Learn Blender In Under Four Hours

1. Learn Blender In 3.5 Hours - Introduction: Hey, and welcome to learn blender in 3.5 hours. Thank you so much for considering this course. You will not be sorry. I promised. My name is Ruan and I'm a 3D generalist and VFX artists from Cape Town. I specialize in 3D tracking, and I have over 17 years of experience. I currently work in the advertising industry and I use Blender on a daily basis to create photorealistic renders for different brands, mostly for TV adverts. All with the use of an amazing free application called Blender. I've designed this course in such a way so that anyone interested in Blender can start learning everything you need to know for right now. No 3D experience required at all. But this course is also not just for complete beginners. I'm sure you will find a chapter where you might just learn something new. This course covers everything from the Blender interface to your final render using either the Eevee or Cycles render engines, you, we'll even learn how to model your own creations. Uv unwrap them, apply custom textures and materials and animate them using basic keyframes. You will learn all this and much more in just 3.5 hours. So buckle up. During the next 3.5 hours, you will learn everything you need to know to start creating your own amazing 3D art and 3D animations. Go to blender.org and download your free copy of Blender and become the 3D artist you've always dreamed of becoming. Let's create some amazing 3D art. See you in the first lesson. 2. Lesson 1 - The Blender Interface: Hey, and welcome back. In this lesson, we are going to look at the interface of Blender. So as you can see, I am using Blender version 3.2, but you should be able to follow along in any other version that's pretty similar or close to this version. So first of all, when you open up Blender, you will see the 3D viewport. This is this big window right here. And this is basically where most of the work in Blender will happen. This is where you will do the modelling and the animation. And basically most of the work will happen in this 3D viewport. As you can see, we've got this red line and then we've got this green line going across this grid. So these are the axes. So the red axis, you can see in the corner, we've got a red X there, so that's the x-axis. And then you've got the green, which is the y-axis. Then there's also a z-axis. But that's currently even as we don't really need to see that in the 3D view port, you can actually enable it here at the top. If you click on this little drop-down here for the viewport overlays, you can enable the z axes as well, but we're not going to worry about that for now. Just know that this is the 3D view port where basically most of the things in Blender will happen. Now, if we look to the left hand side, these are the tools available in this layout or in this 3D viewport. And then on the right-hand side you've got the axes. And you've got some icons here that we will look at later as well. Then right at the top of the interface you've got these different workspaces. Layout, modeling, sculpting, UV Editing, texture painting, shading, animation, rendering, compositing, geometry nodes, scripting, and then you even have a few extras if you click on this little plus. So these are basically just different workspaces that are customized for specific workflows inside of Blender. We're going to look at them a little bit later. So then if we move over to the right-hand side, you'll see this box here in the right top corner. This is the outliner. The Outliner basically shows everything that's going on in your scene or all the objects and cameras and lights, et cetera, that's in your scene. So you can quickly just use the outliner to see everything in your scene really easily. The outliner is also used to organize your scene. So you can go in here and I can say, double-click on this cube. And I can rename it to maybe say box one or anything that you want to rename that object to. And as you see if I click on this box, it will actually select that object in the 3D view port as well. The same if I click on the camera, it's going to select the camera, or if I click on the light, it's going to select the light. You can also click these objects in the 3D view port directly. So if I just click on the box or click on the camera, or click on a light. It's basically doing the same thing. So you can also rename your lights in the outliner so I can double-click and I can call this my light number one or anything you like and same with the camera. So I can call this maybe camera 01. So just know that the outliner is basically the place where you can organize your scene. And later on we will look at, at a few different things that you can do to organize your scene a little better. One thing about the outliner that's very important is try and rename your objects to keep everything nice and organized. Because if you're going to have a lot of objects in your scene, maybe I have a couple of cubes and different objects. It's going to get very confusing if you don't rename them correctly in this outline, I'm just going to make your life easier if you actually rename those items. And then it will just make everything easier if you come back to that project later on. And you have to figure out what is what. So that's the outliner. So right below the outliner, we've got the Properties window. Now the properties window consists of all these different tabs that you can click on. And we're gonna go through all of these, are most of these in a later lesson. But just know for now that this is the properties area. And this way we can change things like the render settings or your scene settings or the world settings or object properties you can find the different things that we're going to look at later on. So just know that this area is the Properties window. Next, if you look at the bottom of the interface, you'll see the timeline. Now I can click and drag to make this timeline a little bit bigger. This is basically where you can see the frame range or the frames of your animation. You will basically use the timeline when doing any types of animation. So I can click and drag this playhead to change what frame I'm currently seeing. And you can see the number of the specific frame that we on. Let's say if I put this on frame 100, you can see that this number will update as well. This is the current frame we are on. I can click here and I can type in and say one, press Enter. And that's going to jump to the first frame in our animation. You can also set your duration or the frames, the number of frames here. So I can set the start and the end. So let's say I want my animation to only be a 100 frames. I can set the end to 100 frames. And I can see that it will update this area here at the bottom to only have 100 frames. You will also find your play buttons. So you've got your play forward or Play Animation, and then you also have your Play Animation backwards. So I can click on this Play button and you can see that the plate will play through that animation. And it's going to loop when it gets to our end frame, which is 100. I can also stop that and go backwards. And that's going to play the animation in reverse. So that's basically all you have to know about the timeline for now. So we're going to get back to that in a later lesson as well. So you can resize all of these windows. You can just click and drag and resize them as you want. You can also very easily customize the interface in Blender. But for now we're just going to leave it on this default configuration. Then right at the top of the interface you've got your normal file, edit, render window and help. So under file, you will find your Save or Save As so this is where it can save your project. If you click on Save as you can specify a new project name. And once you have set a file name for the project, you can just click file and save and that's going to save your project. Or you can just use the shortcut on a Mac, it's Command S or Control S if you're on a PC. So this is where we'll find all of those. You can also use. This file may need to create a new project, or you can open an existing project, things like that. You can also do the import and export from Anja. But we're not gonna go into that for now. Then we've got our edit menu. This is where you find the blender preferences that we will probably look at in a later lesson. And you've got your random menu right here, window. And also the help where you can find tutorials, the blender manual, and just some support websites that you can use. So let's have a look at this top area in the 3D view port. So we've talked about these two icons. So the first one is your Gizmo, so I can switch that off or on, and this will actually hide all these little gizmos on the side. You can also click this drop-down menu to specify which gizmos you want to see. But yeah, don't worry too much about that for now. Next to that, we've got the overlays or the show overlays. Now if I click on this, it will disable all the overlays like the grid and all the little overlays that you see in the 3D view port. Let's click that again to enable it. And then click on the little drop-down next to it. And you can customize the view port exactly as you want it. As you can see it. We've got our x-axis and y-axis. These are the green and red lines in the 3D view port. And as I said before, you can also enable the z-axis. That's this blue line right here. But usually we don't need to see the z-axis because we know that's up and down. Then you can also enable or disable things like statistics, which is nice if I enable this, you'll see a little statistics here on the side which will give you an overview of the Mount of objects, vertices, edges, and faces and triangles and so on in the scene. So we'll probably use this a little bit later. So you can switch this off for now. And you can enable different things here. You can change the geometry to be wireframe or to show wireframe on top of your mesh. But let's leave that off for now. So let's have a look at these icons right here at the top. These are the different shading views or render previews you can choose for the viewport. So the first little sway if I click on this, this will give you a wireframe view of all the objects in the scene. As you can see, the cube now turned to a wireframe. And that's if you want to use wireframe for some reason. If you wanna do editing and you want to see the vertices and the edges behind the object, you can use that. You can also enable this little icon, which is the x-ray view. So if I disable this, you'll see that we still see the object as a wireframe, but we can't see the vertices and the edges behind our object. But if I enable X-ray, you can actually see through the object. Okay, the next shading view is solid mode or the solid shading mode. So as you can see, we get a solid render view. And this is probably the render mode that you will use, mostly inside of Blender when you're doing any 3D modeling or any animation work, you will be in this shading mode. This mode is very fast, so it will not slow down your viewport because it's just giving you a very rough shaded view of your objects. Next, we have the material preview mode, this little sphere right there. Now this one will show you your materials. So in a later lesson, we will look at the materials applying different textures and materials to your objects. And this random mode will give you all show you how those materials will look inside of the viewport. And the last one is the render preview. Now they're in the preview will show your lights and your materials and everything that you've set up. And you can also change between two render engines inside of Blender, there's a EV render, which is a real-time renderer. And then there's also the cycles renderer, which is an unbiased, realistic, or photorealistic renderer, which is a lot slower than EV, but it's gonna give you much better results. So there is a lesson later on in this course that we're going to talk about the different renderers and other works. I don't worry too much about that for now. Just know that you have your different I'm a render modes for the 3D view port right up here. So for now I'm going to switch to solid mode. That's probably the one that you want to be on for most of the time. And then there's one more thing I want to show you before we end this lesson. If you hover your mouse in this 3D view port area and you press N for November. On the keyboard. You can toggle this side menu. Now, more on this also later, but just know that you've got this n side menu right here. And if I let say if I click on my tube, you can see that it will show all those details that corresponds to this object. So I've got the location, I've got a rotation the scale, and you can also toggle between some of these other tabs. Now, you might not see like a 3D print one day or maybe some of these other ones cause I've added some or installed some add-ons. But for now, just know that you can press N to open this side menu. Alright, so that is basically the interface inside of Blender. I will see you in the next lesson. 3. Lesson 2 - Basic Navigation: Hey, and welcome back. In this lesson, we're going to look at the basic navigation inside of Blender. Now, this is very important that you get very familiar with these shortcuts because you will use them constantly. So the first one is orbiting around your scene in the 3D view port. Really simple to do. You simply hold in the middle mouse button on your mouse and then just move around. And as you can see, that will orbit around your scene inside of the 3D view port. Next, if you hold Shift while holding the middle mouse button, you will pan around so you can pan left to right and up and down. So that's just an easy way to kinda pan around your scene. Next is control. You hold in control while still holding middle mouse button. And that's going to give you a zoom. So either zooming in or zooming out. So let's recap that quickly. Just holding middle mouse button and moving around as orbiting around your scene. Holding Shift. And middle mouse button will pan. Holding Control. Middle mouse button will zoom in and out. So practice, practice, practice until you are comfortable to pan around and orbit around and zoom around your scene and just get comfortable with that will take you a couple of hours maybe or maybe a day or two. While I'm just playing around inside the 3D view port and just get comfortable with these controls. Once you're comfortable, you're going to really move quickly around your scene. And it's just going to make everything so much easier once you are very comfortable with these three shortcut combinations. Another thing that you can do is you can click on one of these objects in a scene to select them. And let's say I want to focus in on this cube. I can simply click on it. And then on the keyboard, press the full stop. That is on the numpad. So if you look at the numpad on your keyboard, on the right-hand side of your keyboard, there's a full stop. And if you press that button, it's going to zoom into that or close to that specific object that you add selected in the viewport. And if you orbit now it will orbit around that object. So let's zoom out. And this time I'm going to click the camera. You can click the camera or you can actually just, I'm drag a box around. An object is selected as well. I'm going to select the camera and then I'm going to press the full stop on the numpad on my keyboard. And that's going to zoom in towards the camera. And now if I orbit, orbiting around this camera, Let's do the same with a light. So I'm going to select the light in the 3D view port. And I'm going to press Full stop. And that's going to focus in on that light and it's just going to zoom or orbit around that object. You can also select multiple objects. So I can drag a box around the light and the cube. And then I'm going to press Full stop and it's gonna kinda zoom into those or closer to those two objects. You can even do it with all three objects. I can drag a box to select all three objects in the scene. Press Full stop. And it's gonna kinda zoom to around. Just going to zoom closer to those three objects. So that's how you can navigate around the 3D view port inside of Blender. I will see you in the next lesson. 4. Lesson 3 - Adding Objects To Your Scene: Hey, and welcome back. In this lesson, we're going to look at how to create new objects in your scene. So first of all, let's delete all these objects that's currently in the scene. To do that, just select them all so you can drag a box to select them all. And then on the keyboard press X and then just click Delete. X is basically the shortcut to delete anything inside of Blender. So to create a primitive object now primitive can be anything from a sphere to a cube to a cone, things like that. So to create a primitive, press Shift or hold Shift on the keyboard and press a. And that's going to bring up the Add menu. Here you can see you've got different menus. You've got mesh, curve, surface, metabolic, text volume, grease, pencil, etc. So we're going to look at the first one that says mesh. So these are your mesh primitives. So I can say click on cube and that's going to create a cube for me. Let's delete the cube and I'm going to create something else. So Shift a on the keyboard, go to Mesh, and let's create a cylinder so that you can see we've created a cylinder. I can zoom in closer so we can see it a little bit better. Once you've added a primitive, you'll see a little menu that pops up here in the bottom corner of the 3D view port. Now if I click to expand this, this will give me all of the information or the parameters for this specific primitive. So you can see we've got the vertices 32 and I can click and drag to make adjustments to the amount of vertices that I want. So I can create maybe like a eight-sided cylinder like that. Or I can make something a bit more smoother if I increase that number. You can also adjust the radius here. So if I click and drag, you can adjust the radius. Another thing that you can do is you can hold Shift while dragging these numbers, and this will just move a little bit slower. So giving you a bit more accurate or more control to change some of these parameters. Next we have the depth. I can change the depth, which is basically the height of the cylinder. So just note that you have this side menu. Once you're happy with these parameters, I can simply click in the 3D view port and it's going to save those settings into this primitive. Now I can go back and change them. So be sure that you create the set those parameters correctly. And then once you click it, it's basically set like that. So I'm going to delete this one. So click on it, press X and click Delete. And let's create a new primitive objects. So press Shift a mesh and x. Let's do a UV sphere. Now this is basically just like a sphere object like that. And you'll also see this menu pop-up. If you don't see it, that will be minimized. So just click on this little arrow to expand this. And you will get similar parameters. So I can increase or decrease the amount of segments. I can also increase or decrease the amount of rings as you can see there. And also the radius. Remember if you hold Shift, it will give you a bit of a slower, more accurate control. Alright, let's delete that one. Let's see what else we can create. So we have things like a torus or a cone I ecosphere, circle, cube or plane. So let's click on plane and see how that works. So the plane is basically just a flat face like that. And I can increase the size here on this, on this ad plane menu, I can also type in a value. I can set this to maybe ten meters. Press Enter. And that's going to give me a ten meter by ten meter plane. And you can also change things like the location. Drag it around here. But I usually don't change this year. Because we can, we can modify that the position and the rotation and the scale, all of that later as well. So just know that you can set these parameters year and in once you've clicked, that's gonna be kinda the, that's gonna be saved into that object. So let's delete this one. Let's see what else we have here. You can also add lights. So if we go down on this Add menu, go to light. You can choose between a point light, a son spotlight, and an area light. So let's create a point light. You can see we've created a light in the center of our scene. Let's delete that light. Let's see what else we can create, maybe a spotlight so they can see we've created a spotlight. Let's delete the spotlight and let's see what else we can create an area light. So let's click on area light. And then you can see we have an area light which is basically like a plane or a yeah, it's like a plane with a light on the one side. So it will give you the direction where it's pointing to. But don't worry too much about that for now. So let's delete that and let's see what else we can create. We can also create a camera. So if you press Shift a and go down to camera, I can click on that. And that's going to create a camera for us so that we can use this camera in our scene when we want to render. Because every time you render something in blender, you will need a camera in your scene so that that camera can actually render the scene. So basically it works like a normal film set. You need your objects, then you need your lights, and then you also need a camera to kinda see what you are forming. So just think of it that way. So I'm going to delete the camera by pressing X and then delete. And let's see what other objects we have. Shift a. You can also create some force fields, but we're not gonna go into that for now. That's a bit more advanced for now. You can also create some texts. And they can see we've created some text. Yeah, so you can also change the radius of the text. So we're not gonna go into details about using the text object for now, but just know that you can create some text objects as well. One thing to keep in mind is you'll see that there's a little cross right here in the center of your wool, which is a little circle and across here. Now that's the 3D cursor. Now we're going to look at the 3D cursor in a later lesson. But for now, all you need to know is any new object you create doesn't matter if it's a light or a camera or a mesh, that object will be created where the 3D object easing the scene On Cube. It's going to create a cube on that location where the 3D cursor is because you can actually move the 3D cursor around. You can place it may be there at the back. And then if you create a cube, that cube will be created wherever that 3D cursor is. But don't worry too much about the 3D cursor for now, there is a lesson that's dedicated to the 3D cursor later on in this course. So just know that the new objects will be created wherever that 3D cursor is. So let's delete that. Let's see what else there is. Shift a mesh and let's create a monkey. So this is the blender monkey. It's name is Suzanne. So now you can also set the size here on the little menu that pops up. And it's just a little nice little taste object kind of thing that you can create and play around with inside of Blender. So that's basically how easy it is to create new objects like primitive objects like your cubes, your planes, or a cylinder, etc. Or you can use the same shortcut, shift a to create a light or a camera in your scene. I will see you in the next lesson. 5. Lesson 4 - Move / Scale / Rotate & Duplicate: Hey and welcome back. In this lesson, we're going to look at move, scale, rotate, and duplicate. Now, these four functions are very important and you will probably use them on a daily basis when you are using Blender. So you're going to move objects around, you're going to rotate your objects, scale them, and also duplicate things. And yeah, it's just going to add one of those things that you're going to use quite a lot. So let's delete everything in the scene. So I'm going to select everything like this. Another shortcut that you can use to select everything in the scene is simply pressing a on the keyboard a for all. As you can see, it will select everything in the scene. Now I can press X to delete and then just click Delete to delete all those objects. Now let's create something simple, like a cube. So I'm going to press Shift a, and then it's going to bring up the Add menu, then point to mesh, and then select cube from the drop-down. So that's going to create a new cube object for us. So make sure you have your cube selected. So as you can see, if I click on it, it will have a little outline that way you know that it's selected. And to move something around, we're going to use the shortcut G. G For Grab. So press G just once. And now if you move your mouse around, you'll see that you are moving that cube around. So you are grabbing it and moving it around. And then if you click somewhere, you have now moved that cubed to a new location. As you can see, it's moving freely in the 3D space so I can move it down or wherever R12. And that's basically to just move an object around to rotate. You will use our shortcut R for rotate with the cube selected press R. And as you can see, we can now rotate our cube. Very, very simple. Another thing that you can do is you can scale your object. And the shortcut for that is S, S for scale. So make sure you have your cube selected, press s1's. And now you can move the mouse and you can see that you can make the cubes smaller or bigger. Something to note is where your cursor is when you press the shortcut. So if I'm a really, really close to the object and I press S for scale. You can see that I only have this little movement here to scale this object. If I press escape, it's going to cancel that action. And if I move my cursor further away from the object and then press S to scale. I have much more control to move my cursor around to scale the object. The same goes for rotate and move. So if I'm really, really close to the object with my cursor and I press R, you'll see that it's going to just move like that. But if I move my cursor further away and then press R, it's gonna give me that much more control or more accurate control. Next, let's see how we can duplicate our object. To duplicate an object, makes sure that you select that object. And then the shortcut is Shift D. D for duplicates. So hold Shift press D once. I can just move your mouse and you can see that we've created a duplicate object or a duplicate copy of that object. I can also select both of these objects now and press Shift D to duplicate both of them. Now we've got four cubes. You can also select all of them and press G to grab them all and move them all at the same time. Can click to reposition them. And you can also do the same with rotate. So with all of the objects selected, press R, and then I can rotate them all like this. Or we can press S and we can scale them like this. Okay, Let's delete all these objects. So press a to select all of them. Press X and then click on Delete to delete all the objects in the scene. Now let's create a new cube. So press Shift a mesh cube to create a new cube. Now let's say you want to move this cube, but you only want to move it on the x-axis, which is the red line. You can look at the axes here and you can see x is the red line. So let's say I just want to move this cube, but only on the x-axis. Now, to do that, select your cube, then press G to grab it, and then press X to specify that you only want to grab it on the x-axis. Now if I move my mouse, you can see that that cube is only moving on the x-axis. I can move it up and down. I can move it on the green line or the y-axis. It's only moving on that x-axis. Let's press Escape to cancel that. And let's try it with the y-axis, with the cube selected, press G to grab and then y. And that's then going to specify that you only want to grab it on the y-axis. You can obviously just click and that will save or place the location. Or you can just press Escape to cancel that. I'm going to undo that. So I'm going to press Control Z. And let's try and grab it in the z-axis. Now the z axes is up and down with the cube selected. Press G to grab, and then z to move it up and down on the z axes. Now if we want to go a little bit more advanced, you can also specify two axes at a given time. So let's say, I want to grab this, I want to move this box around, but I only want to move it on the x and y, but not on the z. I want to move it basically left and right, forward and backwards. But I don't want to move it up and down. So to do that, we press G to move it. And then you want to press shift, and then the axes that you want to exclude. So in this instance we want to exclude the z-axis. So I'm going to press Shift Z. Now, it's only going to move on the x and the y axes. So let's try that again with two different axes. Maybe we want to move it on the y and the z, but we want to exclude the x-axis. I'm going to press G and then shift x because we want to exclude the x-axis. Now you can see it's moving up and down and also on the y-axis. But it's not moving on the x-axis. So don't worry if that's a little bit confusing for now, but just know that you can either just press G and X to move it in the x-axis, g, y to move in the y-axis, or G to move it in the z-axis. Or you can exclude a one axes by holding Shift and then pressing that axes. Now we can do the same with the rotate. So I'm going to press R to rotate, and then I'm going to press X. Now you can see it's rotating only around the x-axis. I'm going to press Escape to cancel that. Let's try that with a Z or the y-axis. So I'm going to press R to rotate and then y to rotate around the y-axis. Now we can do the same with the z axes. So I'm going to press R to rotate and then z to rotate around the z-axis. Now let's look at scale. So select the object, press S to scale, and then I'm going to press X, and now it's going to scale only on the x-axis. Let's try the same for the y-axis. So press S to scale and then y. And now it's going to scale on the y-axis. Let's press Escape and let's try the same for the z-axis. So I'm going to press S to scale and then z to only scale in the z-axis, as you can see there. Let's press Escape to cancel that. We've looked at duplicate already so you can do Shift D and then I can press X and it's going to only move, or it's going to move that duplicated copy only on the x-axis. You can also just press Y to move around the y-axis, or Z to move around the z-axis. And then I can click and it's going to position it, or it's going to lock its position. Wherever I clicked, you can obviously move it again. You can click on it and press G and maybe X to move around the x-axis. Maybe let's duplicate this one again and press Y and then move around the y-axis. That's easy way to move things around just by using these different axes. Now let's delete these two cubes. And I quickly want to talk about Scale. Click on your cube object and then press N for November to bring up this side menu that we looked at earlier. Now as you can see, we've got our location, our rotation, and our scale. Now, the scale is currently set to 111. So it's a one scale on the x-axis, one scale on the y-axis, and one scale on the z-axis. Now, if I scale this object, Let's just press S and scale it. You can see that the scale value is now increased to 1.508. If I scale it smaller, you will see that we can go below one, so it's 0.491. And if we scale in one axis, like if I press S and X, you'll see that it will only affect one of these axes over here. So the x-axis is now 1.196, and y and z has got a different number. You can obviously click here and drag as well to adjust the scale from this parameter, from these parameters, you can do that as well, but just something that I want to note when doing any scale adjustments inside of Blender. But it's always good practice to reset the scale value back to one. So these scale values here, XYZ, they should always be 111. Now obviously, if you change your object and you scale it on the x, you're going to have different parameters here. Now, there's a really easy way to reset these numbers back to one. Now let's quickly talk about wireless is important to have a scale of 111. The problem comes in every time. You will now do some 3D modelling on this object with a scale that's not set to 111, that can cause issues when doing things like an insect or a bevel or different edit parameters on this object. That's going to try and use the scale values for the different axes of this object. I know that sounds a little bit complicated or a bit confusing, but it's always just good practice to try and keep the scale of an object to one. Now let me show you quickly how easy it is to reset this object scale to 111, because obviously we've scaled now. But you don't want these funny values here on the side. So very easy to do that. Select your object and then press Control a. Control a is going to bring up the menu and you simply click on Scale. And that basically means it's going to apply the scale transformations. So let's click on Scale. And I can see the scale values have reset back to one. So now I can go and I can start 3D modeling or start editing this object. And I won't have any problems with insects or bevels, extrusions or anything that we're going to look at in a later lesson. So just keep in mind every time you scale an object you want to apply at scale by pressing Control a and then just selecting scale from the menu. You can also apply the scale by using menus. There's always different ways to do things inside of Blender. So I can also select this object, go to the Object menu year above the 3D view port, then go to apply and then click on scale. So you can either do it that way or you can just use the shortcut Control a, and then click on Scale and make sure that it's set to one. So those are basically the how you move an object or you scale an object and how you rotate an object and also how you can duplicate an object. And then how to apply the scale. If you change the scale of an object. I'll see you in the next lesson. 6. Lesson 5 - Edit Mode Part 1 - Vertices / Edges / Faces: Hey, and welcome back. In this lesson, we're going to look at edit mode. Edit mode is basically when you want to manipulate or change a certain object or if I want to start 3D modelling basically. So in this example, let's delete the camera from the scene, and let's also delete the light. And then let's zoom in closer so we can see our cube a bit better. So to enter edit mode, you have to select a certain object that you want to edit and then simply press Tab on your keyboard to enter edit mode. You will see this drop-down here at the top of the 3D view port will change to edit mode. This is usually object mode. So if I press Tab again, we're gonna go out of edit mode and back to object mode. You can also use this little drop-down menu year to change between object mode and edit mode. But I find it's pretty easy just to use the tab shortcut. So click the object, press Tab to enter edit mode. And you are now in edit mode. So very importantly, here at the top next to the edit mode drop-down menu, you will see three little icons or three buttons. Now the first one is vertices, second one is edges, and the third one Is faces. Now, every single 3D object consists of vertices, edges, and faces. Let's see what they are. So if I select the first one vertices, we can select these points on our object. You'll see there's a point on every corner of our cube. I can orbit around to see the other side, all these vertices, vertices or basically the points between all the lines are the edges. So if I click on the second one, we are going to look at the edges. And now you can select these lines or they're called edges in 3D. Alright, so those are the edges. And if we click a third one, this is Face Select. So now I can select the faces. These are the flat surfaces between edges. And with the edges connect, you'll see the vertices. Now there are three shortcuts that you need to remember, and it's very, very easy. Number one on your keyboard will jump to vertices. So now I can select the vertices. If I press two, we can select the edges. And if I press three, I can select the faces. So one vertices, two edges, three phases. Now let's jump back to vertex or vertices select which has one. Let's select one of these vertices. Just, you can either click on them or drag a box around them. And now we can use the same shortcuts to move, rotate, and scale basically. So I can press G to grab, and I can move this point around and I can place it wherever I want to. And you can see that the cube shape is now changing. We can do the same with one of these other vertices. Selected vertices, press G, move it around. You can also press G, x, and then it will only move that vertices or vertex on the X axes. You can also press G and Z, and that will move that vertex on the z-axis. You can do the same with y gy and move around the y-axis. You can also select two vertices at the same time, and you can move them around by pressing G. Or I can press R to rotate them like that. Or I can press S to scale between those two. Alright, let's go to edge select. So press E on the keyboard to change to edge select. Now we can select these edges and the same thing again. So I can click on an edge and I can press G, and I can move that edge around. Click on another edge, press G, mood around. You can also click on an edge, press R for rotate, and you can rotate that edge whichever way you want to rotate it. Same with scale. So I can click on an edge, press S to scale, and that will scale that edge like that. As you can see, this will give you a lot of control to manipulate these objects or this cube to create something that's not a cube anymore. So you can basically create new objects by just using these three shortcuts, 123, and moving and rotating and scaling things. Now let's look at face select mode. So press three on the keyboard to jump to face select mode. And now we can select these flat faces. So same thing again, I can select the face, I can press G, move it around. Or I can press R to rotate that face. Or I can press S to scale that face. And you can also use the same shortcuts for the axes. So I can press G x, and it will move that face on the x-axis only. Or I can press G or G z. You can also select multiple faces. So I can click on this face and I can shift, click on another phase. And it's going to select both those phases, as you can see. Now, I can scale them, I can move them, or I can rotate them. Same with edges. So if you press too to go to edge select, I can select this edge, hold Shift, select that edge. And I can move them around. I can rotate them, or I can scale them. Same with vertices. If we press one to go to vertex select mode, I can select that vertex and shift. Click that one to select both those vertices. And now I can scale or rotate or G to grab. So in blender you use the same shortcuts but in different areas, which makes it so much easier to just remember those base shortcuts. And then you can do so much with that. So it takes some time to practice this switch between 123 to select vertices, edges and faces. Move, rotate and scale them around until you have something that's looking interesting. And then once you're happy with the shape, simply press Tab to exit out of edit mode and then go back to object mode. As you can see on the top, we've got object mode selected now. Now you can see we've created a completely new object from our cubed. So we've moved the points around, we've moved the edges around, and we've moved some of the faces around to create something completely different. So this is the basis of 3D modelling inside of Blender. I will see you in the next lesson. 7. Lesson 6 - Edit Mode Part 2 - Subdivide Edges & Faces: Hey, and welcome back. In this lesson, we're going to continue on worth edit mode. So I've created a new scene. As you can see, let's delete our light and let's delete the camera. So let's select our queue by clicking on it, zooming in slightly and then pressing Tab to go into edit mode. So what I want to show you is how you can sub-divide or split edges into two edges and do the same with faces. You can sub-divide faces into smaller faces so that you have more geometry to work with. Let me show you, which will be much simpler to understand this concept. Let's press two to go into edge select mode. So now we can select these edges. And let's say we want to split this edge into two edges. You can simply right-click and click on sub-divide. Now, this will bring up a little sub-divide menu at the bottom, so you can select the number of cats, but for now let's leave it as default, just one. And just click in the 3D view port just to accept that sub-divide operation. So now if I press one to go into vertex select mode, you will see that we now have extra vertex right here in the center. Which means if I press two to go into edge select mode, I can select this edge and this edge. So it basically split this one edge into two smaller edges. So I can click on this edge and I can press G to move it around. And you can see that it's actually, it's got a cut inside of that edge. I can press one, and now I can move this vertex around like that. Let's try the same with the bottom edge. So I can switch back to edge select mode by pressing to or clicking this little button here at the top. Let's select this bottom edge. Right-click, sub-divide, and then just click to accept that. And it looks like one. But if I click on this edge, you can see that we only selecting the half of it and then we can select the other office. Well, if I press one to show the vertices, I can see that it's created a new vertex right here in the center. Now let's see how we can connect these two new vertices that we have created. Because currently, this is still one phase. If you press three or click on the face select mode, you can click on this face. And you can see this is still just one big face. So let's go back to vertex select mode by pressing one on the keyboard. And now I want to connect this vertex with this vertex. So to do that, select the first one, shift click to select the second one. And then on the keyboard, press the J button, J for join. Now you can see that it's created an edge between those two vertices. So now if I press two on the keyboard, I can select this new edge. I can move it around, I can scale it, or I can rotate it. If I press three on the keyboard to go into face select mode, I can now select two phases, or can see that it basically split this one big face into two smaller faces. So now I can go and I can scale one of these, or I can rotate one of these phases, or I can just grab it and move it around. Let's look at another way to sub-divide an actual phase. So let's say you want to create more geometry on this face. I select the face, right-click and you'll see that we've got the same sub-divide option right here. So let's click on sub-divide. Now you can see that it's split our face into four phases. You can use this menu at the bottom, the sub-divide minute to increase the number of cuts. You can see as it's increasing those faces. But let's keep it on one for now. And then just click in the viewport to accept that. Now you can see if we change over to face select mode by pressing three on the keyboard. I've got 1234 phases. I can scale them. I can rotate them, or I can move them around. So you can now go ahead and you can maybe subdivide this phase into smaller pieces. So I can right-click sub-divide. And let's increase the number of cuts to maybe three. Now you can see you've got all this geometry to work with. So now I can select maybe this face and I can maybe move it out, can maybe take this face scalar down. And if we're going to vertex select mode by pressing one, you can see that we've created all these new vertices because we have subdivided this one phase into smaller faces. Let's do the same with edge again. So let's switch over to edge select by pressing too on the keyboard. And you can see here at the top we've got one edge. So I can right-click sub-divide. And now let's increase the number of cuts to around four. And then just click to accept that. Now this still looks exactly the same, but if you click here, you can see that it's actually split that one edge into smaller edges. So if I press one on the keyboard to go into vertex mode, you can see that we've created 1234 new vertices on that one edge because we did a full gut sub-divide on that one edge. So let's do the same with the bottom edge. So I'm going to go to, to change to edge select, select this bottom edge, right-click sub-divide. Let's cut it into four. So I'm going to set this to four and just click to accept that. Press one to see the vertices. And I can see we've got 1234 vertices. So now what we can do is I can select one of these vertices is the top Shift. Click one at the bottom one's press J to join them. And I can see we've created that edge between those two vertices. So let's do the same with these two j. Let's do the same with these two j. And let's do the same with these two j. Now you can see we've created all these new edges that we can move around. We can scale them, we can rotate them. We can move the vertices around, whatever you wanna do. So this will just give you more geometry to work with and to create more complex objects. Once you're happy with your object, press Tab to go out of edit mode. And then you can see we've created something that's a little bit more complex than just a normal cube. But just know that you can go into edit mode and you can sub-divide certain areas of your mesh to create extra geometry so that you can create extra details. I will see you in the next lesson. 8. Lesson 7 - Edit Mode Part 3 - Loop Cut / Extrude / Inset / Bevel: Hey, and welcome back. In this lesson we're going to continue with edit mode, but we're going to look at for operations that you will probably use on a daily basis. And that's extrude loop cut, inset and Bevel. Let's see, I can use these operations. So first of all, I'm going to delete the light, and I'm going to delete the camera, select the cube and just zoom in slightly so we can see it better with the cube selected press Tab to enter edit mode. And let's start with loop cut. So loop cut, simply press Control R for Romeo and then just hover your mouse pointer over the object. And as you can see, it's going to give you a preview where it's going to create that loop cut. So let's create one that's going around the object like this. Some simply pointing to this edge where I'm doing the loop cut and then you click once. And now you can actually adjust where exactly you want to create that cut. If you want to leave it in the center, you can just press Escape and it's going to snap to the center. And then just click anywhere in the 3D view port. Apply that. Now you can see we've created this edge that goes all around our object. Basically it's created a loop cut around the object and that's what you do, or that's why you will use loop cut. Let's create another loop cuts. I'm going to press Control R again with my mouse pointer over the object. And let's create a loop cut around this side of the cube. So just click once and now we can adjust where exactly we want that. And remember, if you want to keep it in the middle, just press Escape. So I'm going to create one, maybe more towards this side, just click once and then just click the 3D view port to apply that. Now you can see we've created these extra vertices and extra edges around our object. Let's do one more control are, and maybe let's create one on this side and maybe let slide it towards this side and then just click in the viewport to accept that. And I can see we've created all these new geometry, all these new faces and edges. And that will just give you extra geometry to work with to create more complex objects. Now the second thing we're gonna look at is extrude. Now, extrude is your friend and you will probably use it quite a lot when doing any kinds of 3D modeling. So Extrude will basically extrude a certain face, outwards or inwards. So let me show you how that works. So make sure you are in face select mode. So three on the keyboard. And then I'm going to select one of these phases, maybe just this middle bottom face right there. And then the shortcut for Extrude is E for extrude. So press E on the keyboard once. And now if I move my mouse, you can see that I'm extruding that one phase, either inwards or outwards. Once you're happy with the location, just click once to save that or to accept that change. And I can see we've changed the model completely. I can now maybe click on this face and I can do another extrusion. Press E again on the keyboard, move that out and click. Now I can select this face, press E, move it up and click. As you can see, this is extremely powerful to create new models. So I can click on this face, press E, extrude it out this way. I can maybe now press S to scale this face to create something like that. I can also click on this top face extruded. And now it's going to extrude according to that phase angle. We can also extrude two phases at the same time. So I can click on this phase, shift, click on this face, and then press E to extrude. So go ahead and practice, play around and see what you can create by just using loop cut and extrude. Next we're going to look at inset. Now, insert is also extremely powerful. Let me show you how that works. So we're going to still be in face select mode number three shortcut on the keyboard. And I'm going to select this top face right here. Now, with this face selected, I want to do an inset. And the shortcut for inset is simply i for inset. So press I on the keyboard. And now if I move the mouse, you'll see that we are creating an inset inside of that face. So I can select or choose the size that I want and then just click once to apply it. Now you can see it's created this new phase inside of this bigger face. So I can do that with two phases at the same time. So let's select this phase shift. Click on this face, and now press I to create an inset. So now you can see it's creating one inset between these two phases. If I press I again, that's going to create individual insets in each of the main phases. So click to apply that. You can also now go, you can select these two faces and we can insert them again. So you can press I again and create a new inset. Now you can press E to extrude and you can create something like that. So insert and extrude and loop cut can be extremely powerful to create interesting objects. So let's say we want to create a loop cut around this side of the model. So I'm going to press Control R to create a loop cut. Hover my mouse pointer over the model, click. And then I'm going to drag maybe towards this area. So now I've created these extra faces. So now I can maybe click on this face and this face. And let's insert them. I to insert. And remember if you press I again, it will toggle between one inset for both phases or individual insets for each of the phases. Now we can obviously press E to extrude, and that's going to extrude those two phases. Next, let's look at bevel. Now, bevel is also super handy when you want to create a bevel on a sharp edge. Let's go to edge select. So press two on the keyboard to, toggle edge select. I'm going to select this edge and also this small edge on the side. So we've got that edge selected from the one corner to the other corner. Now to bevel something, you're going to press the shortcut Control B for bevel. Now, simply move your mouse slowly and you can see that we are creating a bevel around that one edge. So if we look at this from the side, you can see now we don't have a sharp edge anymore. We've got this nice beveled edge. This will also bring up the bevel menu here in the bottom corner of the viewport. You can increase the segments. So currently this is set to one. I can increase this to 234. And as you can see, it's creating a nice smooth corner. So we can increase this even more maybe to about eight or nine. And you can see now we've created this nice smooth corner. So if I click to accept that and I can see we've got this nice soft rounded corner. We can do the same with multiple edges at the same time. So I'm going to select this edge Shift, click on this edge, Shift, click on this one, shift click on this one. So we've got those four edges selected. Now I'm going to press Control B for bevel. Slowly move the mouse. And as you can see, it's creating these nice rounded edges for us. Now this will remember the previous settings or parameters that you've used here. So you can see it's creating nine segments. So we can obviously go in here and we can adjust this to maybe let's bring it down to five. And now if I click, we've got this very nice soft round edges. Let's bevel one more. So let's take this bottom edge, select this edge, Shift, click, select that edge. So we've got the whole edge from one corner to the other one selected. Now press Control B and simply drag and create your bevel. Let's create a bevel on these front-facing edges. So I'm going to click, Shift-click, Shift-click, Shift-click. And then I'm going to go Control B and just move the mouse. And now we create these soft edges around all those edges. So as you can see, inset, loop cut, Extrude, and Bevel can be extremely powerful to create more complex looking models. There's one thing I want to show you when using the extrude command. So obviously, if we switch over to Face Select, we can click on a face and we can extrude it by pressing E on the keyboard. We can maybe select this face and this face and extruded like that. But let's say you want to do something a little bit more complex, I'm going to undo that. Let's say you want to extrude this face and this face at the same time. So the one phase is pointing in one direction and this phase is pointing in another direction. Now the problem is if we just press E, It's either gonna go up or down. And that's not really what we want. We want to extrude them both towards their own direction, if that makes sense. So to do that, we have actually different types of extrudes that you can use. So this is a little bit more advanced, but it's really nice to know that it's available that if you really want to use that you can. So I'm going to select this face again. Shift click this face again. So we've got these two faces selected. Now, instead of pressing E to extrude, I'm going to press Alt E. Hold Alt, press E. And this is going to bring up the extrude menu. And now you can see we've got these different options or different types of extrusions. So you've got extrude face, extrude face long normals, extrude individual phases or extrude manifold. We're not gonna go into all of them. I'm just going to show you one of them. And that is extrude individual phases. So if I click this and I move the mouse there, you can see we are now extruding both those faces in the correct direction or in the correct direction where they're facing towards. Let's do another one so I can show you this a bit better. So let's say we want to extrude this phase shift. Click on this one. Shift click on this face, and shift click on this bottom face. And I want to extrude all for these phases at the same time. So we're going to do the same Alt E and then extrude individual phases. Now if I move the mouse, you can see those edges are those phases are being extruded in the correct direction. You can see how powerful that can be. You can also bevel a face. So I can select this face, this face, this phase, and this phase. And now I can press Control B for bevel. And I can move the mouse and you can see that it's beveling all those faces together. You can obviously go in here and you can increase the segments or decreases segments just the way you want it. And then simply click to apply those changes. So as you can see, it's really easy to create complex models by just using these four commands. Extrude, loop, cut, inset, and bevel. So practice, practice, practice these four commands. And it will just give you the tools that you will need to create more complex and interesting looking models. I will see you in the next lesson. 9. Lesson 8 - Edit Mode Part 4 - Creating and Deleting Faces: Hey, and welcome back. In this lesson, we are continuing with edit mode, and we're going to look at how you can delete and recreate faces on your model. So first let's start off by deleting the light and the camera from our scene. Select the cube, zoom in and press Tab to enter edit mode. So let's delete one of these phases. So I'm gonna go into face select mode by pressing three on the keyboard. And then I'm going to select this top face of our cube. And if you want to delete this, you can simply press X on the keyboard. And this will bring up the delete menu so you can choose do you want to delete vertices, edges, faces, and a whole lot of other things. So for now we're just going to focus on faces. So I'm want to delete this face, so I'm going to click on faces and you'll see that it's now deleted that top phase of r cubed. So we have like an empty open cube. Now let's say we want to create a new face on top of this cube. So simply we need to go into edge select mode. So press two on the keyboard. So then simply click on this edge, Shift, click on this edge. And the shortcut to fold these two with a new phase is F, F for full. And then you can see I've created a brand new phase between those two edges. Let's do something a little bit more complicated so you can see how it works. So let's create a loop cut. So I'm going to press Control R, point my mouse and click and drag. And let's create another loop. Cut, Control R, click and drag. And maybe let's create one more here on the side. Click and drag, and then maybe one more at the bottom. Click and drag. So we've created FOR loop cuts. Let's delete this face right here in the center. So I'm going to press 32, go into face select mode, select this face, press X, and choose faces. We want to delete that one phase. Now you can see we've got this whole inside of our model. And simply to create a new phase, we can select this edge. So make sure you an edge select mode by pressing too. And then hold Shift, select another face on the opposite side, and then press F to follow that with a new phase. You can see we've created that new face again and it's attached to our model. So now we can obviously go ahead and we can extrude and we can bevel and do interesting stuff with it like that. Let's create another loop cut on this side. So I'm going to create a loop cut, another loop cut. And I'm gonna do something similar on this side. So I want to select this face suppressed three to go into face select mode, select this face and delete it x phases. Now what I wanna do is I want to extrude these edges. You can also extrude an edge. Let me show you. So I'm going to go into edge select mode by pressing on the keyboard. And I'm going to select this edge, shift, this edge hold Shift, this edge, shift, and this edge. So I've got all those four edges selected. Now I'm going to press E to extrude these edges, E on the keyboard. And as you can see, we are now extruding those edges. Now, I want to extrude them straight onto the y-axis. The y-axis is this green line, and you can see the green, There's the y-axis. So I'm simply going to press Y on the keyboard and I can see it's locking that movement or that extrusion to the y-axis. Now I can simply select two of these edges, so the top one and the bottom one. And then press F to follow that with a brand new face. Let's see what will happen if we delete an edge. So I'm going to go into edge select mode by pressing too. And let's select one of these edges in the middle of this face. So with this edge selected, I'm going to press X on the keyboard. And this time I'm going to select edges, okay? Because we want to delete that edge. And I can see because we deleted that one edge, it's also going to delete the faces on either side because these two phases can't connect if there's no edge between them. So now we can go and we can go into vertex select mode by pressing one. So now we can create an edge between these two vertices. So I'm going to click on this one vertex, and I'm going to Shift click on the bottom one. So there's nothing between them, no faces, no edges, nothing. So now I can simply press F as well, and that's going to connect those two vertices with a new edge. So now we can switch to edge mode by pressing on the keyboard and we can select this edge and then Shift-click select this edge on this side, and then press F to follow that with a face. We can do the same with this hole on this side. So I can click on this edge, Shift, click on this edge. So we've got these two selected and then simply press F to fill that hole. Now remember. If you have two vertices, let's say we sub-divide this edge at the top and this edge at the bottom, I'm going to right-click sub-divide just to create one extra vertex in the middle. So if I press one to go into vertex Select, you'll see that we've got that one vertex there, and there's one vertex at the bottom. Now because the phases between these, I can just go and select them and press F. If I do that, it's not going to connect this edge to these other faces and edges. As you can see, if I go into vertex select mode, There's no vertices and there's no vertices are there. So if I select this edge that we now create it and I move it around, you can see that it's only connected to the top and bottom edges. It's not connected to this middle section of our model, which doesn't really work. So I'm going to undo that. So if you want to connect vertices to each other, but they are faces or geometry between them. You need to use the shortcut. So if I press J, you'll see it's going to link those two vertices with a new edge, but it's also going to connect that edge to the different geometry in-between them. So now you can see we've got a vertex there that I can move around. I've got a vertex there that I can move it around. Or I can select this edge going all the way from the top to the bottom by holding Shift. And I can move that around by pressing G. And it's going to be connected to everything. So that's kinda the way to connect two vertices together, slicing through the geometry to get there, if that makes sense. So let's do one more example. So press one to go into vertex mode. And let's say we want to connect this vertex on top with this vertex. So if I press J, that's going to connect them and it's going to slice through this face. So now if I go into face select mode, you'll see that we have two phases right here. Now we can do something like, let's select both these faces. Press I to insert, maybe I again to do individual insets. And I can press E and maybe create something like that. There's also an object to dissolve certain elements. So let's say you want to delete this edge right here in the middle, but you don't really want to delete it, you just want to dissolve it. So let me show you what the difference is. I've got this edge selected and I press X and select edge to delete that. That's gonna, it's gonna basically delete those faces as well as you can see now we've got a hole there. Let's undo that. Now. I'm going to press X again, and this time I'm gonna go down to dissolve. So you'll see we've got dissolve vertices, dissolve edges, and dissolve phases. Now if I press dissolve edges, you can see that it's deleted the edge, but it actually kept that face. So sometimes you wanna do that. So now I can obviously I can maybe create an inset on that face again. And now I can extrude that phase as well. Let's say we want to maybe dissolve some of these other edges. Let's just move around. And let's say we want to dissolve these four edges going around this face. So I'm going to press two to go into edge select mode. Select these four edges by holding Shift. And I'm going to press X dissolve edges. And I can see it's gonna keep up the face, but it's obviously going to delete those edges so the shape of that face will change. Its now we can maybe do something like create an insert here, maybe create another insert, and maybe extrude that out. So just keep in mind that there's a difference between deleting an edge or a face or a vertex than dissolving an edge or a face or a vertex. So sometimes it doesn't work. You can just dissolve something that's maybe sitting, you're on a corner. So if I try and dissolve these two vertices, let's see what happens. Dissolve vertices. That's going to mess everything up because it can just have those edges floating in mid air if it's not connected to a vertex or two, some phase. So we're going to obviously go and we can maybe just undo that. So let's see if we dissolve, maybe these edges. So if I press X dissolve edge, you can see it's kinda doing the same thing because you can just have things floating in mid air. Just keep that in mind. Alright, so once you're happy with your model, just press Tab again to go back into object mode and just practice, practice, practice these new functions that you've learned. And once you're comfortable, I will see you in the next lesson. 10. Lesson 9 - Edit Mode Part 5 - Separate & Join: Hi and welcome back. In this lesson we're going to continue with edit mode, and we're going to see how you can separate and join different objects together. So first let's delete the light and the camera from the scene. Let's zoom into our cube so we can see it better. And with the cube selected, let's press Tab to go into edit mode. So let's go into face select mode by pressing three on the keyboard. And let's select this one face on the side of our cube. Now let's insert this one. So I'll press I to insert. And maybe let's just do something like this. And then let's extrude this face with his face selected, press E to extrude and create something like that. So now what I wanna do, obviously if we now press Tab again, you can see this whole thing is our object. And in the outline, you can see the object's name is called cube because that's what we started with. You're going obviously double-click on this and rename it to maybe my object. So that's our object right here. Let's go back into edit mode by pressing Tab. And now I want to separate this extrusion as its own object. So to do that, let's go into face select mode. So I'm going to click on this face hold Shift and I'm going to select all of these phases to select this extrusion pot. Now simply to separate this into its own object, I can right-click, go down to separate, and then choose selection. So it's basically going to take all everything that's selected and it's going to create it's an object. So now you can see in the outliner we've got two objects, my object and my object dot 001. And now if I press Tab to go into object mode, you can see we've got this cube object. Obviously it's got a hole there because we separated them. And then we also have this one as its own object. So now I can select this object, I can maybe move it away, can press tab and I can start editing this object. I can create a loop cut, I can create an insert, I can do an extrude whatever I want. Now obviously you remember there will be a hole on this side because we just took those certain faces and we separated them from this model. We can now go and we can go to edge select mode, select this edge and this edge, and press F to fill that with a face. And if we want to do the same on the other object, we first need to go out of edit mode, pressing tab, and then select this object, press Tab to go into edit mode. And now we can select this edge and this edge and then press F to fill that with a face. So that's how you can separate two objects from each other to create multiple objects. Now let's see how you can join them back into one object. So to join two objects into one object, they don't really even have to be connected. So I can take both these objects. I can click on this object, which is the cube. And I can shift click on this object to select both of them. And now simply right-click and select join from the menu. Now keep an eye on the outliner. If I click join, we only have one object again. And if I select this one, you'll see that it's selecting both these objects because basically this is now one object. So I can click on either this or this, and it will select this object as one. So now I can select this object press Tab to go into edit mode. And I can edit them both at the same time because it's basically the same object. So I can now do something like let's extrude this one. Maybe let's extrude this over to this side. What can we do? Maybe let's add a loop cut right here, and then let's extrude this face like so. Now we can do something like I can select this edge Shift, click on this edge, press F, and it's going to create a face between those two edges. Maybe the same with these two, press F, Same with this one and this one press F. And then maybe the same with this one and this edge press F to follow that. Now you can see if I go out of edit mode that we've created this interesting looking thing by joining two objects together, going into edit mode, and then connecting them with the tools that we have available. Another thing that you can do is let's go back into edit mode. You can duplicate these edges, vertices, and faces as well. So let me show you. So I'm going to go into face select mode. And by pressing three on the keyboard. And I'm going to select this face right here. Now let's say I wanted to duplicate this face so I can press shift D, same as that other shortcut we used when we were duplicating normal objects. And then I maybe want to move it in the x-axis. Then press X. It can move that phase out. So now this is a duplicate of this phase. You can see they are exactly the same size and shape because it's the duplicate. So now what I can do is with this new face selected, I can right-click Separate selection. And now this will be its own objects and I can go back to object mode by pressing Tab. Now you can see we have this one face as its own object and this object on its own. So now I can go into this object, press Tab to enter edit mode. And then I can select this face and I can start extruding and creating my second model, which will be separate from this model. This is Andy. If you want to maybe have a model that will fit exactly inside or with another object. Let me explain that a little bit better by just doing one more example on this side. So I'm going to select this object, go into edit mode, and I'm going to insert this face. Let's say we want to create something like that. And I want to extrude this inwards. So I'm going to press E, extrude that in words like that. And maybe I want to scale that face slightly down. So pressing S. And then maybe let's create another insert. And then maybe let's create another extrude inwards. So let's say I have something like that and you want to create something that will be a separate object, but it needs to fit exactly into this, into this area. So what I can do is I can select this interface and I'm going to duplicate it shift D. So now I've duplicated that face and I want to move it on the y-axis on this green line. So press Y and I'm going to move it out like that. So this is a duplicate of that face. And now we can separate this out. So right-click Separate selection to create its own object. Now I can press Tab to go into object mode. And now we've got this object that will fit exactly into that opening. So I can go into edit mode. Now, I can extrude this face by pressing E. And now if we go back into object mode, I can now move this whole object on its own, on the y-axis. So I'm pressing G Y. And as you can see, that will now fit exactly into that area because we duplicated that face. So it's going to be exactly the same size. So I hope that makes sense. Play around with these tools. Separate, join different objects together, and see what you can create by just using these different tools like extrude, loop, cut, inset, bevel, separate and join, and then also subdividing either the face or the edge. And just play around and see what tools are available and see if you can create something simple. So have fun, practice, practice, practice. And I will see you in the next lesson. 11. Lesson 10 - Origins: Hey, and welcome back. In this lesson, we're going to look at origins or pivots. So first of all, let's delete the light, and let's delete the camera, and let's focus in on our cube. So as you will see in the center of the cube, we've got a small, tiny little orange dot inside that little 3D cursor that I spoke about earlier. So that little small orange dot is the origin or the pivot point of our cube. So if I rotate, it will rotate around that pivot. Let's see what will happen if we create another cube. So I'm going to duplicate this cube by pressing Shift D. And then I'm going to press Y to move around the y-axis, just so that we have something like that. And maybe let's create one more duplicate. So I'm going to press shift D Again, why? And just move it out. So we have three cubes. Now, you can see in the outliner, we've got three objects as well. So let's say I select all three of these cubes and I press R to rotate. Now you can see these three cubes are actually rotating around the center of these three cubes. And that's because there's a little drop-down here at the top. If you point to where it will say transform pivot point. If I click that, you'll see that we have all these different options. Now, I just want to focus on two of these at the moment, and that's median point and individual origins. Now by default, it will be on median point. You'll see the little icon with the two circles with a pointing middle. And that's the default one that's always selected. So if you see that, you can actually see that it's got two little objects with a pivot in the middle. And that means it's going to pivot around the center pivot of those objects. But if we change this to individual origins, you'll see the icon will change to two circles with the individual origins inside of each one. And now if I do a rotate, you'll see that each object will rotate around its own pivot point, which is sometimes you want this. So that just gives you the option. So let's set this back to median point, and I'm going to delete these two cubes. So we only have one cube in the center. Let's go into edit mode and see are these pivots will affect when working inside of edit mode with the cube selected press Tab and keyboard to go into edit mode. And what I wanna do is I want to create some insects and extrudes. So make sure you're on face-like mode by pressing three. And I want to select all the faces. So I'm gonna go around holding Shift and just clicking on all the phases until they're all selected. And then I'm going to press I to create an inset. If nothing happens, just press I again. And that will create individual insets, maybe something like that. So we have these inset faces on each of the original phases. Next, I want to extrude them all out in the correct directions. So remember, we can't just do a normal extrude because they're all facing different directions. We need to use the Alt E shortcut. And then we're going to click on Extrude individual phases. So let's just pull them out until we have something that looks like this. Now you can see we still have all these faces selected. And now what we can do is let's try and scale them. So with those faces selected, I'm going to press S on the keyboard, and I'm going to scale inwards or outwards. And now you can see this is scaling it, but it's using the center pivot of the object to scale them. I'm going to press Escape to cancel that. And I'm going to change this pivot from median point to individual origins. Selected individual origins. And now press S again and see how that will affect the way that scaling these faces. So now you can see that each phase is scaling around its own origin, waived all around its own pivot point. The same will happen when we do a rotate. So I'm going to change this pivot back to median point. And I'm going to press R to rotate. And I can see all those phases are rotating around the center of the object. But if we change this to individual origins and I press R again, you can see now each face is rotating around its own pivot. That's extremely handy or useful. Sometimes you will want something to scale or rotate, maybe around the center of that object, maybe something like that. And sometimes you wanted to use its own pivot so that you can maybe scale it up like that, or maybe create like a sharp point like that. So that's just something to keep in mind when working with multiple objects. Or if you're in edit mode and you are scaling and rotating, multiple faces are multiple edges. There is also a way that you can change the position of the origin. So that little dot that's in the center, you can actually set it any way you want. I will go over that in the next lesson. But for this lesson, just remember that you've got this drop-down here at the top, and you can toggle between median point and individual origins. Either way new in object mode or if you inside of edit mode, play around with those two options, see how they work, see how they affect the different functions. And I will see you in the next lesson. 12. Lesson 11 - The 3D Cursor: Hey, and welcome back. In this lesson, we're going to look at the 3D cursor. And I can use the 3D cursor to create different objects in different locations. We can use it to snap objects to each other, or you can even use it to change the pivot point or the origin of an object to a specific position on that object. So it might sound all a little bit confusing and complicated, but that's not really that difficult. So let me explain to you what the 3D cursor is. So first of all, let's delete our light and let's delete the camera, and let's just focus on our cube. Remember an earlier lesson, I spoke about the 3D cursor that's inside our cube. It's right in the center of our world. It's got a little circle and a cross, a, That's the 3D cursor. The 3D cursor. If I move this cube away, the 3D cursor will always be the position where a new object will be created. So let's say I create a new object, shift a mesh cube. It's going to create it wherever that 3D cursor is in the scene. So let's delete this cube again. Now, what I wanna do is I want to set this 3D cursor. I want to snap it to this object that I moved away with this cube selected, I'm going to press the snapping shortcut, which is also something to try and remember a shift S, Shift S for snapping. And this is going to bring up this radial menu with all these interesting little options. Now we're only going to focus on a few of them, so don't be scared. So we're going to look at cursor to select it or selection to cursor. Cursor to selected means it's going to take the cursor, the 3D cursor, and it's going to snap it to the selected object. Let's see how that works. If I click on this, you'll see that the 3D cursor is not in the center of the world anymore, but it's snapped now to the center of this object. Now if I create a new object, let's say we create a cylinder. You'll see it's going to create our cylinder. If I scale it, maybe a little bit, it's going to create the sudden there wherever that 3D cursor was. So now let's move this cube away, maybe to the side. And now I can, with this cube selected, I'm going to press the snapping shortcut again, Shift S, and I'm going to choose cursor to select it. Now the 3D cursor is going to jump from here to this object. And now I can maybe create a new object. Let's say we create the Suzanne monkey. And I can see that it created that monkey right in that position wherever that 3D cursor is. So that's the first function of the 3D cursor, will create new objects wherever it is. But we can also use it to snap objects to each other. So let's delete the monkey and maybe let's delete everything in the scene. And I want to snap this 3D cursor back to the center of our world. So to do that, I'm going to press Shift S to bring up the snapping window or the snapping options. And then I'm going to select cursor to world origin. So it's going to snap the 3D cursor to the world origin, which the world origin is the center of the world. So that's going to snap right there. So let's create a cube. Let's start off easy. Let's say I want to set that 3D cursor to this corner of the cube. So let's go into edit mode with the cube selected and make sure in vertex select mode by pressing one, I'm going to select this one vertex, just that corner. Now where that vertex selected, we can bring up the snapping menu again by pressing Shift S. And then I'm going to select cursor to select it. Now remember, we have the vertex selected. So this means the cursor should jump to that vertex. There we go. You can see now the 3D cursor is sitting exactly on that vertex that we had selected. And now, if I go out of edit mode by pressing Tab, and if I create a new cube, that's gonna be created on that corner like that. Okay, let's move this cube out of the way. Let me show you how you can snap it the other way around. If we wanted to take an object and snap it to wherever the 3D cursor is. So let's say we have this object year floating around in space, but we want to move it exactly to that corner of this cube. So because we have the 3D cursor on that vertex, I can now simply select the small cube, bring up the snapping menu by pressing Shift S. Now instead of cursor to select it, this side we want to do it the other way around, which is selection to cursor. So this means it's going to take the selected object and it's going to move it to wherever the cursor is so that you can see the cursor stayed in place, but are small cube snapped to its location. Let me show you. Let's move the 3D cursor to another vertex. So I'm going to select this big cube, go into edit mode. Let's select this vertex on the other side. Let's bring up the snapping menu by pressing Shift S. And then we're going to say cursor to select it because I want to move the cursor from here to this vertex. Alright, so there you can see that's our new position for the 3D cursor. Let's go into object mode. We can select the small cube, bring up the snapping menu, Shift S, and then select selection to cursor. Now this cube is going to jump to that location. So I hope that makes sense. You can basically snap it to a vertex, a edge, or a face. So let's see how that works. Let's go into this object again by pressing Tab to go into edit mode. And this time I want to select this edge. So Br2 to select or to go into edge select mode. And now we've got this edge selected. Now let's bring up the snapping menu by pressing Shift S. This time we're going to do cursor to select it. Now you can see the 3D cursor has moved to the center of this edge. So now let's go back into object mode by pressing tab, let's select the small cube. Press Shift S to bring up the snapping menu. And this time we do selection to cursor. So we want to snap the selected object to wherever the cursor is. And then you can see that our cube now snapped to exactly where that 3D cursor is. So we can do the same with a face. So I'm going to select this object again, going to edit mode, press 32, go into face select mode. Let's select this face and bring up the snapping menu shift is, we're going to select the cursor. To select it. You'll see the cursor has now jumped to that face in the center of the exact center of that face. And now I can select the small cube, bring up the snapping menu, Shift S selection to cursor. And that cube is going to snap to that location. Let's quickly see how we can use the 3D cursor to adjust or move a pivot of a specific object. So I'm going to delete the small cube by pressing X and confirming that. Let's place the 3D cursor first back to the center of the world. So bring up the snapping menu, Shift S cursor to wold origin. So now you can see the cursor is back in the center of our world. And if we select this cube, you will see this small, tiny little orange dot, which is the origin or the pivot point of this cube. So whenever you rotate or scale at full scale or rotate around that pivot. Now, if we look at this from the side, you can see that our object is pivoting around the center of where that pivot point is. Let's say we want to move this cubes pivot point to not be in the center of the object, but maybe on this bottom face. Let's see how we can do that. So first of all, I'm going to go into edit mode. And I'm going to select this bottom face. Make sure in face select mode by pressing three. Let's snap our 3D cursor to this face. So bring up the snapping menu by pressing Shift S. And then we're going to select cursor to select it. And now you can see that the 3D cursor has snapped to that face. But you can also see that the pivot point is still in the center of this object. Now, make sure you are on object mode and not edit mode when we're doing this step. Because now we want to tell blender that it must move this cubes pivot point from there to where the 3D cursor is. Now, really easy to do that you just need to right-click on your object in object mode and then go to set origin. And this is where you can change the origin and is an option that says origin to 3D cursor. Now remember, the 3D cursor is on this bottom face. Let's see what happens. Right-click set origin, origin to 3D cursor. Now you can see that the pivot point is on this bottom phase of our cubes. And now if I select the cube and I press R to rotate, you'll see that it's going to rotate around its new pivot. We can also set the pivot to may be one of the corners. Let's see how we can do that. So I'm gonna go into edit mode, press one to go into vertex select mode. And I'm going to select this one vertex on this corner at the bottom. With this vertex selected, bring up the snapping menu Shift S. And then I'm going to select cursor to select it. To move the 3D cursor to that vertex. They can see the 3D cursor snapped to that vertex. Now I'm going to press Tab to go out of edit mode. And now I'm going to select the cube. Right-click Set Origin, origin to 3D cursor. Now we can see our 3D cursor is still on that vertex. And you can also see that the pivot point is also on that corner. So now if I select this object and I press R to rotate, It's going to rotate around that new pivot point. So hopefully you can see how powerful the 3D cursor can be inside of blender. You can use it to snap objects to each other. You can also use it to move origin, so pivots around to a specific edge phase or vertex. So play around with the snapping menu and see how you can snap different objects to each other. And I can also change the pivot point of objects to change the way they rotate and scale. I will see you in the next lesson. 13. Lesson 12 - Creating Your First 3D Model (A Basic Chair): Hey, and welcome back. In this lesson, we're going to use everything we've learned so far to create a very basic chair. So first of all, let's delete the light and let's delete the camera. And we're going to keep the cube because that will be basically the starting mesh of our CEJ. So first what I want you to do is let's scale it down. So I'm going to press S and then z because I want to scale it on the z-axis and scale it until you have something that looks like this. Now remember, I spoke about applying the scale of an object when you scale it. So if I press N to bring out this side menu, you can see that this object has got a scale of 11, and then the z scale is 0.166. So let's apply the scale. So we have 111. So with the objects selected, press Control a, and then select scale from the menu. Now you can see that our scale is back to 111, and that's just always good practice to do. So let's press N to hide that side menu. And with this object selected, press Tab to go into edit mode. Now let's begin with a Chase legs at the bottom. So what I'm gonna do, I'm going to press three on the keyboard to switch to face select mode. And then I'm going to select this face at the bottom. So we only selecting the bottom face of this chair. Now we want to subdivide this to create more faces. So I'm going to right-click select sub-divide. And let's expand the sub-divide menu at the bottom. And maybe let's increase the number of cuts to maybe two or even three. Now you can see it's creating all these extra faces that we can work with. So now what I wanna do is still in face select mode. I want to select this face, hold Shift, select this face, this face, and this face. So those will be the starting points for the chairs, legs. With those faces selected, press E on the keyboard to extrude and then just pull them down and click. Once you're happy with those extrusions. Then you can see we have the legs for our very basic j. So next what I wanna do is I want to create the back rest of the chair on the side. So there's a couple of ways we can do this. Let's subdivide this edge and this edge to create more vertices between them. So make sure you in edge select mode or press two on the keyboard, and then select these two edges by holding Shift. Then right-click and select sub-divide. And we only want to make one cut. So you can see that it's a mistake to one cut. And you can see that we've got that one cut going through. Now we can select this edge and you can either press G and then move it on the x-axis to move that edge around. Or a simple way to move an edge is just to select the edge and then press G twice. So if I press G, G, that's going to basically slide that edge. Just slide it back until it's about in that area right there. So now I'm gonna go back to face select mode by pressing three. Select this face at the back. And then I'm going to press E to extrude. And then click once you're happy with that extrusion. And that's basically our very basic chase. So the secret with Blender is to always start with a very, very simple, basic, easy model, and then slowly work your way up to create more complex models. So once you're happy with your basic J model, press Tab to go back to object mode. And let's rename our object in the outliner by double-clicking it. Let's call it chair. Press Enter to confirm. And yeah, that's basically our very, very basic J model. So let's save this project because we're going to come back to this later in this course when we're looking at UV unwrapping and applying materials. So let's click on File, Save As, and then give it a name here at the bottom. I'm just going to call this one chair and then press Save. As. Now you can see that our project has a name right here at the top. And you can simply press Control S or Command S to save your project. So congratulations with creating your first very basic object inside of Blender. Save your project now and I will see you in the next lesson. 14. Lesson 13 - Keyframe Animation: Hey, and welcome back. In this lesson, we're going to look at basic animation inside of Blender using keyframes. So first of all, let's delete our light and our camera from the scene. And we're just going to animate this cube. And let me show you how to do that. I'm going to expand our timeline here at the bottom. It's going to pull it up slightly so we can see the timeline a bit better. Now what I wanna do is I want to animate this cube. So it moves from the left of the screen towards the right of the screen. So what I wanna do is make sure you're on frame number one so you can click and drag this plate, or you can just use this little number here and type in one to jump to frame one. And then I want to move the cube on the x-axis, on the right axis towards the left side of the screen. So I'm going to press G x and just pull it this way and click there to confirm. Now let's create a keyframe for the position of this cube in this location. So with the cube selected, press I for insert keyframe. So that's the shortcut I and year. It will give you all the different keyframes that you can create for that specific object. So we just want to animate the location for now. So you can see right at the top, you'll see location. If I click this, you will see that it's going to create a keyframe on frame number one year and the timeline. You can see there's the keyframe. Now I want to go over and let's go to frame 100. So drag your key for all the blade to frame 100. And then with the cube selected, press G x and move it to the other side of the screen. Now we want to create a new keyframe for this object on frame 100. So simply press I to bring up the Insert Keyframe Menu. And we're going to choose location again. I can see it's created a second keyframe on frame number 100. So now if I scrub through this timeline, you can see that we have some sort of animation because Blender will fall in all the in-betweens between these two keyframes. Let's go to the first frame and then press space on the keyboard to play the animation. Let's do that again. Another shortcut to go back to the first frame is to press Shift and left arrow on the keyboard. Press Space again to play back the animation. So we've basically created to location keyframes. Now, you can also highlight one of these key frames and press G to grab that keyframe and move it around. Let's say you want the animation to end at frame to 100. You can simply just move that keyframe. And now if I play this back, you'll see that our animation is much slower because it's running over 200 frames. You can also move the first keyframe if you want to. We can say, let's start it at frame 50. So now if we play this back, nothing will happen until it gets to frame 50, then it's going to start moving all the way to frame 200. Let's delete these keyframes. So I'm going to just drag a box around both of these key frames in the timeline, press X and then delete keyframes. Now if we scrub through the timeline, nothing will happen. So let's create a rotation keyframe. Let's snap this object back to the middle of our world. So with the cube selected press Shift S to bring up the snapping menu. And then select selection to cursor, to just move our cube back to the 3D cursor, which is in the center of the world. So first of all, let's create a rotation key frame. So with the cube selected, press I to bring up the Insert Keyframe Menu. And this time we're going to select rotation. So it's created a rotation keyframe right there on frame one. Now let's go to frame 100. And now I'm going to rotate the cube. So let's just zoom out slightly. Let's press R and let's just rotate it a few times like that. Click to confirm that. And now we need to insert a new keyframe. So press I and then select rotation. Now we'll see it will create a new keyframe in the timeline. And if we play this back from frame one by pressing space, you'll see that we have that rotation animation. Now again, you can move this keyframe around by pressing G. Let's say we move it to frame 200. Now the animation will play a lot slower because it's covering more frames. We can also keyframes scale. So I'm going to delete these two keyframes again by pressing X, delete keyframes. And this time we're going to create a keyframe on frame one, but we're going to select scale to create a scale keyframe. So now let's go over to frame 100. Let's scale this cube up. Press I to insert a new key frame and select scale. Now you can see if we play this back, we have a scale animation. Let's delete both these keyframes. So I'm just dragging a box x, delete keyframes. And let's see how we can combine keyframes for location, rotation, and scale. So I'm gonna move this cube off to the side again. So I'm going to press G x, move it to the side. And this time I want to insert a location, rotation and scale keyframe. So with the cube selected press I, and you'll see that we have more options down here. So you'll see there's one that says location, rotation, and scale. So select that one to create a keyframe for location, rotation and scale. You can also see on the side, if you are on the object properties menu, these values will turn yellow because it means they are key framed for location, rotation, and scale. So now let's go to frame 100. And I'm going to move the cube to the other side of the screen. So g x, move it this way. Now when I rotate this cube as well, so I want to rotate it on the x-axis. So I'm going to press R for rotate and then z to rotate it around the z-axis. And I'm just going to rotate it a few times like that. Just click to confirm that. And then I also want to scale it. So I want to make it bigger. I'm going to press S, scale it bigger. Click to confirm. Now we need to insert a new keyframe. So I'm going to press I and then I'm going to select location, rotation, and scale because we want to animate all three of those parameters. So you can see we've got the keyframe there. Let's go back to frame one by pressing Shift Left Arrow, and then press Space to play the animation. Now you can see it's actually animating the location, the rotation, and the scale. You can also set the end of your animation if you adjust this end value. So currently we've got keyframe on frame one and frame 100. And let's say we want that to be our complete or final duration. We can set the end keyframe to 100. And I can see it's going to highlight only that part. And if I play this back, it's going to loop frame one to 100. You can use the same navigation to move around the timeline. So if I hold down shift and middle mouse, I can pan. If I hold Control and middle mouse, I can zoom in and out. And yeah, you can either just holding the middle mouse button to pan around and then holding Control so you don't really have to holding shift. You can also copy and paste keyframes. Let's say you want your animation to start off and then do a loop. So it's going to go to the right-hand side of the screen and then move back again. So what we can do is we can move our end keyframe, just select the end keyframe on frame 100. Let's move that to frame 50. So it's in the middle of our duration. So if I play this back, you'll see that it goes quickly to frame 50 and then it will stop. Now what you can do is we can take this keyframe on frame one. So it's got the location, the rotation, and the scale of this object. We can copy that. So just drag a box around it, copy control C, and then go to the frame. We want to paste it frame 100 and then do Control V. Now you can see we've pasted a new keyframe there. And if we play this back from the beginning, you'll see that our animation will loop. Depending on your preferences inside of blender, you might see something that's not smooth like this. You can see the cubist changing direction instantly, or you might see a smoother movement. Now, if we quickly look at the blender preferences, Edit and Preferences, and we go to the animation tab. You'll see there's a default interpolation mode. And this quite a few options here, but we're only going to focus on to linear and bezier. Now, I've changed mine to linear, but yours might be set to Bezier. Let's leave it on whatever setting it is for now. But I want to show you where you can actually change the default minus c2 linear, which means I get this very snappy animation. It's not very smooth. But if I want to change these keyframes from linear to Bezier, let's select them. All. Right-click. Go to interpolation mode, and I'm going to change it to bezier. Now if I play it back, you'll see it's gonna kinda go smoothly back and forth because it's got a curve. You can visualize this if we click on this little icon here in the corner of the timeline, and if we change this to the graph editor, you can see that we've got these smooth looking graphs. Now I'm not gonna go into details how to use the graph editor. You can obviously go and play around with us. It's quite powerful because you can do all kinds of crazy curves. But for now, let's stay in the timeline. So just click on that little icon again, go to timeline to go back to this view. So let's say your default setting is on Bezier. You will see something like this. But yeah, that's all depending on the preferences inside of Blender, what this value is set to this default interpolation. But you can obviously switch between them as I just showed you. So let's say now it's set to Bezier. It's nice and smooth. But if I want to change it to linear, I can just select those keyframes, right-click interpolation mode and set them to linear. Now if I play this back, you'll get that snappy animation again where it's not very smooth. You can obviously change the interpolation just between two certain key frames, so you don't have to select all of them. I can only select these two keyframes coming back, Right-click interpolation mode, and let's set that to bezier. And now it's going to do a snappy movement and it's gonna kinda slowly move back. That ending part is going to go smoothly. So you can decide exactly how you want your animation to play back using the interpolation modes. You can also select the keyframes and then press S to scale and it will scale it like that. If you wanted to scale kinda in the middle, just put the player and scale again. And I can see it's scaling the two side keyframes inwards. Let's set them all to interpolation mode Bezier and see how that affects it. So you can see it's a little bit of a different movement. So that's the basics of adding animation keyframes inside of Blender. I will see you in the next lesson. 15. Lesson 14 - Modifiers: Hey, and welcome back. In this lesson, we're going to look at modifiers. So first of all, let's delete the light and the camera from the scene. And let's leave the cube as the object that we can apply some modifiers to with the cube selected. If you look at the properties panel E on the side, you'll see one icon that looks like a range. Now that's the modifiers properties. So click on the modifies properties and then you'll see a dropdown menu add modifier. So if we click this drop-down, you'll see all the different kinds of modifiers that you can add. Now we're not gonna go through all of them. I just want to show you a couple of them that's very commonly used in Blender. So let's start with the array modifier. So let's click on array. Now, instantly you can see something happened and in the properties on the side, you can actually change the properties of this modifier. So we can increase the factor or the offset vector. So if I just slide this to the side, you can see now we've got two cubes and I can also increase the count to increase the count of cubes. Now, if I go into edit mode now with this Modifier applied, we technically only have one object. These are just copies that this modifier is creating. Let's say we go into face select mode by pressing three, and we select this top face and we do an inset by pressing I is to insert like that. And let's extrude that. So press E and extrude that up. So as you can see, that's being copied basically using this array modifier. Once you're happy with your array, you can also apply the, the modifier. So you click on this drop-down, click on Apply. And now this is one brand new objects so I can select it, press Tab, and now I can see I can maybe insert this face, extrude this phase and it won't affect any of the other objects because this is all one object now. So a very handy thing where this comes in is when creating stairs or steps. Let's delete this and let's create a brand new cube. And what I'm gonna do, I'm going to press S and Z to just scale that down so it's bit flat. And then I want to scale this again, and this time on the x axis to just create like a one step for a staircase or something. And let's add an array modifier again. And let's increase the count to maybe around ten, like so. And then we want to increase the factor on the x-axis just slightly so there's a slight little gap between them. Then we also can increase either the X or the Z axes. So this time I'm going to slide the x axes over. And there we have some easy steps or stays. So you can obviously play with x amount to see if you want to have them overlap like that. Or you can increase it so they less overlapping. And you can play around with these settings. Let's create some details on the front. So I'm going to press Tab to go into edit mode. And I want to insert this face. If we press I to insert this, you'll see it's doing something weird here. It's not creating an inset equally. Can see this side face is not the same as this top face. It's not doing it equally. And that's because we didn't apply the scale, we just always important to do so let's undo that and let's go out of edit mode back to object mode. And with this object selected, press N. And remember, we have to apply the scale because currently it's set to 0.410.15. So with the objects selected, press Control a, and then apply the scale. So now you can see it's all set to 111. And now if we go back into edit mode and we select this face, we press i. Now you can see that inset is working much better and I can see the spaces around the phase is equal. And that's the reason why you need to always apply the scale when you do scale adjustments. So now I can create an extrude. So with that face selected press E. And then let's just move that in slightly. And I can see that as happening on all the steps. So you only have to do it on one and it's going to copy paste onto the array like that. So once you're happy with your state k is you can now go into your array. You can make more changes here. I can increase the count maybe for one full stays, or I can change the offset, or I can change the height. All of those good things. And once you're happy with your model or with your array, you can always apply it. Just remember once you apply it, you can't make any changes to the array anymore. But then you can go in and you can edit your objects. And now I can go and I can only change this one phase that's extrude that one phase. And it's not going to affect any of the other steps because this is basically one object now. So that's the array modifier. So next, let's delete that. Next we're going to look at the bevel modifier. So let's create a cube again. And this time I'm going to add modifier and I'm going to select bevel. So this is just a really easy way to create bevels. So you can see all the edges been beveled. And we can also increase the amount of segments on this modifier to create something smoother like that. And you can also change the amount. So this is just the size of that bevel. And it can increase or decrease it exactly the way you want it. Then once you're happy, you can click on the drop-down, apply, and that's going to apply that modifier. Now if you go into edit mode, you'll see that you have all these extra geometry, all these extra faces, all these extra vertices that you can work with. Next we're going to look at the subdivision surface modifier. So let's add a model that's a little bit more complex than just a normal cube. So for this I'm going to add the monkey. So press Shift a mesh monkey to create the monkey. And as you can see, this model is not very smooth. It's got very jagged, hard edges and it looks very low poly, it's not, it's not very complex and smooth. So a quick way to add some smoothness to a model, to add a subdivision surface modifier. So let's see how that works. So under modifiers, we're going to select subdivision surface from the list. And instantly you can see it's smoothing out our model quite a bit. It's adding a lot more geometry because subdividing every face and edge, et cetera, to create these smoother lines. Now, in the subdivision surface properties, you've got a levels for the viewport and then you've got a levels for the render. So if I increase the levels in the viewport, you can actually see how it's adding more geometry arts, subdividing even more. Let's set this to three and I can see it's pretty nice and smooth. Now obviously this will add a lot more geometry to your scene. So it might slow down your scene if you just go too high with this number. So be careful when you increasing these numbers on the side. So the viewport level is only what you see in this 3D view port. And this will not affect how your render or your final render will come out. The render properties here on the side, this number will, this one number will control how the render users, this modifier. You can set the viewport to one. So it looks something like this. But if you are rendered, say 23, and when you render this, it will actually come out as smooth like a norm setting of three. So I hope that makes sense. It's just something to always keep in mind that your render is the important one. The viewport is only what you see in the viewport and won't affect your render. So you can always maybe drop the viewport down a bit so everything is nice and fast and smooth. But once you do your render, then it's going to use the render number. Another thing that you can do to smooth out objects is to change the shading from flat shading to smooth shading. So very simple to do that. You can do that even without using the subdivision surface modifier. If you have a model that's got some rounded edges, you can simply right-click and select shade smooth. Now they can see it smoothing out the object, and this will not really add any more geometry. So if I apply this modifier, if I go into edit mode, you can see that it's got steel, can still see the faces, etc, which you can't see it once it's Shade Smooth. If I rightly can set this back to shade flat, you can see that we can actually see the faces and the edges, which doesn't really look too nice. I really easy way to do it, just right-click, Shade, Smooth. Now, this doesn't always work with every object. Let me quickly show you what will happen if we have something like a cylinder. Cylinders got around ages and it's got sharp edges. Now, if we change this to shade smooth, you can see we get something that looks a bit strange because we telling blender that this object should be smooth or over. Now we want it to be smooth on the sides, but we don't want this edge at the top to be smooth as well. An easy way to fix that is to select the object. Then go to this little green triangle, you're on the side. This is the object data properties. And then we're going to scroll down to normals. And then there's little tick box that says auto smooth. And if you take this, this will actually work out the angle of these different ages. So this is a little bit more advanced, but I just want to show you guys that it is possible to shade smooth something that's got hard edges. So now we can see if I right-click. Shade flat. You can see that's the original way. It looks like an I. If I right-click Shade Smooth. It's just going to smooth the sides because it's using this 30 degree angle. You can actually change this angle and you can see how it works. If we increase this to maybe above 90, you can see then we get that same effect. But if I drop this below 90, then it will know that these edges are 90 degree edges and it will not smooth those edges, but default value is set to 30, and usually that gives you good results. There was just a little bit of a side thing on Shade Smooth and shade flat. Let's look at the Boolean modifier next. So I'm going to create a cube, shift a mesh cube. And then for the Boolean modifier, you always need two objects. So I'm going to create another object, shift a mesh, and this time I'm going to choose cylinder. So I want to make this cylinder taller. So I'm going to press S to scale it on the z-axis. Maybe just do that again. And then we can just scale it in. So just press S again to scale it in. So we have something like that. Just a cylinder kind of going through the box. So what I wanna do is I want to add the Boolean modifier to the cube object. Select the cube, go to your modifiers, that little orange. Click on Add Modifier, choose Boolean from the drop-down. Now, Booleans got some different functions intersect a union and difference. Let's start with difference. So this is going to ask you to select a second object. That's going to be basically it's going to calculate the Boolean between these two objects. So you can either just click here and select it from the drop-down list, or you can click on this dropper and then we're going to select our cylinder object right there. So you can see it's got cylinder there. Now we can't really see anything happening in the viewport. But let's see what happens if we hide this cylinder from the viewport to hide an object selected, press H to hide it. And now you can see we've got this hole cut through our cube. And that's basically what the Boolean modifier is doing. You can also hide and unhide objects using the outliner. So you can see here we've got the cylinder, but it's grayed out. And these little icon right next to each object. So you can just click that I to hide or unhide an object from the 3D view port. So I can hide the cube. I can unhide the cylinder. Next to that is a little camera. So that means what will be rendered. So if I disable the camera next to cylinder, it's not going to add it from the viewport. But when we do our final render, that cylinder will not be shown in the render. I can disable it for both the viewport and the render. So if I click on this eye, now it will not show in the viewport. It will also not show once we do a render. So you can kinda pick and choose what you wanna do that. So let's go back to the Boolean modifier. So currently that was difference. So I can now go and I can maybe rotate this cylinder, so it's maybe on an angle like that. And let's hide that from the viewport. And I can see how that is cutting through our cube. Another thing that we can do is let's go back to the modifier. So click on the cube, and let's change this from different to union. Now, union works a little bit different. Let's hide this object. And now you can see even our cylinder is hidden. We can still see the cylinder because this union boolean, we'll combine both objects into one. Alright? And then lastly we've got the intersect. So let's bring our cylinder back and I'm going to change it to intersect. Now you can see something weird is happening here. So let's hide our cylinder from the viewport. And I can see we're only left with this part. And this is the part where both the cube and the cylinder are intersecting with each other. So it's only going to leave that part that's intersecting between those two objects. So I hope that makes sense. Intersect is where they intersect. A union is to combine both. And then the difference is to cut a hole or something through another object. So let's set this back to difference. So we've got our cylinder cutting a hole in the cube. And once you are happy with the way this looks, you can always apply this modifier so you can click on the drop-down, select Apply. And now we can literally go and we can delete our cylinder because we don't need that anymore. So I can just press Delete. Now this is basically the new object we created. So if I go into edit mode, you can see that we can now use these phases to maybe create something else. I can extrude one of these phases. So whatever you wanna do. So let's just actually going to create that hole and it's going to sit that or save that as your new object. That's how to use or apply modifiers to objects in blender. You can see there's quite a few different modifiers that you can use. Go around, play with them, see what they do. That's the best way to learn how these modifiers work. So fun and just go through all of them, see what they do. And I will see you in the next lesson. 16. Lesson 15 - UV Unwrapping: Hey and welcome back. In this lesson, we're going to look at UV unwrapping inside of Blender. Now UV unwrapping can be quite confusing subject, but I'm going to try and explain the basics before we load our model that we created in an earlier lesson and unwrap that model to create a UV map. Now, UV unwrapping is basically a flat representation of your model. So think about this cube and think if you need to cut this cube open and lay it flat on a table. Now the reason we want to do that is so that we can project a texture or an image or a material onto that flat surface and then kinda rapid back into the shape of the model if that makes sense. So in the case of a cube, it's pretty simple. So I'm gonna go to the UV Editing Workspace yet the top to just show you guys the basics before we work on the chair. So on the right-hand side you can see the cube model, and on the left-hand side, you can see the unwrapped UV map for this cube. If I click on these faces on the left-hand side on the UV map, you can see it actually highlights the faces on the model in the 3D view port on the right-hand side. So if I click on this face, you can see it's highlighting this face on the model. If I click on this one, it will highlight another phase. Now, this cube has been unwrapped already by default. So most of the primitive objects you create in Blender will have an automatic UV map, so you don't really have to unwrap them, but only comes into effect when you create your own 3D model and you need to unwrap that model. So this is basically if you can imagine folding these two side faces back up and you fold this one in and then you fold these two in and in this one on top. So that's basically just to get like a visualization of how UV unwrapping works. Now, I've already created a like a test material just to show you guys how to apply or how a material will be applied to this UV map. I'm just going to show that texture that I created. And here you can see that it's now basically underneath that flat UV map. And now if I change to the material preview in the 3D view port, you can see how this is now folded back onto our 3D model. And now we can see the numbers on the 3D model. So if I click one of these phases, it will actually highlight the face on the UV map on the left-hand side of the screen. I hope this makes sense, but let's look at the chair and then you guys will understand that a little bit better. So this is just a very simple example of how a UV map works in the 3D world. So let's go back to the Layout tab and I'm going to load to the CEJ project that we created in an earlier lesson. So I'm gonna go to File Open. And I'm not going to save this. I'm just going to say Don't Save. And then I'm going to open the chair model that we created. Okay, so here is our chair. And very importantly before we start any UV unwrapping, you want to make sure that the size is applied. So if I press the shortcut to bring up the side menu, you can see that our Chase scale is 111, which is correct. But if you see anything else here, like a 0 something, or maybe a two or a 1 something, you want to apply the scale. Now remember, very easy to do that, highlight the CEJ or click on it to select it. Then press Control a and then select scale from the menu. And that's just going to apply the scale to this model to make the scale 111. And that's very important when we're doing any UV unwrapping suppress and again, to hide that menu. And with the CEJ selected, click on this UV Editing Workspace right here at the top. And that's going to take us into the UV Editing Workspace. Now we can see the CEJ or the 3D view port on the right-hand side. And on the left-hand side we have the UV map that we're going to create. Basically, you can use the same shortcuts on the left-hand side to navigate. So if you hold the middle mouse, you can pan. And if you hold Control middle mouse, then you can zoom in and out. So I'm just gonna kinda just position it so we can see it nicely like that. And then what I usually do is you can either click, see these two arrows here at the top. If you click this, this will automatically then show all the faces of the 3D model on the UV workspace. Or if these arrows are not selected, then you will manually have to select the faces to see them in the UV, on the UV side. So basically if I select multiple phases, you can see that now we can see those faces right there. But I prefer to just have these arrows turned on always. So you can always see all the faces of our model. Now you can see the UV map looks very similar to the cube that we unwrapped earlier. And that's because we started modelling this j from a cube. Now, the cube would have had its own UV map automatically applied to it because it's a primitive object and that's why it looks like the cube. But we will have to change this UV map so it looks a little bit better because this won't really work for this model. So what you can do is a very easy way to unwrap most things like a chair or a table. You can simply highlight all the phases. So hover your mouse over your model, press a to select all the faces. And really easy way is to. Right-click, go to UV, unwrap faces, and then you'll see all these different options to kind of project or to unwrap the UVs of that model. But usually the one that works the best is smart UV project. So if I click Smart TV project, it's going to ask me a few things so you can set the angle limit. You can increase the margin between islands. Now, each face or each combination of phases will be its own Ireland, they call it the UV island. And then you can also set the area of white that we're not really going to worry about now. So what I'm gonna do is I'm going to leave all the settings default and then just click. Okay, and let's see what happens. And I can see this looks pretty good actually. So we've got all the faces laid out flat on this side. So if I click one of them, you can see it will highlight that face on the UV map. So I can click on this one. You can see that that face right there. That's that face right there. That's the face right there. So now we can basically project or apply a material on top of these flat faces and then that will be rendered on the 3D model. Another thing that you can do is you can unwrap certain parts of the model at a time. So let me show you how to do this. So let's say you want to have this face, this face, and this face. Altogether. They are actually together at the moment, but I'm going to show you how to do this anyway. So I've selected these three phases on the chair. And the reason you want them together on the left-hand side is if you have a texture that will run over from the one-phase onto the next phase. You want these to be next to each other on this side, on the UV map basically, so that the texture can flow without any interruption between these two faces, if that makes sense. So if this was, let's say Yeah, there's a gap year. So the texture behind that, there will be a seem. So it won't be a seamless connection between these two phases, same with this face. So to unwrap these three together, I can select all three of them by holding Shift. And then I can simply right-click UV unwrap faces. And then I'm just going to select the top one unwrapped because I just want to unwrap those three. Now you can see if we zoom out here and I move this out of the way, just press G, we using the same shortcuts. You can use G to move or to rotate S to scale. So I've just moved that one UV island out of the way so we can see it. And as you can see, this is an exact representation of these phases just laid out flat. So we can do the same with the side as well. So I can select these faces. Right-click UV, unwrap, and pressing G, move them away, maybe scale them down. Let's place them there for now. So let's have a look at the back of the chair. So let's say you want a texture that will flow from the legs up to you, up to there, and then back to this leg. You want all of these phases to be next to each other in the UV map. Now currently they are next to each other, which is nice. But let's say this face was maybe unwrapped and placed over there. So then the texture is not going to flow. There will be an interruption or a seem right there. So an easy way to do this, just select those faces again like that. Right-click and unwrap. And then I'm just going to move them out of the way by pressing G S to scale and just place them anywhere outside. So once you're happy with your unwrap, you can select all of these UV islands by just dragging a box around them and then go to UV yet the top, and then select pack islands. Now, back islands is going to try and place them all inside of this UV box because it, everything needs to be inside of this UV or inside of this box. Now you can see some of these UV islands are quite big because we didn't really scale them down. So what you can do is you can also select all of them uv. And then I can go average Ireland scale. And that's just going to scale them, average the scale out. And then we can go back to UV back islands. Now that looks much better. Now let's say you do want a seam some way. You can actually tell blender way seems way you want to have some seems to do that is pressed too to go into edge select mode. And I'm just going to highlight this edge right here. So to mark this as a siem is pretty easy. Just highlight that edge, right-click and then go mark seam. Now you can see that edge is highlighted red, which means it will be a seem. So now if I select, go back to face select mode by pressing three. If I select these two faces, and I right-click, unwrap, unwrap. You'll see that it's going to try and kinda unwrap them individually. But if we don't want to seem, I'm just going to highlight this edge again, Right-click Clear seem. So we don't ever see me anymore. And I'm going to highlight these two faces again. Right-click, unwrap, unwrap. Now you can see they are perfectly connected because we removed that seem. So sometimes you do want a seam some way, sometimes you don't want to seem. But yeah, the most easy way to unwrap something that's like a chair or a table. Well, something with flat sides is just to select all the faces by pressing a right-click and then go to UV, unwrap faces and then use this smart UV project. And that usually gives me the best results with something like this. But if you have any problems, just do it manually. Just select some of the faces and unwrap those phases separately, and then go and select more faces on one side. Unwrap those ones. Select more faces, unwrapped. Those ones, do the same with the bottom if you have any issues. So I can go in and select maybe all these faces like that. And I can right-click unwrap, and it's just going to unwrap those phases for me. So the idea is just to go around your model and try and create flat uv maps are UV islands for each section are part of your 3D model. So as I said, I usually start with the smart UV project. So highlight everything, Right-click UV unwrapped faces and in smart EV project. And if this doesn't work, then just go in and manually unwrap certain phases until you've unwrapped all the phases of your model and make sure everything is inside this UV map or this UV box. And then once you have something that looks similar to this, it's all nice and flat and there's no weird lines and everything kinda looks. The scale should also match the ratio if you know what I mean. So if I click on this phase, you can see this phase, the size kinda looks the same. If I click on this one, you can see that the size is also kinda the same as that, same with this one. Now, if we didn't apply the scale for this object, if this wasn't 1111, these scales are, these proportions might have been completely different. And that's why it's very important to first apply the scale to your model before you start with any UV unwrapping. So once your UV map looks something like this, it doesn't need to look exactly like this, but just make sure it's all inside of this UV box and every single phase has been unwrapped and it's laying flat on this grid, then we can save our project. So I'm just going to press Tab to go out of edit mode. Then I'm going to go back to the layout and simply save the project. So yeah, that's the basics of UV unwrapping inside of Blender. The secret to UV unwrapping is to practice, practice, practice until it makes better sense to you. But yeah, just create a few very basic objects or models and see if you can UV unwrap them. And then I will see you in the next lesson. 17. Lesson 16 - Creating Your First Material: Hey, and welcome back. In this lesson, we're going to look at materials and how to create your first material inside of Blender. So before we do that, we're going to install an add-on that's just gonna make your life a little bit easier when working with the material nodes. So first of all, make sure that you have your chair project open. And also make sure that you have created the UV map that we've created in a previous lesson. And then once you're happy with that, we're gonna go and install the add-on. So click on edit and then go to Preferences. And this is where we install any add-ons for Blender. If you go to the add-on tab, you will see a list of installed add-ons and we simply going to search for a add-on called Node Wrangler. So you can just search for node and then make sure that you have this antique enabled add-ons only. Just untick that and you'll see any add-ons that's not currently enabled. And you'll see one that's called Node Wrangler. As you can see, they can also expand it to kinda just read a bit about it. You can look at the documentation if you want to, but you simply need to just click this box next to it, and then that add-on will be active. So we can save the preferences by clicking these little lines yet the bottom Save Preferences. And then you can simply just close the blender preferences. Now we've got that Add-on installed. Next, you need to download a texture that you want to apply to your chair. Now, I've got a very simple wood texture that I'm going to show you guys how to apply. So you can simply go to either Google and search for wood textures, or you can go to a website like poly haven or maybe quick soul. There are many, many different texture websites that you can use to download free textures. So just go to Google, search for either free textures or look at poly haven, or just simply go to Google Images and search for a wood texture. You want to make sure that the wood texture is high-quality. Because obviously if you are going to use a very low resolution or a low quality texture, then your CEJ will have that low quality texture applied to it. So make sure that you download something that's nice, high resolution and something that looks nice. Once you have your texture saved to your hard drive, you can continue to the next step. Let's create our first material. So simply click on your chair to select it. And then we're gonna go to the shading workspace right here at the top of the interface you'll see shading. Just click on that to open the shading workspace. Now you will see this will automatically change your view to the material preview renders. So we can actually see the material applied onto our model. And by default it will have this white material here at the bottom. Now I can expand this and resize it. And the node system, you can use the same controls. So holding middle mouse, you can pan around, holding Control middle mouse you can zoom in and out. You can also click on some of these nodes and you can move them around simply by dragging like that. But we're going to delete this default material and create a new material from scratch. So you'll see it says material here at the top. This is the name of the current material, but we just want to remove this one for now. So click on the little x next to that to remove it. So now we're going to create a new material for the CEJ. So make sure that your chair is selected. And then simply click on the New button, yet the bottom to create a new material. Now, we can give a name to our material Currently it's material dot 001, but I want to rename that to something a little bit easier to recognize. Some simply going to click here, and let's give this a name. I'm just going to give it a name, would press Enter. Now this is our wood texture basically. So now we can create different nodes and yeah, just create different textures or materials for this model. So the add-on that we installed Node Wrangler gives you some shortcuts to simply add some nodes that you usually will have to recreate manually. But all we need to do is click on this first node and then press Control T. And that will automatically create these three nodes for you. Now you can press G to move these nodes around, or you can simply just highlight them and drag them around like this. Now, the principled BSD f is your main shader basically. And this is where you can change things like the roughness or the metallic value or the specular value. But we'll get to that in a minute. So first let me quickly just explain what some of these nodes do. So the first node is that texture coordinate node, and that's basically telling blender how it's going to apply the material to the 3D object. And all you need to do here is make sure that it's coming from the UV map and then it's going to go into the vector. This is basically saying that we're going to use the UV map that we created earlier. Next is the mapping node. This is where you can adjust how the material is applied so you can actually move the material around, you can rotate it or you can scale it. But for now we'll just leave it as default. Next is the image texture node. And this is where we can actually load in that wood texture that we've downloaded. So I'm going to click on open and then I'm going to browse to the folder where I saved that wood texture. So click open, browse to the folder and then simply select the image texture that you download it. Now this can be a JPEG or a PNG or maybe a tiff file. But yeah, just select that image that you downloaded. Click on Open Image. Now we will see that our chair will update with that wood material. Now we can make some adjustments here. I can maybe set the roughness. If I lower this down, you can see that it will make our texture a lot shinier. So it's reflecting more. Or I can increase the roughness to make it more of a matte material, so it's not reflecting anything. Obviously, wood is not as reflective and depends on the type of food I suppose, but you can just change these values and see what it does. So the same goes for the metallic slider. So you can increase that to give them more of a metallic link to your object. So if I decrease the roughness to make it a bit more shinier, you can see that's almost looking like a little bit of a metallic object. So obviously with wood, we want to set the metallic value down to 0 maybe, and then play with the roughness until you get a look that you are happy with. So I'm not gonna go into too many details now, but this is basically how you apply a normal texture or an image texture to your model. So with this material applied, Let's go over to the UV Editing Workspace here at the top, I can show you how this material has been applied to the model. So first let's change the render mode here at the top, you can just scroll to the left. And I'm going to set this to material preview so we can actually see the material in the 3D view port on the side. Now if I click one of these faces, you can see that phase is actually representing that section of our texture. So I can click on another one. I can see this one represent that section of our image. So look what will happen if I take this face and I press G to move it around. If you look at the 3D model on the right-hand side, you can see how that texture is actually moving around because I'm moving the UV map around. I can also scale it. So press S to scale and as you can see, it will change the way that the material is applied to the 3D model. I think this will make you understand UV unwrapping a little bit easier. So as you can see, it's basically just showing what's underneath that UV map or that UV Ireland. And that's what you will see on your 3D models. So I'm going to scale this back and kinda just going to place it here. And these can overlap as well. It all depends on your texture that you're using. Let's say it's got some, an image of something or maybe some texts, then obviously you don't really want to overlap them. It depends if you want the same part of the image on multiple phases of your model. But usually you can overlap them if it's something like a wooden texture or just something that you won't really notice that it's reusing different parts of the image on your model. So we can do the same with this one. I can scale this one up and move it around until I get the look that I want. So maybe for these front legs and maybe for this section, you can rotate them as well and you can see how that will affect the model on the right hand side. So I want to rotate this 190 degrees. To do that, just press R and then simply type 90 and press Enter. And that's going to rotate at exactly 90 degrees. So let's scale that up a bit, maybe move it around. And let's look at our 3D model to see how that looks. That looks pretty cool. We can do the same with the sides. So this one is pretty nice, but I can maybe scale it up a bit. And just to get something that looks a bit better. The back we can do the same with some kind of select all of these phases. And I'm going to scale them up and move it to the center. You can do this to kinda just adjust how the material has been applied to your model. We can do the same with this side. Maybe let's select these faces. And maybe let's scale this up and move it up. So we get a little bit of a different look. Now you can see these two faces. They are not connected on the left-hand side if I select both of them like that. And that's why we don't, that's why we actually see a seam right here because they're not next to each other. But that's exactly what we want. We don't really want this to be a seamless wooden texture going from here over to that one because that's just not realistic. Play around with a UV map, select some of these phases, move them around, scale them around and see what looks best for your CEJ. Then you can also go back to the shading tab and make some more adjustments on this principle BST node to just get the exact look that you're going for. So maybe I want to increase the roughness a little bit more to make it less reflective. And I think that looks pretty nice for now. Now, if we look at the nodes again quickly, you can see that the image texture node, the wooden texture that we have downloaded, we're connecting that to the base color of this principle, be SDF shader. So you can disconnect this by just clicking and dragging that to disconnect that. And then you can specify your own base color. So I can click on the base color here and I can make this blue or red or anything, then that will just apply a normal color to your chair. So you can see as just a red material, there's nothing else on it, just normal red. But because we want to use an image texture, That's why we connecting that image texture to replace the base color and use that image as the base color basically. So that's why we see the word on our model. I hope that makes sense. Play around with some of these nodes and play around with some of these sliders and see what they do. But yeah, this is just the basics of how to apply an image texture as a material to an object of two, you have unwrapped it. So once you are happy with this, we can go back to the Layout tab, and we can also switch over to the material preview here at the top just to kinda see our material in the 3D view port. And once you are happy with your texture, you can save your project by just going File Save or using the shortcut Control S. And I will see you in the next lesson. 18. Lesson 17 - Adding Lights & An HDRI To Your Scene: Hey, and welcome back. In this lesson, we're going to look at how to add light to your scene, as well as how to add an HDRI TO seen. So as you can see, I've got the CEJ project open and I'm currently in solid view, so we don't see any lights or any materials, but let's start here. So to add a new light your scene, simply press Shift a to bring up the Add menu. And then you'll see there's a light section and underneath you have your different types of light. Point light, sun, spotlight, an area light. So let's create a point light. And you'll see it's going to create it in the center of your world wherever your 3D cursor is placed. Now I can simply press G and move it around. I'm going to press G and Z to move it up slightly so we can see the light right there on top of the chair. So to see the actual light will have to switch over to the render preview mode. So you'll see these little spheres here at the top. We've got the wireframe solid and in material preview to see the material. But then the last one is the render preview. So click on that one and then you will be able to see the lights interacting in your scene. Now, if I move this light around by pressing G, you can see how the light is affecting the model as well as the scene. So as you can see, we've got this gray background that's kinda lighting our model from all sides with this gray color. And that's basically where we're going to place our HDRI later. But for now I just want to get rid of this gray background. And to do that, we're going to go over to this little world, properties on the Properties panel on the site. So you'll see there's a little red world or earth. Just click on that. And you'll see currently it's got a background set and the color is this gray color. And in the strength is one. So that's this gray color that you can see all around our scene. So I'm simply going to bring this strength down to 0 so you can just click that and then type 0, press Enter analysis. You'll see that we won't have that gray background in our world. So now if you move the light around, you can actually see how it's affecting your scene. So press Escape to just cancel that move. Okay, let's see how you can change the properties of this light. So simply click on the light to select it, and then we're going to go to the light properties. You'll see a little green light bulb here in the Properties panel. Click that, and that will give you all the properties for that selected light. So as you can see, we've got a color. So you can click on the color and you can change the color of that light so we can make it like a red. And let's just make that more red. And then below that you've got the power so you can increase the strength of your lights. You can also just type in a number, maybe 120, and you can see how that is affecting our scene. Now if I move the light a little bit further away, you can see how the light is a little bit more stronger. Now, let's change it back to a white color. Then you can also increase or decrease the diffuse and you can see how that's affecting the scene. And you can also play with a specular and also volume if you're using any volumes in your scene. But for now you can leave them as default. You can also increase or decrease the radius of the light, and this will affect the shadows. So a smaller light will produce a sharp shadow and a bigger light will produce a softer shadow. So let me show you how that works. I'm going to move the chair up so it's above the grid. So I'm just going to press G and then z and move it up until it's kinda sitting on the grid. You can also look at this from the front by clicking on these axes. So if I click the x-axis, you will see everything right from the front. Now you can simply press G z again with a Chase selected and you can position it on top of the grid. Now I'm going to create a plane so that we can see how the shadow looks. So I'm going to press Shift a to bring up the ad when you go to Mesh and then select plane. And you'll see it's going to create this plane underneath our CEJ. I'm going to scale it up, so press S and scale it up. Alright, and I can see we have some shadows. So I'm going to move the light up slightly and maybe a little bit away from the chair like that. So now you can see if we make the radius of the light bigger, you'll get a softer shadow. So if we make this like two meters, you'll see we have a soft shadow behind the chair. And if I make this smaller, like maybe 0.1, you'll see that we have a much sharper shadow. You can also move it around and see how that affects the shadow. Let's just maybe make it one meter radius. Let's add a different type of light. Let's see how we can add a spotlight to the scene. So let's delete this light. I'm going to just highlight it, press X and delete that. And then I'm going to press Shift a to bring up the Add menu. To light, and this time I'm going to add a spotlight. So you can see the spotlight this added underneath our plane. So we need to move it up with a light selected, press G and Z and pull it up. Now this light is not very powerful at the moment. So with the light selected, go to the light properties and let's increase the power to about 200. And now you can see we have a nice spotlight above the CEJ. And the same thing goes for the radius. If we make the radius very small, like 0.1, you get a sharp shadow under the chair. And if we increase the radius to about two, you'll see that the shadow appears a lot softer. You can also change the color of the spotlight exactly the same as the point light. So I can change this to maybe like a blue color and you can see how that affects it. You can also use this yellow dot to kinda position your spotlights. You can just simply click it and drag it around. And that will kinda snap two objects. If you want to point it to a specific area on the chair, or you can just manually move it around until you are happy with the angle. You can also move the spotlight around and then use this to adjust the angle of that spotlight and then play with the strength. Let's maybe bring it up to about 500. And I can see that it's affecting the chair a little bit better. You can also add multiple lights. So I can add another point light and maybe put that underneath the CEJ like that. And I can change the color of this point light, maybe like that. Let's increase the power to around 100. And now you can see that we have two different lights in the scene. I usually like to add an area light in the scene. So let's add an area light. Let's bring that up and see how that works. So you can see the area light is almost like the spotlight, but it's just a flat plane. And then you can also change the angle by moving this yellow point around. We can also increase the power of the area light. Let's make it 300. And maybe let's delete the other lights for now. Let's just see how this area light works. So I'm going to delete the spotlight. Animals are going to delete this point light under the chair. Now you can see we have this area light and I can rotate it by just pressing R and then maybe just free rotate. Or you can press R and X to rotate around the x-axis, or r and y to rotate around the y-axis. You can obviously move it around as well. And the same thing goes for the size. So I can increase the size to about meters and then you'll get a lot of a softer shadow. If I bring the size down to 0.1, you'll see that we get a hard shadow. Maybe let's put that back to about two meters for now. And you can also change the shape of the light. So currently you can see the light is a square. So we can change this to a rectangle, or we can change this to a desk which is like a circle, or you can change it to a lapse. You can obviously then adjust the size here as well of that ellipse to make some adjustments. Similar, if it's on a rectangle, you can change the size of the rectangle exactly how you want your life to be. We can also add a sun. So I'm going to delete this light and I'm going to create a sun. So shift a light and then sun. So the sun works a little bit different than the other lights, so it doesn't really have a fall off. So it's always the same string. It doesn't matter how far it is from your scene. So even if I move it up all the way to there, you can see it's not really affecting the strength of the light because the sun has got so much power and doesn't really diffuse. You can change the angle by moving this yellow dot again. And maybe let's just move it off to the side so we can see what the angle looks like. You can also adjust the sun color by just adjusting the color right here. And you can obviously also increase or decrease the strength. Now the sun angle will affect your shadow. So if I make the angle bigger, you'll see that we'll get a softer shadow. If I make the angle smaller, like 0.1, you'll see that we get a much harder shadow. So that's 0.1. And if I change this to ten, you'll see that we get a softer shadow. Alright, so next we're going to look at HDRI and how you can add an HDRI to your scene to add light and also reflections to your objects. So an HDRI is basically a high dynamic range image that you can wrap around your whole scene as a 360 degree image. And that will light your scene from all angles. And it will also give you a reflection if you have any reflective objects in your scene. So first of all, let's delete this sunlight and let me quickly show you some examples of HDRI images. So here is a nice example of an HDRI image. As you can see, it's a 360-degree image that we can wrap around our scene. And because it's a high dynamic range image, these lights or the bright parts in this image will actually provide lighting in the scene as well as reflection. So let me show you how to add an HDRI. So if we go back to the world properties, the little round Earth icon where we change the color from 0 from one to 0. That is similar to an HDRI, but it's just using one single color. So we want to create or we want to add an image texture in the place of this gray color. So let's go back to the shading workspace here at the top. And there's a really easy way to just add an HDRI right here in the shading tab. At the bottom, you'll see there's a drop-down menu that says object or walled. So we're going to switch this over to world because we want to change world texture, which is the HDRI. And as you can see currently we have our world output node, this one. And then we also have this background note, which is using this gray color that we want to replace. Obviously, we can't see this in a C now because we are currently on material preview mode and we need to be in render mode or render preview to see our scene correctly. So I'm going to change over to the render icon view here on the side. As you can see, the scene is now completely black because we've deleted all the lights and we've set our background strength to 0. Obviously, if we increase this again to one, we will see that gray color, but we don't want the gray color. So I'm going to delete this node. So click on this background node, press X, and it's going to delete that node. Alright, so next we need to create a new node. And to create a new node, you can either go to the Add menu at the top and you can browse through these different folders to add different nodes, or you can search for a node. There's also a shortcut to bring up an Add menu, which is the same as when creating a new object. And let's shift a, press Shift a, and it's going to bring up the Add menu. Next, we're going to click on search to search for a specific node. And here you can just type environment. And you will see it's going to bring up the environment texture node. So click on that to create the node and then just click to place it again. Now the environment texture is basically the node where we're going to load our HDRI image into. So first, you need an HDRI image. So you can go to a website like poly haven or you can just simply Google for free HDRI images and you will find a couple. So I'm going to click on the Open button and I'm going to browse to the folder where I saved my HDRI. And I'm simply going to select it and then click Open Image. Now next we need to connect this node to the world output node. Simply click on this color output and connect it to the surface input on the world output node. Now, you will see that you're seeing will update. And if we orbit around the scene, you will actually see that that HDRI image now been wrapped around our world. As you can see, it's also lighting our chair because we don't have any lights in the scene as if you look in the outline here at the top, you see there is a plane which is the floor, and then there's the CEJ, so we don't have any lights. So the HDRI is actually providing the lighting for the scene. We can add another node so that we can control the strength of this HDRI. Because maybe you want to make the HDRI a little bit less or a little bit more darker or a little bit brighter. So for that, you need one extra node between these two nodes. So I'm just gonna move this one note off to the side and this note off to the side. And then I'm going to press Shift a and I'm going to click on Search. And this time I'm going to search for background. So click on background to create this new node. And now you can simply just drag this node onto this line to connect it, release. And you'll see that it's automatically going to connect into this node system. So now we have the strength value. If I bring this down to 0, you'll see that the HDRI will be completely black because we're using a string of 0. And if we set this to one, then it will use the normal standard value of that HDRI. But you can adjust this, you can bring this down to maybe point to, to just add a little bit of lighting to your scene, or even maybe 0.1. Now we can go back to the layout scene and we can add some lights. So let's add a spotlight. Let's bring the spotlight up and let's increase the strength of the spotlight to 250. So now you can see the light or the spotlight is affecting the scene as well as the HDRI. If I look at the back of the chair, you can see that we also get some lighting from the HDRI. And then obviously we're also getting the light from the spotlights so we can maybe increase the strength of that spotlight even more to about 500. And as you can see, we get the nice shadow at the bottom. We can maybe increase the radius to get a softer shadow. And we're still getting the light from the HGRI. Now the HDRI will also provide reflections. If you have a very reflective object in your scene, you will be able to see the HDRI in the reflection as well. So let me quickly show you how that will work. So I'm going to create a new mesh, and I'm this time I'm going to create a UV sphere. And I'm just going to bring it forward and maybe up a bit. So it's kind of off to the side. And I'm going to shade this one smooth. So I'm going to right-click Shade Smooth, so it's nice and smooth. Then with this sphere selected, I'm gonna go to the shading tab to give it a material. Remember we change this to world to see the HGRI settings here, I'm going to change this back to object. So this little drop-down here, just change it back to object. And this will give you access to change the material of a specific object with the sphere selected, I'm going to click New to create a new material. And this time I'm going to make it completely metallic. So I'm going to bring the metallic value up to one. And then I'm also going to bring the roughness down to 0. So it's basically a complete, perfect mirror or chrome ball. Now, if we go closer to this bowl or the sphere, you can see that it's reflecting the environment inside the sphere. So basically the HDRI will provide lighting as well as reflection, which is pretty cool. So we can go ahead and we can delete the sphere for now. And let's go back to the layout workspace. Another thing that you can do is you can hide the HDRI from the viewport. So sometimes you don't really want to see the HDRI in the viewport, but you still want that HGRI to affect your scene with lighting and reflections. So to do that, we're going to go to this little camera icon on the side, and this is the Render properties. And then scroll all the way down until you get to form and expand that foam. And then you basically just take this transparent box and that will hide the HDRI from the scene. And it will basically show a transparent background, but it will still affect your scene. So we still get the lighting and we still get the reflections from that HDRI image, which is very nice. Also, if you want to make quick adjustments to your HDRI image without going into the shading workspace, you can simply click on this world properties icon here on the side. And here you can adjust the strength. So I can increase the strength of the HDRI right here or bring it down, or even set it to 0 if I want to hide it completely from the scene. But let's set it to like 0.2 for now, just to get a little bit of lighting from the HDRI, which you can change the settings right here on the side. Alright, so once you're happy with the lighting in your scene, you can save your project. And I will see you in the next lesson. 19. Lesson 18 - Adding A Camera To Your Scene: Hey, and welcome back. In this lesson, we're going to see how easy it is to add a camera to your scene. Basically, you always need a camera if you want to render something from Blender. So to create a camera is really simple. Press Shift a again to bring up the Add menu. And you'll see camera right there. So just click camera and it will create a camera wherever the 3D cursor is. So as you can see currently, it's created kinda underneath our floor. So I'm just going to bring that forward. So I'm going to press G and just move around the x-axis and then move it on the z-axis. We can bring it up a bit. Now we've got this camera in the scene. Maybe let's move it over to this side. So it's kinda pointing towards the chair. Now to look through the camera is simply click this camera icon here on the right-hand side of the 3D view port. So if I click this, you'll see that we're going to dive into the camera. And now you can basically see what we see through the camera. You can also adjust the view, maybe just zoom in a bit. Or you can also pan around to adjust that view. So you can also move the camera while you're looking through the camera, which makes things a lot easier. To do that bring up the side menu by pressing N on the keyboard. And then we're gonna go to the View tab. And then you will see there is a lock section and then it says camera to view. Now, if I click this, now, I can actually just move around the scene by using the middle mouse button, holding Shift, middle mouse to pan, or holding control to zoom in and out. Now I can basically move around in the camera and adjust the view exactly the way you want it. So let's say we want to maybe have an angle from this side so you can kinda adjust the camera until you are happy with the angle. And then once you're happy, always remember to untick this camera to view. Because if you don't, it's going to just move the camera if you may be trying to orbit the scene again. So set your camera position exactly the way you want it. And then untick camera to view and then press Enter again to just hide that side menu. Now if I orbit, you will see that will orbit out from the camera and the camera is going to stay in position. And anytime you want to look through the camera again, you can just click this camera icon and it's going to dive into the camera again. You can also use the shortcut 0 on the numpad on your keyboard. If you press 0, it's going to jump to the camera. And then you can just move out again if you want to. Now, let's go into the camera again by clicking the camera icon. And with the cameras selected in the outliner, we can change some of the camera properties. So you'll see there's now a camera icon here at the bottom. And if you click this, you'll get access to all the camera settings or the camera parameters. You can change the focal length. So this is basically the lens that you're using. So you can go for a very wide angle and look if you bring that down or you can zoom in to have a more of a telephoto lens look. So I'm going to set this to about 35 for now. So you can also enable depth of field on this camera. If you take this depth of field the on the side, then we can set the focal, the older focus distance. And you can see how that will affect your scene. If you want to have an object close to the camera in focus and everything out of focus, you can use the Depth of Field Settings. Let's say I create a cube, just going to scale it down and maybe just bring that closer to the camera. And maybe let's bring it closer even more. Now, if we click on the camera and adjust this value right here, we can see, maybe we can get that object in focus. You can see the cube is now coming into focus. We can also use the focus on object. Just click on this dropper and click on the cube or the object that you want to focus on. Now you can see that the cube is in focus and the chair is slightly out of focus. You can also go into the aperture settings to make this even more dramatic by bringing the f-stop number down. So if we bring this down to like 0.2, maybe, you can see now we're getting a much bigger effect. I can maybe increase the f-stop a little bit more to maybe 0.5. Now you can see that the cube is nice in focus and the chair is out-of-focus. So I'm going to disable the depth of field for now and I'm going to delete this cube. So once you are happy with the angle of your camera, you can go ahead and save your project. I will see you in the next lesson. 20. Lesson 19 - Rendering With Eevee & Cycles: Hey, and welcome back. In this lesson, we're going to look at rendering in Blender. There are two different render engines that you can use. The first one is called EV, which is a real-time renderer, which is almost similar to a game engine, which is not photo-realistic, but it will give you very fast renderers and very quick results. Secondly, there's the Cycles Render, which is the photorealistic render in blender, which is a lot slower than EV, but it's gonna give you photorealistic renders. So before we start rendering, Let's just add material to the floor and make our scene a little bit better. So I'm going to click on the floor. And first of all, we need to apply the scale because if I press the N menu, you will see under the item tab that our scale is not 111. So with the floor selected press Control a, and then select scale. Now you can see the scale is 111 and that's what we want. So with the floor selected, we can click on the shading tab at the top to go into the shading workspace. And let's give it a nice material. So I'm going to click on New to create a new material. And let's just give this material and name. I'm going to call it floor. So for this, I'm not going to add an image texture. I'm simply just going to give it a color. So it says base color. Let's change this to maybe a blue and maybe let's make it a darker color, blue, something like that. So let's decrease the roughness. So it's a little bit more reflective. If we go all the way to 0, you will see that it's reflecting our HDRI image very nicely. So I'm going to bring it up maybe to around 0.2. So we have a little bit of reflections, but not too much. We can also play with the metallic value to make it more like a metallic looking floor like that. But I think for now let's leave metallic on 0. Okay, So that's a very basic material for our floor, but that should work fine. Let's go back to the layout workspace and let's look through the camera. So I'm going to click on the little camera icon to look through the camera. Now I wanted to just adjust the floor so our scene looks a bit better. So I'm going to click on the floor and I'm going to rotate it on the z-axis. So press R and then Z, and I'm going to rotate it. So it's kinda looking away from the camera. And I'm going to scale it up again. So it's just filling our camera view. So press S to scale and just scale it up until it's filling the whole camera view. Now we need to reset or apply the scale again, because if we look at the scale, It's now 2.078. I'm just going to press Control a and just apply the scale again. Now what I wanna do is I want to just create a little bit of an infinity wall yet the back, so we don't see this transparent part of the scene. So let's move out of the camera. And I'm going to select the plane, go into edit mode by pressing Tab. And then I'm going to press to go into edge select mode. And I'm going to select this back edge of the floor. So if you look through the camera, we're selecting that edge right there at the back. With that edge selected, we're going to extrude it up. I'm going to press E to extrude. And then I'm going to press Z to extrude it on the z-axis only. So I'm gonna move it up all the way to about there. Now if we look through the camera, you can see now that we have that kind of wall at the back. But I don't want to see this hard line right there. So I want to smooth out that line. And an easy way to do that is just to add a bevel. So with that line selected or that edge selected, press Control B to bevel. Just pull it out a bit, maybe like that. And then increase the segments here on this pop-up menu to maybe something like 24 to get a nice smooth bevel. Now press tab again to go back to object mode. And I can still see these lines on the floor area on this bevel. So we want to set this to shade smooth. So right-click and simply select Shade Smooth. Now you can see it's nice and smooth. And if we look through the camera, you can see we have this nice smooth back wall. So maybe we can bring the reflectivity of the floor a bit down. So I'm gonna go back to the shading tab with a flaw selected. Let's look through the camera in the shading view. Now we can adjust this roughness value until we get something that looks a bit nicer cars whether reflections, it's quite harsh. So I'm gonna bring this up to around 0.5. And you can see that's looking pretty nice. So let's go back to the layout workspace. Maybe let's increase the intensity of our spotlight. So select the spotlight, go to the light properties and maybe increase this power to around 1 thousand. Maybe even 5 thousand, to have a nice bright spotlight. Maybe not that bright. Then set it to 3 thousand. You can play around with it until you are happy with the way it looks. So save your project now and let's have a look at the render options. So first of all. The render properties is this little camera icon here on the side. So if you click on this, you will get all your render settings. Right here. At the top, you'll see the render engine EV or cycles. We're not going to bother with workbench for now. Just focus on EV and cycles. Also make sure that you're under render preview here on the side corner so that we actually see the changes that we're making to the render settings. Let's first look at the EV render engine. I'm not gonna go through all the settings because there's just way too many. So I'm just gonna go over the basics. First of all, you get your sampling. Sampling is basically the quality of your render. So you get a render sampling parameter as well as a viewport sampling parameter. So the viewport samples will only be affecting the viewport, what you see in the viewport That's not going to affect your final render. That's what this number is for your render samples. So 64 is kinda okay, but usually you want to increase this to around 128 or maybe 256 even to get a nice clean render for the viewport, this can be anything. If I bring this down to like one, you'll see that our shadows will look very bad and it's will be nice and smooth if we move around, but the quality be that great in the viewport. But if we render this will get a sample count of 128, which will be a lot better. So it will look better. But I'm going to increase the viewport samples to around 32, so we get a little bit of a better view of how our final render is going to look like. Here, we can also enable ambient occlusion. So if we take this, you'll get that nice little contact shadows. We can also enable bloom if you have any lights in the scene that's very bright and causes like a little bit of a glow. Or if you have emission materials that will just add that nice glow to your scene. We can also enable screen space reflections that will give us reflections. That's kinda, it's not super realistic, but it's like a screen space reflections. And you can see it differently, increases the quality of our renderer, but you can kinda see the CEJ reflection below it. Yeah, you can definitely see it there. So that's just something that will make your EV renders a little bit better if you ink or if you enable your screen space reflections. Let's see how it looks without it. So you can see there's no reflections. And if I enable this, you can see that chair is now reflecting. You can also enable things like motion blur if you're doing an animation render. And you can also change some of the shadow values here, but we're not gonna go into that for now. Right at the bottom, you've got your color management. So let's just look through the camera again. And the color management, this is basically where you adjust the final image, the look of the final image. So currently this is set to full mic, which will give you a very flat looking image. But if we change this to standard, you'll see that our scene will change slightly. And then you can also play with a look. You can set it to high contrast, or you can change it to maybe like a medium contrast. Anything that you can play around and see what you like. You can also use curves to make some curves adjustments here. So I can go in here and I can create an S-curve to create some contrast. You can play around with that and see how that works. But I'm going to disable the curves for now. And I'm going to set this back to full mic for now. So that is the EV render engine. Let's switch over to cycles and see how that differs. So I'm going to click cycles and instantly you're going to see the viewports is kinda slowly rendering and slowly getting better and better and better. Now, as I mentioned before, cycles will give you photorealistic renders, but it will be a lot slower. So if I now move around, you'll see that it's a lot slower and it's kinda pixelated. And whenever I can stop moving around, it's going to try and render that frame. So let's look through the camera and see what we can adjust. Yeah. So under sampling again, this is where you get your quality of your render or where you set the quality of your render. So again, you get viewport and render, and you get a few extra options here with cycles. So first of all, you get your maximum samples or your minimum samples for the viewport and similar for the Render. So I usually just untick this noise threshold and I just set the samples manually. So currently you can see the viewport samples is set to 1024, which is quite high. So I'm going to bring this down to around 32. As I don't really need a lot of samples just for the viewport. You can see in the corner that it's rendering those samples and it's gonna go up all the way to 32 and it can stop there. It's getting better and better and better as it goes along. What we can also do is we can use denoising because as you can see, the render is currently very noisy. Lot of pixels. We can see the noise in the background everywhere actually. If we enable the noise, it's going to use a de-noising folder, which is really, really good to get rid of those noise. And now you can see it's still rendering. It's quite slow, but you can see it's a lot less noisy. So you can choose if you want to enable the noise for the viewport, because basically this will just change. This will just affect the viewport settings. So I'm going to take that off for now. Then under Render, this is basically your final render output. What is, what samples and settings that we'll use. So I usually start at around a 128 samples for an, a render. But usually you will take that up to maybe 256 or even 512, or even 1024 if you want to go super high-quality, just remember the more samples that you use, the longer the render time will be. So I'm also going to use denoising. You can also go into the denoising settings and change which the noisy you're using. If you're using an NVIDIA graphics card, you can change this to optics, and that will give you faster results. Just a note, if you are using a dedicated graphics card, like an NVIDIA graphics card, you can set your under the Render Engine you'll see device just change this to GPU, compute. If you have a dedicated GPU, then you can set it here. But for this, I'm just going to use CPU for now. Alright, so let's see how we can render a still image using either cycles or EV. So I'm going to change back to EV for now. I'm just going to change the render engine to EV, and you'll see that the view port will update instantly. And then we can literally just click Render, Render Image yet the top. And this will then load for a bit and it's going to open the render workspace and you will see your final render. You can also zoom in here to just inspect your render the CRF looks like. Now I can simply save the image if you're happy with your render. So you can click on Image, Save As now you can specify a folder and you can give it a name at the bottom. I'm just going to call this EV render. Now you're on the side. You can choose the file format if you want to export a PNG or JPEG. And if you're doing a PNG, you can either decide if you want just RGB or if you want an alpha channel as well. So if you have anything transparent in your scene, you can render that transparency or the alpha channel with that render, or you can just set it to RGB if you just want to render the actual image. So I'm going to save the image, and there we go. So now we can press escape to go back to the layout workspace. And this time we're going to change over two cycles. So I'm going to change it to cycles. And same thing again. I'm going to go to render and then click on Render Image. And I can see it's going to start rendering the image. And obviously cycles take a little bit longer or a lot longer actually then EV, yet the topic and see we've set the samples to 128 and it's now going through those samples. It's currently at sample number eight, and it's gonna go all the way to sample 128. And then it's going to apply the denoising folder right at the end. I'm just going to fast forward until it gets to 128. Okay, so it reached sample 128 and it also applied the denoising folder. So as you can see, it's nice and clean. If I zoom in here, we don't really see any noise in the image, which is nice. And now we can save this image as a still image. So just click on an image at the top, go to Save As. And this time I'm just going to call this Cycles Render. Again, you can choose the format PNG, JPEG, whatever you want. And I'm going to set this to RGB because there's no transparency in the scene and then simply click on Save as image. Now we can press escape and we're back in the layout workspace. Let's save our project now. Let's have a look at these two renders. So this is the EV render and that is the Cycles Render. If I toggle between them, you can kinda see that the Cycles render the lighting is looking a lot better and the shadows are also looking a lot better. Lighting is looking better. An EV is kinda, it's not looking bad, but it's not photo-realistic. So you basically just need to decide if you want a render That's going to be faster and a little bit less realistic. Or if you want to go for something full photo realistic, then you're going to go with a Cycles render. Let's see how you can render an animation because that's slightly different. So I'm going to change back to the EV renderer, but you can obviously do this inside of EV or with the Cycles Render. So for this, I'm just going to add a very, very quick animation to our scene. So make sure you're on frame one year on the timeline. And I'm simply just going to move this CEJ maybe off to the side right there. And I'm going to add a keyframe with a Chase tool selected press. I. And then I'm simply going to click on location to add a location keyframe on frame one. Now let's go to, let's say frame 100 maybe. And let's move the chair back. So I'm going to press G and X and just kinda bring it back into the spotlight. And then I'm going to press I and select location to create a location keyframe right there. I want to make sure these keyframes are nice and smooth. So I'm going to select them both. Right-click, go to interpolation mode, and I'm going to set this to bezier. So now if I play this back, you'll see that we have that slow movement. And then it's going to come into the spotlight. And it's going to stop right there. So our animation is going from frame 0 to frame 100. So let's set our animation duration to 100 frames. Currently it's set to 250. So I'm just gonna change this to 100. And now you can see we only have those frames. So if we go back to Solid mode, so just so it's a little bit faster if I play this back, you'll see that it's only going to loop frame one to frame 100. Let's say we want to render this animation out now. So first let's save our scene. And then we're gonna go to this second icon underneath the render properties, which is the output properties. So output properties is where you can set the resolution of your renders. So currently it's set to HD 120 by 1080. And you can also change the aspect and your frame rate, etc. Here. You can also set the frame start and a frame end right here as well. So we've done that already. So our animation as a 100 frames. So you can set this up here as well. If you only want to render from, let's say from frame 20, you can enter that year. Then where it says Output. This is where you can choose a folder. So I'm going to click the little folder icon. And what's going to browse to a folder where I want to output this render. So give it a name. I'm going to call this animation or anything you like and click Accept. Now we can choose what format we want our animation to render as. You can still render it as an image sequence, which is basically for each frame it's going to render a still image. That's very good if you rendering long animations that take really long way if you're going to do any compositing afterwards. Because if you render a video file or mp4 MOV, let's say your render gets halfway and you, your computer crashes, then you're going to lose that all render. But if you render an image sequence, then it's going to stop where the last image or when the last image was rendered. So then you can always go back and you can resume that render if you have a crash. So best practice is always to render something like a PNG or maybe a tiff or JPEG sequence. But for this example, I'm going to show you how to render to an MP4 video as well. So to render an MP4, I'm going to change this file format from P and G, and I'm going to change it to FFmpeg video. Then I'm going to scroll down to encoding and I'm going to expand in coding where it says container, I want to change this to MPEG-4. Then below that we've got the codec settings. So you can change if you wanted to use a different codec. But for now, H.264 is 100% fine. Then you can also set the output quality. So I'm going to set this to high-quality and encoding speed. I'm going to leave on good for now. That should be fine. Once you're happy with all the Render Settings, I'm simply going to go to Render. Then instead of clicking render image, I'm going to click on Render Animation. And that's going to take us into the render workspace. And you'll see that it's going to start rendering all the frames. So if you just keep an eye on the top section, it says frame five. And it will just go through all the frames and save them all into an MP4 container file. This might take a few minutes, so I'm just going to fast forward through this random process. Once the render is complete, you can press Escape. And now you should have an MP4 file that you can view. So you can see is the animation that we rendered. And this was rendered with the EV render engine. So obviously you can choose if you want to render your animation using cycles or EV, play around and see what types of renderers you can create. Obviously, you can add some key frames to your camera as well. So you can add a position keyframe, go to the end and maybe move your camera slightly and add a new keyframe there. Just play around, practice and see what cool renders you can create. Please save your project now, and I will see you in the next lesson. 21. Conclusion: We've reached the end of this course. Thank you so much for completing it and well done to you. I really hope that you've learned a lot and that you will enjoy your exciting blended journey ahead. Remember we've only scratched the surface and once you're comfortable jumping to my six-hour blend of masterclass to learn even more, do now have the power to create amazing 3D models and animate them to create great grinders. Keep practicing and you will get better with each and every render. Feel free to revisit some of the lessons to sharpen up on certain things and please reach out if you have any questions. I would really appreciate it. You can write this course and maybe leave a short review that helps me so that I can make more courses just like this one. Keep well and keep on creating. Cheers.