now, very quickly, I'm gonna go into edit mode to make sure on at the moment there's probably going to be a fair few doubles in the center here. But now we're not going to worry too much about that. We just want to get an idea or which of these methods is going to be better. So I'm gonna go back to object mode on with this one. I'm going to increase the number of steps, so I'm gonna increase the number of steps to 60 and that makes it really smooth, but also completely maintains the base form of the object. Over here, I'm gonna add my subdivision surface, mortar fire and again it makes it smoother. But we can see it's just manipulating and softening up the design. So we increased that to two, makes it even smoove up. But it's a lot soft up now if you compare the two, this one has 1072 that sees this one also has 1072 Is that what? Well, what we go remember is that this actually accounts for a with the geometry and seen. So if we were to hit its hub key to go into edit mode, then actually only reasons for Verte sees If we grab this one and go into edit mode again, it's still only counters for Berta sees. So if we were to increase the number of subdivisions here to free, we now get free 1004 140 30 sees. But that's the total. So the question is, how do we compare to see which one has more geometry? So I'm just going to the crease the number subdivisions back to two. Now, there are a couple off things that you could try here. But what I'm just gonna do very simply is I'm gonna delete it and then bring it back. So if I was to delete this one, for example, with the Xscape, we can see that top hat here has 200 believer disease, seven control and Z. To undo that we've got with it this one so x and delete, we can see we have 832 disease. So basically The point he is, is how much you want to edit the object. So for this example, because we're looking forward the exact design of a smooth top hat. Here we get the exact shape that we want. We don't have to add any loot cuts with the screw mortar fire Onda. Also, we get a lot less geometry here for what is effectively something that's just as smooth on last year's Something to keep in mind. Now there will be times when you want to use the subdivision surface method to create top hat, for example, you might want to actually create these smoother effects. Now it's a little bit more difficult. Do that when you have the screw. Modify only applied because to modify, there's not try and make things smooth. It just tries to rotate the seas around a specific point, whereas the subdivision surface will basically try to make your object as soft as possible . So it really depends on where you want to go with your asset, But so many I'm gonna keep them both, so we're gonna have this one going to edit mode on. What we can do is if we were to add a lute cut here. That would actually be impossible because we don't have any faces. So what we're gonna needs denies which could me to apply the screw more fires on both ends . So going to apply to screw here and applied Screw here. And now if I go into edit mode here, I can just Eddie that geometry how I see fit. Except we can. Who shot up? You know why? Because we want the designs be a little bit different. Like so. And there we go, guys. So we have another two top hats with another two slightly different methods off creation. Thanks, guys. And I will see you in the next lecture. 49. Weights Part One: Hi guys. In this lecture, we're going to be creating a bar bell with some weights. So with this asset, we're going to be using mainly the bevel tall on the bullion mortar fire. But we're also going to be using things such as duplication thesis, subdivision surface, modify our extruding and scaling or form individual origins, which is different to the normal method off exclusion. Onda Also Detmer, modified to help, would use team at times going to take to create the asset. So let's get straight into blender and the first thing we're going to do is create the bar bell. So to do that, we're going to go shift I meth and then we're going to create our cylinder. Next, we're going to bring up the operator panel here on I'm going to increase the number of thirties here from 32 on. I'm going to be using a value or 64 here. Then we're going to use a radius value or 0.8 on a depth value off four. So the death of the bar bell is going to be 50 times more than the radius. Next, I'm going to change to Capdeville type from N gone to triangle fan and I'm going to change its rotation form Ciro on the X axis to 90. Next, I'm going to assume in on my bar Bill, we're guns hit, smooth shading on. We can see We've got bit of a problem with smooth shading here just a tiny bit. So I'm gonna go mortar fire that mortar fire. I will go ex split Next. I'm going to hit a tacky to go into edit mode and we're going to create a lute cut down the middle. So this is going to allow us to get rid of 1/2 off our bar bell so we can use the mirror modifier. We're going to get control law and left click, then one click to center. Then we're going to de select everything with the A key. Hit this button here to talk it limits selection to visible or rather so we can see. So we're basically changing. That's were basically turning it off. And then we're going to hit the be key to enter box, select and select those verte sees. Then we're going to delete him X belief thirties. Then we're guns. Go top. Keegan at mortar fire. Mila on because we have rotated it, the said axes off. The object is actually facing along the more axes off the blend of world. So we're going to change our transform audience Haitian just to see how this is working. So I'm going to go down here and change my orientation from Global two local. You can see now that for the object itself, it's one accesses pointing up on it said Access is pointing across the Y axis. Therefore, when using the mirror modifier instead of using the X or Y values were using visit value. And that's going to creates our Miller. So up next, we're going to the tab key again on a well want to do it. So I just want to create some little give its I have a side off our bar bill, so I'm going to go who control off left click, drag it all the way to the end and left. Look again. On going to do here is I'm going to hit lab, then sick once so that I go to the local, said access and then invent user value or 0.5 But it goes out because we're going in the wrong direction here. What we need to do is we need to go minus So gonna go minus went 05 and enter. So we have look, consume in a bit. That looks pretty good to may sitting like and ads and number one we're gonna go control off, always the end. Then grab said twice, then minus 0.5 Then answer. And then I think Oh, our tomb or thes So gonna go repeat that process two more times. Oh, got to be careful That press the one button. So why did There was actually pressed a few things by, um steak. So we're going to Prestes said key on. Then we're going to press Olt age to bring everything back because I wired did there is by acting too quick. I had actually pressed the h. Kean said that the g key on that basically hit those vergis ease, which was not good. So against go make sure that we are grabbing those than hit said twice. Then minus went 05 Then enter. Now we're going to just pan of you see him and we've got So we have one divert. We just need one more loot. Cuts create second, so control are left. Click all the ways, the ends. Definitely again. Clap said twice, minus 0.5 and then tough. Okay, so that's good. What we can do now is we're gonna pan all of you a bit so that we can focus on these potential give its here. So what I'm gonna do is I'm guns going to face select. I'm going to slip this face loop on this face loops. We're going to go vote click for that one shift old click for this one. Now, the problem here is if I was hit the e key to extrude than the s to scale, then they scale unit pretty much towards thesis. Enter point between the two. Now. I don't want that. I just want him to scale down naturally on their own origins. So I'm going to, like, Click That. So I've excluded it, but not scaled. I'm going to come down here, left click and select individual origins. So we're company on medium points. This is the current pivot point that we're using, but we're going to switch dissed individual origins now if I hit the s key to scale. We've got some improvement now. It's still scaling in on the war access. So I'm just gonna hit, shift on, want just to make sure it's not scaling on the war access? Because when the object scales, the first access its scales on is going to be the global access, not the local access, which is what the mirror modifier is using. So I'm going to use a value of 0.95 or but I don't too good, is it? So let's try a value off 0.9 five. So you gotta be really careful that you're using the correct values here and always pay attention, making sure those values are what you're looking for because all we're looking for here it would go into object mode, which just looking for those small divots. Now, by all means, you could create more here, But I recommend not creating more until we finish creating the weights because we're actually going to be using the radius all that the bar bell to be creating the holes in the weights themselves. So what I can do now is I can look towards creating the weights so I'm going to go shift. I art mesh and select cylinder. Now I'm going to change the radius from 0.82 point four and in. So then I'm gonna change the depth from four toe twinned 08 on. We get what's going to be our largest. Wait now, Very important point here. Do not change over to seize here. So when we're going to be using the bullion tall, the hope is going to be that we're going to be able to use the bevel toe for the holes so that we can smooth them out if we have a different number of verte sees compared to the number of for Toussie's for the actual bar bell, we're going to come into some real difficulties there. So Step one, make sure Verte sees are the same value as the original bar bell, which is easy enough because all you have to do is just leave it at that same value set. The rate is 2.4 on the depth 2.8 and make sure we are using triangle Fan. Then we're going to change the rotation on the X axis from 0 to 90 degrees. So that's looking good. So what I can do now is weaken go smooth shading. We have an issue with the lighting. No problem, because we're going to be using the bevel toe regardless. So hits have to go into edit mode. A to be selective rethink on important point Here go into edge. Select Vertex selects Hit will not work for the bevel. Neither will face select Vertex Elects won't work because it will bevel the If I could just get it or cookie selections Turn off that so these edges here will be beveled if we use Vertex Select which we don't want, we want to make sure on edge select so we can go Olt Click shift whole clique and then we'll be ready If I go Vertex select. You can see that it selects those edges going around as well because they are connected to the same verte sees. So go Vertex elect and make sure we select these two edge loops hit control, be to bevel and every out just a bit and had a few segments. The more segments we adhere, the better the result for the lighting. So I'm going to add free or 44 segments will do fine on left, click, then tap, and that's what we have so far with regards to our weights. 50. Weights part two: so one guns do now is I'm just going to add a couple more thes weight. But smaller versions on the reason why I'm duplicating first before using the 1,000,000,000 WaterFire is because I want to be able to use it a 1,000,000,000 modify on a lot of the objects at the same time. In addition, if we duplicate first and then use 1,000,000,000 then we will always have the same size off the whole. Whereas if we were to use the bully and first then duplicate the object and scale it down, then the whole would get smaller, which wouldn't work. So we're going to hit shifty to duplicate, want to lock it to the Y axis and just move over Todd and left leg, then hit the s key to scale shift on Why? So that will only scale on the X and said axes. Aan den will use a value of 0.8 and enter never important tip here. If you want the corrects proportions going down, then you want to select the big weight again. Not the little wait. Is that a big weight again and duplicate that for a second time. So shift day one to lock it and then just move it on over to about here and then scale shift War C 0.6, and then you'll find that they scaled down the correct amount each time. So that's the next step done. We're gradually getting closer and closer to the final result. Now, one thing for made. I'm starting to look here, and I'm starting to think, Well, that bar bell looks like it might be a little bit too big, but that's not a problem, because we can always just scale it down. So we're going to hit the S key, but we don't want to scale it down on the Y axis here. So we're going to hit scale, shift. Why, and we're going to scale it down. And I think I will use a value of maybe a 0.5. Yet that looks like it's going to feel better is old. So I'm going to enter, and there we got. So that's just a example, or always like making edits As you go along. You always find something that you want to change. That always happens no matter how perfect you think it is. At one point then the next point in your pro sexual looking your thing. Actually, no, I think we should change that. So what's the next step? Or the next step is to join these all up so we can make them into a single object. So we're going to select one shift shift, then Control and Jay, so they all become a single object. Now I'm gonna glut them by the blue arrow here and like them across to about here, So I'm gonna make sure that they're not hovering over the divots cause that's gonna cause an issue. But I can get him up as close as I want to. And now I'm gonna assume out, and we're going to use the mirror. Modify our for this. Now, the member modify up mirrors and objects based off of its origin points. So if I want to meet you at the objects, which is the weights onto the other side, then why should look to do is I should look to change the origin point from here to the center. So what I'm gonna do is I'm going to set origin an origin to Freedy cursor because the Freedy cursor is located at the center. So origin, origins Afridi, cursor. And now I'll go at mortar fire on a mirror, turn off the X axis, turn on visit access and there we got So that's a big step, because now we basically have a look. The only thing left to do here or two things left to do. First of all, we're going to create the holes for the 1,000,000,000. And then we're going to create a little locks to go either side of the weights because obviously you get locked. Things that go. I decided to stop the weights from sliding off either end of the bar bell. So first of all, the actual weights themselves gonna need a whole. So I'm going to turn on snapping, and then I'm going to grab our weights with the G key, lock it. It is that access, and I'm going to move my mouth up until it snaps above. So it snaps between two locations. So I'm gonna come up to here and left click. So what I want to do is I want to basically create a whole what in the center. So I'm going to use snapping to go back down because we just did that just so you could see how with this is gonna work. So gonna hit g again, then said Go back down. And now I'm going to use 1,000,000,000. So mortifying bullion change the operation to difference and select cylinder. Then what we're going to do is we're going to put the 1,000,000,000 above the Miller and we're going to click apply. So I'm going to click flying and then we're guns. Hit the G key again, Vince said. Then lift it up and left. Click on. Now you can see that we have holes going through all of those weights. Fantastic. The last thing we need to do, though Ford awaits is sort out this lighting issue that we're getting here because off the geometry. So what we can do is we can go into edit mode on if we assume in. What we can see here is that the geometry is actually lining up between the holes in the outside. Now this because when we created the weights, we used the same number of courtesies as the bar bell. If if we did not use the same number, we would actually get imperfections here and we would not be able to do well on the bats do now. So what I'm about to do is I'm gonna turn off snapping just to make sure it doesn't cause any issues. Bolt and click. So I just clicks on the entire edge loop here. I would not have been able to do that, had the number of 30 C's off with weight being different to the member of 30 C's off the bar bell. So I can do now is I can go shift old click all of these edge loops he controlled and be, and I can beveled him to help with my normals problem. Second, Ebola, Mao add some segments and each time I had a segment here actually helps towards fixing the writing issue. So I'm gonna add a fair few for would be more than I need. I'm gonna add seven and then I'm going to left click. Now we'll see him out. It's up, Kay and for themselves. So the weights are now pretty much done. You can at this point perhaps, go think about maybe adding a bit more detail, perhaps excluding out black. Probably some limbs on the outside except Sha earning some materials and textures. But as far as the basic shape with weight goes, this is pretty much perfect. So what we're gonna do now is we're guns hit the G to grab. But we've gotten something with the gotten that we've turned off snapping. So we're going to go on, turn on snapping, hit the geeky, then said, Snap it down back here and left Click So it doesn't look any different by the fault, but we know it is differently. No vicious, that tiny bit of holder, which makes it a little bit more realistic. Now. One thing that will have helps if we de select it is you can tell there's a holder because off the devil. So that's why I chose to use the beveled air instead off the age split mortar fire, which perhaps should have worked in that same situation as well. But I used that their books it created that curve going in, which allows us to see that the bar bell actually fits into a whole lover than it just looking like overlaps. So we are very nearly done here, So what we can do now is we can actually create the little locks that are going to be placed on either end to help keep the weights in place. So I'm just gonna grab this, Andi, I'm going to We just have a look, so that looks OK. So what I can do is perhaps look at creating our object now. So we're going to go shift a Adam ish on. We're going to be adding another cylinder here. But this time I'm going to be looking at perhaps making this a lot smaller and perhaps creating little with the star shape here. So what we're going to do is we are going to change the ladies again. So we're gonna change. The rate is down to about points. Who just to start with, we might actually end up going quite a bit smaller than this. In fact, let's go 0.1 and then we'll change that death down to the point CEO full would be a good starting point and then keeping, trying to find we're going to increase the rotation to 90 degrees on the X axis. And now I'm gonna do is I'm just gonna assume in here to get a look at our potential knock here. So what I'm going to do is I'm going to go into edit mode here. Then we're going to turn off snap ings. We don't need that for the moment. Let's just pan our view a bit. Now we are a bit close to the objects I'm gonna go into face. Select on What I want to do here is I want to actually you subservient modify at first in order to create the lock. But before I do that, I'm going to need to use a 1,000,000,000. So gonna add mortar fire at the 1,000,000,000 then go difference objects on a cylinder. Then I'm going to click a ploy and there goes, we go home. So I want to do now is I just want to go at mortar fire on subdivision surface. Now, if I go into edit mode, what I can do is liken Grab a set. So this set up here and I can extrude it up, and that's just gonna create a few little like not tree is going up. So it's just going to give it that little bit more definition here. So let's go. 1234567 eight and then we're gonna go. One, 23456 And then what we can do is get the e key. We can extrude that out, but there's a quick way of doing this, Of course. So I'm going to hit the right click Control said several times Until we get that done on, what I'm gonna do is going to go, and we're going to select 12345 In fact, let's make sure we're doing is correctly so we're gonna go one, 23 So select those six on top. Let's press the 70 on a number pad just to make sure that we are getting it correct. So one and two. So we're going to select this bit first, then holding down the shift key. What I'm gonna do is gonna go 12345678 Sony, 81 I'm gonna hold the shift key. 123456 Do the same on the other side. So we're gonna go 12345678123456 And then we're gonna create two more towards the bottom. So if we just do another seven on each side. So 12345678 123456 And then we're gonna go. 12345678 123456 So I have a with the faces selected that I want to be selected. So what I'm going to do now is I'm going to switch on, make sure that I'm using individual origins, not the medium point, because one guns due here isn't gonna e t. And we're just going to extrude diesel out on those individual origins. So we're gonna do like so and then left Click, and we just have a look we can actually see. That looks really cool. In fact, that looks pretty much awesome to May. And I actually think, Yes, smooth shading, actually kind of spoils that. I actually think that looks better with flat shading as a sort of metallic objects. So, yeah, that looks green. So I'm definitely gonna use that. And I'm definitely going to keep this subdivisions for one we got to, then Yeah, that's more detail, But actually, often one perhaps looks bow. So that's where I would see there. So what I can do now is I can just move this one across like so and then hit shift day, then one they're moving away across so we can place it basically in that not there and then that can act as a lock. And then we can actually see that we've got that lot either side. Fantastic. So now what? Weaken Dio? Yes. We can apply the modifiers for the ball bills applied a mortar fire for the weights. And then what I'm just gonna do now is I'm gonna join these two together. Control J set their origin to the Freedy cursor and then I'm just going to apply that mortar fire at mortifying mirror. Been said, then employ. And there we go, guys. Now, if you want to finish things off, just wanna have it allows the same object. Then what you can just do is you can just go and go shift 12 and then you can go Control and shy. Come up to you Outlined panel. Why click? We nine has weights and there we go. Guys. Congratulations on creating yet another fantastic asset on. I will see you in the next lecture. 51. Stairs: guys. So in this lecture, we're going to be creating some stairs. Now, Stairs require the use the mortar fire in order to get quick results, but is fairly simple to create based geometry. So source of creation that we will be using here include face delusion. They told array, modify our solidify mortar fire the snapping toll on duplication. So I'm gonna go into blender on the idea that I got for this asset is I'm going to basically create a double flights of stairs. So we're gonna have one set of stairs going up here. Then we're gonna have a little floor here and then another flight of stairs coming up this way. So what I'm gonna do, first of all, is I'm gonna create the first step. Now, the easiest way for me to do this is assuming to get a bit closer. Look at my soon to be created. Staircase is toe, actually. Start with a full cube and then just leave appropriate faces. So some guys go shift and I met And select Cube. Now one guns go into edit mode by hitting the turkey. They then Faysal, it's what I'm gonna do. So I'm going to select one shift. This is selected. Another didn't have a and then another. So some selecting these four faces and then then I'm going to hit the X key on my keyboard on selected elite faces on that is our first step. Pretty much so. Now we do what we want to make this into shape. The we're looking forward to going to edge select about this age and move up. So we just would using that they say, moving about here. So it's a big one, like a step so that looks good. And next, like grab Is this such it control be on my keyboard to create my devil Just so we get given an actual curve here and then then I want use 45 segments. So out here left click tab And there there we go so straight away, just like that I've got my first step. Next Why can do is I can give it a bit fitness so I can go mortar, fire, mortar fire and then solidify. Let's just give that a little bit of fitness probably point to looks good here. So now that I've got that, I could be any thinking about creating away. So I'm just gonna smooth this out a bit. And, well, we see smooth shading is there's no not look that good at the moment. So things that we can do here and maybe look at using the each bit mortar for my perhaps like this. Or maybe even if we go back, we could use, perhaps therefore mortar fire. That mostly solves the problem. So it's basically a choice between those two. For me, the devil modifier is obviously really good. That the scientists steps here are not really going to be catching any light as such most time that depending on how you're going to model the stairs opposite is loaded different ways in which you could do it. Loads of different formats. Four stairs you could have open plain, or you could just have them like connected to pieces would accept. But the way I'm going to imagine that I'm not going to be catching any of the rights on lease edges Landy out. So I'd here, So I'm just going to get rid or that one on. I'm going to bring in one. It's split, which I think it gives me that results at this point anyway. So now I could is mortar fire on right on an equipped slowdowns where we have the around WaterFire. What we're going to do is we're going to turn this this value CEO and then the these two values to one. And then there we go. So now with these time at least if we were going the sounds a bit, we can see these with war and said five years on, we basically turned the X value down to zero on these two values upto one on we have 22 steps isn't now I can increase my count, asshole, as I want to go on and there we go up my staircase. So what I can do now is I can perhaps look to build on this. So I'm just going to add a little bit of a floor here. So if you imagine if you're in a tall building, you've got a really tall staircase. You're obviously going to have those areas each time you finish a flight of stairs, which is going to allow you to enter the building on that floor. So that's what I'm gonna do now. I'm going to keep things very simple. Shift mesh plane. I'm going to scale this up by 2.5 and an answer. Now I'm going to position it, but in order to position it correctly, well, I'm going to do is I'm going to enable snapping. So I'm gonna come down here on there's an icon that looks like a magnet. So I'm going to left click to enables snapping here and then the option next to it is what I want is this snap too? So I'm going to the left click on and I'm going to select one of these options here. I'm going to select Vertex because I wanted to sign up to a specific for Tex. So we're going to let it air the G key to grab and and then I'm gonna hold her over. These births is here. Now you might notice it's a little bit tricky. So I'm gonna do is I'm just gonna hold what? He It's assuming a bit. Then I'm gonna go up again, and then she people in there And then there we go. So now that's that's quite nicely to the edge off the staircase, so I can do now is I can perhaps go and adds, maybe a sucked up using a lot of a silver fire mortar fire to the explain. So I'm gonna go as solidify you give it slightly thicknesses the stairs, so ways C zero to and then there we go. That's speaking good. So the one thing here is it just looks a little bit off, so it looks like it's go on and attached below. So let's see if we can just solved that issue by geeky about their yet That looks good. We check here that yet? That looks fantastic. So what we can do now is we can't duplicate this flight of stairs here shifting day. I'm just gonna drag it up about here. It doesn't matter exactly where this point left. Click, then I'm gonna rotate. This are then said there's been 180. Then enter. Next, I'm gonna turn. What, you we're gonna grab? It's this flight of stairs on. We're gonna lock it to about E. So it's snacking it to this first sex Roughly it is. Just have a quick zoom in. Yeah, that looks perfect. So you also know is here We've got a little bit of a gap between these two flights of stairs, which is perfect, because then you can add things. Maybe going up, this could be where you have is connected, etcetera. But there we go. So that's how we create flights upstairs in a blender. We also got a little floor playing which we can use as well. So why change me now? He's now that you know the basics off creating these staircases. And you had a bit more detail to this scene. Maybe you could add perhaps a little bit more space to the floor plane. Maybe you could perhaps out of the room here with door or something like that. So Thanks, guys. Andi, I will see you in the next lecture. 52. Tunnel: In the previous lecture, we created some roads and parks. By combining the path tall with the curve modifier to a solid objects such as applying this lecture, we're going to go a step further and we're just gonna create a tunnel. So we're going to be basically using the same sort of talks here. But because we're adding one or two more things such as we're using a bit more complex geometry. It's not just planes anymore. We're gonna be using a very smooth, semi cylinder type shape as well to create the tunnel. So there will be one or two things that will need to think about when we're actually doing this, because one thing in particular one creating something like a tunnel, using this method is going to be things like your modifier stacking systems. So where are to modify is going to be in the mortar fire stack, because that will nearly always have an impact on your final result. So this lecture is going to show you how to create the tunnel and also pay particular attention to the modifier stack. So what we're going to do is gonna go into blender and I'm going to start by assuming in on our seen here, and I'm going to go shift. I myth on then cylinder to have what Cindy here. Now I want to do here is I'm going to actually quite substantially increased the number of first sees here because I'm gonna want my tunnel to actually look pretty smooth. But I don't want to use subdivision surface or anything like that subdivision surface when using things like curve modifiers can be a little bit of a nuisance. So I'm going Teoh left. Click here, and I'm gonna change the value off 30 sees from 32 upto 128. So I am increasing the number of third sees by four times. So you might think, Well, that's a lot. But if you think about it, we look up here where we can see how many verses we've got. It's only 256 which is still pretty much nothing. The blender. So what I can do now is I'm gonna drag up the offering a panel so we can see a bit more clearly. So the radius I'm just gonna keep as is the depth I'm going to keep as is capped field type . We want to change that to nothing. Now I'm going to change the rotation value. So what I'm going to be doing is I'm going to be rotating this on the war access. You could do it on the X as well, but I'm gonna do it on the war axis on. We're gonna rotate by 90 degrees, so that's a good start there on now. What I can do is I'm just gonna get this smooth shading Whites will do it now, so it looks pretty smooth at the moment. But we can still see the face is going across We're gonna hit smooth shading And there we got So now I'm gonna do isn't been oppressed free on my number part to go into writes awful graphics And now I'm looking at it from a side on view So we're going to do now is we're going to go into edit mode I'm going to be select everything by pressing I and then I'm just gonna assume in a little bit on Hopefully you should be able to see the geometry. If you can't just pan your view just to make sure that you know it's there and then press free again. It's actually very flat. Formed this view at the moment. Now I'm gonna come down. He and off limits selection too visible. And now I'm going to hit the Sea key. And that's gonna enter circle Select Sort I want to do is it's want a left click here, Make sure the mouse is underneath the green line as well as the circle. And then we're just going to drag that across so that we select a lot of those courtesies up to here. Then I'm gonna want Click to come out of that. I'm just gonna pan my view just to make sure we've got the back ones as well, which we do. Then I'm going to hit X and delete the vert sees. Okay, so that looks good. That's a good start. Now I'm going to do is known to hit the tab key to go into object mode because now I want to create my path. So I'm going to hit shift and I go down to curve and select part. So I've got my path here up next one guns do is I'm going to hit the s key, and I'm gonna scale my path up so that it can be much bigger. So that looks like a good starting point to me. I'm not going to start bending it yet because we just want to make sure that the basic tunnel works. So what we're going to do now is we're gonna go back to our tunnel cylinder Rafa on just so we know what it is. I'm just going to come to my outrider panel here. Why click on green name and we're just going to rename that as tunnel. Now, I can add a couple of modifies to this, so I'm gonna go mortar fire and mortar fire and select curve. Now I'm going to select objects and choose nerves path. And that should put me at the end or the actual path. So if I select that path and soon, that will be it yet it's in a good position, Sinak, and go back to the actual tunnel itself. Add mortar fire and then select, right? No, When you aren't using curves, my advice is always have the curve at the bottom off. The mortar fire stop doesn't change anything right now, But if I was to change the value from X. So we're gonna make that CEO on, then just double checking we need here. So it's going to be our said Access use a value of one and there we go. So the reason why it's desert accesses because that's the local axes for the tunnel. If you remember earlier, we rotated by 90 degrees. So thes axis is actually pointing that way. We were in local axes. So what we can do now is we can increase that counts up as high as we need it to go. So that's looking pretty good. Now we've now got basically a tunnel that we can use a couple more things to do here to give it a bit more detail, we can add ourselves a solidifying modifier to give it a little bit of fitness because bear in mind, this is coming the ahorro object, which means if we activate back face culling in this panel here, so underneath, shading and activate back face culling, then you will see that we can Actually, if I just press the A k, we can see straight through it from underneath Now with a tunnel you're more likely going to be inside the tunnel than looking outside, so that's not very good. So I'm gonna turn that off at mortar fire on Solidify. Now, we have a minor issue here with delighting. So what we can do here is we can first of all, bring the solidify up above the curve, which doesn't do anything. Like Why buts. We can, Actually, What we can do is we can't see a way on. Click on, merge on. There we go to that merges thin together very, very nicely. So what we can do now is we can have a look at perhaps the order making sure we thinks right. So at the moment we've got the array, Then solidify it, then curve. Now I know I want the curb to be bottom, because once it goes too high up, we might get some issues. But what we've got here, so I just bring that back down. If I bring the curve up to stop at the moment, that doesn't look too bad, while it's an object mode, so that's fine. But if we try certain things later on, we want issues. So I was recommend having the curve at the bottom so that it actually curves around a path once away, the other modifies of in effect. So I'm gonna do now as it was gonna give it a bit of fitness. Now, if we just assume in here just to make sure that we can see that fitness being applied that yet it's being applied. So we're going to use a value off points free, and that's too big. So let's use a value of 0.0 free. There we go. So that looks a bit now. Next week I'm going to do is I'm going to experiment with the mortifying stuck again. So I'm gonna move the awry below the actual solidifying mortar fire. And for me, that looks quite a bit that the only thing that looks a little bit weird to May years if you can see the end off this just looks a little bit weird here, but we're not gonna worry about that too much at the moment. So now what I can do is I can look at selecting the curve, which is a part on. We can actually begin experimenting with this with its shape. So they hit the tab. Kids going to edit mode on one. Going to do here isn't gonna drag this out and then just drag it across. And then what we can do is we can just create a fairly simple curve shape here using now what? Paul? So there we go is not got pretty decent looking tunnel here or at least to start off. So what else can we do here to experiment? Well, we can attack. He's going to edit mode on one thing that I can do here. Just the help is there's this option is automatically applied called feel. Wim, if I turn that off, then it actually helps a lot. We've had a modifier work, so the feel rim will try and fill the gaps between the two planes. When the solidify mortar fire is in effect, it creates two planes and then we feel rim activated. It tries to fill up the gaps between them on that can actually, in this case, cause a few lighting issues. So I'm going to turn that off and that actually looks a lot better. It seems to have solved both ends, which is fantastic. The one thing you gotta keep in oil now, is that when you do this, you actually get these guys at the end, so you can actually pretty much see fruit. Um, So who's going feel Wim again? Those close up, but you get the lighting issue, or you could just go only rim. But again, that creates a new issue on the inside. So for me, personally, I prefer to actually, just while I'm creating it, just have feel women taken off while I can create the base shape. So the last thing on guns due here or second to last thing lava is I'm going to create a plane to use as the load for the floor to our tunnel, and I'm gonna place it along this curve, So gonna go panel of you shift, I mesh and then applying. Then we're going to add a modifier. So we're gonna add our curve first to make sure it fits in object, and then nerves path and you can actually see it's highlight there. So that's working nicely. Then we're gonna go as mortar fire and awry, and I just want to put that above the curve and you can see there just about the immediate effect that it has by just switching between the curve and the array as what Once top so with the away on top, that's working absolutely perfectly so we can move that pretty much the top. And there we go. So what I'm gonna do now is I'm going to test this, so I'm gonna press, are you to be select everything and then I'm gonna hit shift and air, and that's gonna end top mode. So I'm going to actually walk through our tunnel now. So we're going to press the s key cause I want to go backwards and you turn around and press W and w is gonna allow me to go forward. So s to go backwards. W to go forwards almost as if you're counter in a video game. And I'm just moving one mouse around so that I'm just turning to face the tunnel. So now I can do. Is that his first W onda? I'm just going through our tunnel. So this would look really, really called once we add some text in detail. Perhaps some objects, maybe some cars. Or maybe if you'll send this into a train tunnel, we can create train track in a train going through here, you can create animation with that. It's really quite I actually quite enjoy creating things like tunnels because it's very easy to very quickly create a really cool interior scene like this. So all I can do now is I'm just going through from one end of the tunnel to the other. But I'm not gonna bore you with that away. There's the end. There's the other end, and that's all. Tunnel. The last thing I'm gonna do isn't gonna hit the White Mouse fund on this is optional. You can either do this or no might actually be better not to. But what I'm gonna do is I'm gonna slept one shift, select the other on. We're just going to join them together, making sure that we're not actually selecting the part because we don't need to. So I select the floor shift, select tunnel control Jay to join them up together. And there we go. So now we've got our tunnel, the use in our scenes. Thanks, guys. And I will see you in the next lecture. 53. Camp fire: my guys in this lecture, we're going to be creating a campfire. So this is going to require us to set up a basic seen on were actually going to be introducing fire and smoke physics for the first time. So talk to creation here are going to include a basic scene set up, you light modifier, the use off empty. So guns introducing empties for the first time, the quick searched whole Andi the ability to use smoke particles, which is what's gonna give us the opportunity to create fire and smoke. So let's get straight to blend that where we're going to create our campfire. So step one is going to be to create the wood, and I'm going to be using Lope Hollywood because my focus here is going to be on the fire itself. So we're going to reduce the amount of time required. Why going? Adds mesh. Andi, we're going to select cylinder now. One guys do isn't going to come over here and I'm gonna drag up our operator panel. I'm going to left click on Verte sees on. I'm gonna increase this to 64. Then I'm gonna slip my radius and I'm going to use the value of C 0.1 and this is going to be for our would next. I'm going to change the location on quotation. So for the location, I'm gonna move it on the Y axis. So I'm going to left click, and I'm gonna use a value or 1.4 and press enter. Then I'm going to change the X rotation by left clicking and using the value of 60 to rotate or 60 degrees. So that's the first step done. Now we need to add in a way, modifier said that we can create the appropriate scene for our campfire. So I'm going to drag the properties panel out here, and I'm gonna come to how What mortify allies tap at more fire and select a light. Now we have a pope. Um, because how much would change these values? He I'm not really going to be able to get what I'm after here because I want Thies to go around the center. So I'm not going to have a on my view around. This isn't really gonna work this method so relative offset to no no. So I'm going to turn that off. Why wants do here is I'm going to use objects, Offset. Well, I'm gonna do is I'm going to create an empty to go in the middle of our scene. I'm going to be using that as the offset 40. Right. So, to add an empty, I'm gonna go shift on die, and I'm gonna come down to where it says empty on. I'm going to select plane access. So now I've got the plane access here. What I can do is ongoing to right click again to select my wood active. I objects offset left, click in the box, and I'm going to select empty. And there we cannot see it's actually working, but not quite the way we want. So we need to do two things. Number one. We need to apply the location, rotation and scale off the wood because the values are different to zero. So if I open up the side panel with the n key and move up to the top having a rotation value of 60 and a location value of 1.4, these are used in the calculations off Theo ry, which means that they are directly influencing where the away is going to go. We don't want them to do that. We just want the influence to come form the empty. So what we need to do is we need to go to objects, then come up to where it says apply. And I'm going to First of all, do the location. And then on guns, go objects apply rotation and scale. Now what's happened is it's disappeared, but he actually hasn't. It's just in the exact same location and scale off the original piece of wood. To change this, we can now use the empty. So I'm going to likely call me Empty hit the R Key to rotate then the Zeki so lucky to desert access. Now, when I wrote hate my mt, you can actually see the away the duplicates being rotated around the empty based on how much I'm rotating the empty itself So I could move this to about here and left click to confirm. And if we seem in, we've now got to start off our campfire here so I can select the wood again, an increase theory, right, until it goes away around. So that looks really good. One thing I'm gonna do here isn't gonna want Click on the empty again Art and said Just make sure that nothing is pushing into each other. Sometimes left clicks confirm once I see that yet that looks really good. And OK, so we're ready to go there. Why can do now is I can't select the wood, then click Apply it to confirm your a mortar fire right click to select the empty on hit The X key To get with the empty is not gonna be used anymore. Now I'm just gonna give our what would some material. So we're gonna keep things fairly basic here. I'm going to select it. Go to the materials tap, which is to places along from modifies top hit new, and we're gonna come down to where it says color left, click on, which is going to give this a brownish color with a little bit of orange. So that looks good. Now I'm gonna do isn't you can add more wood, but we're just gonna roads hate it around, so it gives it a bit more definition off the campfire. So we're going to hit shift on B to duplicate a with wood hit the said key to lock it a desert access. I'm gonna drag it down until it just about underneath the original, then left click. Now I'm gonna hit the r key to rotate. Be said key. Sadakata said access. I'm just gonna move it around a bit to about there and left. Okay, so now we're starting to get somewhere with the camp fire. Next, I'm going to just create a floor. So I'm going to hit shift and I then mesh, then plane. Then I'm going to grab this blue arrow here on drug it down on the zed access. Now I can scale are what plane here. So that it's big enough to accompany to see. So I'm gonna hit the s key to sky, then 12 on my keyboard and answer. So as I move around life, you I can see yet that's looking a lot better. Now I think we can now focus on the fire. The last thing I can do, though, is I'm just gonna add a new material for the plane on. We just give it a dark greenish color with a hint of yellow. So something like that. So that's pretty good. Now what I can do is I'm gonna Adam objects that were going to be using as thes source off the fire. So I'm gonna you shift, I mesh, Then you the sphere Now I'm gonna do is I'm gonna reduce the number of segments of rings because we're not going to really need the two Yoma tree itself here. So I'm just gonna use values off 16 segments on eight brings and now I'm just going to scale this newbie sphere down to something like that. Now, at the moment, you're probably thinking, Well, surely will be able to see that's you ve sphere in that scene when we render it, but don't want me too much about that at the moment. What we're gonna do now is we're gonna give it some fire. So what I'm gonna do is I'm going to hit the space bar on my keyboard because this is a quick way of doing this space ball. Then you can actually see I've already typed in. But if fight back space, this is what you should have. Then I'm gonna talk in quick smoke so we can actually see it there. It comes up so quick smoke on what it does is the object is given a smoke material on. We also get a domain box for the physics to be based in because in blend that we need these domain spaces. Four the physics to actually work next week I'm going to do is I'm going to come over here to the operator panel on at the moment. You can see it says smoke. I'm gonna left click on. I'm gonna change that to smoke and fire. So nothing looks like it's changed at the moment. But why? I'm gonna Teoh he's I'm gonna split the few pour into two. So I'm gonna come over to here where my mouse curse it should change like click and go split area. So now I'm gonna hoping My mouse over here and left Click. Then I'm gonna change this bottom panel from the free de Vieux Port to the timeline. If I press play now. Wow. So we actually now get our fire and smoke and it looks fantastic. Sam's gonna pause that on if we were to go into the physics system. This is basically everything that's been set up for us. Now you can change these at your leisure. So, for example, increasing the resolution will increase the actual realism off the fire. But be careful as it will slow down your computer quite significantly, Me? I'm going to change any of it. I'm just gonna have a look at I was seeing when it is in rendered view. So we're going to go to this icon here, left, click and go rendered on. We can actually see there quite clearly in a good steel. We actually have fire coming out or our would. So the one thing I'm gonna do here isn't gonna change the lighting, So I'm gonna go Teoh here and go solid. Then we're going to go to scroll out so we can select our lamp, which is located here. We're going to come to the data tab, afford a lamp which should be this icon here and left click. We're going to use knows, and we're going to use a strength value off around 1500. The other thing I want to do is I want to grab that the main box. So I'm gonna, like click on this box here on. What I'm gonna do is I'm gonna hit the s key. And then there's a decade discovered on Was there access just a bit and left click. And then I'm just gonna drive the box up to about here just to give it a little bit more heights. So now I'm gonna go press this button here to go back to the beginning on. If I was to go, when did few At the moment we can see that doesn't really matter too much. We're gonna go play and there we go. So we can see at the moment it's really fuzzy as it's basically working in cycles. But if we pause that and just let that run for a sec, we can see very quickly. We're starting to get that face effects of fire and smoke now form he You can obviously go on and try and get more detail. Maybe you could make the actual would set look a bit more realistic than it does. Obviously, we've used very, very basic objects forests with the basic years off the fire itself in a pretty small domain. But there we go. Guys, those are the fundamentals in Hell T years. Particle systems such as the smoke system in blender on What you can do is you can also use other systems as well. So if I hit the space bar backspace and we can go quit and then I can either go some that quick smoke quick for quick explode or quick fluids. We have the options there for those specific types and then you can always come over here and you can experiment with what these physics will do as well. So, for example, we'd actually end up using the cloth physic quite a bit for things such as towels or clothing. But anyway, that's it from me. Guys. I hope you enjoyed this lecture on how to create a basic camp fire. My challenge to you now is can you perhaps go out past at some things. And as you go through the course when you're going to be learning about more tools, maybe come back to lectures like this on maybe add to this scene so that by the end of the course, you might get a much better looking campfire scene. Then what you see want here? Thanks, guys. On. I will see you in the next lecture. 54. Fur Ball: in this lecture, we're going to be creating a verbal. So this sounds on the one hand, Good, easy. I mean, it's just it's just a verbal on, on the other hand, really tricky. Well, it will be tricky to model. So a thermal is an example off an object that if you just use normal more controls, it would be really, really time consuming and really tricky to actually create something like a furball that has a lot of hair. But blender has a particle system on that particle system. Can either be on emit up type system or a hair type system. So I'm going to be introducing today the hair system for particle physics in blender. So we're going to quiet the particle system on a base objects he uses on. So in blender, we're going to start by creating the base object which refer ball has to be a bull. Someone assume in on go shift I to Adam Mesh, and we're going to select you be sphere. Now, ideally, we're not going to see the UV sphere itself, so we could actually cut back on these segments to someone like 24 on 12. So We've got 24 segments and 12 wings that looks like a reasonable amount of Children tree for May. I'm gonna go smooth shading as well, just for the sake of it that it's not really that important because this is all going to be covered with hair. So now we've got to create parking system, and it's very easy to do that. We simply have to come over into the properties panel to this starry icon. So this is our part tab and then click new by the fold. The type is set to emitter. We're going to left click and changed out ahead on Wow straightaway, we get lots and lots of spiky hair. Four hour objects. Fantastic. Now, at the moment, it looks a bit well. Looks a bit weird, doesn't it? It's a very, very long. It's all very straight in uniforms. So let's show you just a few basic techniques here that we can do so you have the options go advanced Now I would recommend going advanced because it's pretty much the same as regular. You just get extra options, so why not always just tick that box? We also have the hair length on the number. So what we're going to do here, for example, is we're going to change this hair length because it's way too long. So let's change that down to something like zero point free and answer. And there we can see that looks a lot. Now we can also see. Actually, that 1000 hairs isn't quite enough for this size of objects. So I'm just going to do now is I'm going to select my lamp because I want to get a good idea what this looks like in rendered mode. And I'm gonna come to the properties panel on there should be a light icon four eat up. So I'm going to click on this. And now one guns do is I'm going to change this lamp type form points spots. So now our spot lamp is shining down on to our thermal, which is pretty good. I'm gonna use nodes. So we have this option here to use nodes on we're gonna do now isn't gonna go into winded mode to do that. I'm going to come down here, left click on this icon and go rendered. So at the moment, I can see the object, but it's a bit on the dark side. So we're going to pump up that strength to about 1000 and there we go. So that looks quite a bit. There are we seem in and we have a look. Well, we've got hair, but it's really, really, really Sparky. So let's have a look at what we can do here. So I'm going to go into solid view and select my the ball again and we'll go back to that part system tab. So few things we can do here. We could increase the base number. So let's try something like follow 1000 on. That looks a lot better. We've also got options here for distribution so we can go things such as random or deterred . And as you can see, these are just ways off, altering where the hairs are going to be produced. We also have the chance to emit from either the volume, thirties or faces. Now the interesting thing here is that I recommend for you. Now he it looks like we've got a lot less, but what it is doing is it's actually basing offer the volume of the objects now hairs tend to grow from inside of the surface for most objects not directly on the surface. So following is a bit more realistic found faces or courtesies Thirties Here, we can see, is a lot fewer in number because it's coming out based on the Verte sees rather than the faces. But Jews, whichever one you like for now, just for the sake of it, we're just gonna stick to faces because at the moment that looks the best. Even dough with a little bit of work volume would actually be probably the best choice if we were doing this to a major extent. And if we just pop down here, we've got a few options. One to know is Children. So this is quite interesting. Now what I'm gonna do is I'm actually going to reduce the number back down to 1000 and then I'm going to go with Children. Inter played. Now, what we can see is something a little bit different. So basically what happens here is you have 1000 hairs. But then those hairs that are emitted by the fall off the heaven hairs and each parent will have a number or Children around that specific hair. So every moment we have 10 Children per parent hair. So we're basically increasing the amount of hairs. Warden 10 fold. If we increased this number to say 20 then we get a lot more hairs. So again, this is something that we can use to help with our realism. 40 verbal effects. And if we have a look in rendered view, we can actually see that the final result is looking a lot lot better. It's a lot more difficult to see the actual UV sphere, which is water. So I'm gonna do. He's gonna go back to solid view on one thing that you can do. She can, of course, give has materials. So I'm gonna go to the teary ALS tab, which is located here. Guys knew, and then that will give your objects a material. So we're gonna give the objects of want material. Then we're going to hit this plus button here, and we're gonna have a second materials. You're gonna go new, and I'm gonna change the color of this material to a brownish cup brownish reddish color. So now it's going to rendered view, and at the moment always see is that first material. So the question is, how do you give the hair this second material? Well, if we go to the particles tab, we should have the opportunity here under the render section to select the material to be used. So we're gonna go material 0.1 I'm just like that. The head gets the reddish ground material. But what this does is it gives us one more thing to look at. And that is the fact that with a with hairs coming up so straight and so spiky, we can still see down beneath the hairs. We can still see the surface now, what you can do. And there are lows, different things, so we can use things such as clumping. So if I was increased a clumping value, then what you would gradually see Let's just come out that very quickly because it just slow down. What you're gradually see is the Children begin to clump towards the parents so you can get different effects. There's they from plum away or towards. You can also change the shape it's even adjust the shape here on basically a with these options here will help you to define how the hairs are basically operating within the three d view port. So there's tons of things to play with. We're not really gonna go through many of them at this point. No, because it would be a lot to get. So the last thing I'm gonna show you now is the ability to comb your hair's. So this is great for creating different hair styles. So this is what we've got in winded few at the moment, but it looks pretty good. And now I'm gonna go back to solid few. I'm gonna go object mode, and I'm going to select particle edit. So now that we've got a particle system, we can actually edit the particles which in this case, off hairs. So in the tourist tucked tab, we get a series of options the ability off combing, smoothing, adding, increasing the length, puffing up the hairs, cutting, changing the weight of the hair particles, etcetera. So it's fantastic the amount off choice that we have here Now, keep in mind that everything he has basically being blanked out so to in grade out, we can't edit any of thes as long as we are in parts cool. Edit certain sections we can So Children we can change render week and change in. The reason why is because they're actually not important to this edits at this point. So, for example, if I was to go comb, I get a little bit of a circle around more mouse cursor on. All I can do is I can just begins you left, click and hold, and we can begin to actually move the hairs around so I can create any sort of style that I want. So if I make sort curly style here and let's just for the sake of exaggeration, just growing old with ease down, then like impress Spencer Love just tab key to get out without. So it's a bit tricky sometimes on an object mode. Look at that. Look at how different that looks now. It's no good, short by any means, but it really does make a big, big difference. When you have that much control over A with your hair's Pruthi parts called Edit System, it will have a look in lended few. Then again, we get a real change in how the hair is behaving compared to what we had before. So there we go, guys. That's how we can create verbals and basically use the particle physics system to create here in a blender on I will see you in the next lecture. 55. Export to unity with FBX: So one thing that we need to learn very quickly is how to export our objects form blender because it we're going to be creating assets for use on other platforms such as unity for game design. Then we're going to need to learn how to export those models. So in this lecture, I'm gonna show you how you can export on FB X file. So the process here would involve exports in our not blend file, which allow vendor assets are by default, and we will convert them to an fbx file for use in unity. And I'm gonna show you how you can not only export your model but also imported in unity so that you know the whole process. Now, this is not the only way to do this, but it is one of the most frequently used weights. So we're going to show you how this method is completed. So what I'm gonna do is I'm going to take a ring assets that this is a gold ring on. We have a look in rendered few poor shadings were gonna come down here, left, click and go rendered, and we conceded, it's nice and shiny now This is not by any stretch of the imagination. A realistic material is is the use or a glossy shader Now having just a glossy shader that's not going to be really stick. But this is simply for the purposes or exporting at this time. So what we're going to do is go back into solid view. I'm going to go file and export, and I should have thought Fbx. Now, if you don't have thought, FB it's then it may be because you don't have the Adam. So go to user preferences. Make sure you're in add ons. Left, click and type Ian Fbx. You should get the option to import export Fbx Former If it's currently untech like this, make sure it's ticks and save the user's settings and close now. When you go far one export, you should have the fbx auction, so I'm going to select it, and next I'm going to find a file. Well, I can save it to. So I'm just going to go to more additional drive ons for now. Let's just save it here. So I'm going to use a title off wing ex school and enter so wing export door fbx, and we're just gonna bring up the fbx operator panel. So here we have think such diversions that there were two versions at the moment. 6.1 and 7.4 always go with the later version, which is 7.4. We have different options for selection for exports so we can have a go main, which is basically all the key settings. Just the geometry, just the armored shell, which is the rig used for creating animations with complex objects on the animations themselves. We can also define things such scale onto the direction in which the objects are pointing, which is quite Bolton. Here we have the chance to choose what we would like to export. So I'm just gonna left click on mesh because I do not want to explore any empties, the camera, the lamp, the armature or anything else. So the other bit is things like curves, measurables, etcetera. We also have the opportunity to apply transform. Now, as off lender version 2.78 this is experimental, but hopefully in 2.79 it will be really workable. By the time you watched this lecture, it's very likely that you will have 2.79 however updated or downloaded. It was it should be available because at the point of recalling this lecture, it's actually very, very close to release. So I'm going to left Click that to apply transform. I'm just gonna keep the other settings as the fall just for now. So when I'm ready, I can go export Fbx left, Click Now one guns do is ongoing to import this assets into unity. So I'm gonna left click to go. It's unique because I've already opened it up on I'm gonna want to make sure that I'm in what assets fold up. So this is the assets folder here. I'm going to want click and go imports New asset now on guns Do is I'm going to find where I saved my fbx file. Which is he? I'm going to left click, then import on. There we go. So now we have imported our wing so we can open this up and we can see that we have one object here, which is our tourists. So we can clap that and put pop it in, but notes it looks a bit weird here, So it's very pink or purple e. If I was to delete that so we can go up to here right click on delete and tried the ring export. There we go. That looks a bit there, so this is the object as a whole. So let's position that. And there we go. So I consume in on the object that we created in Blender is now in unity. We also have the material set, but it's keeping one if you have a look. We have a bit of an issue here, So if I press play, that's just make sure that the cameras in the correct view, it's currently no. So let's first of all position athe object to our camera, which may take a little bit of work for me. I haven't used unity for a little bit on and still trying to find it. If you never quite know where that direction is pointing out there we got There we go. That's much better there to my shorty. Click on the camera to make sure you know where the camera is pointing. So let's try it again. Okay, so at the moment we've got no material applied, so even though we were supposed to have exported that material, it actually did not export. Now that's something that we will cover at another point. We're not gonna go too much into detail, but keep in mind that unity has its own material creation. Sweet. So we can Korea eat metallic or diffuse materials. We can define the color so it can go here and select her color and boom. You can see we're getting a bit more off a more suitable material for our ring. But that's going a bit too far into uni for now, which is going to focus on the fact that we have successfully exported form blender on imported into unity. Thanks, guys. And I will see you in the next lecture.