Learn how to create old realistic cannon with Blender

1. 001 Course intro: Hi everyone. My name is Mara hussein. I'm a 3D artist and today I want to share with you my new blender course. And this course we will learn how to create this cannon from start to finish. As you can see, we have a lot of details. And step-by-step, we will learn how to create all of that with the blender. The result that you see right now, it's the final render results. We will use cycle tool or under the final image. And we will use compositor to post-process the image and make it ready. I have multiple images. Let's see them together. As you can see here, we have a lot of details. Then materials looks nice and the realistic, we will learn how to create the metal material or let's say realistic material. And how can we add them bumpiness in specific places? And how can we add darkness between the crevices to make the result looks realistic? And the same scenario for the world, as you can see. The edges, we have imperfection and we have some variation that we will learn step-by-step how to achieve that. And for the modelling, we will model all of the details that you see right now. And after the modeling, we will rub the whole canon to make us ready to receive the texture and the correct way. And after the rubbing, we will start creating the material. And as you can see, this is the final result of the material. When the material section is done, we will use HDR image to illuminate the scene and we will make our final render using cycle engine. When Darren there is finished, we will go to the compositor to make some post-processing editing to the image, to make it looks nice and ready for hearing this, browse the other images. All right, as you can see, we have a lot of details and it is looks realistic. We will learn how to use ambient occlusion technique to put some bumpiness in specific places, as you can see here. In this area, for the backside of the payroll, we have some bumpiness in this area. And we will learn how to create a specific mask that could help us to achieve something like this. And we will do that step-by-step. In this same scenario, we will use it on the ward and on the metal material. This, as you can see here. Alright, let's go to another image. We will learn how to use depth of field inside the blender to achieve nice focus, render or image like this one. Alright, this is another clause short here. You can kick the details. Even if you have a clause short, you will still have very nice details, or let's say very nice result here. Alright, this is another chart here. Alright, I think that's it. If you find this result nice and beautiful, you can join me today and let's create this together. Alright. See you inside. 2. 002 Before you start: Hello everyone and welcome to this video. Before you start, I just wanted to mention something important here. At the bottom, I will leave a folder there. I will call it project folder. Inside that project folder, you will find some folders and materials here. Blueprints. Alright? That these images are very helpful if you want to, if you want to use them to create a Canon. I have the back, front, left, right, top view, all these images here. And I have the final render. If you want to check the final results, all of these images that I made, you'll find right here. And I have the reference images, all the images that I used. I put them inside this folder and I have a folder for the ticket sure. All the tickets Sure. I use you'll find them right here. And here you have two blender file. This is for the final result and is for the modelling section. And here we have this tool is called PRF, this file and satisfy all, find all of the reference images. You will find them here and here as well. But if you want to open this tool, you will need to download a free tool. It's called purify. You can download this tool. You can have problems the images like what I like this e.g. you can zoom in, zoom out. You can move some images and you can double-click on any image and famous, alright, e.g. like this, and hit double-click and zoom back. So this tool is very helpful. I advise you to use it. So download this tool from pure ref.com and try to use it. This is the website of pure of tool. Just go here and hit get the pure rough or you can go to the download section. And after that, you will find the download button to download this tool. So I guess that's it for this video and see you in the next one. 3. 003 Modeling Adding the referace images to start the modeling: Hello everyone, and we'll come back here. Alright, let's see how can we create the Canon? Okay, I have this folder. Inside this folder, I have a bunch of images. I collected them from the Internet and I have this image, very nice. It's opening together. I got some information here, the length of the camera itself, and I don't have much information here. Just this, this piece right here. And maybe by using the scale as we have here, I think we can, I guess the size of the other parts list for now. And let's go to Blender and maybe we can open a new window here. And it's triggered us to image editor. Or actually we can do something else. We can sublet this to two, sorry. The sublattice to two. And let's switch this window to image editor and let's drag and drop the image right here. And for any reason, if we want to maximize this, just drag this and the closest. Alright, It's very nice and beautiful way to navigate your image. All right, so now we have the scale of this, the canon. And it's about 1 m, or let's say 1.5 meter. Okay, let's see how can we start with this piece? I think we can bring it here inside the 3D viewport, and I don't need all of these, we can delete them, just hit a to select them, and then hit X to open the delete menu and hit D to delete. Or you can hit delete if you like. Let's go to the front. Just hit number one from that I'm bad, or you can go to view and the view port and front from here. Alright, let's go back to the same folder. Just drag and drop them in here and say, Alright, so now we have the image, but it is not in the middle. That's not a problem actually, but I will put things in the middle. Just selected and hit Alt guitar, say that but I think I need to activate secrete Karski. Alright, now whatever button I will praise. You will know it. So I will hit all the key after selecting the image. Tourists sets the location. Because if I go here to the bottom right, as you can see, we have a number here and the x, the image goes to the X-direction about six meter into the z-axis, about 1-meter. The middle dot here and at the center. So any tourists right here? All what I want to do is hit Alt key, and that's it. As you can see. Now all the x's becomes zero. That's cool. What else? We need to add a guide here. Let's take this back just a little bit. Tumble around and hit G, and push this back to the y-axis, you need to hit G and then y. To book this to the y-axis. Or you can activate the gizmo from here and the crop it gives myself and move it to the other. I feel like I've taught it. That's because the 3D cursor is in the middle. I will add a new geometry and this dough to add. Actually, I can go to the front and hit Shift a to add and let's add e.g. what? A cylinder maybe. Now we got a cylinder. And because we are in the front view, I can open them in you right here and go to Alignment section and align this to the view, to rotate this cylinder to the view. I can't rotate it to the x-axis, but this idea to be faster, something like this. Alright, so that's cool. Or actually I can leave it. Yeah, I can leave it. Shift a and add the cylinder and rotate it to their y itself. Ry 90-degree, something like this to align it to the image. And let's give this length by using maybe the dimension here. So this is the dimension to the Z and this is two the y and this is to the x, as you can see here. Don't forget, we are rotated the cylinder because of that these ices are not matching the dimension that you see here in a few board. Anyway. So now we know that if we move the z-axis, we will have scale to the x-axis. We need to add this number right here, 1.53 meter. So let's add this. Alright. Now with the dimension is the skill according to meters. We can think that if you like for any reason, you can go here and go to Units, and go to length and the length to whatever option here you want to pick. Okay, Let's go back here and let's add in the z, 1.53, 0.53, and then hit Enter. And now we got the skill for the x and y. You can grab them like this and maybe you can add any number because this is just like Guide. E.g. I. Will add points 1515 centimeter. And that will be good and okay. All right. Now what's next? Now this cylinder become our guide and we need to scale the image to match the cylinder size. I just need to scale the crop the image Farris, and then I can go to scale it from here and scale it by using this circle. Or I can stick with this option select box and just hit S to scale the image. And it gets to move it and let's match it. Or something like this. By the way, you can do a nice trick here. I can, by the way, I just need to make him something. The dimension from this edge to this edge right here. Alright, from here to here. So what I will do is I will move the image in a line, that image right here and this area, something like this. And I will go to transform pivot points and its readers to 3D cursor, because I need to scale according to 3D cursor. If I make us care right now, the scale works according to the point that I have here. But if I switch this to 3D cursor, the skill will work according to the 3D cursor position. Okay, now, 3D cursor is right here. I will move it two inputs here. Okay, to do this, just hold Shift and then right-click and click here. And now 3D cursor become here. Now if I make us killing this killing bulwark from here out. Alright? The idea, so it s until this edge, match this edge here. All right, Now we got the correct scale. As a PR thing. I've taught her that I need to trace the image here and create all of the details. And by the way, just need to make him something. I collected and images from the Internet. As I mentioned recently, I got a nice tool is called pure ref tool. I collected all the images inside pure ref tool. Okay, let's go to bureau for endless openness. Alright, this pure ref. And here we have all the images. And actually inside the folder I have more images. If I crop them. Let's move those just a little bit, maybe right here, and maybe I can hit Control a to select all the images and drop them here. As you can see this how to work the pure ref, it's very nice tool. Alright, if you use the middle mouse button, you can pan, rotate the wheel, zoom in, zoom out. You can select one image and move it in any place you like. You can scale any image, e.g. I. Can grab this and scale it like this. Or I can hit Control with Alt and left-click and move the mouse to the left. Arthritis scale it. I can hit Alt Shift and left-click to flip the image to the side that I want. And it's very nice tool. So, yeah. Alright, That's very cool. Alright, I have all of these images and I can pick any one of these and use it as a reference for me. But I'm not going to focus on one model. I will focus on all of them and pick the idea from them and creates my Canon. Okay, let's take this out for now. And maybe we need just to mix some scaling for these. Alright, I think that's what be better or at least move those here and maybe club those, Control Alt and kill those just a little bit. Maybe those here because they are very small. And maybe we can club those Alt Shift and scale those as well. Alright, now grab them all and let's hit Control V to organize them again. And maybe the big images we can club them and make them, make them smaller. Maybe this one, alright, this one maybe, or maybe this one alone, make it smaller. Club them again like that. Alright, let's select those, move those away. We don't need them for now. Club those can throw be to organize them like this. And that's great. Okay. Alright, let's focus on this piece right here. I need to create something close to what I have here. It's very nice and similar to the image that we have here. So we will use this, okay? By the way, we have some duplicate images. We don't need them, e.g. those we can delete them. This one, this one right here, this one here, and whatever else. Right? I think that's all. Let's kill those just a little bit. We want them to be big. Alright, this one, we don't need this. I just delete it. And what, what about this? Alright, let's put this right here. All right, That's cool. Yeah, We have two of them. Is delete this one as well. Can throw P in the organism again. Those images, we don't need them accurately. I will delete them, just hit Delete. And I'll stick with those. Alright. Now I need to pick this image and puts it inside the blender to use that as a guide. Okay, let's take this out and let's go back here. Now we have the guide. And I can use this one, or I can bring a new image and use it as a guide. So we can add pure rough right here. And we can make the tool pure of tool a little bit smaller because we don't need it to take too much space from the 3D view port. So in this case, e.g. I. Will assume just a little bit to make this image at this size. And I will select it, hit Control Shift R to resize the tool to this image, something like this. And that's very nice. I will put this right here as a guide and I can flip it Alt, Shift and click. I can flip it like this if I want. I can use it as a guide. And it's almost similar to what we have here. Alright, I will put this right here. And let's start tracing the image as we got here. Let's see from where we can start. Alright, let's go to the France and let's hit Shift a and let's add plane maybe. Okay, now we have the plant right here. What I will do it, sorry, I will hit G and maybe I can move right here, scale it to make it small. Let's kill still rocking according to the 3D cursor. We don't need that. Let's bring this back to bounding box and tap to edit mode. Hit a select all the vertices, hit M to open them Erica menu, and hit me right to the center. Now we got just one point here in the middle. Now if I hit E to extrude, I will extrude the vertex and create another vertex. In between. These two vertices have an edge. So let's make one extrusion just like that. And now let's go to the front end. I will use this vertex to trace the canon here. Heartless, extrude this right here. Okay? And let's explore this down, maybe here, and maybe see what we got here. Maybe we need to extrude this just a little bit. Go to the front. If number one, extra this right here. And maybe one down just a little bit. Maybe when it's written like that. When it's freaking up. The idea here is just to trace the lines. Hit E and extrude here e to the z, e to the x and the x through this. By the way, I'm not hits x and z when I make x true, can I use the middle mouse button? When I hit E, I hit the wheel, press it, and go to the x-direction. You will activate x-axis. You can use the Smith or that it's very fast. Let's make one extrusion down to the sea and make a long story can right here. One up, one like this. One here, another one right here. And it's through this right here. And now we have one next week in there. Think of this down due to the Z and move this right here. It's e to extrude, another extrusion to the x, e to the z, another E here. Alright, keep doing that. Until you trace the whole canon. Let's see what we have here. Has a very cool hit E again, at least, sorry, Let's go to the front again. It's easy to make shrieking like this and like this. Something like that. Something like this. Maybe you want x region here. So now we traced this and maybe we can club this vertex here, and he can move it. And let's put it right here maybe or maybe here for now. Sorry. Well, this right here. Let's see how can we create this? Alright, this area similar to what we have here, we can create something like this. In this case, I will hit E2 mixed extrusion like that. And one like this. Just maybe two-step. One extrusion like this. One again. Now I can grab those and just select them like that. And hit G and move it just a little bit to the x-axis. Okay, now I can crop this vertex and maybe just extrudes right here, and that's it. I will leave it like this and later I will. Create the details have here. Alright, so now we traced all the details. Okay, now let's see what else we can do. We have all the vertices. As you can see here. The origin dots for this line is here. This area. Alright? Origin of the plane when we added the first time. When I need to do is I need to move this origin dots up right here in the middle. Because I need to use a modifier here to rotate this egg around an axis. Let's assume that we have a vertex right here and the origin dot here. If I use this modifier, the modifier will it create a geometry around the origin dot? Alright, if I have the vertex here and the origin dot right here, I will get a result like this. But if I move this away, I will have a result like this. So that depend on the position of the origin dot that's been any to take it right here. Because if I don't, I will get very big circle right here. I will get the correct circle. I think you've got the idea. Okay, now how can we do that? I will tap out. Now we are in the edit mode. I will go to object mode and then go to the option here and use origin. If I activate origin now I have the ability to move the origin itself. I will hit G to grab and move and specify the axis, z axis, and move the origin dot right here. When you combine, let's just go back here and turn off the origin, and that's it. Now we move that. Right. Now Let's select the image and maybe we can hide this for now. Now we got this. Alright, That's very cool. What else? Now we can hit Control a to apply the skill or anything, e.g. I. Need to apply the rotation. Alright, so hit Control a and the bladder are taken up by the scaling case. We have any, any problem here. And now let's go to the modifier list. And here we have a modifier is called sick screw, just added. Now let's crew is using the z axis, rotates the humerus, I need to rotate it along the x axis. Let's use x and gather we go. Now we got something nice here, as you can see. But don't forget, if we move the origin dot away. Let's move this to the z. I will get a result like that. Because of that, I moved this up. All right, That's very cool. Very nice. And I applied the rotation for the geometry too. Make sure when I choose the axis right here, it will be applied correctly here. Now I can move the canon inputs in the correct place. And yeah, that's it for this video. The next video we will start adding details here. Okay, so that's it and see you next. 4. 004 Modeling Creating the Barrel: Hello again. Let's see what's the next step. We have the screw modifier. And maybe I need to see the wireframe. I can go here to the objects properties and in the Viewport Display I can activate wireframe from here. And okay, that is all that I got. Let's go back to the synchro and here we have some options. E.g. this tip of your work you can, if you want to create this, you will increase the number of segments on the site. And if you do that, you will have smooth result. But I'm not going to increase this. I will hit Control Z. And here we have the angle, the screw and iteration. Don't mess with these. Just accept what we have here and then apply them with the fire. Apply then we defer means. Okay, Thank you so much. That's it. And we don't need anything else. Just go, alright, I will apply it. You can go to this URL and hit Control a, or you can hover over here and hit Control a to apply them with the fire. And now we got this result. Okay, I've started that, so let's make some tweaking here. I am now in the object mode. I will tap hit tab from the keyboard to go to the edit mode. And let's select these edges. Go to the edge mode, hit number two, or you can select edges from here, right here. And let's select these edges. You can select them one by one. Club the one, the first one, hold, Shift, grab the rest. How do you can hit Alt and click to select the edge loop. When you do that, hit E to extrude. And let's extrude this inside. What if I do that? I can't see the extrusion length. This way, I will activate wireframe or you can hit Z from the keyboard to go to the wireframe and go to the front. And let's hit E to extrude this, and hit X to extrude this to the x axis. And let's move this almost maybe, maybe right here. Alright, and now we have this tube inside and we need to fill this tube now this tool, but it's open. If I go to the solid, hit Z and go to solid, it's open. I need to fill it with something so I will hit F with these edges selected, I will hit F to fill IT. Assets and maybe I need to bevel it. Let's go to wireframe, as you can see now we have it here in the middle. I will hit Control V two bullets. And let's plot like this. You can rotate the wheel to have more segments like this. You can add maybe, I don't know, two and the middle. And then had lifted collect to accept the result. Overwrites. Let's close this panel. We don't need this. Here's Z2 of the wireframe mode. All right, now let's see what else we can do. Let's start from here. We have a curve here that's being, I will select this, starts with this head can throw me to bevel it. And let's pivot to fall, maybe. Just like this. And just make it like a care of the crop. This one, alt click, Control V to bevel It's, and it's bivalent like this. Just eyeball it. And maybe I can select those here. And it can throw all be to bevel this. Yes, a little bit like that. And maybe I can grab this one. It can throw be to Buffalo it as well. Like this. Maybe. Those here. I'll click Alt, Shift, click Alt, you have to click and select them, the ACLU. And maybe those, they should receive the same bevel amount. And maybe even those right here, Alt Shift and left-click. And now let's give them a bevel can throw, be endless pebble them. Let's add the three. Maybe that's enough. And that's very cool. Alright, maybe this one as well, Alt click Control B. And let's put bullets three, something like this. And maybe this one as well. Alt click Control B and move the mouse to bevel this. And let's focus on this side. Alt click, Alt Shift, click, sorry, alt click, Alt Shift and click here. And Control V and respirable dose. I think before we beveled those, I think I can go to Face ID number three and hit Alt and click here on this edge. The edge and the middle select the face loop. This direction. Because if you want, if you put the mouse here and hit Alt click. We'll select the face or this direction like this. But we don't need that. We need this alkyne. This case I need to be close to the edge here and then hit Alt. Click. After that, I need just to move these phases up just a little bit. I will hit Alt and then S and move them out just a little bit to push these faces away like that. That's enough. I've started that. You can go to the edge, alt click here, all you have to click here and then Control V to bubble dose. And let's put them like this. Club, this one, alt click, alte of the Glick can throw me and Elizabeth bulldoze as well like that. Alright, let's go here. Let's select these edges. Maybe and maybe, yeah, let's start with those. Can throw a, b and let's give them a level. And maybe those here as well, can throw be. Do we need to target those? Sorry, just those here, control V and the volume. And this egg here. It's important to selected alt click and ambivalence. And maybe we, maybe we will add four here because we will use subdivision surface and we need this error to be to be sharp. And we don't need any stretch when we add the subdivision surface. Because of that, I added extra years right here. I need this area to be round and clean. Alright? Okay. I'm not finished yet here. Bots, I will add a subdivision surface to make this smooth, and then I will go back and make some fixing here. So I will tap to go out from the Edit Mode to the object mode. And I will go to them modifier properties and open the list and add subdivision surface. Subdivision surface. This modifier helps me to make the objects smooth like what you see right now if I turn this off, this before and after, now it's become smooth, maybe I can add two level to make this even smoother. And I will turn off wireframe. And as you can see this as a result that I got here, right? You can accept this results or you can tweak it if you're like. Okay, let me show you something. Let's go to them with the fire. And I will turn this off and I will show you why I need to turn this off. Let's go back to the objects properties and let's activate wireframe. Now we have the wireframe, but we don't see the real wireframe of the object. Okay, if I turn this off, I can see all the wireframe as you can see, now, we have all the polygons that I got because of subdivision surface. You can see here e.g. this polygons here are small as compared to the polygons that we have right here. Because here we have citric towards the middle. If I want to eliminate this strike, I can add edges here in the middle and that will help to make these squares small. Alright, I need to add an edge right here, e.g. right here, to prevent the stroke that I have here in this area. If I touch this mode, look what will happen if I hit Control R to add an H here. And I will hit left-click and move the edge. See what will happen to the polygons. When I do that? How would they are moved? So now I need to add more polygons here or push more polygons to this corner to make this care for a nice without adding edge toward be stretched like this or like this. But if I add extra edges here, that will be around like this and nice and then go like that. So adding edges here to support the corner, this corner right here. If I turn this off, you can see it's this corner here. I need to add the edge like this. So let's activate this, hits twice and move the air can elicit 28 right here. Now we have more geometry here and this area, the same scenario for the site Control R. And let's add it here. Now as you can see, we have more edges here. Now this area, nice and curvy. The same scene over here, control are. Here can throw aren't out there here. Okay, Now we got the idea I can turn this off. I can see better. Let's hit can throw off to attack here. And one here as well. One here, Control R can throw off, sorry. Let's add H right here and one here. And maybe we can add two edges here in the middle or three just to make this area, even when, when subdivision is activated, as you can see now the square are a little bit even, but if I hit Control Z and delete it, now we have huge a sequence here. So if I add three, I guess I can help to make this a little bit even. That's why Let's turn this off. All right, maybe one here as well, Control R and maybe here, why don't I can't add in the middle. And for this area, I think we don't need to add anything. And for this side, well, do we need to add anything here? I think we don't want maybe one H right here as a support, a loop. And the rest is okay now this activated and let's turn off wireframe tab out. Go to the object properties and turn off wireframe. Okay, Now we got very nice, clean Kennan, I think. Okay, now let's see how can we create these details selected in tablet mode. And let's go to the edge mode. Hit number two from the keyboard. Note from that I'm bad. Alt click to select this rank. And let's see how can we create it. Overwrites. I will hit E to extrude that just a little bit like this, to create this neck here. And then I will hit E to extrude this again and then hit S to push the new extrusion up. I can turn off subdivision surface for now to create all of that. And make another extrusion like this to create this edge here. And now I need to create this bowl. So what I will do is I will make an extrusion right here maybe. And let's see what else we can do here. Maybe I can hit F to fill this area and then hit I to insects like this. Just as I move the mouse. And maybe we can hit E to X through this like that. And then hit I will make another insert and another e to explore this. And now you can hit S from the keyboard just to scale this just a little bit. All right, what about the bowl that we have here? Okay, lets you create this manually. I will hit Control R to add one edge and rotate the wheel to add two here. And left-click to confirm and right-click to leave it in the center. S to scale this just a little bit like that. Yeah, that's cool. And I will just activate subdivision surface and let's see what we got. We can go to the front so we can see the result. Maybe I can select this edge and had key to the x and take this back a little bit. Maybe this one as well. And maybe I can add one here in the middle. No, I can't because I will lose the care of I think it's very nice to leave it like that. We don't need to focus too much on these details. Alright, now let's add some support a globe to make this a little bit tighter. E.g. a. Glove, this alt click can throw me to bevel this to two, maybe two edges like this. Turn off subdivision surface Control R to support this egg here, and support this a here as well. Can throw our list, add one H right here, and, and one here maybe. And here as well. Alright, that's great. What about this area? Okay, I can hit Alt click to grab the egg loop. And all, you have to click to grab this one as well. And maybe this one as well. Hit Control V to bubble dose to three edges. And what else? I can hit Control R to add one. Right here just to support this one. That's cool. Now let's activate the subdivision surface. How about we got this result? Actually, I can go to the front of you at number one from the number and type of the ethmoid that can hit Z to go to wireframe and hit somebody. Or I can go here to select these vertices. I can grab all these vertices and move them just a little bit like this. I think that will be better. And then tab out and z to excite. Alright, That's very cool. Now we got very nice result. The guy that we have here, we don't need that anymore, so I will delete it. And alright, we call this result, and it is nice and I like it. Alright? Alright. I will end this video and see you in the next one. 5. 005 Modeling Creating the trunnion: Hello everyone and welcome back. In this video, we need to learn how can we create the trillion that we have here? They call it the training. Okay? Okay, okay, okay. Let's go to the front. Let's see, do we have information about that and damage? Will? Okay, we don't have information. Where are the 3D cursor is right here. I can put the 3D cursor here, hold Shift and right-click and put the 3D cross right here. Hit Shift a and let's add maybe you can start with a cylinder is very big. Let's go here and the vertices I can add 16, I think that's what will be enough for me to start. The radius is very big. I can change the radius. Omega is very small. The depth that too much I can make it small like that and that's it. And maybe I can align it to the view because I'm looking at the scene from the front view. So I will switch to that alignment to the view to rotate the cylinder towards us like that. And they will accept it, yes, close this. Let's zoom in a little bit and you will use in my eye just to see if that fits what I have here or not. Maybe, I don't know. Do we need to scale it? I think that's okay. As a start. Let's move this right here out and maybe you can scale it, make it small. Something like this. When you do any scaling gets hit Control a to open the apply menu and apply the skill. Because sometime if you don't do that, you will get some problem. Okay, now I will hit Tab you though to the Edit Mode tab and go to the face at number three from the keyboard. Select this face and then it's E to extrude it like that. Somebody like this maybe, maybe right here, and hit alt, click here to select these faces. If you click here, you'll select these faces. But make sure to select one of these edges. But the most on it and hit Alt click to select this face loop. Okay, now I need to extrude these phase out like this. If I hit E, that's not going to work because I will have just one that I can Control Z that's not going to work. I need to open the extrude menu to do that, unit to unit to hit Alt with E two omega extra menu, and choose extrude faces along normals. And not. When you select this option and move the mouse up, I will have this result. Because through those just a little bit like that. And maybe I can hit Alt click to select these faces. And more of those just a little bit. Somebody like this, I just need to give this a thickness. Alright, that's great. Now what we need to do, well, now I need to move these faces inside the, the Canada itself. I think it seemed that pyrrole, this one. All right, to do that, actually you can select one phase and you can hit Control with the plus from the numbered can throw with blas to grow the silicon. I think we have it right here. I don't know where. But alright, should be here. More control with them. But plus to grow the silicon. And you can actually push it inside, feel like like this. That's kinda walk. And after that you can give this subdivision surface and everything will be nice. This is an option you can use. You can use a modifier right here is called the shrink wrap modifier. To shrink wrap these faces on this face to get our results almost like this. Push these edges. I'll write two rabbits against the face of the pyramid like this. So here we have to open for me, I will use the easiest one. I will put this insight and leave it like this. But I need to give it a subdivision surface. I will hit slash to isolate this and delete these faces. I don't want them actually, because they will be hidden inside, hit XF to delete them. And for these phases, I can hit Control V to. Level this area. The violet with four maybe edges like this. And because here we have very long faces and here we have very small face. I will support the edges that I have here and I have there. So Control R to add, support a yellow here and one here as well to prevent any stretch goes through the center. When I add a subdivision surface here. The same scenario here, grab those and just bevel this can throw me and let's bevel this two, maybe three, I think that's enough. Can throw off the support this side and I think that's it. Okay. Now, how about go to them with the fire less and our subdivision surface. And let's add two iteration here. Right-click Shade Smooth, Tool, make this smooth. And hit slash to excite, by the way, we have it right here view. And let's call local, local view numbered slash. Now we have this. Alright, that's great, but we have one problem actually. What we created, It's not in the middle, in the middle. And we need to fix that and it is easing on something hard. When we created this payroll, the origin dot still in the middle. In this case, what we can do is I can bring the 3D cursor in the middle, hit Shift S to open the payment for the 3D cursor and go to this option course or through the world origin. Now the 3D cursor is in the middle. After that, I will select the payroll and hit Shift S to open the 3D cursor Pie Menu and move the mouse up to select this option, selection to cursor, to move the parallel to the position of the 3D cursor. Now we got this result. Alright? Now the middle e to the z to move this up just a little bit. If you'd like, you can go to the front and hit G and take this bag and both. It's roughly here in the middle. And now you can select this and manually Hickey and bullets. And the place that you would like, e.g. right here. And you can hit G and take this out. And what's right here? Alright, I've heard that's all what I need to do is to take a Colby and put it on the other side. And the top view we can do that. I think we can push this just a little bit inside like that. And because we have the 3D cursor in the middle, I will use it as a pivot point. So I will go to the transform pivot point and the three, that's two or 3D cursor. And I will hit Shift D to take a Coby. Now, that new Coby following the mouse, and I need to, I need to leave this new Coby in the same position so I will hit right-click. And now we have Coby above Coby. And I. I need to mirror it on the other side. So I will go to mirror, mirror on the y-axis. The y-axis. So go to object and go to mirror or a mirror to the y. And there we go. Now we have it. Now, mirroring happen according to the 3D cursor position. Why? Because we selected from here, we say let 3D cursor. When you complete, go back to bounding box. And now we've got this. That's very cool. Very nice. All right, Let's see what else we can do. Let's select this one and let's tap it is mod n. Can we, can we do something right here? We have this hole right here. Let's see if we can create or not. Alright, to do that, I will go to the front and hit Control R to add. Let's see how many we need here. I will add to it is right here. And because we added two edges right here, we lost the care. After you adding these two edges just hit S and scale this out to bring back the care of. And now we got this. Alright. Now what I will do is I will go to Face and select this face right here. And I will make some inserts on this side and on this side as well, the same thing. Select these faces on the other side. Alright, I think we selected the correct faces. All right, that's cool. And after that I will hit I to n sets. Make some incident like this. The middle. And now we got this, but I need to make this like a circle. I need to make a circle. Let's see how can we keep this. In this case. I can go to the ellipse and then go to Preferences and go to the ADA and Section to activate one of these other ones that comes default with the blender. Let's go to the search bar and less steric For Loop tool L double 0. Here we have the Loop tool just activated. Okay? And when you activate it, go to this burger icon and hit Save Preferences to save the changes. And then excited. If you want to access the loop tool. While you are in the edit mode, just hit right-click and you will see it right here. Alright, the option that I need from the loop tool when you select your faces and when you do all of that. And it twice right-click and go to circle to make this like a circle. And now it's become like a circle. After that, maybe we can rotate that just to fix the rotation and scale it just a little bit, make it smaller. But if you scale this scale, we'll work through the center because we have the bounding box activated it to scale each of these phases to their own faces or to their own billboards. In this way. I can shrink this to individual Oregon. And now when I mix kill, each side will scale to the local, local origin dots or to the local area of these faces. The scale will not push these faces towards the middle. All right, when you complete, you can take this back. Alright, now we've got this very cool, Very nice. All right, now let's see what else we can do here. Actually, we can bridge between these faces, but we got, just want a problem here. I need to rotate those on this side, so I will hit Control and deselect those. And I will rotate this to the y-axis. So here's our y. And rotate this just a little bit. When you're complete, go back here and select hold, Shift and select these faces. Alright? When you select the both side, hit right-click and go to break, face to break between these. Now we have approach, but we're not finished here actually. I will turn off subdivision service temporarily to do some extra stuff. I will hit Control F to add one H here in the middle and heterocyclic to leave it in with this selected, I will hit Control V to bevel it to two edges, almost right here. And go to face. With these faces still selected. I will hit Alt E to open extraordinary enqueues, extrude faces along normal and move the mouse up or down until you reach through those inside just a little bit. Now we got this result. After that lists. Let's add some support edge loops. Alt, click on these edges here. All you have to click on this here and target those all of them. All. You have to click this one as well. When you grab them all, it can throw the interval. Those are the three ages and the scope tab out. And now this activity subdivision surface, and now we have this result. Okay, Very cool. All right, so I will end this video with a grade here and we got this result. And by the way, you can use the same scenario of the, I will show you the Loop tool. If you want to create those here. Okay, you can subdivide this area and select some faces and use circle to make them like circle and then extrude them. If you want this Turonian, I think they call it 20. And if you want this to be part of their payroll, but for me I will accept its results. And that's alright. See you next. 6. 006 Modeling Creating the carriage: Hello again and welcome back. Okay, Let's see what else we can create. I think now we can go to the front of you and bring you this empty bag. And let's put that reference images right here. And maybe we can create the tire. Alright, maybe we can, we can do that spotless. Let's select the image and I just need to move it and put it in the correct place. Lying bureau. Just align the payroll and everything will be okay. Okay, that's cool. That's great. Let's create a circle here, or let's add the cylinder for the tire. Wear the 3D cursor. 3d cursor is in the middle here. Hit Shift a. By the way, couldn't. You can select the image and you can go to the image properties here. So right here. And you can decrease the opacity if you like. All right, I think we can do that and make it transparent just a little bit. I think that's better. All right, let's go. I will hit Shift a and add the cylinder here. Now we have the cylinder or three small. And let's see how many vertices we have. We have 16 vertices. I will increase this to maybe, I don't know, 70. And lists make very big, something like this. And let's align it to the view like that. 70 vertices. Alright, for now, just accept that this number right here. Alright, I will accept it, so that's it. I will close this. And let's see what we got. We got this result. But as you go to the front again, hit G. And let's put this almost right here and then use S to scale it. Make it big just a little bit like that. Alright? And maybe we can move with just a little bit dry, a little bit right here. And the scalar to the YS to the y and scale just a little bit like that. That's cool. Very cool. Now, I can hit Control a to apply the skill. Because we scale this would give IT skill. And I can tap it is okay, or I can hit tab and go to face number three. You can select this face hold shift and grab this face, and then hit I to insert. Let's insert this just a little bit, something like this, and hit right-click and choose approach phase to break between these phases, I want to use this as a guide. Maybe I can. They read this later if I don't like it. Just go to the top of view. What number seven and from the numpad, hit Shift D and roughly let's add another one maybe, right here. You can count these blocks. Alright, it's 123-451-2345, something like this. Maybe should be right here maybe. All right. That's cool. And I think now we can start with courage. All right, For this, maybe. Alright, let's go to their front again. And let's hit Shift a to add in the boot can add cube. The cube is very big, hit S and make it small. Heads you to move it. Let's move this up. And maybe I can go to the wireframe. It number, sorry, z from the keyboard to go to the wireframe. And they will tab to go to the edit mode for this cube. Hit number one to go to vertices to control the vertices. Get this, select these vertices and let's move them just a little bit like this. Alright, and let's take a look here. Let's see how much we need to move those. All right, it's okay for us to select these vertices and move those up. And maybe those, I can move them and put them right here, because here I think we have a coordinate. And it got up these top vertices here and hit G to move them and move them. And let's put them right here. And I think we got them wrong mistake here. We need to move these vertices down just a little bit. Grab those Hickey to the z, or you can move them. Like this. Now we got herself similar to this result here. Alright. Now let's select these four vertices and hit E to extrude them and extrude them almost right here, Timberlake. And manually select these vertices, moves its vertices here, and select those here, and move them right here. And now let's select these four vertices again and hit E to make another extrusion. Okay, and I will select those. Let's put those right here. And maybe those we can put them right here. Something like this. We can move those just a little bit. Can always hit Control R to add maybe three or four ages. When you hit cantor or a new hit Control R, rotate the wheel to add extra pages and manually select those. Let's put those here. Okay, Let's cool. And let's see what we have done in the top here. Alright. It's very thick. I will select this side in the wireframe mode and take this bag. Something roughly close to the thickness that we have here. Just eyeball it. Something like this will work. And it should be, it should cover the this piece right here. The Iranian might think, okay, the top, if you will, we can do that. Okay, top outs. And let's move this hit G, or we can activate this gizmo and move this, and let's move it right here maybe, I think is still thick because now it's almost attached to the, to the biro. I will scale this to the y-axis, scale it like this. If I do that, I will have some problem. Why? Because there aren't getting dots now become far away from this piece. I need to bring this back to them at all. Because if I don't, if I scale this to the white, check, what will happen? So I need to scale this in the same place. In this case. All what I want to do is hit right-click. Go to set origin to sit and choose origin to geometry. And now we have it here in the middle. Now I can hit X to the Y. And the scale is just a little bit like this. And then move this out just a little bit, maybe right here. And now we got this result. I can go to solid and now we have this. Really cool. That's one thing here. We need to mention that this area here is wider than this area. This piece should be rotated just a little bit. And that's easy. Actually, we can go to the top view and we can put the 3D cursor right here to use it as a billboard point, to rotate this from here. From the pivot point, this like this. Because if I hit R, Now the rotation will happen from the middle here because the origin dot here. But if I choose 3D course for my 3D cursor right here now when I hit R, This is the difference. Alright? What we need to do is just a little bit of rotation, not too much. You can eyeball it. Something like this will be enough. Maybe it will be enough just to rotate it like this. And maybe now we can take another couple and on the other side. But before we do that, Let's list the carriers. Okay. I will tap the edit mode and let's see now what we can, what we can do. First is go to the edge and let's target all the edges. You can do that and target those manually and select them all. Here we have an option. If you go to select, you can select sharp the CEO or is it sharp edges? That will help you to select all the pages? And that's great, but we need to target this one as well. Alt Shift and click, and there we go. And maybe this one here. When you target all of these edges hit Control V to level them. And let's give them a bevel, small bubble like this that will be enough rights to prevent any citric happen in this area. And this area. I will add extra edges here. Because I need to use subdivision surface. And if I do that, all the edges will go to the center because of the algorithm or the subdivision surface, because here we have a huge face and here we have very tiny small phases here. So I will hit Control R just to make the result even e.g. I. Don't know, two. For six edges you can adhere and maybe here you can add three or four, something like this. That's, will be better. And maybe we can add to the middle like this and that's it. Cool. Now let's see what we will get out and go to them with the fire. Search for a subdivision surface at two level. And now it's become clean. You can see that we have some citrate goes like this. If you noticed. We can fix that. We need, we can go to Edit mode and add some extra edges like this. Maybe one like this on this side, one on this side to prevent any stretch, and maybe one right here and maybe one right here if you like. If you want to make the result better. Maybe you want here Control R and add one here to prevent any story can maybe on this side, control R. On this side as well. We can do that. And now the result is better. This top out and now it's become better and cleaner. The corners now become a cleaner. Alright, right-click. And here the small to make this smooth ER. That's cool. That's cool. Okay? No, Maybe we can take another copy on the other side. Or maybe we can add all, all of these, all of these details before we do that. If you're like, we have this quote here in the middle, we need to add it. But I think I can cope with this one on the other side. Okay, let's put the 3D cursor in the middle, hit Shift S and closer to the world origin. And lets readers to 3D cursor to use it as a pivot point and then hit Shift D to take a Coby. Alright, Do we need to do anything else here? Alright, we don't chef de take a COBie or right-click to leave the new copy the same place. And we need to copy it on the y-axis. Go to objects mirror. By the way, with the new Coby selected, go home object mirror and two as y axis hand. Great. Done. Very cool. Alright. Alright, alright, alright. Alright, here we have a piece of food. Let's see how can we create it. Let's select one of these pieces and let's tap the ethmoid and maybe we can manually, we can select any phase we like. E.g. I. Will select this face, hit Shift D to cope with this face and move it to the over to the y-axis, this interface. And we need to make some tweaking to this phase, okay? Alright, ferrous heads p to separate this two openness spread, menu and choose selection to separate this phase from the group because we, we take this face from this group and we don't need this face related to these faces here. Alright, so this phase and this phase is here. Now they are sharing the same. It is more than I need to detach this phase from it. Just hit P and venture selection. And now is detached after that tab out from this. And let's select this one alone and topped with the mood for this. And now let's mix some tweaking. Select these two vertices in any of these two vertices to be aligned like this to the z-axis. As you can see, we have variation this vertex up and this one down. The line goes like that. We need to make this perfect. It's flat. Just select those. The idea is we just need to scale those to the z, just hit S. But if you do that, we have the devotes working through the 3D cursor. And if I do that, if I, if I hit S to the Z and zero Enter, it will go up according to their position. The 3D cursor, we don t think that I need to turn this off, or let's say switcher two bounding box. Select those here at S through Z and zero and throw those two s, z zero and throw those here as x zero Enter. And those here as well, Sx Enter. Now it's become perfect. Hit a, select all the vertices and hit E to extrude it. And now we have this extra, this on this side and you can grab those and move those on this side. Sorry, I guess forget to take this vertex here and move those here. Now we can go to the edge, hit a, select all the edges, and hit Control V to be volt them. Like this. And now very cool. From the top of you can go to the top. And I think the results goes the wrong direction. We got some problem here. Alright, but they will do is I will hit can throw us a couple of time before I, before the extrusion because this face is not aligned to the y-axis. So we need to scale all the vertices to the wire as well. That's why zero Enter. And that will become flats. And by the way, you can add the new, you can add the new cube and scale it and created. But I need to teach you some stuff here. When you select all the vertices or you can select this face, yes, hit E and extruded this here, more of this face right here. And because subdivisions still exist, we have this result. Now if we add the extra edges around this cube, the edges will become tight and I will fix. That is what I have here. Okay, go to the edge, it's a select all the edges and it can told me to provoke them all. And now we have this result in the top view. Now I can go to the vertex mode and hit Z to go to wireframe. And they can select this and move them just a little bit. I don't know, maybe right here. And those here, I can move them back, maybe here. And I can I don't know. Can we scale them up or that's it. I think that's it. Now I can hit Tab and accept this result right here. Alright, Very cool. Very nice. All right, so this is it for this video and see you next. 7. 007 Modeling Creating the carriage front parts: Hello again and welcome back. Okay, Let's see what else we can create. By the way, I use this image to create some details, but I can't, I can use another image file like there is no reason to stick with one image. If you'd like. You can stick with one image end-users. Or you can use any image from here and take details from another. Can only feel like, okay, now let's see what else we can create. What we need to do here in this area. Let's see, do we have any information, e.g. this right here, I can take some information from it. Alright, we have a big piece of food here and this place. Okay? All right. Okay, Let's see, create. This should be easy to create. I can go to the front and hit Shift a and B. We can add a new Q of n scale and make it small like this. Scale it to the y. I need something like this one I hear. And I think it should be like a rectangle. So I will just kill this just a little bit and give it a length. Scale. This to the z gets a little bit, not too much. And I will move this up. And if I want to use this image here, I need to cut it. Because I think it should be like this. Okay? As you can see this area, Let's see how can we achieve a result like this one? Actually it is easier or something difficult. You can scale this back. Somebody like that. And when you complete your sets, can throw a apply the skill and tuplet is more than you can hit Control R to add one. Right here. And now you can go to Face, select this face and extrude it. Gets a little bit roughly right here. And you can go to the front again. It's another extrusion, something like this hyper wallet. And you can sort this down and match it with this one or alignments. Maybe we can take this down just a little bit like this. Alright, that's cool. That's maybe walking. And in the wireframe, I think I need to grab all of these vertices and move them just a little bit like that. Or I don't know, maybe I need to scale those away just a little bit. Anyway. Let's go to solid his Yan, good, solid endless. Use this result. And maybe it is Vic. Let's move this up. And it should be aligned with this with a carrier. So let's put this corner right here. And maybe I can sweetest, sweetest with 3D cursor and put the 3D cursor here in the corner and hit R to rotate like that. Okay, something like this maybe. And now move it up just a little bit again. Alright, So that makes sense. I think the bill should lay on this piece of wood. That's me. Maybe we need to move it up or extruded up just a little bit and take the site and move it up to be like this. Okay, with this one selected tablet, it's more than go to wireframe so we can see what we have here. Okay, how can I move this vertex diagonally? Because if I take this up, I will lose this data. It will be like this. That's not going to work. In this case, we have a trick here we can use after selecting these two vertices and the wireframe, I can hit G twice. And take this down. I've started that hit Alt and move this up to the place that you like. Now, I still have this edge stripe and nice for this one right here, don't worry, you can select it and e.g. of moles right here if you like this one as well. It's not a problem to move this right here. This one you can, actually, you can move it forward. I will have some problem, but it's easy to fix. I can align them with this edge. That's fine as well. Key and move this one to this edge. And now I can select this and move it up with a barrel. But now we need to align all of these vertices together. In this case, this tree, this back to bounding box, the transform of the point. And let's go to the snap and let's choose a vertex, snap. I will use vertex snapping, snap these vertices. All right, let's e.g. start with this one. Maybe I can move it right here and that's what we'll be. Okay? And now I need to move this one and snap it with this vertex here. Grab those two vertices, grab them and move them to the z-axis and then hold Control and take her mouth there to snap it to this vertex. The same scenario for this. Over to the z-axis. Hold control and snap it to this one. This one. Move this to the z-axis, hold control and stopped, stopped with this vertex. And now we can write h. Alright, That's cool. Now let's tap out his Yan go to solid. And now we got this. But we just need to scale it. To the y is x to the y endless killer to them at all. And I know we have some open area here. I will fix it. Alright. Can we scale it even more? Something like this will be okay. Alright, let's go to the top and see how can we fix this problem. Actually, I can delete half of this and this will be better. So tablet is more to hit Control R and add one H right here and then hit right-click to leave it in the middle. We've got the top. His Yan go to wireframe SelectHealth of these vertices x. And then by the way, when you hit X, you will open the Delete Menu. We just need to delete all of these phases. So K2, so choose faces. Now we just deleted all of these faces. That's cool. Now I can edit one side. And then after that it is the other side. Okay, in this case I can put the 3D cursor exactly on this vertex. So hold Shift and then hold, right-click and move the mouse and then hold Control and stop this vertex right here. Makes sure that you activate a vertex snap. And now his Z grab all of these vertices. His ear, again to excite was transform pivot point according to the 3D cursor. And then hit R to rotate. Let's move this up. It's out. Rotate. Sorry. Hit R to rotate and rotate all of these. Just a little bit. We align these vertices with the water. We will have some misalignments. Because we rotated this. That's not gonna be obvious because the rotation is just small. But if we rotate, if we rotate this too much, Toby, obvious as you can see. But something like this, it will be okay. Alright, we've finished. Let's bring this back to bounding box. And let's go to solid. And maybe now we can add mirror modifier. I feel I don t think this image, I want to close this. Alright, let's go to the modifier list, modifier, modifier list, and let's use me or to mirror, to add mirror modifier team to mirror this. On the other side. We got problem. Now, mirroring work to the x-axis. And we need the y-axis. Just choose why. Turn off X. And that's it. Has great. Alright, if we have this new piece in the correct position, that's me. We need to make some editing here for the courage. And we will do that later. Because I have not decided yet if this works or not. But I think we can add a small curve here that carried the selected and let's tap it as more than this. How can we achieve this? All right, so maybe we can add one H right here. And this edge selected hit Control V to bevel it. Let's pivot a tool maybe I don't know. Three, something like this. We can determine that from the top. And the other school. That was kinda is okay, it's working. Does he go to or from the side view? The front? Alright. Now I will go to the wireframe and select these vertices and move those down just a little bit like this. We came up with like this. And I need to make this area tighter. As you can see, we have a curve here. If I add edge loop right here and here, I will make this airtight. So I will hit Control R to add an edge loop here. And maybe here as well. For now. And now, let's grab these vertices. And maybe we can scale those just a little bit to the eggs. Somebody like this. Maybe move them down just a little bit. And now we have this result. If you like, you can add an H right here and right here. That's what we're like as well. I think that's enough. Now let's see the results and the object mode. Alright, that's, we'll walk. I can select the biro and the trillions and move them down maybe. And don't worry about the overlapping that we have here, we can fix it. Let's go to the side view and let's move this just a little bit. And what's in the right position. Now we got this. Alright, for the overlapping that we got here, it's very easy. We can select this and go to the site and select all of these vertices and the wireframe mode, we can take those down just a little bit like this, something like that. And maybe these vertices, we can move them like this. And that's it. Don't worry about the overlapping that we have here. The camera will not treat this area. You can ignore it. Alright, let's hit tab and go to solid. And now we got this result. What about the other side here? Actually, it's really easy. You can delete then COVID this one. Feel like deletes. Select this one with the 3D cursor in the middle, you have the S cursor to the world origin. Sweetest with 3D cursor. Hefty, their Coby. With this COVID selected object mirror to the why. And that's it. Alright, let's see what else we can do here. Alright, lets you create the piece of food that we have here. Connect this wheel to this real. And we have a shaft here in the middle. Actually think this is the head of the shaft. Maybe we can start with the shaft. The easiest way to do that. We can select this wheel and hits, or maybe this realizable, grab them and hit Shift S and coarser two selected to bring the 3D cursor in the center of these wheels and go to the front and hit Shift a to add a cylinder. Sorry, no circle, Shift a and add cylinder. Now we have a cylinder here. Let's go here and let's decrease this number to maybe therapy vertices and align this to the view. Scale it to make it very small. Maybe something like this. You can eyeball it and scale it to the y. Something like that. You can go to the top and make it a little bit bigger, taller from let's say a little bit far from the wheels like this. All right, that's what would be enough. And let's see what else. Alright, that's what we'll be. Okay. And let's add another cube here in the middle at the S and scale it. Make it small like this. Should be here in the middle. Okay. Epaulets and then scale it out like that. All right. Something like this. I think that's too much. We can take it down back. And by the way, these tires a little bit far from the canon, that's too much. We can take those back. I mean, we can move this, move it right here. We can go to the top. And let's check this distance. I don't know. It's almost eight centimeter. Something like this would work. Let's scale. This gets a little bit back, maybe right here. And they got this wheel. And let's move with something like this. Just keep it as small distance here. And this wheel, we can delete it actually. And the shaft we can scale it to the y. And that's what big enough. And select this new piece that we added. And let's see what else we can do here. Alright. I think we can move it up just a little bit like this. And we need to create a hole here in the middle. Okay, to do this, I can hit Shift D to make a copy from this. And leave this down right here in tablet mode and go to the edge number two. To go to the edge mode, select this edge and hold shift and select this edge as well. Then it can throw me to the village. And let's give it a bevel. Rotate the wheel to add extra edges to make this smooth, to get a result like this. But before that, sorry, I just need to scale it and make it a little bit smaller. Tub out hit S and make it smaller. But I think we can go to the bounding box and the scale this from the side view, I can understand that better. That should be okay, something like this maybe. Alright, after that, I just need this space and this space here. Let's take this down here. Can throw, lay apply the scale tab, select this edge, this edge, and then hit control V. And let's have a circle like this. Make it round from this side. Sorry. Maybe I don't know. Maybe we can take this face and make it a little bit taller. Alright, the tub out hit S and make it taller to the white as well. And now let's go to the site of you. This and let's put this almost right here. Something like this maybe. And less cuts. This would I need to add care of here like That's took out that result like this. That's why. This way I can use a Boolean to do this. I have an add on, It's very nice. Hold on. Can help me to do that. Let's go to the Edit and then go to Preferences. And here in the other section, go to bull tool, search for bool bowl tool activated and then save your preferences after that. Okay, to use bool tool, we need to select fairest, the cutter. So this piece, it will be the Ketterle and this one will be the targets. First, select the caterer and then hold shift and grab the target. And now I need to reach the portal. To reach us, open the arrow and go to Edit and open it. Now we have the portal. But the fastest way to reach Pull tool, you can hit Control Shift B and then you have portal. After that, just chose difference. And we done here, it's finished. We have what we need. And maybe we can select the health and make it a little bit bigger to fill this area. And the front of the top, maybe we can make it a little bit shorter like this and thus will be enough. All right, That's great. Alright, I will end this video and I will complete in the next videos. Okay, see you next. 8. 008 Modeling Creating the axel box: Hello everyone and welcome back here. Okay, Let's complete what we lived here. Starting with. I don't know. Let's talk with this one, grab it and it's like from the number two isolated. This make this smooth. To get rid of these jagged lines, right-click here the smooth. After you do that, we need to bring back the hard edges. So I will go to object data properties here and go to the normal and activate auto smooth. And let's target the edges and make the egg is ground and nice. I will go to the modify properties and Bevel modifier, the vole, not working correctly. As you can see here. It's okay, nice, but here it's very citrate because we didn't apply the skill. That's why I always say apply the skill. Alright. This way, if I hit control a obliged scale, it will be fixed. The bill amount is big. Point 1 m. I will add maybe 0.0, 1 cm. Still too much, less. 05. Something like this. Maybe it will work. And if you don't like to as 0.00 this stuff, you can go to the sea where it was human properties and here and the lymph change, these two centimeter. Now, I think that's what would be better. Okay, so now maybe we can add 0.03, maybe very small. Zero point. Yeah, that's too much small. 0.1, let's say solar small, 0.30, 0.3. That's what Rocky. Let's add extra segment here to make this motor. Maybe I think two or three, you can't see them. But if I go to the wireframe, you can see I have two here. These are the three. And let's make this nicer. I, if I want to make the hidden better, I can go to the heading section and activate harder than normal. Now the healing is better. Let's see before and after. If I turn the wireframe of you can see this before or after. Very cool. Now it's become a clean for now. And now let's see what else we can do here. Alright? Do we need to make any tweaking right here? We can make some tweaking if we go to the side. If I go to the edit mode and easy to go to wireframe and hit number one to select the vertices or to activate vertex mode. Select these vertices. And you can move those up just a little bit, if you like. And make the world a little bit smaller. Or we can grab the top area and move this down just a little bit. And I think that's better. Maybe moving this up just a little bit. And maybe these vertices, I can select them like this. And those here as well and move them up. Somebody like that. Alright, I have this one was selected. Somebody like this. Maybe from the side view we can do that better. Okay. Okay. What about this piece of food? I think we can make some tweaking right here. Okay. Let's stop to it more than maybe we can. I don't know if maybe we can add an H right here and move those face bag. Or I can't accept this results. If this was a doesn't match to this one, does not affect anything. So I will accept this result and just be valid. I can go here to the bevel and Art Nouveau, but I can't Coby the bevel right here. To do that, select this one as the first one. Hold Shift, grab the piece with the bevel, and then go to the arrow. Hit Copy to select it. And notice go back here. Now we have mirror, we have bevel, we have awarding right here tells you that enabled, that you should enable the auto smooth. I need to go here and activate auto smooth to get better heading as you can see this before and after. And now we got very nice result here. Very cool. If you want to make the bevel here bigger. To match this care of that I have here. You can select this piece and go through the level here, and let's add 0.5 maybe and make it bigger. I feel like that's better. For the haves, less selected and tablet mode and select the site. Alt, click in this one as well. All you have to click here. And let's pivot. Let's, because here we have some level. Can throw be in purple this but the vole not working correctly because skill or a tab out control a apply the skill tab and select the both side here. And then it can throw me to build them and just rotate the wheel back until you have to cite like this. Cool. Okay, lets you create this one right here. How can we do that? I will hit Control R to add one here, maybe somebody like this, and maybe one H right here from the top view I can determine where should I put this? Yeah, something like this. And Alt click to select all these phases. And then hit Shift D to take a Coby and right-click to leave it in same place. And now we have Coby above Coby, The new Coby, The select one. I will separate it. So I will hit P to open the spray paint you into a selection. Now tub out. And I will select this new piece. Right-click Set Origin, origin to geometry to bring the origin dots to the middle of this piece. Okay, That's great. Okay, now let's see what else we can do here. We can scale it and make it just a little bit, but we need to ignore the y scaling. When he was killed. This will be very big to the white as well. So I need to ignore the y and I need to scale to the x and z. If you want to ignore the y, just hit Shift Y. Now the scale, we'll work through this C N to the x. I just need to scale it just a little bit, not too much. All right, Let's see what else we can do here. I will talk to it more than hit Control R to add an egg here, one here maybe. And I will go to face Alt click to select these faces. It's Alt E to 0 and extrude menu and extrude along normal and extrude. This gets a little bit like that. Okay, That's cool. I can throw a lot to add one H right here. And select these faces all t and make another extrusion log-normal, something like this. Maybe these edges, I can move them just a little bit like that. Can throw our two, add one H here in the middle. And maybe I can bevel can throw a beatable this H22. Maybe I can select these faces Alt click and hit Alt S to move those out. I don't know, maybe something like that. Make it a little bit bigger. Can epaulets. And make this piece looks like it's bigger than the woods as we have here. Here we have two options. We can ignore that size or we can make it bigger. Or at least hit Alt S Again, let's make this a little bit bigger like this. And maybe Control R to add one H right here. And go to face Alt click. And let's extrude this just a little bit. Owltest, sorry not all tell us. It's Alt E. And choose extrude faces along normal. And a little bit of extrusion like that. Okay, Go to edge, Alt click, and the skill that's inside just a little bit. Alt click scale this up. Maybe we can move with just a little bit like this. And now it's the time to, it's like to isolate it. Let's talk about this control V. Let's give it the bubble like that. Maybe for a club, this one Control V and this bevel, this makes smooth. This one is here, control V and make it smooth. Oswald like that. Crop this one and this one can throw, be giving them a verbal like this just a little bit. This one as well, Alt click Control V. And the will this add four edges right here. Maybe this one as well. I can't select it and hit Control V and the bullets with a three. When you complete, like maybe this one as well. We can select it and can throw the ambivalence. Yeah, that's great. When it will be satisfy. Top of arthritis like Hey, this mouth and nose becomes smooth. Okay, something like this. If you want to make this bigger, you can select it in tablet mode and hit H, select all the faces. And you can't hit S to scale its path, ignore the y-axis. Hit Shift Y does kill this fuel like to make it bigger like this. You have this option. Alright? We can isolate it again. We have this hole right here. We can select this and hit F and just bevel this. Let's add four maybe ages for this area. This area we can fill it if you like, at F and that's it. Let's see what we've got so far. Well, we got something like this. I don't know. Maybe you can make it taller just a little bit. Maybe. This case we can go to the top tablet. It's more to go to the vertices with number one here, Z to go to wireframe. So I can select all the vertices here. And I can activate proportional editing. Now if I move this with proportional editing, activated, hit G to the Y, but rotate the wheel until you make the circle a little bit smaller, the effect. And now I can move this and I will have nice effect like this over just a little bit like that. And now we have nice transition. Alright. Now we just need to move the tire just a little bit away and select the Hertz. And actually I can leave it like this for now. Let's go to solid. And I think now the result is better. Okay, and yeah, it's very nice. I said this was off. If you want to make this even smooth, smooth or you can add subdivision surface. But when you add subdivision surface, just add one, don't add too much. I mean the level. And now it's become very nice. Okay, Let's see what else we can do here. Let's see this side. How can we create this? Maybe we can select this piece and tap to edit mode and select some faces, e.g. or even edges. Let's select these edges. Alt click to grab all of these edges, and then hit Shift D to the y. And let's take a cobra right here. And with this code we selected hit E to X through this. Just a little bit to create this ring. And then from the top go to wireframe is z caught up all of these new faces and then hit P and choose selection to separate it. Has, Yeah, Again to exert all the wireframe mode. Top, select this one. Top again, hits a, select all of these, all of these faces. And then it's all too easy to open, extrude menu and extrude along the normal and it's through those inside just a little bit. Just a little bit, something like this. And top outs. Right-click here the smooth to make this smooth. Okay? Now we need to tap Enter again and I need to crop these edges all theoretically club those and hit Control V to level them. Give them a bolus, add three edges right here, that's will work. For the side. I can select those here, and those here. Hit Control V to bevel them, this purple, the purple them to two. And with these edges selected, I can pull them as well. Very small amount of beveling Control V. And let's pull them through to maybe or even three. We can do that to have the same effect that we have here. Now we got this. Very cool. I think we need to make this arrange a little bit thicker. We can tap it, it's more the internal subdivision surface timbre leaves and go to face Alt click to grab this face inside. Can throw a plus to grow silicon couple of time. With these faces selected. Hit S to scale those inside, but ignore the y axis. Turn off proportional editing as well as, and then Shift Y and give it just a little bit of thickness. Maybe somebody like that and then type out turned on subdivision surfaces for like. Alright, let's take another Coby from this heavy right here maybe. And hit S and scale, It's alright, so the Oregon dot is far away. I will hit right-click and set origin to geometry to bring this back to the middle of this ring and hit S and scale. It's just a little bit like this. Maybe I can make it a little bit wider and make it smaller. Alright, that's cool. I think that's all work. And I think we need another copy. I think we can target the interfaces here. Alt click select these faces and hit Shift D and take those out, and then hit P and Q selection to separate it. Tab, I'll select this new Coby and Tab to go to the Edit mode, hits a silicon. All these faces. Then Alt E to open extrude menu and choose extrude along normal and make small inserts. Something like that. Maybe. Now let's targets all of these edges. And it can throw me to bubble them, give them small amount of beveling. We have some problem with the with the bevel because of the scale, but does not, it's not a problem. Alright, let's go to the top and see what we got so far. That's cool. All right. We have a piece of wood from this string to a string. This, how can we create it? I will select this and touch it. It's more than maybe we can go to the edge and select these these edges here. Hit Shift D to take a Coby and right-click to live within siblings and then hit P and Q selection to separators. Okay, now we have a new circle here. Scale it. But before you scale it just to bring the origin dot here and the middle, right-click Set Origin, origin to geometry and then scale it because a little bit bigger like that. And then turn off subdivision surface. We don't need this for now. Tablet is moot. It's a select all the edges or vertices, and it's E and extrude this to the y just a little bit. And you can hit S and scale it. Or actually I can hit E again to extrude it, an extra insight like that. And E to suit like this, and E to extrude and S2 through this inside like that. Now I can select all of these. I just hit Control V to level them. Let's add four maybe. And now I can call this one in the middle, hit Control V to bevel it. Let's add two or three. And I can hit Select to isolate it and can crop this, hit E and S to extrude this insight and beveled edge can be small bevel here. And I can ignore this. I think Let's select to excite. And those, I can move those just a little bit out. And this one should be inside here. Right-click create a smooth if you want to activate subdivision with one level, that's okay. So the problem, now we got this and all of the, all of these details. We can move them inside. Not too much something like this. And the beam should be out. In the wireframe. I can cut up all of these vertices and move those vertices are just a little bit. So maybe right here. Okay? Something like this will be okay. And by the way, I will delete half of this and give it the mirror modifier, but later on, not now. Alright, cool. So this is it for this video. And see you next. 9. 009 Modeling Creating the Wheel spoke: Hello again. Welcome back. Okay, let's complete the actual box details. By the way, I think we can start with the wheel. Can create the wheels now. And they could be easy to create. I think. Let's start with this one and let's see what we can do. Ferrous, the position is not correct. I think we need to move with just a little bit according to this image. If we need to use this one as a reference, otherwise you can use another image and create something else if you like. But for me I will stick with this one. I like it. Here we have some care of if you noticed here this circle, it should be a little bit far from the core here. Something like this, not too much, you can eyeball it. Alright, now let's create these wheel spokes. And maybe we can go to the site of view and hit Shift a and maybe we can add plane here, align the planes with that view. And now we can scale it, scale up even more and take it up right here temporarily skillet, make it small like this. And the Alright, Do we have another image? All right, we have some details here actually. Anyway, let's kill this. And I felt that apply the skill when you combine, let's make it bigger. It gets a little bit. This, how can we create something like this? Let's take this out right here, Kimberly. And maybe we can talk to its mood and extruded it e and sweet like this. Right, That's cool. Hey, maybe now we can grab this face and go to the side view and move this up almost right here. And the crop, this face. And the wireframe would then move this almost right here. Let's add one here in the middle. And it can throw off to add one H right here. Before we do that, I will select this face and the scale-up make it smaller. And it can throw off to add one H right here and one right here. Something like this. Eyeball it. I think this H is not going to come to work. Should be almost right here. In the side view we can determine because we need some distance here. Alright. Alright, that's cool. Alright, now let's add one here in the middle. Can throw R and hit Control V two bullets to, to maybe something like this. Alright, the distance here is not even. This way. Maybe we can hit Control Shift R to offset the age. I think this will be better. I mean, when you add the egg in the middle, don't hit Control V to the bullet. Hit control shift after officer this h. Alright, This result is better for me. Now what I will do is I will add egg is here in the middle list. See how many we need to add here. Just add edges here and from here, when you confirm it, I will have this window right here. I can specify the number that I want the cats. This at ten maybe or less to my textualists, add eight. I think this will be better. And see what's the next step. Now let's go to the edge and lists selects e.g. these two edges and the middle, and kill them together like that to the x-axis. And the club those. We can do that. And now I can go to the vertex I call this vertex or this vertex and scale it like this. And we can do the same scenario for those here. It S and scale them. I can select those here in the skeleton like this. Alright, hit Select to isolate it because we need to do the same thing on the other side, but I prefer to delete half and give it smear after that crop, the half of this hit XF to delete it, and then it has got the solid. All right, Maybe I can select all of these vertices here to grab those as well. And maybe we can move those down just a little bit. And it can throw off to add one H right here and select this one and this one it is. And the scale just a little bit. Maybe. I don't know. We can scale those just a little bit. And yeah, that's cool. That's very cool. Cool. Let's select those and the wireframe and take those up. I can throw it off to add a globe right here. Go to solid. Maybe we can kill those inside just a little bit. Alright, now we need to add a support, a clue for these edges, because if I add subdivision surface now, I will ruined the results. So anytime any to add support a Clubs tab out, first, these phases, we don't need them. Alright, maybe I will keep those here. Turn off subdivision surface, Kimberly. Let's go to the edges and let's select these edges here, alt, click Alt. You have to collect and targets all of these necessary ages. Those here as well. And yeah, I will keep all of these ages actually, I will, I will keep them. Select all of these edges. And those here hold Alt Shift and the club those here as well. When you would target to everything, it can throw me and give them global level. Let's add the three. And let's pivot them like that. Alright, here we have this phase and here we have very big face. In this case, I can add one H right here or here to support this area because the strike will go down like this to the central. This case, I can add a loop here to support the site. The site Control R to add another a club right here. And the same scenario up here as well. And from here as well. Because this area I needed, I needed to be very tight. Because of that I added support the edge loop from here and from here as well. When you'll be satisfied with the results. Now you can activate subdivision surface and now we've got some nice results. Right-click here the smooth to make this smooth. And we got this. Okay, When you complete, now we need to add mirror modifier to mirror this on the other side, on the other side. But the problem that we have right now, the origin dot is not in the correct place. From the top. The origin dot should be right here. Here in this area. In this case, we can touch it as smooth. Because the edge Alt click to select the entire edge loop. You have to Essentials course are selected to bring the 3D cursor exactly here in the middle. And then how about now we have the 3D cursor in the middle and the position that we want. Now I need to move the origin to the position of the 3D cursor, right leg, origin, origin to 3D cursor. Now we done when a company that go to the mural art mirror modifier, and let's choose y-axis, turn off x. Alright, seems like we have problem right here. Because I don't know. Because we rotated the plane when we added the first time. Let's try z-axis or IZ isis is working as very cool. Alright, That's cool. Okay, Now we got this result. Let's see what we can do with this. Let's put the subdivision underneath mirror modifier because I need the mirror and then subdivision. Now we have it. When you combine it with the mirror modifier, check is everything is okay. Do we have an overlapping Okay. Let's activate wireframe. All right. It seems like we have a problem right here is not working in the correct way. Okay, Let's go back to the modifier and see why that's happening. Because we have y is still activated in the atlas right? Now the result is better. We should have the z-axis alone. When you complete, apply them or we don't need it anymore. And now we can actually. Touch it, it's moved in the club. The head from the side of you will go to wireframe cop ahead and activate proportional editing. And now I can scale, but I can make the effect big. And the scale like that. Just a little bit. If I like. Not too much, something like this will be enough. Go to solid. And that's it. Okay. Now let's hit slice to excite and let's go to the top, hits key or grab it like this and puts in the correct place, should be right here. Let's see what we have here. Do we have any space? Alright, it's fit. Now I can tap it as smooth and grab the head and the wireframe mode and activate proportional editing. And move it just a little bit. I need small curve maybe from the top I can determine that. Maybe from the side view. Go to wireframe Hickey Hill is move this just a little bit spots. I will have very ugly care of. As you can see, it goes like this. I don't like that. I want it to be like this. This way. I can change the the follow-up of the proportional editing to the sharp. Maybe let's try the sharp. Yeah, Now this one is working. Alright, something like this will be nice. Let's go to solid and let's see what we got. Okay, very cool. Turn off wireframe. We don't need it anymore. And maybe we can move the wheel just a little bit. The wireframe, we can move it right here. Or maybe in the side. Something like this. Go to solid. That's very cool. Alright, Now, what else? Now we need to use array modifier to add copies here. Alright, we need to add 12 books here. And let's start doing that. First thing. I need the origin dot of this piece to be in them in the middle of the array. The middle, I mean in the middle of the shaft itself. To do that, I will, e.g. I. Will bring the 3D cursor right here to this phase shift, this course. So to select it and then talk about select this one. Right-click origin to 3D cursor. Now if I rotate this to the y, I will rotate it around the shaft and that's what I want. Alright, so after that I will go to the modifier, this activity subdivision surface and close it. And let's add array modifier. Modifier will help me to duplicate this object. And if I add more here in the account, I can see the duplicated, but I don't want that duplicate to go to go to one direction. I need to go around the shaft here. So in this case, I will reset all of these axes, crowd them like that, hit 0.0 because I don't need any CoV-2, go to any direction. I need. The array works according to the objects offsets. So I need to add a helper here in the middle, use it as an object, hit Shift a and go to the empty, and let's add an empty. Now we have this empty in this area. Select the spokes here, spoke and choose this empty as a helper. As you can see, we have something, but it's not working in the correct way. I will select this and hit Control a to apply the rotation to avoid any problem. And now it's applied at school. We have a problem with the scale. As you can see, I will hit Control a and apply the scale as well. Now, as cool, we don't have any problem. Cool, because we selected this as an object, offsets the empty. Now if I rotate the empty to the y, I will have some something here. Alright, so let's go back here. We need to add 12. So let's add one to 12. And we need to rotate this around the y-axis. Alright, so this is the y-axis, whereas it's the rotation, this one, the y-axis here in the y at 360/12, then hit Enter. And now we have the Covey's that we wanted. Let's go back to the modifier. Endless. I don't know if you want to put the array the next has the second modifier. That's okay, but now we got the result. Alright, so this is it for this video. And see you next. 10. 010 Modeling Creating the wheel ring: Hello again, we'll come back. We didn't finish the wheel. Let's see what we can add and tweak here. Okay, let's select this piece and let's tap to edit mode. Alright. Alright, alright. We have a small edge, as you can see right here. And it's a little bit scary here on the side. The shell can do all of that. What I will do is I will hit Control R to add one H right here in the middle and hit right-click to leave it in the middle and go to the other side. It Control R to add one H, confirm it, and right-click to leave it in the middle. So with this one selected, hit Alt Shift and grab this one and then hit Control Shift R to offset this offset to this almost right here, because I need an egg here. And I need one H right here. Alright, cool. This edge. I think we don't need it. All. You have to click grab this, and I need to dissolve these ages. Amy and I need to delete these edges and have the face is keep the phases. To do that. Just hit Control X and that's it. This one in the middle, maybe. I don't think it's for now. All you have to click. This one, can throw eggs and dissolve them. Go to face, Alt click to grab this entire face loop, Alt Shift click to grab this one as well. Alt E to obey an extra menu and extrude those out just a little bit like this. That's great. Now, this H right here, all triptych Luck Club, this one can throw X to dissolve them. I don't give them. Hit Control R to add, maybe, I don't know. Let's add two edges here maybe. And can throw R2, R2 here as well. With those selected alt Shift, click and click here and is killed those just a little bit away. But turn off proportional editing. We don't need it anymore. And it's killed those just a little bits like that. Maybe. I don't know. If you're like cool. If you want to label them, you can give them a bevel to have a small care of here. And yeah, we got nice job. All right, now I'll click on this side. All you have to click on this side and maybe we can move on. Lets you can throw be less spit bullets just a little bit. Maybe we cannot for ages. And those here as well, Alt click, Alt Shift, click to crop those here. And maybe those here as well. And give them their swivel can throw a, b and the volume like that. And we just have these edges. And this one here. Give them a small bubble. Maybe, sorry, Control B. And let's add three. That will be enough. Something like this. Tab out and that's it. Right-click. Hey, this mouth. And that's very cool. Okay, Now let's go to another omega because we have some edges here. This real sublet it to 12345626 sides or six pieces. We need to do something like that. To do that I can go to the site of view, hit Shift a, and let's add e.g. a. Circle. And let's align the circle to the view. And let's add six site and scale it down, make it small like this. And rotate it. And hold Control to snap the rotation and rotate it 15 degree. You can find this right here, the number. And I will use these tips to create an edges. Alright, that's cool. Now let's select the wheel endless top. And the, this edge is the closest one to this tip. So I will grab it and use it. The select the rest. Alright, select this one here, Alt Shift, and click this one here. And you can click this one right here, and this one right here. And this may be you want right here. When you select all of these necessary edges, you can hit Control B for bevel eligible those just a little bit like this. And that's cool. Now we have this. We bubble those with three edges. Which we can do is we can hit control minus to shrink the selection, to select this edge in the middle. And now hit Alt S to book these edges inside. But not too much. Something like this may be. Alright, I think we got problem with the novel itself. I think we gave them too much approval. Okay, let's give them another bevel, but I need it to be very small. Can throw B and give it a very, very tiny bubble like this maybe. And yeah, let's, let's try another scenario. Let's go to face with these faces selected. Hit X to delete all of this. And now I will go to edge Alt click to grab this entire edge loop and then hit F to add a big face here. And Alt have to click to, sorry, alt click and hit F2 either face right here. Grab this face and this face and then hit Control Alt S maybe to move those just a little bit. But I think that's not going to work. I think doesn't work. Let's try to bulldoze them like this. Alright, it's very nice, but we got small gap right here. And I don't like this gap. That's too much actually. In this case, I will, I can throw a couple of times and let's go back and let's make it even smaller. Very tiny bubble. Go to face, hit X to delete all of these phases. And now we have this edges. Now we can hit, alright, let's go to Edge, or let's go to Face, select all the faces. And then I can go to select and select loop and select the boundary loop. Just the boundary blender automatically will crop the boundary. Now let's see if that works or not. I will hit F and let's see what will happen. Is you go to the side view. Let's zoom in here instead. Let's see do we have any overlapping here? Alright, I think all the phases now are filled with these edges selected, are still selected. I can hit Control V to bevel all of them at once. Alright, small bubble like that will work. Tab out. And now we got something nice, but the shading is not nice. It's bad. To fix this. I have a modifier here is very nice. It's called weighted normal can help me to fix the heading. I added the weight normal, but still we have problem because we didn't activate auto smooth here. Alright, so check the result now before and after this, before, after, before, after. And now we get very nice results here. All right, we didn't finish here. We need to add a ring around the wheel. Okay, in this case, I can select maybe this one and use it. Let's tap it is more than maybe I can go to face, Alt click to grab these faces. Hit Shift D to take a Coby and right-click to live with and assemblies. And maybe the snake cobra can scale it and make it fit like this. A line, It's from the top. Maybe we can move with just a little bit like this. And I don't know from the fraud, maybe the wireframe mode, we can align it better. That's better. Go to solid. Now I need to sublet it. It's P to open the spread menu and choose, Select and selection. And that's great. What selecting, selecting. Alright, anyway, alright, alright, alright. Tub outs from this geometry and let's select this one and let's tap to edit mode. Tap Control R to add one egg here in the middle and can throw a little bevel it, maybe like that. And now let's select this edge and this edge right here and this kill them inside just a little bit. That's great. Now hit a to select everything and then Alt E to open extrude menu and extrude along normal and give them a small of extrusion. I mean thickness. Now we have nice thickness here. It's like to isolate this turn off subdivision surface for now temporarily. And all these phases, we don't need them. All. Click Alt, you have to click X, F to delete them because they are hidden. Grab the outer edges and the egg mode. And this one as well, and this one right here and give them bevel can throw be three, this will be enough. And they'd be this side and this side we can be bullet control V. And we can add to maybe think this will be enough. How about activites? Subdivision surfaces slash to excite. If you want more, you can add more. But let's think too much. The result is very beautiful actually, I like it. If you want to make the wheel thin or you can grab everything and scale its fuel like. Alright, I will decide that later. I don't know, do we need to scale it? Will actually, I think we need to scale it. I think we need to. All right, Let's bring the origin dot over the wheel in the middle. And now we have it and this one as well, we need to bring it in the middle. Right-click and sit origin, origin to Geometry. Whereas it's alright, let's call this one as well. That's cool. This piece and this piece now sharing the same or the same position. Select those from the top, maybe hit S to the y and make it smaller. Maybe. I think now it's makes sense. And the close to my image. Yeah, I think that's always better vehicle. Alright, so I think that's it for this video. And let's see what we can do next. Okay, Goodbye. 11. 011 Modeling Creating the wheel core lock: Hello everyone, Welcome back. We have some details here we need to add to that I have this selected and hit rhotic liquid smooth. Let's activate auto smooth for this one. Tablet is more than this target, this edge and this edge right here. And let's pivot them, get Control D, and let's give them a small amount of beveling. This are the three I think that will be okay. The sobering one image right here. And let's see what else we cannot say. Alright, let's try to find another I make maybe the semi dry here. We have this beam, we need to add it. Let's go to the side view and let's see how can we ask something like this? Actually, I can select one vertex from the beam itself from the left, and maybe hit Shift D to take this vertex as a Coby, I can use this vertex, hit E to H through this vertex down. Something like this. Maybe, let's see, grab those. We can move them right here. And maybe we can, I don't know if you can move this here. And it's e to x through this here. Sorry, and then E to throw this up here and the club those hit S and scale them like that. And hit E to throw those up here. Alright. Now let's scrub one side, hit E. And let's make some extrusion like that. This one here is E, and let's mix some extrusion like this. That's great. Club those. All right, Actually, what I need to do is I need to go to the H Alt click to crop this in your egg, and then it's p and two selection to separate it out. Select this tab and go to a vertices, grab those two vertices, endless. Level those vertices. To level the vertex, you need to it not just control unit to press Control, Shift P to do that. Let's pivot of those like this. And from here, we can pull those may be eligible. Or maybe we can hit, can throw it out to add one vertex right here, grab it and move it down. Club those, all of them. Those inside here. Alright, that's great. Maybe we can scale this, make it just a little bit. Those here as well. Okay. Maybe I can grab those and give them a bevel. To be Pb three. This one as well controlled here to be something like this, maybe. Now let's tap out. Can we scale it's the spring, the origin.in the middle, right-click, origin to geometry. Let's kill this just a little bit, make it bigger. And when you complete it, right-click and convert this to curve. Now it is Make and this is the icon of the mission. We need to convert. This took care of a few notes right here. Now we have this convert, this took care of it. Now we have cared. Go to the curve properties and scroll down to the geometry, open it and go to the bevel section and just give it depth. Somebody like this who can hold, shift and move this or something like that. What rock and move this inside. We have this side segment. We don't need that much. Maybe we can take this back to, I don't know. Two, I think this will be enough. And now we can how we can convert this back to mesh. So we can make some tweaking tab. Go to edge Alt, click, hit F to fill this ambivalence. Let's put volatile with two edges or three thus will be okay like this. The same side as well. Alt click, hit F to full. It can throw B2B velocity and let's pivot like this. Has a very cool. Now, we just need to make smooth in this ad subdivision surface. But if I right-click here, this mouth and nose becomes more. Okay, that's great. Now we can touch it. It would actually, if we want to make this thicker, it's optional. We can see, if I go to the edit mode with the subdivision modifier active, I can see the cake and the result of the subdivisions servers. As you can see, it's become thinner. If I want to make this thicker, I can select all the faces and hit Alt S to make it roughly like this and move the mouse. And now it's become thicker. If you like this, you can keep it. I like it. I like it to be big like this and move it. It should be close to the half. This seam right here. It should prevent that have to go out. This is the idea. This is the why behind this. Alright, yeah, that's it for this video. By the way, I think we we didn't complete the side, but yeah, before I end this video, I will complete this side. Let's go to the top because I just need to make sure that the heft exactly in the center. Alright? Alright, it's not in the center because if I compare it, we have some space here. I'm okay, That's okay. I will bring this back, hit Control. This case. I will talk to it, smoothens, go to wireframe. It Control R to add one here. And let's put this edge in the center. Let's see how can we do that? Or at least zero out the z-axis or zero Enter. Let's see if that will work or not. That's local to global. And we need to zero out this to the y-axis, I think. Yeah, I'd say right here. Now it's become in the center of this edge. And does it close this panel? Now let's scrub this side. We don't need it, It's XF to delete it. Now we have Hall of this. Okay, that's great. Now let's hit Alt click to grab the spring hits Shift S and costs are to select it. Right-click or sit origin, origin to 3D cursor. And now we have the origin dot exactly in the middle of the foreign reserve. We have problem with the orientation. I can apply the rotation or I will live with. Let's add mirror modifier. Now. Mirror modifier has exist, but we need to pick the correct position theorem of this. And let's try this or try this. Now, the z axis is the working one. That's very cool. That's very cool. Now we've fixed the problem. Vehicle. Alright, yeah, now I can end this video. See you next. 12. 012 Modeling Creating the Barrel holder: Hello everyone and welcome back here. Alright, let's see what's next. I think now we can create these these things, metal stuff here to hold the, to hold the Piero. If I print my reference images. Alright, let's try to find images from top e.g. as you can see here, we need to create. I don't know what they call it. I like the style. I like this image, so I'm not going to create something like this one. I don't like this sign here, but I think this one is better. Okay, in this case, I think we better to bring the image and both inside the blender and tried to create something like this. This is an option or you can what does that put them at right here and try to create something similar. The easiest way is to bring the image accurately. So disappearing the image. Okay, here we have all the images. I just need this image, so just click and drag and boots right here. All right, now we have it. Let's take this out. We don't think it's for now. I will hit Alt key for this image tourists said the location and Alt R to reset the rotation. And you can accurately, we can put this right here for now, maybe take it down just a little bit. And now we can start tracing this design right from the tube. I think we can rotate that just rotated like this. Alright, It's Shift a to add plane. And here we have the plane. Let's move the plane right here and scale it, make it small. And let's put it right here. You can scale it even more if you like. And we don't need to create the both sides. I will create one side and then use mirror modifier to create that their side. Alright, so can throw a apply the skill hit tab to go to the other mode, or you can switch it from here. And let's go to the vertices, and let's move those vertices right here. And those may be here. Okay, something like that. And I will use this vertex. Let's move that just a little bit. I will use this vertex to trace the hip here, hit E to extrude it. And let's start maybe from here. Hit E to extrude this, maybe right here, and e to x through this here and start following this path. Something like that. Alright? Alright, That's great. And what about this? I think I've told that we can then crop all of these vertices and move them just a little bit to make this sits rights. And yeah, that's very cool. And now I think now we can take those down and activates vertex snap in the snub these two vertices with this one right here. So Cloud them, move them like that hold control and starts right here. And now we can select this with this and hit F to create a connection between them. And you can hit Alt click to grab the entire loop, just this edge loop. And then hit F to create a big face here. And it's very important to make some connection here. Use the knife tool, hit K, e.g. make a cut from here to here. Because we need to add a subdivision surface and it is wrong to leave this face like this in 3D when you want to create something, make sure that you always have quiet. There's two type, three type of surface we have. We have a surface with three vertices, a triangle and triangle maybe could be like this. Or could be like this, could be anything. Any phase with three vertices, we call a triangle. And we have quad. Quad means face with four vertices, something like this. Or even could be like this. Or could be like this. 234, this color quite. We have in Gone ink on the surface that have more than four vertices, e.g. this one, we have 4567. So this face, this big face, it's quiet and we always need to avoid quad. When we use subdivision modifier because you will have a bad result. Because of that, I need to make some connection and cuts. Cuts there. I will use an F tool, hit K and just make cut from here to here maybe and use the knife tool again from here to here. And maybe this one as well. Use the knife tool again and let's make cuts me because like that knife tool hit K and make cut, hit Enter. It, kick in and make cut from here to here. It's Enter. And hit K again. Make a cut here. What else? Maybe on here. Okay. We can other category here to make it a squad as well. And for this error here, I can make a cut goes from here to here. And now I have a quad here, four vertices, and here we have four vertices as well. 12341234. And the same scenario here, we cannot cut here, hit Enter it k may cut here. And I just forget to activate screencast. I don't know all the ways I forget that. Let's move this right here. It's n to hide this already. That's great. Okay? Now we need to put the origin.in the middle so we can use a mirror modifier without any problem. And maybe we can make it a little bit taller. And all. I can determine that later. Alright, let's see. Grab this vertex hit Shift S to open their pain meaning of for the 3D cursor and take them down to the course author selected. Now we have 3D cursor right here. Top outs, go to the object mode and then hit right-click and go to set origin, origin to the position of the 3D cursor to move the origin dot from here to here. So this one, I mean, that's great. Alright, can throw a Apply rotation of life scale in case we have Adam problem. And now we need to use mirror modifier and mirror this on the y axis. The y axis. Cool. Let's go to them with a fire at mirror or turn off x to y and done. Alright. Let's see everything. Okay? Alright, maybe now I can apply the mirror modifier and I can, alright, let's leave it. There was no problem until leave it. I will ask subdivision surface after that. Now we've got it's very clean and smooth result, but we need to make some tweaking right here, Okay? Okay, Okay. I think I don't think it's mirror modifier anymore because I got what I want. So I will hit Control. I end up light and lips have the vegan. But before that, I just need to give it a little bit of thickness. And let's add a solid define modifier or a C or is it this far I hear. Solidify helps you to king the surface to something thick like what you see right here. And I think this thickness is okay, don't forget, this piece is very big. We need to scale it. And go to the top view and the smoke with endless puts into place would be right here. And you can scale it to feel like skill, it's like what you want. And from the front maybe we can put them their position should be right here. Candace Kelly, just a little bit more all on and off. That's what should be, should end right here. Alright. Let's begin. We need to rotate it. After that, I will just kill it just a little bit and give it a little bit of thickness. Or you can apply the skill first and then can throw the thickness if you like, or something like that. I think it's okay. Well, now I need to put the Oregon dot right here. I will apply this will defy because that's it. I got what I want to take out. The thickness. Can throw light and light and touch it. It's not able to grab this vertex and hit Shift S and the bringing the 3D cursor right here. And then we'll switch to 3D cursor transform the word point. Because I need to control this according to the 3D cursor position. Now, I will tap out and hit R and rotate this and put it in your hand. I want odd again, hold shift to more to make them movement slow. And maybe I just need to take this down like that. And we'd just a little bit right here. Alright, from the tub. We can put this right here. And then the 3D cursor here, you can tap it, got one vertex, Shift S, cross her to a selected tab out and then R to rotate and then hold shift to make that rotation slowly rotate like this. Well, last night about this. There's a little bit too big. We can scale it for like Oregon to rotate this. You can move it just a little bit. Rotate this again. Well, as cool. Okay, I think we can, I don't know, we can scale these. Make it smaller or I can scale the whole shape. But I need to make it taller. Alright, I will hit Alt auditory sets that are taken because I need to make some kinks here. Well ferrous, Let's top it. Within the wireframe, I would look up all of these vertices and move them just a little bit right here. Make this a little bit taller. And now I will tap out. And let's move. This is the corner right here. And put, put the 3D cursor here, hold Shift, right-click. I just need to use this as the pivot points and then hit R and rotate this and then move it manually and what's in the position? Alright, now, from the side view. Okay, we can move this down in any tuple, the 3D cursor right here, hold Shift, right-click and use this as a big word. Hold, hit our hold shift and rotate this. Something like that. And I think we are done here for this piece. Now we just need to give it a subdivision surface, but does not get to work. We need to make some tweaking thought to the smooth end. Let's see how can we accept that? I will hit Select to isolate this piece alone. And maybe we can, I don't know, maybe we can target the sharp edges. All of them. Those here and those here as well. And those here. And this one here as well, those edges, because we need to give them a devil. Alright, now this one just here. And let's continue grabbing these edges. Alt Shift, click, keep doing that. Even this edge here I wanted, and I want those here. I want those here. And they want these edges. Select this one, hold control, it got this hold, Shift, grab this hold Control and drag this. Alright, so that's cool. Maybe this one as well. Okay, that's very nice. Now I can label those, but I just need to make sure that I selected all the unnecessary pages. That's very important. With all of these I just selected, just hit Control B2 bevel this. You can add three edges actually as a rock. Okay, here we have very huge face. So in this case, maybe I cannot four axes here and just support the side with a globe. Because I don't need the algorithm of subdivision surface pushes the result or the face is towards the center because we have a big face here and the small piece right here. So just support it with a club. Okay, now let's see what we got so far by activists of the weekend surface or the liquid smooth crates. Crates, it's likely to excite. Now we got something here. Alright, let's bring this image and let's see what else we can do, right? This one is easy actually. I will use this to create this, this image. I don't need it anymore. I can delete it. Okay, and I will use this reference image here. From the side I can circle and align it to the view. Now, this circle have 32 vertices, I just need 12, will be okay, 12. And the scale, let's make it small. This point, this right here. Okay, let's change the transform pivot 0.2 bounding box. Scale this, something like that. And let's move this right here. Timberlake can throw light up, let's kill it. Mood, go to vertices in number one. Okay? Go to vertices, selects this side of vertices and hit X and Q is vertices to delete the vertices. But I just deleted those as well. I want those, I need, I don't want those. X vertex. Cool. Now I will select this and hit E to throw this to the side. And the club those hit E to extrude this on the other side. Somebody like that. I can move this just a little bit. Then it's a select them all 0s to throw those here. Great. Maybe just a little bit more, cut up those and take those back. Maybe right here. Maybe this one a little bit here. What about this? I will hit Control Shift B to have a bevel level like this work. But I just need to make some connection because here we have a big quad. This case. I want to go out with this, with this hidden J to make a connection between them. Don't use F. And here I will add two edges, and let's connect those. Here. Had k, sorry, sorry. K. This one with this one had k. And now we have coauthored here. Okay, as you can see, this one is quad, four vertices. Quad, quad, quad, quite quiet. And for this side, maybe we can add one H right here to sub-divide and make those even. Alright, that's great. How was well, here we have a whole, we need to create Hall according to this image. Because I decided to use this as my reference. Maybe I can add one H right here and go to Face, select these faces. And then hit I to insert. And then right-click usable tool and just circle to create a circle right here from the top you can rotate the circle and correct it and then scale it's small like that. And then hit X to delete this. And now we got something here. Very cool, very nice. Okay, what about this edge right here? I can grab this with this Alt Shift click and Bevel them Control-V to three, that will be enough. And now we just need to give them a thickness tab out. And who we need to make sure of something. I just need to make sure that the faces, the normal of the phases, are in the correct direction. If I want to check that, I can go to the you bought it overlays and here we have face orientation. When you check this, you can see your result. Anything that's not acceptable, anything blue is acceptable. When you complete your modeling. Always go here and kick face orientation. Anything great unit of lipids to blue. Okay, to do that, e.g. the B-roll, it's a right. The faces are flipped. Inside 3D. We have the surface and the surface has two sides. We call it a normal. One side should be visible to the camera and the other side should not be visible. The visible side, when you activate this tool at all, be blue, That's me and that's okay. But if you see the red color, that's mean these phases are flipped. Alright? This case the barrel. We have a problem with the bureau, we have a problem with this rank. We are problem with this. I just forget spokes, I think they call it. And we need to fix all of that. E.g. I. Just need to teach you how can how can you do that? Go up the top to the motor, hits a to select all the faces. Even if you are in the edge or vertex offices, there was no problem. You just hit a and then hit shifts with n, k. Shift N. When you do that, Blender will recalculate the normal and fix it for you to all of Flaubert's like that. And now I just fix it. This same scenario should happen to this one. Top a shift and tap out, got this top, it's a shift and club out, grab this top. It's a shifting to about the same CNR for this topic HF. Then we have this one as well. We've got this tab hit a half done. Now we just fixed everything. What about this piece right here? Well, I have no problem problem with this because I will give it a thickness and if I do that, it will be fixed automatically. E.g. if I go to them with the fire and give this solidify, as you can see, it's fixed. But the question now is. Which data or can we need to use? Solidify to this direction or this direction? I will use this data to avoid any overlapping here because we have vertex here and here and here. And when, when we use the modified to this direction, these vertices will overlap each other and they will have a mass here. Okay? If I, if I, if I hit Control a or if I could go to the edit mode and kick this. As you can see, these vertices are almost married to one vertex here, and that's not going to work. If I flip, as you can see here, kick this. If I flip this to the other side, I will fix the problem. So give it a thickness but to the correct that oxygen when you'll be satisfied, just hit Control a and apply the modifier, but top out, apply them in the fire. And there we go. We've done tabbing again because I just need to give the edges a bevel. Alt click, grab all of these to Kent, hit Select to isolate this. Halting, have to click here and here, and here and here. And those here as well. Alright, when you select all of these edges and those here, hit Control V to bevel them. Or I saw, I guess, forget to pick this one. Yeah, that's okay. Cool. So now Control V and give them a bubble like this. And now we can give it subdivision surface and right-click Shade Smooth. And now we're done. After that. It's like to go to the top number seven. And now let's put this in the correct position. Move it from here, rotate it just a little bit. Align it to the woodblock. And from the side view I can move this down here, maybe, something like that and rotate it just a little bit. Something like this maybe and move this up. And I think we can make some tweaking here. Alright, it's a little bit vague. We can scale it like this. Maybe what I need to take this side and the wireframe mode to crop those all of them and just move them down just a little bit like this. That's what would be better. Okay. That's cool. Tub. I would go to the top. And let's put this in the correct position maybe right here. And let's Tumblr on Elizabeth. We've got so far. All right, It's, it's nice, accurately and cool and I can accept it. Alright, so yeah, this is it for this video and you're next. 13. 013 Modeling Creating the rivets: Hello again. Welcome back. Okay, Let's see what's next. We didn't finish it here, we just need to add more details. I think we can start with the side here, because you go to the side of your top and grab these vertices in the wireframe to select them all. And manually just move them. Hit key, sorry, I just hit F, G and let's move those to the tip here. I don't know, maybe right here. Let's put this right here. Rights. That's cool. Let's go to the top because we have misalignment here, we need to move it manually and put it in the correct position. Right? That's right. And now let's try to create this ring here. I don't know what is this bus? Let's try to create it. Okay, listen, let's some edges from here. Maybe those edges here hit Shift D to the Z and the state of Coby from this and then p and two selection to survive this tab out and bring the origin dot here to the circle. Right-click Set Origin, origin to the geometry. And now let's move this circle right here for now. Actually before we do this, I need to scale this to the z so I can make it floods. S. Z is zero. Enter what's not having s z? Zero. Answer. Oh, that's weird. Top hit a zero Enter. Yeah, now it's working. How about let's put this here. Alright, I've heard that. Let's go to the side view. We can hit Z to go to the wireframe. Feel like now we have this here. I need to extrude it like this. Okay, Let's see how can we get something like this? And the editing mode. If I go to this more turn off subdivision surface Timberlake, I have this nice, nice tool is called Sprint. I can use this butt to spin walk according to the 3D cursor position. I need to have a shape goes like that. That's being an almost, a 3D cursor should be right here. So let's put the 3D cursor here. And now let's, okay, let's use the Y axis, the y axis and rotate this just a little bit like that. Until we get to hear that you like. If you don't like it, you can keep their position our 3D cursor. And you can start again, but you need to hit Control Z to cancel that. Now you have the ability to move the result that you got, e.g. if you want to move it to the y axis, we can use this arrow or to the y. As you can see, these edges go, goes to, I don't like the direction of these edges. Alright, That's mean we have some problem to fix. The problem is we just need to take this up just a little bit. I mean, to fix the problem, I will move this to the x-axis until I have, is it just goes through the center. Okay? When that is done, but we fixed it. Here. We have the menu to control the, what we have here, the steps, that's too much. Maybe I can't review it and I'm broth or something like that to eight maybe. When you complete. All right, let's see what we got here and the solid of you. That's cool. Guys, go to the box, select and you've got this result. It's very nice to hit Select to isolate this piece. And I think we can, I don't know if we can rotate it just a little bit according to their 3D cursor position. Okay, that's me. We need to tweak that transformed to 3D cursor and top out and hit R to rotate this like that, something like this, and then move it down. Make sure that you put this exactly in the center when it'd be satisfied that everything is good. Activists subdivision or right-click a small thing. Yeah, that's it. You're done here. Alright, so we have these Paltz. Let's try to create them. I can put the 3D cursor right here and then go add Shift a and let's add e.g. what we can add accurately, can add cubed is very big. We are inside the cube this and scale it down and scale it down like that. And take this up can throw layer, let us kill target a. So everything can throw me to bubble and this bubble is all right, Somebody like this. Alright, that's cool. Now we got this. Cool. Let's select these faces. Hit X to delete them. And the club bond face from here hit L to link select, to select. The faces that length through this face, and then hit x, f x to open the Delete Menu, F2, delete the faces. Now we got this tub arthritis liquid smoke. And I can use this. Feel like you can scale this with a Z according to the origin dots. So I will throw this back to bounding as to the t and make it flat just a little bit from the side. I just need to do something here. The origin dot, as you can see, it's right here. I just need to move it up and align it with this line. And I will tell you why. Let's go to the option activity, Oregon. Take this up. Are there z axes goes up? There's yeah. Yeah. That's right. Let's keep it like this for now and turn off organ, that's it. And now we need to scale up, make it small, and then can throw light. I would like to scale. And now we need to distribute this on this piece of metal. I can use a snob to face. Okay? And here we have this option ally of rotation. Because when we want, because here we have some tilt here. If I don't activate the alliance rotation, I will. This piece will not aligned to the rotation of this piece of metal. Okay? I mean, if I go to the site of you, the result will be like this. And that's wrong. I needed to be like this. Okay? This is the difference. Okay. Let's activate a lateral rotation. And now I will hit G to move and hold Control to snap. And now we have something here and now we can stop it nicely on the surface. And let's see how much we have here. How many we have two here. So let's grab this from the top, hit the key, hold control and establish right here. Scale it. Scale it. Yeah, that's cool. Surely we can activate the center to make the snapping working through the center. That's cool. Hold Shift D to their Coby hold control and establish new Cobra here. Shift to detect Coby holds, can throw all this time is here. Okay, heft to D Coby hold control and snobbish here. This process is very fast and nice. The other copy here, have the hold can throw a lot Coby here. The Gobi here, the Coby here, hit the Copy here, hold control. And what else from the top cavity or the Coby here? Shift the other Coby here, another shifty. But the skill is just a little bit, make it big and hit key and hold Control and standard again. Now we got all of these. When you will be satisfy. Know you can merge them, but I'm not going to marry this right now because I need to maybe I can use some of them in another place. So I will leave them like that, like this for now. But now we got something nice to create a piece of metal right here. And this area to hold this piece of work. But if I want to do this and I need to make some tweaking here. Let's go to the side view and go to wireframe. And let's see what we got here. And I just need to move them just a little bit to this direction right here maybe. And maybe, I don't know, maybe take this down just a little bit and put this right here and this one here for now. Okay? You know what? I think this what do we have here is not going to work because we didn't gave the barrel to be rotated. Along this axis. A twelv hit the wards. And thus actually not, not correct. We need to fix this. In this case, when we go to this side, we can move this down, but we need to check the vertices were out there. Let's hit Select to isolate this piece and try to understand that what we have done here. Okay, maybe I can add an edge right here and this area and then go and take those down, all of them from the side. It's like to anxiety, go to the side. Let's take those down. Because I just need this piece here. Okay. Somebody like this, I don't know, maybe sort of work. Alright, now let's select this. Let's put this file here. What about this one? I don't know. Maybe we can select those and move them down just a little bit here. Okay. Something like that. Yeah. Now we got this from the top. We need to make some which we can grab these vertices and more than right here. This tried to check the wrists. Maybe I'll rotate those just a little bit as well. It's got a solid and I was working. I was very cool. Now let's try to create this. I will put the 3D cursor hand this area, hit Shift a to add, but the top outs first, shift a to add and let's add plane, align the plane to the view IT S and scale up, make it small like this. And then a scalar like that, I will make it a little bit too big and can throw layer by the scale of top. And maybe before I taught, I will take this out to grab these vertices. And those there can throw shift B to bevel, to bevel the vertices. Let's make a bubble like that. Now we've got this hits like to isolate this. And let's make some connection between these vertices, has k, those here as well, hit J. Because I don't want this to be an gone. Can throw off to add maybe two edges here. Yeah. And just connect those here at J. Sorry. Those here as well. Sorry, this one with this one hit J. Club this with this. This with this, it's key. Can throw it out to somebody. The side can throw out what the site. Okay, that's cool. Now let's go to face the select all these faces and those here as well. It's I2 insets. And then right-click circle. And then let's go have ice kill those. They will go to the center. But if I choose individual, I will scale those and their position. That's what I want. Actually, we don't need all of that by the way, because I will add these boats above them and they will be hidden. So I will ignore what I did here. With just a waste of time. Top hits a silicon everything and then it's E and give this a little bit of thickness like that. And yeah, that's cool. Okay. Let's go to the face has alt click to select this entire face loop. And it will go to Selection. And q is select a little bit and select boundary to select these edges and give them a verbal control. Be scribble those 23. Don't add much. Something like this. All right. How about right here, this one with fewer like we can add one subdivision surface to increase the number to anxiety and I will just align it from tub. Alright, kicked the center first and then you can rotate it. And as great. Okay, Now let's see. Grab one of these pieces, have the hold control and here's one right here. Alright, but as you can see now, does interest not snap to, it doesn't snap on this face from outside, but it's snapped from inside. That's me in this phase is a flipped we need to fix that. Let's repeat that again. When you snap this snapped, but inside nodes, nodes from both sides. That's mean we need to flip the normal. So the normal of the face goes inside like this. And that's correct. We need this normal to be out. If I go to face orientation, as you can see, it's alright. Okay, let's take this piece out. Select this tab, hit a shift M, had a cold Kool-Aid than normal and tap out and now turn this off. Now if I crop this and had key hold control and snobbish, as you can see now it's working correctly. So keep that in mind. Skill, this Hickey, hold control and stamp. We can shift the hold control and stamp this right here. And we did something nice. Alright, alright, alright, alright. Alright, Can we take another Coby and what it may be? I don't know, right here in the front hip, the end state where we are right here from the side view, we can just take it up here from the tub. We need to rotate it. I think. That's it. We got this here. I was very cool. Even this NOT exists. What we can do that. Or actually, yeah, we have one here. I like this. Alright, that's great. All right, the check the other canons. What else we can create here? Alright, I will end this video and let's see what we can create next week. Goodbye. 14. 014 Modeling Adding extra accessory to the cannon carriage: Hello everyone, welcome back. Okay. As you can see here in this image, I have this piece right here, this petal plate. They try to create something similar to this one. I'm not going to create a new one, but I will copy this and use it. Just selected and then hit Shift D and take a copy of it right here. Maybe we can flip it, hit Control M to activate mirror and just give it access it x to a mirrored on the x axis and hit Enter to apply it. From the side of you. I can take this down here maybe, and maybe rotate it just a little bit. Hold I can hit Alt R to reset the rotation and tabulated points. Okay, I think let's turn off subdivision service for now and let's delete these edges that I added here. Grabbed them all. Alt click, Alt Shift click. And it can throw X to dissolve them. And the wireframe mode to grab all of these vertices and just make this short. Okay, now, let's go to the side view tab out. And let's move this. Let's see where should we move on paper right here. And maybe we can rotate it. All right, let's put this here. And it's auto rotate this whole case, something like that to hold hip to make the rotation slowly. And then let's move this here. And let's see what we have in the 3D view board. Okay, this is more of this right here. Alright, I think that's too much. We can go back to the site of you and hit you in this move, this just a little bit like that. And yeah, that's better. But we need to add an H right here. Control R, sorry, touch it. It was furious. Hit Control R. And let's add H here. And in the side, if you go to the wireframe in the crop this and take this up in, rotate this just a little bit. It rotates like this. And here we need to make some tweaking. Something like this. Maybe we can rotate this as well. Hit Control V to give us a bubble like that. And now we got this. Let's grab these vertices and moving them to the end here. Let's go to the site of you. At least see is everything makes sense in the 3D view port. Hit Z to go to solid and tap outside. Let's go to the top of your head number seven. And let's make some which we can first is take this and let's put it in the middle. Maybe we can rotate this just a little bit. Something like this. I think that's enough. All right, now we've got this, activates a subdivision surface after that. And maybe we can cope with some robots. Maybe select this with this one selected hit Shift D to take a Coby and hold Control and stamp it right here. Okay, Now we have one here. Maybe we can scale up, make it to pick us a little bit. Shifty hold control. And this one here in the middle here, the one here, have the hot one right here. And let's add one here. And this area. I think we can call this objects and put one right here. I mean, this one here, the selected, select all of these shift to D. And let's take a Coby here. And let's move this down from the top to see what we have. Let's put this right here. Something like this. Okay, I think it's maybe we can move it here. Let's go to the side of you. And yeah, I think that's okay. Position. That's cool. We can take this and the wood plank wheel-like can move them just a little bit like that. That's kinda walk. But we need to push this side. That's very cool. Okay, what's next? Maybe what Kenny craft some, something like this. Okay. Let's delete this one. Tablet mode hit Control R to add one H right here. And this 8-bit voltage control B. Let's pivot something like this. That will be okay. And let's select some faces from here. Maybe those, I think that's okay to cut up those. Hit Shift D to take a Coby and right-click to live it and assemblies and then p and q are silicon, or you can hit S, P, S, P, S to separate the geometry. Alright? Now we have this Jacobi tab out, and let's select the scenario and turn off subdivision surface. Similarly, it's like to isolate this one to work with this alone. Tabs it is more than, let's see what we can we can make here are listed like this. Here. Alt click to select it, select the edge loop, and then it can throw veto by palettes, almost right here. And then let's select these edges, this edge and this edge. And let's hit E to extrude it. Something like this will be okay. And hit Control R. And maybe we can add, I can add two here, two aqueous and scale them back that somebody like this, and we can select those and scale them like this. Let's kill those back just a little bit to the y-axis. It is individual or journalists. Read this back to bounding box. For this killed them. Maybe we can add one H right here ands kill this inside, like this. And for any reason, if you want this to be perfect circle, you can select them, right-click and create a circle. But we got some problem because, because of the scale, as you can see, it's not a perfect circle. And we got another problem with this tool. In this case, I need to apply the skill so all he can throw that and tap out control. I apply the scale to avoid any problem. And then top Right-click, go to the Bowl Tool circle. Now it's perfect. Let's move this just a little bit right here, and that's what we'll be. Okay. Alright, That's cool. Now let's hit I to insert those insights homeless right here, and then hit X to delete the rest. And we just need to give this a thickness, I think. Okay, let's give this a thickness. Maybe. I think we need to make this a little bit bigger. So Alt click on the aqueous and ligate the face loop and then S to scale it. And as you can see, we have some overlapping here. Try to avoid it. Move this out and that's it. Out and that's okay. Thickness. Okay, let's go to modify our lists. And lists are the solid defy to have some thickness and yeah, that's it. Recall. If we have some problem here with the corner, we have this option is called even thickness. If you want to activate it, go ahead and back 32 and apply the salt. If I control a and we don't need that anymore, top it is more than n. Now let's see what else we can acute. Good to face, Alt click to select the entire face though, as you can see here. And then move this just a little bit here and go to Select, and go select loop boundary tool, select the boundary. And maybe I can add this edge and those ages as well. Because I need to make a bevel. Maybe those I need to bevel this area as well. Because this area, I want it to be tight. Because of that, I selected this edge. Okay, corners, we need to target them. This one as well. I hear this corner here and this one as well. And I think that's it. Okay, now let's hit Control B for bevel. This parabola like this. Oops, I guess forget those Alt Shift, click here, click here, control V. And that's cool. We have some problems. You'll notice we have some overlapping happening right here, that's wrong. It's manually. I can fix it, grab this over to pack this one as well. Move it back like this. That's it. Tub of outs, activists subdivision surface and now we got something nice and smooth. In case you want to ask support a glue right here, That's better as you can see, the difference if I hit G and move kick was what will happen here in this area. Even the header become better key twice in sliders. So it will add one here and maybe one right here. As you can see the difference, you can see the stretch. I can make it less here as well. That will be better. And maybe one support the AQL up here. That's great. We can throw up top out at slash to exert the local mode. And now we've got this list are some rivets here. Select this one here, D hold Control, snap here. Maybe you can make this a little bit bigger. G to move hold control and stamped again cavity. Snug this here, grab this with this here with d and take those two here and there. Amazing. Cool. What else we can add to that? Let's try to find another one. Alright, can we create this hook? Okay, I think we need to add a hook here in the front. All right, Let's do that. Select this Type two ethmoid and maybe we can take this face to use it here. D take this face right here, and then p as two separate it. How about grabbed this and you want to add more, delis me the smaller crop this with this. More than like this. Sorry. Those here, take them down. And maybe those just a little bit like that, hit a and then E to extrude this forward just a little bit. Now we got that. Okay, turn off bevel for now we don't need this. And what else? Mirror modifier tab out and up light controller. Okay, Very cool. Now let's see how can we create something like that? With this selected here in the middle Alt click to select it, to select the edge loop and then it controlled with a bullet. Or I can throw B is not going to work. And I think I will show you why because here we have a face inside. I will hit Control Z couple of time just to show you why that's happening. When I selected the whole face and hit E to extrude it. The extrusion is done. But here we have the face. In this area, we have a piece inside. This face, kills us some problem. Okay? If you have mirror modifier and if you have a surface, you want to give it a thickness. When you do that, be careful, you need to delete this face insight. In this case, I will go to wireframe and select this face in the middle and hit X to delete it, and then go back to solid. And now I can apply them here and with the fire without any problem, internal bevel. Now this tab again, if I go to this edge Alt click, and if I hit Control V, now it will be baffled without any problem. Alright, That's cool. Let's hit Control R. Let's add one H right here. And maybe we can select this with this hit I to insert something like that. Maybe, maybe extruded just a little bit like that. Okay. Maybe we can hit Control Z because I think I can extrude this directly like this. This one with this one hits I to insets. And the skill this make it like a square. There, right-click and choose circle, mixed circle, and the same CNR you will have problem with the scale control Z. Talk to OPIA with motor control, I apply the skill. Tab again, right-click Loop tool to a circle. Now it's better. Scale it down. And let's hit Select to isolate this one. Let's go to the site of you, I mean fronts. And maybe you can use the spin again. Let's put the 3D costs are almost right here. Something like this. And activate spin. And let's choose the axis which acts is renamed the y-axis, go to y and make some rotation like this. And if you satisfy as okay, if you don't, you can move it here or here. You have all of these options. Maybe we can make it a little bit bigger. We can do that and make sure not to add too many edges right here because you will add a subdivision surface. We can decrease the number here, six, okay, for me, when you'd be satisfied it half the space and go to select books and that's it, or you can select from here. All right, what about this area above this? Hit E to F through this, and then S to scale it. And E to extrude this up and S to scale this lag that can throw an hour or two H's here, S to scale this. And now we got this. Okay, I will add control are, I'd like here because when I add subdivision surface, this error, this error will be too smooth if I didn't add an edge, but if I add edge, it will be like this. Okay? Maybe you can throw out to add one H right here as well. Okay? Okay, okay, what about these edges here? Let's make some tweaking. Let's select those. And maybe even this age had key to this and move this up. Okay. What else? I think that's it. Now we can add a subdivision surface and see what we will get. Maybe from the side view, we can go to wireframe and club all these vertices and just move those back a little bit like that. And that's your grades. Okay? Now let's target to some edges here. Those here. Alright, so right. All right. See if that works or not. Select this edge and this edge. These edges here as well. Okay? And bubble them. And let's see what's going to happen if we do that control B. Actually, I will have some overlapping if I do that, overlapping right here, okay? But I think we can fix it. If we go to the edge, we can grab those and we can move them just a little bit like that. That's what rock can throw a lot to add one here on this area. Okay. If you ask why I did that, because if I don't if I add a subdivision surface, I will have a small throws out goes like that. And I will lose the neck shape. This. This Toby Toby care of it like that. And I will lose the details here of the neck. But if I add an H right here, told me like this, That's what I want. So it can throw off to add it here. And what else? Let's add an egg here as well. To make this area, when I add subdivision surface to make it tight. Because if I don't, it will be like this. One here as well. Can throw a lot to add HY here. Okay, and I added it right here. Because if I don't want to be like this, what if I add an H right here? It will be like this. And yeah, that's cool. Maybe. Yeah, That's it for now. Maybe one here, I think. Okay. Now let's tap out and delete some bevel. We don't need this. Let's add subdivision surface. And lists are two tracing right-click here. And actually we got something nice here. We can delete, auto, smooth the activated. Okay, Let's tab again and we forget something here. Because I noticed that the smoothness goes like that. Very treat this area and I think we can fix that in case we added an H right here, and that will show it before and after I activate this, hit Control R. What will happen? Now? It goes like that. But if I hit Control R, How can I control it? That's why I added these ages as a support the globe. We got something nice. It's like to excite. And now we can scale it, make it big. Alright, the Oregon dot a little bit far away from the geometry, in this case, Radical exit or it can take geometry. And now hit S to make it pick somebody like this. Rights. And maybe we can put it right here and then move it back a little bit. Because you go to the side view, front view for the Canon. And I think we can end the wireframe mode. Just move those here and make it smaller just a little bit. Okay, you can eyeball, it's something like this. I think that's better. And now we need to add the rivets. So let's select this here. If I hold Control and stops here. The hold Control on this tab is right here. And that's amazing. Alright, Very cool. All right, this is it for this video and see you next. 15. 015 Modeling Adding belts to the carriage legs: Hello again and welcome back. In this video, I need to create this material builds around the carry eight legs here, one here, and one here. If I bring the reference amateurs, see, as you can see, we have these stuff here. They tried to create something like this. Maybe I can use this as our reference image. Okay, let's leave this here, this tablet with more than, maybe I can select this edge right here. Or maybe I can add timber or DNA here. Okay? And maybe Control R to add. I don't know, maybe add one right here. And go to Face ID number three to go to Face to face, Arctic lip to select this face loop, all you have to click to grab this one as well. Shifted D to take a Coby from this right-click to leave it in the same place and then p has to separate it out from the group. Tap out. And let's put this image right here. Now let's select these new pieces. Okay. Let's turn off subdivision surface temporarily. And let's give this a thickness. Let's go to solid. If I open the modifier list and give this a solid phase Mic to solidify out node inside. And let's move this to the minus. Now we have some thickness here. I think I can accept this thickness or cannot reduce it just a little bit, but not too much. Can throw a and apply the solid. If I were talking about anymore. Tap to edit mode, go to edges, Alt, click on this edge and rights hits. Maybe I can move this G twice and move it like that. I don't know if that makes sense. Oh, I will just select this and this one. Let's hit Select to isolate them thus will be better. Okay? Let's select all of these edges here and level them. The same scenario for those Alt Shift, click and select the edges. Can throw B for bevel. Something like this. Tap out and keep this subdivision surface. And then we got those here. And for the edges that we add here, we can delete them. Alt click, Alt Shift, right-click and select this one. It can throw extra dissolve them. That's fair. And hit slash to exert over the local modes. And now we got this result. Okay, If you want to add here in the middle and bevel, this will be better to support the support this egg here to prevent the subdivision to go to the center. I mean, to prevent any citrate. The same scenario here. At one age you can throw the bevel it to the edge like that. Top box. And now it's better. We don't need to add two level. One level is okay. And the other says, Okay, this image, we don't need this anymore so I can hide this. And okay, what else we need to add a rabbit here maybe. So let's select this. Hit Shift D hold Control and add one. Here. We have some problem I feel I don't know why. Alright, let's check the face orientation. Everything is okay. Sorry, we didn't switch this to face to face, choose center and activate a lateral rotation. Now he'd key hold control and snap it. And yeah, now it's working. One here, Shift D. And on the side hip the add one here. You have the hold can throw one here, the hold Control one there. The envelope control and add one right here. Are the set as well. I think we need to do that. Hit the hold Control, Shift D intake or Coby and hold Control here and the same scene over here. Very cool. Cool. All right then so this, how to create these pellets. And yeah, that's it for this video and see you next. 16. 016 Unwrapping unwrap the barrel: Hello again, we'll come back. Okay, now is the time to make some Arab. I need to copy all of these details on the other side, but I need to unwrap them first and then copy them. First thing you need to. We want to make our app. We need to sublet the window to two. Okay, something like this. So put your mouse right here at the corner and click and drag to have a new window here. This one, I will just read this to UV, this row. Now we are inside UV it. Okay, That's great. Okay, maybe we can start with the barrel itself. Okay. So hits like to isolate it and let's work with this one. Let's check the wireframe first to see how many polygons we have here on this activity wireframe. Alright, we have a lot, a lot of polygons here. Very cool. Let's turn off wireframe and let's see what's going to happen if I add one subdivision surface. Let's turn off wireframe and let's see what's the difference here? I feel there is no difference still nice and clean. So I will add to use one level and I will apply the subdivision surface. So that's it. Yes, it can throw light and light. Now this hits like to isolate it. And now let's add some themes here. First, we need to go to the Edit mode. Tablet is more to endless. Go to the edge, hit number two. And now we have the UV, but this UV is not correct, so we need to add some theme and cut some parts. Let's start with this. Let's add assume right here. Just hit Alt click and select this entire edge loop and right-clicking and mark scheme. So now we see right here it's like you have a Caesar and you cut this area. Alright, maybe wants him here as well. We can add Tool, Help tool to help the algorithm of the orbit of the UV to open this, so select this one right-click magazine. And let's go to the back here. Maybe I can either see him right here. Right-click mark scheme. Okay? And what else? Okay, Once him here to cut this area. And this area as well. Maxime. And let's select the edge loop starting from here. And alright, let's select from the top. I think that's where whatever because when you have seen sometime when you add the ticket sure. Because of this team, it could be noticeable. So I try I want to choose my seems wisely, I need to try as much as I can to hide them high the scenes. If I pick this edge, are the same. Any problem, any noticeable thing happened with the texture? I can see it right here. Because most, most, most of the time I will add the camera at an angle like this. But from here, if I add my seam right here is better because this area will be hidden. All the weights, lists are the same here. Hold Celtic love this one. Hold can totally got this right-click mark scheme. Creates. Okay, What else? Alright. Maybe we can add the seam right here. Maybe here, right-click mark scheme to open this area. And we can add the same here as well. Going like this. And maybe it could end right here. And another team right here. Mark scheme. Now we have a seam here. And one seam here as well, just to help the old guard them to work easily. Maybe right here. I can throw this. And maybe here, right-click mark scheme. Okay. Very cool. Alright, let's see what else we can do here. Now we need to add an edge loop from the top, from the bottom. Like this, hold Control and select this. And then hold Control. And let's pick this one, I think. Yeah. I can hold Control and select this one as well. Hold control and pick this. I've started that translate marketing. Okay, so now we added as humans to the unnecessary edges, but I think we need to add seam inside right here. Yes, my seam here. I clicked magazine. To open this one as well. Hence, let's pick this edge. Okay? Hold can throw and crop this and this, and mark this as scheme. That's cool, That's better. Okay, Now is the time to arrive this and let's see what we will get hit a select everything. And here in the UV site, again, it's a to select all the UV and then hit U twice u and u again. Now we got this results. When you make the Rob, you'll find here a method for the algorithm. Here we have angled base and you're here, we have confirmable. Let's try confirmable. Alright, sometime confirmable walks and sometime angle based works. This triangular base again. Okay, So this is the result that we got so far. Okay? If we want to check them material, sorry, if once you check the results, I can add a texture to see to see the UV. If I have any distortion, I can continue to create a new texture. And here we have multiple options for the generator type, I will use UV grade, or you can choose color grid if you like. Let's pick this one. And let's call this, I don't know, checker to gesture. And then hits, okay, to add this. Now we have this as you can see. Okay, after that, Let's the sublet, this window to window, and let's go to the shader editor so we can add this header, the header for this hitting you. And let's hit Shift a to go to texture and let's add MH. Took us sure, we could have tried here. And here. Let's open the arrow and let's find that checker. And now we have it like this to the base color and go to this arrow and change the color to texture. So we can see that texture. As you can see this is that take a shower or we can hit Control T. Alright, I will hit. Okay, Let's hit. And to open this, this finger here are two tickets to a mapping here. I just need to make the scale a little bit smaller. Crop these acts is all of them. Click and drag. And let's add here five. Let's see if that can affect the result here. Alright, that's not going to work. But if I go to the material preview, I can see that as well as you can see now we've scaled working. If you go to the material preview, six, it will be smaller. So let's add four maybe. Okay, So this is the result of uv. Now let's try to see if we have any distortion. Here. We don't have any distortion, but we have a twist. As you can see. We have a twist. We can eliminate this twist by adding another team here if you like, shoe or the seam here, That's all I have to eliminate it and make it a little bit less. Okay, Let's tab and let's see the UV. Alright, I can rotate this. If I like five control space, I can make the spec. I can grab this side, just hover over here and hit L to link select. And I can rotate it just a little bit like that. Let's put this right here. Maybe it's to scale it down. That's better. Hit Control Space again, Indiana, It's, it's better. We still have some twisting, but that's what we can do. Or I saw this, how to rob the barrel. And now let's go to solid. And I will turn off texture. I will go to material that's better. And let's select those here. Okay? Let's select to isolate the things. Here we have subdivision surface, so let's see if we, can we add one? Yeah, we can add one subdivision and I will hit Control a top light, touch to it more than, I will select this edge loop and mark this as a seem to, others seem right here. And I will add seem from this side. Hold can thoroughly grab this. When you select these edges, right-click Marxian, and then hit a select all the faces in here. Hit a again to select the UV and then hit U twice. Now we have something. Let's try to see that confirmable. Oh, okay. I can stick with confirmable. Confirm all know. Gave me a better result. I will push the margin just a little bit to have some space. Okay, That's it. So he'd done with this. Now we can apply the material on it. Right? It's alright. I think we name it checker or not. No, we don't. So I think we don't. Let's call this checker. All right, Let's close this here and now let's go to material preview. As you can see now we have the result, but we got one problem right here. That is the wrong tool. Make some variation between the size of the star. The size of the texture here is very small as compared to this one. We need to make the size equal. In this case, manually, we will do that. Just tap it is more than select all the faces here and you can scale this down. When you do that, the UV will be small according to the image. And now we can make this even. Okay, something like this. You can compare the numbers and now the numbers are equal tau about this part. I don't want it deleted because I will cover this later. Alright, So this how to rob rights. We don't have that Mike distortion. As you can see, the size of the squares or the texts are equal. Just here and this air we have just a little bit scaling but does not have, There's not a huge problem. I can't accept it. And here we have the texture a little bit smaller as compared to this one. But I will accept this result. Alright, that's cool. Now I can go to solid and this is how to Arab Bureau. I've taught that if you will, or rub all of these pieces. And when we complete, we will mirror them on the other sides. And after that we can say we are finished with the arriving. So this is it for this video and see you next. 17. 017 Unwrapping Unwrapping wheel and some accessory: Hello everyone and welcome back. Let's start with a carriage, this Arabic. Let's select this piece first and let's hit Select to isolate it. And let's go to the modifier and let's see the wireframe turn off optimal display so we can see the wireframe and activate wireframe. All right, let's see what's going to happen if I add one or two. Turn off wireframe. Okay, It's still smooth and nice. So I will accept a subdivision one and I will hit Control a top light tablet mode. And let's start adding some teams here. Let's target the corner, as you can see here. This achy, I can hit Alt click and the agent will stop here. I can use this one and the same here, right-click Marxian. And let's select this entire edge loop tool. Go along the whole, the whole geometry, and then right-click magazine. And maybe this edge and this egg we can select it. And this wall right here, and this part right here. And all I have to click this as well. Right-click Maxime. Alright, what about this one? We can add the seam right here. That's great. You combine, it, just hits a select everything in here. Go to the UV, select a as well, and then you hit U twice, u and u again. Now it's arrived. Let's try to I don't know if confirmable walks here or not. Let's go to angle base and let's see what's the difference. Alright, that's called lists. Tab out and let's apply the material. Let's go to the material section and go to this arrow and search for the checker and his Yan, go to Materials, Review. And you just need to check in case I have a distortion. Very nice, Very cool. I like it's slice to excite. And now let's select a new geometry to start with. Let's select this one. It's like two isolated. And let's go to them with your foreignness. What we have here, we have bevel and mirror. Apply the mirror modifier. I just opened the arrow and hover over here, hit Control a to apply it and apply bevel as well. It can throw a light. Now tablet mode and let's select the edges. I'll click on this egg to select the entire edge loop and give it a seam. And this one as well, look robert, mark scheme. And what else? Maybe we can add one seam here. Okay? And I don't know, maybe one seen here as well. And maybe I can cut this areas will mark scheme and let's try to arrive with hit a, select everything in here as well. Hit a and hit you and you. I can't draw a rabbit. I love this tool confirmable, that will be better. And now it's done. I started that tab out and go to the Modify, sorry, go to the material section and let's add checker material that we just created. His Yan go-to material IRB review. And as you can see, we don't have any distortion. Everything is cool. It's likes to excite. And now let's select another geometry is Z and go to solid. Let's select this one. It's like to isolate it. First, let's go to the modifiers and let's see what we have. We have bevel applied control a top. After a tablet is mode, alt click, select this edge right here, all thick. And then right-click mark scheme are the same here. I see him on the other side as well. Alt click here, mark scheme, and maybe one seam here. And that's it, hits a and hear it again. And you and you again. Done assets. Tab. Go to the material section, go to this URL, I'll check or material has Yan go-to material preview and done? It's like, alright, now we need to make all of these UV that we have here. We need to make them, we need to make them equal. In this case, I can select, I can select this one. I started with this top hits a, and here in the UV, hit S and scale the UV and make it big. Alright, and I can select this one as well. This one, tau again, it's a club, those skill that was just a little bit down. Alright, you can now check the texts. All the texts, all the text looks equal. And that's what we want. I've heard that talk about what what else we can do here. Maybe we can start with this. All right, Let's select this one. It's like to isolate it. And let's see what we have here. We have subdivision modifier, can throw a applied and just tap it. It's more, this one is easy to Arab. I just going to grab one egg. Alt click like this and rather collect mark scheme. And one edge from here, Maxime, Alt click and Maxime hit a in here had a again and you and you again. And now it's done. Okay, The same CNR, we go to the material, open the arrow, checker material, go to Material Review, and now we don't have any distortion. The squares are good and everything is cool. Okay, Let's hit Select to excite and let's select maybe this one right here. Alright, we have a subdivision surface modifier, can throw a end up light. It's like to isolate this one top. And now let's select maybe this edge right-click mark scheme hit a in here as well as a and you enjoy again. And now it's done, I think. Okay, confirmable, not working here. I will use annual base. Alright, we have a problem with the skill. As a few notes right here we have a warning about the skill. So tub out can throw a, apply the skill tab and again hits a. And here, select all the UV, hit a again and hit U twice, u and u again. This sea of corn thermal works here. Alright. It's nice that buyouts and let's add the material checker. Go to Materials, Review and cool. Recall. The same thing. Let's select this one. Slice to isolate it. It is more to endless select. Sorry, let's apply the subdivision Control a. And let's go here. Go to the age at number two from the keyboard, Alt click to select the entire loop right-click mark scheme. And as it hit a and here today as well, you twice and done type out. It's like to excite. You can give it the same material if you like. Yeah, cool. Done. This piece as well. Slash tab. Apply there. By the way, you don't need to go to them with the far end up life. You can, it can throw light and I've loved geometry, Tamika, and it will apply it here. Then Modifier, tab, go to edge, Alt, click, mark scheme, it's a. And by the way, you can hear with this selected, you can hit U twice here as well and you will get the Arab top. I'll grab this one. And there's something I need to mention. There's no reason to love this one. I can copy the Arab information and from here to there, okay. Let's apply the modifier Ferraris cancel I applied because the human transformation select this hold Shift, select this one, can throw L and here we have Coby UV map. Okay, cool view, Coby UV map, Coby it. And let's go here and let's check a tub. And as you can see now we have UV map. The same scenario for this piece right here. Can throw light, apply a visual estimation selected hold Shift, grab this one because this one is abrupt and completed. His control L And Coby UV map. And now let's select this tab and let's see, yeah, that's right, we have the ovary. What about those here? It's like to isolate them top. And before we do anything, I will go to, sorry, I just need to apply the subdivision modifier, activates and then it can throw light of light tab, go to face these faces. Instead we don't, we don't need them. Grow this election and delete those x f to delete them. Here as well, Alt, click, Alt you have to click can throw plus x f to delete them. When you complete, you just need to add maybe one seam here, alt click, and here as well as well. Alt Shift click here. When you select these edges, right-click marching. It's a silicate, everything in here as well, you again. And as you can see right here, problem with the skill. So tub out, sorry, How about you can throw a, Apply SQL tab and hit a. And here I can use and you again. Let's try corn base. Alright, there, you don't have much difference here. How about apply the material? Has Yan go-to material preview and done? That's it. It's like to ignite. Alright, that's cool. Let's add the material right here. We applied this. Now we don't have to have this, as you can see, the material destroyed here. Alright, tub or less, apply the modifier here. I can throw a end-of-life tab, go to a Alt click, select this again, the middle right-click mark seam hit a, and here you enjoy can hand done. Alright, so let's try that again. U and U again. Let's try. Aha, I noticed that we have some problem. As you can see here. We got problem with the scale. Can throw a ablaze, kill top hits a year. It's you and you again. And let's pick angled base and see a difference here. Writes, this torsion become less with with angle based. So I will accept this. Okay. That's it. It's like, well right, That's great. What else we need to do here? Kill us to lay this ring. It's like to isolate this and apply the subdivision surface. And before that I just need to see what's going to happen if I add one. Alright, let's see the wireframe. Activate wireframe. Let's go back here. Hit two. Alright, I will accept to us to mark, I know, but that's okay. I will accept. It. Can throw light up like this. Okay, Let's select lists. Let's talk about this more at the end, go to the edges. Maybe we can pick this edge, hold, Alt, Shift click and this one as well. Let's cut it to right-click mark seam at a and do twice. And it's erupt. Yeah. Can, you can apply, by the way, we have problem with the scale, but let's apply the material and let's see if we have any distortion. Okay. Go to material preview. I think we have just a little bit distortion to the center. So in this case, what I will do is it can throw light, apply the skill, tap it a, and here as well. You and you again. And this Robert, and now that's better. That's it's thrown off wireframe. Okay. It's like to his aid. And let's start with this and go to solid hits like to isolate it. Let's see if we have any modifier here. We have void abnormal cancer, a lay-up light in case we have a problem with the scale, can throw light applies to kill. And now let's tap. And let's see what we can do here. Alright, let's maximize the viewport first and let's target this. Okay, let's target this. Just fairest. And mark scheme. All of these edges. And those here as well. Maxime. Because we need to separate these phases insight. That's why. Okay. Alright, this is an option. By the way, we have another options. We can delete these phases insight and with one seam, I can wrap all of that. If I like. I can do that as well. All right, do we need these faces? I think we don't need these faces. So in this case, I will hit can throw a couple of times to delete what I did there. And what I will do is I will go to the site of view and go to Wireframe, go to face. And let's use Lasso Select and let's select these faces here inside one-by-one. Hold shift and grab those here. And this will look up those. And hold Shift, grab those here. Those here. Alright. When you come with it, it can throw minus to shrink the selection until you target the faces inside. Now we have all the faces inside targeted. Just hit X to delete them, and now they delete it. I've taught it that maybe I can add one here for each side. I just need to use it to convert it to seem Control R can throw off, sorry, not here, that's wrong. Control R. Alright. I'll select all of these edges. Alt, sorry, alt, you have to click, convert to seem. Hit a and Control Space to minimize the viewport. And here at a again and hits you and you again to Arab everything. And let's use confirmable. I think that's what be throw. And let's apply that material and let's see what we will get. His Yan and go to material preview. And it looks fine. Very cool. I will accept this fits likes to excite. The material goes with the circle nicely. You remember when I create the array modifier for this, but I didn't apply them with the fire yet because I don't want to rub all of these. Now I can rub one and use the array. So turn off array for now and go to the subdivision surface. It's like to isolate this one alone. And let's see what we have here. We have subdivision surface level one. I will accept it can throw a applied. And let's start with endless targets. Some edges, sorry, target these edges at the corners. E.g. those, those here as well, you can target them. And those here, those Alt Shift and select this right-click mark scheme to mark all of these. Seem like she was going to happen if we add it like this, hit a and here, it's akin to you and you twice. Alright, this confirmable, think it's not going to work. I don't know. Let's check angle paste. Okay. We don't have that Mike different spots. Let's apply the let's add the check-out tickets. Sure. Let's see the result. Alright, that's cool. But you know what? I think we are the same in the wrong direction. I can add the same actual right here and hide it behind behind the stomach itself. I guess for getting this right here. Anyway, I will accept the results. Okay. Oh, actually, I don't like to do that. To be honest with you. I will hit a and select everything and then hit right-click and the clearer same. And they will start over. Because I need the seems to be here. Select this, select this edge Alt. By the way, all you have to collect. And select this edge, this one right here. This right here. When you combine, please. Sorry, maybe we need to cut this from here. Okay? Right-click mark scheme can throw space at a and here it's you and you again. And now we have the same Haydn tub outs his Yan go to Material Review and now it's better. Now we have this heme here. Alright, it's like to excite. And as you can see, we have some problem with this when we, other than your age, in this case, I will add with normal again to fix it and up light. That's it. Alright, let's go back here. And this case now I can activate the array modifier and I will have all of these details back. And that's as cool as cool. Alright. I can apply them with the fire, the arrow modifier, and this will be one piece. Now I can tap for all of them. And now we have Coby above COBie. So in this case, I can go to UV and bake islands to beg those, all of them. Let's change the market analysts make it smaller, hold, shift and take the margin, the bag gets a little bit. So now all of these pieces now inside one UV can go to Materials, Review tab out, and yeah, that's better. Very cool. All right, What's next? Maybe I can select this one and hit Select to isolate it. We have subdivision one can throw a apply, it can throw light up like a scale in case we have a problem with the scale tab. And maybe we can target this edge are the coordinate here and this one here as well. Right-click my team. And maybe we can add an H right here, starting from here, and ends here. To cut it. So right-click mark seam at a and here as well hit a and hit U twice. Now we got this. Alright, that's great. Tub outs at your material. It's like to go to material IRB review. And yeah, that's very cool. Okay, this one as well. It's like to isolate it. Let's see what we have. Okay, apply them with the fire. Can throw light up like this kill tap. And let's select this range. Maybe. I don't know. Let's add one edge right here, right-click my same end. One cat here, Maxime hits a and here at a, and you are twice. As it's done. It's all wrapped tab out and let's add that material. Okay, Very cool. It's like to excite, select this hit slash to isolate it. Apply the subdivision surface can throw all that apply the skill. Tap. Let's go to edges, Alt click to select this age maybe I think that's it. Mark seam, hit a and here it's a and venue and you again done. How about applaud the material? Okay, Very cool. This one right here as well, slash to isolate it and apply volumetric mesh top. Maybe, I don't know, maybe one H right here and one here. Right-click mark scheme, it's a and here is a view again. Alright, scale, the scale SQL a lot by the skill. Tab again, hits a in here, u and u again as okay. The material. Very cool. Let's see what we have. We have mirror applied tab. And let's select this and this one as well. Right-click mark scheme and one edge if from inside or maybe from here, because it's hidden. It's hidden. Alright, yeah, Now we got the same age, right? Right-click much steam hits a and here hit a again. You done. Let's apply the material to this. Okay, Very cool. Okay, this piece may be as well, can throw, or I can throw a Top Glove, this egg here, this one right here. My team tab out control ALS, kill, hits a select everything in here as well. You end to again, done top outs the select this one and let's do the same thing. Let's see what we have. Subdivision, cancer, lay up lights. Top secret, one entire edge loop. Maybe, I don't know. Maybe this edge loop. Okay, Right-click mark scheme. Let's pick this one. Or maybe this one right here. Okay, I need the egg that's greet the center. Right, left mark scheme. It's a and here it's air. Can you, and you again. We have some distortion here happened in this area. That's because we need to help the algorithm to work better. In this case, I will add seam here. And same on the other side as we'll hear. Just help. Blender. Blender works better. I select my scene and hits a select everything, hit U twice. This. Try to use confirmable. That's not going to work. Stick with ankle, please. Okay. That's cool. Tab out. It's like let's add the checker material and cool this one as well. Check our material. All right, That's great. All right, so this is, it's we almost arrived everything. Now we need to complete that and COBie, the object from this side to the other side. So yeah, that's will do it for this video and see you next. 18. 018 Unwrapping finishing the unwrapping for all objects: Hello again, we'll come back. Okay. We didn't. I'll rub this and this one. Let's select this one. It's like to isolate it and let's see what modifier we have here. Subdivision surface with Level two. Alright, Do we need that? I think one will be okay. Or even why did we have subdivision surface? Alright, let's go to the wireframe. We have bevel applied here. We don't need any subdivision surface, actually, just delete it. Maybe we just need to always normal and activates Auto Smooth and assets. Let's turn off wireframe. Yeah, That's very cool. This case, I will apply the weight normal and now we'll stop. Let's target the edges, this one. And this one actually can make it one bit if you like e.g. they can target this edge. And this one here, this one right here. And you can open it from here as well. And from here and convert all of these to seem all rights. And one seam here as well. And here are they. Forget to select this and this. I click mark scheme. Right now hit a and here it's a, uh, can you, you and yeah, skill. Always kill a health problem. Sql, tab, out control ALS kill tab and hit a and here u and u. And let's choose confirm all because confirmable works with these kinds of hip better. It's very cool. We lost the shading because we apply the skill. I will go back and add weight normal and up lights flashing and let's add the material to this. Very cool done this piece as well right here. It's like to isolate it. Let's check them with the fire. To level. Let's add one and that's enough. Up lights, top, go to a crop these edges, I'll click Alt haptic like to grab the entire loop. Right leg marks him at a and a U. Done. Confirm all yeah, it's working right here. Very cool. The material here. This slash to excite and yeah, that's cool. Now I think we arrived everything. Let's add the material for this. Are those select them, hold Shift. Select those three pieces. Hold Shift and pick any objects with the material e.g. the carriage altogether grab this, can throw L, and let's link the material to these pieces. Alright, so that's very cool. Okay, I started that. One thing here. I just need to mention we have some variation in the skill. I mean, the UV. I need to fix the variation that we have here, e.g. this leg here and this piece of food should receive the same scale of the material. And if we don't fix this kill or the checker, as you can see, the text here. As big as compared to this one. If we don't fix this, when we add the material or the image texture, we will have some problem. The image tickets your heel here will be small and here will be zoomed in. So we need to fix that variation. Let's select all the pieces that received the wood material, this one and this one as well. And I don't know, maybe this one, yeah, this one right here. Okay. Let's select them all. Hit Select to isolate them. And let's start with this top two ethmoid first, as you go to a material and review. And let's see the variation. Alright, so we don't have much variation. I just need to scale this down. And now the texts become close and assets select this one top, It's a hit. A is killed this down and scale it, make it smaller and the AI School. And let's select this one right here. Taobao to grab this top, hit a and this, and scale this make it very small. All right, So now it's become equal. This one as well. Select this top hits a. Alright, I think I will leave this as is, because this one related to weight to the wheel. It's like do exactly an obvious target that we'll tap out, grab all of these pieces and this one, and this piece here in the middle. I think that's, it's, it's like to isolate this and lets his young go-to material preview. Alright, lists. Let's make some comparison. We don't have problem with this and this. We just have problem with this ring. Alright? Select this tab, hit a and hit S to scale it down. And now this takes similar to the text that I have here and the assets tab out. Very cool. Alright. It's like to anxiety and listed with this one. We don't need that. And I can say one more thing here. This piece of metal, they should receive the same size as well. So let's select them one by one. So like those here, this file right here, and this one here, this here, and this piece right here. And even for the wheel, the select all the metal parts. This, this the shaft. And this piece here. This one here. Select to isolate them. And now let's start with them. Has Z and go to material preview and let's kill them. Okay, I think I can use that as a reference. Let's make it the size of all of these pieces similar to the shaft. Stuff with this one tab hit a S and scale this down. Alright, let's kill this down even more. Okay? Now the text, okay, uh, similar to the text that I have here. So now they got the same size. This one as well. Tab hit a and the skill is down, make it big enough, grab this top. It's a skillet. Or there's enough called the spinal tap. It a skill this down. Let's move this to this text. I just need to kill the text. Or this enough. I think about select this one tab, it's a hit S and scale down. Alright. Silica swan type, it's a, Let's kill this down. Or there's too much, maybe scale it back out, grab this top, hit a and the skill is down. Somebody like this will be okay. Alright, tab article up this tab hit a and scale this down. And let's select this one and this one because they have the same size tab, hit a and the scale them all. The UV. Or somebody like this. Oh, that's cool. Maybe I can make it this big just a little bit. Okay, so now we fix this. All what we need to do is we need to select V is the rivets. Crop them all. Let's select those and merge them. Hit Control J to make them one piece. And tab hit a and here hit a again, you and you rub it and scale it feel like something like that. And let's select those here. Can throw the j, make them one piece tab hit a and here at a, U and U again, I love them. And let's select those here. Control J and make them one piece and listed like those. And those here. And those here as well. Make them one piece can throw J, top hit a, and here is a and hit U twice you and you again to our rub them. Tab out. And now let's focus on those here. Grab those, sorry. And it can throw the J to measure them. And then tab hit a and here it's a, U and U again. The same scenario for these pieces that got them one-by-one. Let's select those here. And here as well. Tab, sorry, Control J, make them one piece tab hit a, and here it's a and U and U. I can throw out of them. Alright, so I think now we can merge all the robots. Select this hold here, the club, those here, and those here as well. And even those I can do that. Those here. Okay, they should receive the same material. So I will hit Control J to marry them all and make them one piece. Alright, that's great. And even for these pieces actually I can select them and make them one piece if I like. Control J and make them one piece and halt, have to call those as well, Control J heart rates. Alright, so I think this, yeah, let's kill the UV for this. Top hits a and scale it down. I think that's too much. Somebody like this will be enough. Alright, I select this whole thing here they call this can throw j, make them one piece with it. That's it. Even though I can crop them one by one. Alright, I think a lot of those here Control J, make them one piece. This one, Control J. Or I will leave this because I need to mirror those on the other side and this one in the center. So I will ignore this. What else we need to do here? I can, alright, I think we we can make this one. I don't know. Alright. I just need to make sure. Yeah, I can make this with this and with this one. Make them one piece. So it can throw j and make them one piece. Pop out. Sorry. I'm not saying they did mode. And what about this one? We just forget us. And we didn't rabbits. Alright, let's see what's going to happen if I use subdivision one. Alright? Alright, let's use two. And let's check the wireframe. Let's go back to them. Modify modifier, turn off optimal display. Alright, let's apply the subdivision surface and it's like to isolate this one. We forget to rub it. Okay, tablet, it's more the nth lists target some edges. Let's take these edges at the corners. Grabbed those. Actually, we don't need to pick this one, so I will start with this and grab those here. And those here as well. Those Right-click Maxime. Something like this. And what about this era here? Let's add the seam right here, Maxime and seem should go like this. Starting from here, hold control and select this color. But this hold Control, select this one. And maybe ends here, right-click mark scheme and club this Maxime and this one as well. Actually I can, I don't know. Maybe we can add once him right here. Reach this area. And what else? What about this arrow right here? Let's see what we can do with it. Alright? Okay, I think I can add seam here to cut this. Alright, right-click magazine. And maybe one seam here. Okay, Now hit a select everything in here. Hit 8 h will view. I can. Alright. Now let's add the material tab out, and let's add the material here. Alright, we have some distortion happening right here. Because of the algorithm that we use. Tub again, hits a and hit you and do it again. And let's choose angled base. I think angled base is better. And yeah, I will accept this result facets. Let's go to solid. It's like turn off wireframe. Let's take it up those here, tap it a and here is a new view again. And merge those with those, sorry, Control J. And with all of these rivets selected, tab, hit a select all the robots. As you can see here, we have immerse hit apes all the UV, and then hit U and U again to all of them at once, like this top box. And let's give them the same material. If you're like, Oh, you can't ignore that. Alright, so yeah, we done with a Rob, we just need just kill this. Alright, tab, it's a skill this down. And make the size similar to this one. Because this and this, they should share the same material. It's very cool. Okay, now I can mirror or Coby and mural this side on the other side. Let's start with the courage and the details of the carriage, the rivets, and all of these metal stuff. Alright, so one more thing I just need to do here. They will do is from the top, I will delete those here. Sorry. Alright, x f, because I have one on this side, and if I copy those on the other side, I will have some overlap. So just the those and keep those here. First, let's put the 3D cursor in the center. Hit Shift S and courseware to the world origin. And after that hit Shift D to take a Coby. Now we have a cubby. Leave it in the same place, hit right-click, and then go to Transform if at point 2.3 this to 3D cursor because we want to use 3D cursor and then go to Object and mirror, mirror to the why global. And now we have this. Alright, that's cool. Now let's select the wheel. All the details here. Deselect the hat hold Control and deselect this, de-select the empty. We don't need it. Alright, Now shift D, take a Coby, go to objects mirror to the y, little y. Now we have this problem. We have here. We have duplicates Kravitz here, so we forget to delete one of them. And this case, let's try to delete one of these. Let's say grab one, face, hit Control L two links and let XF to delete one and this one as well. You can throw L XF him that. There we go. That's it. Alright, so now we are ready to add the material. And everything is erupt. Everything is ready. All what we need to do is adding the material and assets. Alright, so we just forget to COVID this one here. D, right-click, leave it in the same place. Objects mirror to the global y. That's very cool. Yeah, that's it for this video and see you next. 19. 019 Material Creating material to the Barrel part 1: Hello, I look, come back here. Okay, let's, let's create a material. Okay, let's start with deleting some stuff. Let's select this empty is we don't need them anymore. Let's select this one and delete it. And here we have this window and we have this one right here. So let's use this for the header at the top hits and to hide this panel right here, for now we don't need it. And before we start, I just need to add a light. I can use one of these slide thing, but I prefer to use HDRI, image and lighting. So in this case, we can speak the mode from objects material to the world material. And I will go to the folder where you can find HDRI image will be provided with projects folder. So we will have this eax, our image. You can drop the two inputs right here. But if you plug this directly to there in the background, that's wrong because we, It's not correct to use this node, we need to switch it. I've told you it, drag it and drop it here, just hit Shift S to open the switch manure and I just need to activate sic green cards. They just forget to do that. So you can watch patterns of eye pressing here, Shift S, and let's go to texture and let's choose environment texture. So now this becomes environment texture, a blog, this to the color, and go to the setting here, sweetest from EBITDA cycle. And now if I hit Z and go through and I have some lighting here, we don't need to see the background in this case, we can go to the the film here and turn on transparent transparency. Too high the environment. Alright. Now we can still receiving the lighting from the environment, but without viewing the environment itself. That's it first. That's the first thing that we need to go back to the object we finished with the environment and maybe we can start with the barrel. So let's select it and we have this checker material applied on it. We need to delete it, we don't need it. And let's hit Select to isolate the torque with this one along this annuity, create a new material and list-style. See from where we can start. Alright, first thing, I need to target the need to target these lines that we have on the payroll itself. Let's open the reference images first. All right, here we have the repressed images. And maybe we can create a material similar to this one right here. As you can see here, we have in the crevices, some dark blocking is here and this area. We have some, let's say a price material here. We need to try to get a close results similar to this one or close to this one. So let's put this right here and maybe we can make this smaller. Alright, let's put this right here so we can use it as a reference. And let's add a node here. Let's start with maybe we can add the humans vary the search for geometry. The geometry we have an option right here is called pointless. We need to use it. If I hit Control Shift and click Node, Wrangler can help you to review all of these sockets. If you don't have that, you can go to the Edit and then Preferences. And in the other section you can go to the search bar, searching for W R to find node the triangular and just activated and then go to the burger icon and then hit Save Preferences. Let's use that from here. After that, I can hit Control Shift, click, no triangular that we just activated can hold me to review the sockets here. I just need to check the pointless. As you can see, this option right here can help me to define some area here. If I, if I use another node here, I can make the stronger e.g. if I add a ramp, color ramp, by the way, if you want to add, you need to hit Shift a and then go to Search and search for the node that you want to find. So let's search for rum. Color ramp. I bought by using color and I can define that even more by pushing these sliders like that. As you can see now I have the ability to. Target the white area like this. Maybe take this forward just a little bit. Let's move this just a little bit back here, right? As you can see now, I guess he created a mask right here. And we can maybe use a math nodes. Let's search for math. Ellis blog the math and was right here. And maybe we can use a multiply, multiply the value here, and let's reset this and the CO2 will get here. Alright? So as you can see now I have the ability to define these areas. You just need to manipulate it just a little bit until you find the result that you want. Something like this. There's a nice mask here we got. Alright. Let's see what we, as you can see here by using the, the math, the math multiply mode here, you can make this stronger or less, can control that from this slider if you like. So here we have more control. If we want to make this a thinner or thicker. And I think we can use power as well. I don't know. Maybe that can help us. This scenario. I think you can do that as well, but for me I will stick with the multiply. Alright? I don't remember the value that I used, but something like this, 1.5 maybe. Alright, so this is the first step. We created a mask here to trying to mimic this affects. Alright. And here we have two option actually we can accept this as an OT. We can, we can use this. And we have another scenario. We can bake this results. And let's try to bake it because here in this course we need to learn stuff. Alright, so in this case, I will switch this to image editor and delete this checker. We don't need this anymore. As you can see these notes, the final results as this right here. But I can, I can kick this node image to mask a MetaMask, let's say, by using the baking system that comes default with the blender. And let's learn how can we do this? Alright, to give this, I need to create in the image editor, I need to create a new image here. And I need to make the resolution higher because you'll make their resolution higher. The image will be not going to be pixelated. And we, if we have close shots, we can see some details and the mask. So let's grab those, click and drag to those two. And let's multiply this with two maybe and then hit Enter, and now they are multiplied. You can multiply those with three if you like. If I can, if I hit control Z or at least exact as the New here. And let's try again. Let's multiply those with three. The Enter to make the texture even bigger. And turn off alpha, but turn on 32 bits and then hit Okay to accept the result, but give this a name, let's call this parallel mask. And then go to Okay, hit Okay. And now we have this black image right here and the setting right here, we have the image setting, calories space. We don't, we don't have any color. So we go to three this to none because it's black and white image. When you complete. Let's go back here and let's search for image texture. And let's add the image to Castro right here and go to this arrow. And let's search for beer or mask. So now when we bake whatever think Blender, we'll, we'll bake from here. We'll paste it on the image right here and the image take a straw that we have here at the same time. So as you go to the Render Settings, and let's go to the baking second here. And we don't need to change much here. We just too big type to emit. And we're going to hit back and give blenders some time to bake. To bake the image. But there's something important here. We need to mention. If I go to UV and if I hit tab, go to solid for now tap, you need to have all the UV inside the UV square here. We should not have any overlapping e.g. something like this, That's not going to work. That's wrong. Or scale like that, that's not going to work. That's mean in case we have some UVs out of the UV, we need to put them inside the cell for this geometry or for the rest. Alright, now let's go back to the image editor and then tap out. Let's go to the render here. Alright, now let's go to bake. And with all of these options change, Let's hit peak and let's give some time to bake. Baking now is finished. If I go to the or not, right now, I can see the mask throw these nodes that we created. And the same time if I plug this, if I hit control, shift to click to make a quick point of view, as you can see now, I approve of previewing the mask from this image and this is the results. Let's readers to image texture and lists tab. You can understand what's happening as you can see it. That's what seven. Alright, this is a UV. And now as you can see, how the picking is walking, walking out according to the UV. Alright, so let's go back to the image texture here. Alright, I've tried that. Let's see what else we can do. Now we got the picking list. How about let's see how can we can throw that further? I can put those temporary right here in case we need to use them later. And now I can use this image alone. Now, if I, in case I need to break this result, e.g. as you can see, it is just black and white and the white is very sharp. In case we need to make some freaking here where we can use noise texture. Let's search for noise. This is nice texture, and let's put this right here. Let's hit Control Shift right-click just to preview it. As you can see, we have some straight here. Because of the coordinates, the victor soil is search for coordinate C double 0. And you will find this a blog that UV because you are, remember we unwrap this speaker, the speaker, the supply of the UV in the vector and now the noise texture working correctly. And by the way, you can use object as well if you like. So you can use UV or objects for now. I've started that, lets me the skill a little bit smaller here. All right. And maybe I can go to the material preview. I think that would be faster. All right, and let's, alright, so now let's add a math note here. Hit Shift a to add endless search for Math. And let's go back to the lender because I just need to save the result in the render. Let's oblige with this, with this value and its readers to multiply. Alright, so now I can control the results here. And this value, I will use the killer here. And I need to control that even more by using color ramp, e.g. search for ramp. Let's put color on a curb right here. And now as you can see, I can break this these rings or let's say the mask. But we need to control the noise even more. As you can see the rest of the spoof of the noise. Let's take the details to number seven, maybe in darkness to 0.8 to make the noise even sharper. And now if I go to the color ramp and manipulate the darker values, you can see we have this dark value, we can play with it. We can change the scale e.g. to make it very small it Let's go back to the multiply, hit cancel here to click, to activate it. Now I can break the result or say I can break the mask. Let's change this tool, maybe 20, because that's too much. All right, so now I can control this. And that's great. And maybe I can use power as well in this scenario. But if you use power, the mask, we'll, we'll go beyond these white ring and you will have some blocking this right here. Because of that, I will stick with multiply. So that's a great. All right, What's next? Now, I've turned that list search for a mix RGB. And let's put the mics are Hebrew right here. I will use the result of the multiplier as a factor, and that can give me. To color here, Let's block this hit Control Shift click. I just need to preview the mix. E.g. if I add a blue here and e.g. yellow or right here, as you can see now I can control the color here. Alright, so for the blue, I need to pick a color similar to what I have here. So let's, let's go to the blue and let's pick a color close to this one, something like this. Maybe make it darker. And for the red. Maybe let's try to pick, I would just come to take the same color and make it brighter. And as you can see now we have some variation here. That's something great. But I don't like to accept this killer because it's consistent and we don't need that. So let's search. I will grab the result that I have here. I have the duplicated the noise and the tickets truck coordinate because we need to use the noise here as well. Alright, lists of blood, the color to the color here. Now I can have the information from the noise plugged to the scalar one. I just need to target the cuts. I just need to target this, this color right here. Alright? The black value of the mask, let's say. And we need to add a color. I'm here. Let's search for problem. Let's put the color on bright here. As you can see now we have to value black and white, and here we have two color, black and white. Alright, that's great. Now let's go to the, let's cut the connection because I just need to cope with this Coby, this color right here and plug it here. So I'm just going to click and drag and put this right here because we need this color. And then I will plug back cool. For this one, I need to make this dark. And for the whites, I need to crop this one. And now we got the same result, but I can have more arrow here between those. So this hits blas and e.g. select this one and let's have something dark. As you can see now how I have the ability to have even more dark colors here. And now we can add another one right here, and we can block this one. This scene, make it even darker. And by manipulating these sliders, we can have even more control. So as you can see now we have some Plotinus almost similar to what we have here. And we can control that even more. Alright, let's change this color maybe to something I don't know. Alright, this, sorry. Let's pick this one. Alright. That's very cool. When you will be satisfied with this now you can blog it to the base color and use it as a base color. And now let's see the principal P as the F results. Just to flag it hit control shift click. And now we have something right here. Alright, those grades, but we can control that even more if we like. Let's see how can we do this. So the first step, we create them as can now let's see how can we target the crevices. As you can see here, we have some dark area between these rings. To do that. I can search for MPT occlusion and you will, you will find that as a first option here. And let's put this right here. If I hit Control Shift click just to preview it. This is the result and I can make this stronger by adding a rump colorRamp right here. And by manipulating this, I can have even more control if I, if I like. But I can add math note here. And using multiply, that can give us even more rank. Special if I push this number. Alright, let's see what we can get here. Well, there's changes to power. Yeah, let's use power in this case. We can control the distance right here. That should help to suppress this even more. As you can see now, by using the ambit of collusion node, I can target the curve is us. And now we can use this as a mask as well. And we can merge it with this final mix results. Before we mix between those, I just need to add extra stuff here. Let's say grab the noise and the texture coordinate with Shift D. And let's put this right here. We can move those just a little bit back here. So this is the final result of the ambient occlusion. And here we have the nuestras here. And let's add a ramp here. And maybe we can, sorry, Maybe we can go with this one hip the end. Let's put this right here. And they see the results. All right, I just need some, some plotting is right here. And now I can mix between the MPD occlusion and the noise texture that I got it right here. So let's hit Control. Shift, right-click from this node to this node. And because we activated Node Wrangler, we will have mixed RGB added factor to one and multiply those together. Now we have the n-bit collusion and we have some Plotinus above. Or at least try to manipulate this. Let's add small number, maybe 0.1. I think that's not going to affect anything here in this case, so I can ignore it. Alright, This result is very nice. And now we need to duplicate this mixed node D, but I need to copy it. And these links or these lines, I need them to be connected to it. So I'm going to hit delete this one. And I'm going to hit Control Shift D naught, just Control D. Alright, so those still kinda three right here, and that's what I wanted. I guess they need more room here. I will move those just a little bit right here. And that's great. Alright, this result right here, that comes from this mix, I need, I need it to be even more darker if I plugged this, if I can talk, you have to click. This is what I got. But if I, if I go to search, let's search for Carol. Cubic care of I can add the RGB cube right here. I can make it darker. I need this darker to block it with this one. Okay, So now what we got so far, Let's make this symbol. We got this one as a result, and this one and this mix as well. We got those three. So for this one, I needed to use it as a fact, as a factor. Lists duplicated this mix. And let's put it right here. And let's use this as a factor here. And I will use this one as a cat R2 and this one as a killer one. And let's see the results. As you can see what we got. And let's see what's going to happen if we plug this to the base color. And let's see the result here. Alright, the result is a very dark and we can control that by the way. There is something else we got here. It's not as we expected. And all of that because of the node that we still have the multiply blend mode. So I'm going to switch this to mix. Now we have another result here. Or less readers through screen to see that. Alright, here we have different plain mode. We can check them. Alright. Let's stick with the eye. Let's leave it on screen. If you want. If you want to block the ambient occlusion itself, you will get a result like this, sorry. As you can see. And if you want extra effect, you can block the noise texture to gets some Plotinus there and there. And you can make the effects settled by manipulating the slider. You can, can throw that. And we, they didn't finish here. But I will end this video because it becomes too long and I will finish in the next one. So see you next. 20. 020 Material Adding roughness and Bump map to the Barrel: Hello again, we'll come back. All right, let's see what's the next step. Let's go to the render and let's see the result that we got so far. Okay, so that's what we got is nice and cool. In case we need to tweak it, we have the ability to do this. E.g. if I want to make this brighter, I can control that by using this color tool. And I think that's very cool. And if I want to control the dark spots here, I can control this one here. Has very cool. Alright, now we need to add a roughness to the barrel. The softness slider here. And we don't make sense to you as this one, but we need to add some variation. So I'm going to use noise to Coursera. And maybe we can use this one. I can cope with them accurately hit Shift D and let's move those there. And let's hit Control Shift right-click. I just need to see the result of the noise. That's great. And maybe we can move those consulted with right here and the bloggers to that office. And let's see the result with the noise texture applied. We need to tweak that even more because as you can see, the result is white and white Caribbean. Too much trough and black mean glossy. So I'm going to the curve here to control that. If I take this down, I can make it dark and thus can make the results glossy, as you can see here. Let's take the y-value down just a little bit. I will, I will hit Control V. Guess I need to target small error here. If I want to review that often spit or I can cut the killer in that can make this dark. In this case, I can focus on the roughness itself. Alright, let's add color ramp here. Let's search for rum. And let's make this a little bit dark. I just need to have some variation here, or that's too much. And let's see the final results right here. Alright, let's take the black value up just a little bit. Something like this maybe. Alright, now it's become rough and we have some glossy plugging this here. And for the noise itself, I just need to kick the material here. Sorry, the texture here. Alright, I don't know. Maybe we can make this either offer 0.85 or assembly like this. It's okay and I accepted. Now, I can have like bag this Keller here. I've taught all of that. Now we need to have height information. Let's move these nodes just a little bit here. Alright, lets those here. And I need to use this node to blog it to the normal. But let's search for RGB to be w, black and white. And let's apply this to the color. And now this node can help me to get black and whites information. Let's put this node, e.g. right here. And I will. Hit shifts and tall tried to click and move the mouse. To add rewrote this node, I can use it to achieve the doctrine of the connection line. And let's add another one right here. Maybe I can add, I don't know, maybe you want here. And hit key and let's pull this maybe right here. Alright. And after that, Let's hit Shift a listserv for bump, BWM and block the bump here. And Dr Block to the normal, plug it to the height and cut the normal information here. I've taught it. You can plug it through the normal. And let's see, hit Control Shift, click on the principal. So we conducted, so we can connect it to the output. Now we have some height information. Or if they will cut the base color and I will change the color to something darker so I can see and focus on the bump itself. And this is what I got so far. Let's see what else we can do here. I will add color ramp right here. I just need to control that even more. Enlist take the white Friday, e.g. towards the black. Let's see what we can get. As you can see now, we can control the bump even more. If the bumps it's wrong. We can, many believe this strength here. Let's add points. One, e.g. alright, 0.3. I just need to make the effects setup layer. Now we can still, we still have bump effects. And yeah, that's very nice. I like it. According to the masks, mask that we used. Now the bump affects focused on the crevasses and that's very nice. And we have some area with a bump in that makes the result even more realistic. The see the result here. Alright, so I will accept this bump, and after that I will plug this back to their base color. And now we have all the notes back and ready. And this is the result that we got so far. In case we have too much bump, we can still can control it by manipulating these sliders. And we can reduces or less. That's cool. I will hit Control Alt and V to get rid of the square. And yeah, that's pretty cool. Let's go now to solid enlisted dislike to anxiety. And we need to give the same material for this piece and this piece. So let's say like this, hold Shift, grab this and then hold Shift, grab this one and make this one the active hit Control. L and Q is linked material. So that's being in all of these now have the same material. When you complete, select the object and then go to the material and give it a name because we didn't give it a name. And let's call this parallel empty for material. And as you can see, it's applied for three object because we have 12.3. Notice his Yan go to render and let's see the results so far. Actually it is very nice and beautiful. Alright? In case you want to make this reflective, you can cancel the roughness. Alright, this is the roughness. You can control it from here. You have the ability to do this. And if you want to see that better, you can cut the connection and make it dark. So you can see the result here. I think that's too much glossy. Let's try to manipulate the color ramp and lists of blog this bag. Let's isolate this piece alone again. Let's move this away just a little bit. That's too much. I think we can take the black value up just a little bit to make it more even rough. Something like this. It's okay and cool. We have some reflecting here. So I'm going to block the color back. And I will stick with this result in for any reason if I want to make any change, I can do that later. And yeah, let's end this video and I will see you next. 21. 021 Material Creating metal material for the metal parts: Hello everyone, Welcome back. Let's select these parts and let's try to create a material for them. I think I can use the same material as I create with it to the barrel and we can make some changes. So select these and delete the old material on this. Grab the parent material, but we need to make some change. First, we need to duplicate it because any king we will make here will apply it on the pedal itself. So I will hit duplicate. And let's call these mental baby and hit Enter. And let's select to isolate these parts. And you remember when, when I created a mask for for the barrel, this mask because I created, it's not going to work for these parts. This case, I can use the same notes that I created in the blog is right here. And ignore this mask or let's say delete it, we don't need it. His Yan, go to the render and let's see what we got so far. All right, first thing we need to change the color. We don't need these colors here. So let's go to the RAM and lists, select these, and let's take the saturation illicitly this one and take the saturation back. This same scenario for this one. You can make some variation here. Take some value, make them brighter or darker or something like that. Alright, let's check the, the masks first. Right? We got nice mask here. Or with the multiply and with the, with the noise texture, we got very nice mask. So very cool. Let's check the rest. Here we have the results of the n-bit collusion. Okay, this Weber's conclusion. We still have this killer. Let's take, let's take the saturation to zero and make it white and this one as well. All right. I'll, what we need to do here is just make some which we can until we got that is all that we want. Let's start with this node here. Let's try to fix the variation here. Alright, let's crop some points and make them dark. Maybe this one and this one as well. Because I need to, I need to introduce some aqueous here, as you can see here. And maybe by manipulating the color ramp for the noise texture. For the mask, I can take the effect bag, gets a little bit. Alright, so this is what I got here, and this is with the mics. Okay? Let's make this whiter. And with about this one right here. Alright, I think we can delete the delete the AMP seclusion. I'm not sure, quite sure yet. But let's see the effect of the empty collusion Ferriss. Alright, we have some in-between right here. And I just need to kick the rest here. Let's see the final result here with them. Alright, still, okay, and acceptable. And after I applied the principle, because the F now I can see a different result. It's nice actually. I think we have some variation. We have some white area here at the ages, and we have some dark spots here because of the n-bit occlusion. And that's makes the results nice and surrealistic. As you can see, we have aqueous. So I'm going to accept this result and it's likely to excite. And let's select the other side. And let's give it the metal material and these rivets as well. And let's select those first, and let's add metal for them. And these as well. And don't worry about the UV dot worry about for these in case we have some geometry out because we didn't pay anything. But if you want to bake, you want to make sure that all the parts inside the square, I think these parts, we could give them the metal material list, select them, all of them. And maybe what else? This one right here, alright? And this shaft here. And these rings here, this and this one and this and this one as well. Hold, shift and grab. Anyone have the material e.g. this, and then hit Control L and linking the material. Now, all of these sharing the same material has got listed here and go to Render. Alright, this geometry as well. We need to give it the same material solid selected. And maybe we can select it and hold Shift and select this one. And hold Shift, grab this one because we gave it a material and then hit Control L and link material. And I noticed that we have some variation here. And that's okay, we can fix it later. It's not a huge problem. Maybe some problem with the symmetry or maybe this is not in the correct place. I think this piece of wood. I don't know. Maybe we can move this in this slide that just a little bit and centroids and that's it. Alright, now let's go back again to the render and let's see the result here. And by the way, just to mention something, if you noticed the bump effects become very strong and separated even more. Control B, to focus in on a small area here. You will notice that the bomb a separate too much. And that's because if I go back to the same material for the payroll, you remember when we take the bump information from this texture and don't forget, we plugged that with the empty collusion, empathetic Luke. And when you put geometry next to, next to another geometry, empty pollution will be strong because we added e.g. because we have this next by the payroll. Because of that the, the, the empirically we can all be too much to throw in here in this area and even in this era here. If you want to get rid of that, you can tick this option right here. It can turn this on all the local to make n-bit inclusion work in the local way. E.g. if I activate this, as you can see, I just eliminated that effect. So here we have this option. If you want to turn this on or off, you can make it local, local, or you can make it effected by the other geometry. Okay, let's go back to the Render. And I can select this material, the metal material and activate local as well. Let's see, before and after. Alright, so I'm going to make this on. If I want to if I wanted to, I can turn this off debtor for any reason. And I think we just forget to give those some material or not. No, we gave them material, but I think we got some problem because there are notes. Looks like what I want. Let's try to tweak the material for these rivets and let's see what we can do with them. If I made any change here. These, the other material, the metal material will be affected. So I will copy the material for the rivets, just select them and hit duplicate, a duplicate. And let's give them a special name here, e.g. metal robots. Robots. And now we can make some tweaking here. And let's start with, I don't know from where it, let's check the result of the MHC region. What we got here. Alright. All right, It seems like we're getting nothing from here. Maybe we can take this value back. I don't know if that's prolific or notes. Alright, there's no difference here. Alright, let's see the final result here of the solution. I think we are not going to use empathy glucan in this case. So I'm going to hit Control X and dissolve it and solve this one as well. Let's see what's an X here. What we have here. Alright, so we have these here. Let's see the results of the point this mask here. Alright, we need to make some tweaking year. Alright, let's see the mixed with noise too. Sure. Maybe we can change the scale of the noise and make it smaller by taking this value and make it bigger, something like that. And let's see where that will take us. All right. All right. This one should be here. And right here we have two notes. Alright, see, do we need this or not? We can block it with the principal P as the F4, and then we can decide if we need it or not. That's going to total row gets a little bit. And I think we can still have the ability to cancel the brightness by using the outer QP care of here. Alright, let's see this from a far distance. Maybe we can work with the roughness just a little bit and make this reflective. I don't know. Let's cut the base color and let's see the reflectivity. Firstly, check the noise texture may, because of the skill is very small. Let's add 50 year. Alright, we can see some variation here. Let's move this just a little bit, and let's go back here. Alright, let's check the results of that roughness. Now, this is a bug, this control here, if click. Now we have some reflection here. Let's take this farther. Suddenly like this will work and that will supply this back to the base color. Already. That's cool. Let's go back to the metal material itself and maybe that's what's going to happen if I make this darker. I think it'd be nice if I make this doctoral. Yeah, I will accept this. I will hit Control Alt V to get rid of this square here. And that's great. All right, now let's create a wood material. I'm not going to get to the details, but I just need to add material and give it a name. It's called wards. And then hit Enter. And let's give this dark material for now. And let's apply for the wrists. And let's see crop the spokes here. Let's select this and go to this site here, picking up those Saltillo, pick up this club, this one as well here, this piece here and this one right here. Hold skeptical of this hit Control L and linked material. And let's see, did we gave this a material? We didn't give it a metal material is add the middle and those rivets and yeah, this one, this side, we need to give it a rivet material. Okay, that's great. And let's kick this side as well. We didn't give those same material, so let's give this one a middle. This one right here could take a metal and this piece here as well maybe. What about this one? Let's give it a metal. And this one we gave it already. And this piece as well, we gave it this one. That's cool. That's great. And the wood material. Now let's see. That's great. Let's check the UV for this box. Let's see that from here. Let's go to the UV. All the spokes said one UV for those and for that spoke as well, the site. And let's check the woods. Alright, that's cool. We have them in one movie. That's being, we have the ability to to bake them in case we need to use baking system or picking technique. And this is for the metal and how to apply and can give us sitting to get another material. And yeah, that's it for this video and see you next. 22. 022 Material Creating the Wood material: Hello again, we'll come back here. And this video we need to move to the wood material. And fairest is go to the texture folder. I have these tickets. Sure. I download them or download them from the Texture haven.com. Let's open them. Here we have the woods and we have the displacement. I think we don't need that. Here we have the normal map and we have the roughness. Let's see how can we use those. We created a wood material and the previews video. And maybe we can start with this wood plank. It's like to isolate it. And this is the end. Let's go to the render, and this is what we got. Let's go to the folder again. And this e.g. the drag and drop the Mh right here. This is a blog, this to that base color first. And now we have something right here. We have a board. That's great. Let's go back to the same folder and let's see crop that softness despite the reference right here and the supply get to our office. But because the roughness is black and whites and maybe we don't need any color here. As you can see, we have color space, RGB, red, green, blue. We don't need those, we need none because it's black and white image. If I hit Control Shift and left-click to preview it, It's black and white. Now we have the roughness here. That's cool. Let's go back to the same folder here we have the normal map. Let's see, grab it and let's put it right here as well. And it is wrong to connect the normal map, normal life that we need to add. Normal, normal. Not this one, sorry, hit Shift a to search and let's search for normal again. Normal map. Let's apply the normal to the normal and the color to the color right here. Now we should see some height information. And as you can see, we have some height information and we can control it by using the string. But for now, let's leave it like that. That's cool. It's very simple to create what we don't need to accept this result, we need to tweak it even more because we need it to be old and we need to add some variation, especially if I bring them it right here. So you can see here we have some data, we have some dark spots, e.g. this right here, we got some dark spots and we need to have something similar to this one. Or the first thing that we are going to do. Let's hit Select to excite and maybe we can Coby some notes from here, e.g. these notes, let's try them and let's see what we can. How can we use them? As you go back to the ward? And let's hit Select to isolate this one alone. And I will hit Control V to paste these here. And now let's check these notes on this. I will hit Control left-click. And very cool. We have some big right here. I think we can control it if we like. Make it a stronger, maybe somebody like that. Okay, Now let's try to break the effect here. I don't like to leave it like this. In this case, I can use tickets your noise because Joe, and let's put this right here. I will hit Control Shift to click just to preview it. And let's add a texture coordinate. Let's search for coordinates. The block, the UV because we are using UV or you can plug the object, feel like, Let's increase the scale so we can see something details. Maybe we can add a roughness 0.8. Now we have roughly saying this stuff and lists are a killer rum. And this right here. This makes some variation here. And now we need to mix between those. I will hit Control Shift right-click from this to this. Now we have mix. This book is a factor to one, and let's change this to multiply, to multiply those together. And no pie manipulate this color ramp. I can break that effect as I like. That's what I want here. So all what I did here, just a mask here. Right? All of that as a mask. Alright, now let's see. Grab this texture. I will copy its right here. And I will add another mix, our QV here. And I will use this as a factor, the result of the mask. And we'll put this one in the base color. And this is something that I got. Everything is white. But here we have two images of vote. I need to write one of them in, make the other one dark. E.g. if I make this white and this one blue, I'm going to get, especially if I make this dark and this one white, as you can see here. So the dark lord should be plugged here. And the white who would be plugged right here. Let's start with a dark coat, I guess going to the care of QP, care of this for this right here, a blood get to the dark, plug the world. And now we have the word, if I take this down and I can make it dark, and that's it. Now this become dark. I can copy the RGB care of hefty and add another one, another one right here, and delete this dots and the lightest tool with this one and plug it to the white. Now we have the white value. I can make this even more brighter because something like that. Or it's for the prideful they will make this even a predator. Because we need to see some variation here eventually. And yeah, that's very cool now we have something nice here. Alright, what about the dark? Good. All right, let's see what we can do here. I can leave it like this. This is an option, or I can add some Plotinus to the order itself. Alright, let's add dark Plotinus to the wood itself, to the dark one. Select those and let's move those right here. And let's search for, alright, we don't need to search for noise texture. We have it already right here. So I'm going to use those hit Shift D and thicker code right here. And this is the results. And even the killer rum, maybe I can copy it and use it as well because we need these dark Plotinus and listen Shift a and let's search for mixed RGB. And let's put this right here and plug this to the factor. And let's put this one to color Juan for now. And let's see that is of the mixes. This is the results that we got from the mix. Let's see the difference if we were this right here. Alright. Let's put this to color. In the color tool. We need to make this dark. Alright, and we need to change this to multiply. Maybe. Let's see the difference here. I think we can control that with this option here with a color ramp. Let's make this wrong. Just go back here. You can see we've got some documents here. And maybe we can add in the color section here we have hue and saturation. Maybe we can take the saturation of the world just a little bit. At this one, Let's maybe we can add 0.8 to make it less saturation here. I mean, what else we can do here? The sublime, all of these. And let's see what we got here. Alright. The egg is over the world should not be a smart lock that leg this. Alright, we need to add some height information. And if we go to the, our mask here. The result that we got from the mask. And we can use the mask directly to the displacement option that we got right here to have some height information. And let's see how can we achieve something like this? Actually, I think we can copy all of these notes and use them to a displacement. I think that's what we better too. Because if we do that, we will have more control. Alright, so in this case I'm going to add a new node here is called displacement. And the displacement to the displacement here. And the blog of the killer to the scale here. To the heights. Sorry, I think you had the height. Okay, I've heard that as you can see, the effect is not visible. What I'm going to do is I will cut the connection of the base color and I will make this even darker. I just need to focus on this area. And I still have nothing. Even if I take the scale up, I can't see nothing. Let's invert that and the results because for the displacement, displacement will displace the white value up to, we'll take it up. And I don t think that I need the opposite, this effect. So I'm going to invert the color hits, search and search for inverse, the inverse node right here. So this node inverted the information. Alright, after that, as you can see, I still have nothing. Maybe if I take the number of the bump back, I can see this. Add 0.5. Yeah, that's right now. I can see something right here. Now, as you can see, we have the ability to target the acres. And by pushing this forward, we can reduce the effect gets a little bit and thus can make the result even more realistic. All right, Very cool. Now let's connects the color to the base color here. Now we have some imperfect can happen to the world. Or at least hits like and let's see what we got so far. We didn't apply the same material to the, to the wheel. Let's select this. Halt here, pick up this, and then let's select any one with the material or the other. This books, e.g. hit Control L and link the material. Alright, we then gave the material or not, something goes wrong. We have here, we'll fix it later. For the spokes, everything looks fine. But for the wheel itself, the texture is not acting normally. And that's been we need to make some tweaking. But if I make any tweak, I will affect the whole material for the whole geometries because all of them hearing one material furthest apply the same material, the wood material to this one as well. We just forget to do that. And now we have it here. Alright? In this case, I will sublet there wouldn't material two to material. So for the ring here, maybe we can duplicate it and we can call it dots. We'll just to recognize it and I will hit slice to isolate this wheel alone. They just need to see how can I make this better? What's this node is? I think we just forget to block this to the Keller one. Okay? And let's see how can we control that. Alright, so this is the whites brights awards. Here, we got this is the effect and this is the mask. Let's check that mask lists or it's yours that affects make a subtle I think the wear and tear masks that we created is not acting correctly here for the wheels. This try to check it here. See why that's happening. Alright, so we could manipulate those until the weekend. It's good result here. But let's see how can we keep that? Alright, for any reason, if that doesn't work for the wheel, because maybe the wheel is low Bali, no, it's high-resolution. E.g. as you can see, the results were the geometry technique. But if we grab the wheel and if we gave it e.g. subdivision surface, that's can give us another result because now it's become harder to do. Now I can control that even more nicely without any problem. So just add one subdivision surface because this technique using geometry, this needs the object to be high resolution. You need to make the object have too many vertices to make this one works. So in this case, now, when I add a subdivision surface, now I can define the edges easily. Now let's go back to this. Maybe I need to take this bag. Sorry. Something like this maybe. Alright, so that's great. Now I can go back to the material itself. Now we can see something here. All right, it looks nice accurately, It's very beautiful. And let's go to the dark Plotinus. Alright, let's see what we can do with them. Alright, let's make it even more darker. And let's see the final result. I think it's very cool. And for the bumpiness and the displacements are listed Slack and listing site from the local mode. Okay, let's take a look through the results. Let's see, can we do anything else even for this piece of food right here, because it's not high-resolution geometry. As you can see, the wear and tear texture is not applied on this in the correct way. But although that we still have nice wood here, even if this doesn't apply the correct way. From the back, it doesn't look a cool. Alright, We have no problem. I will hit Select to isolate this one. And let's go to the solid spheres. Let's see the wireframe List tickets. Xiaomi wireframe we have here. Alright, it's low Bali. And in this case we can increase the number of the subdivision. I'm not going to add a subdivision surface, but I can. Let's go to the modifier. Okay, I have nothing. I can tab and hit Control R and add extra geometry like that. And confirm it's here and here. Just hit Control. R interrupted the wheel to have geometry like this. Maybe here I can add extra hand here as well, the same scenario. And here and here on this side. And that should not affect the UV by the way, if you do that, the UV could still work correctly. And here as well. Now let's go back to the render and let's see the results with these chains. Let's tab out and let's turn off wireframe here. And as you can see now, the result become better. And if you increase e.g. the subdivision here, you can make it even better as you can see here. For this area or this area here, if we are to hear as well. I can get even better results. All right, Notice it's like two sides of the local mode. Let's check the result now. Right now it's better for this vote here, the bridge, this one as well. We can do the same scenario here. We can add extra edge loop here, e.g. let's add, yes, rotate the wheel and add extra edge loop here. And maybe here as well. That's can help to give us better results. And here as well. And by the way, I can create another way, another mask to avoid that, but I don't need to duplicate the material for each part. Adding edges. It's easier for me. Alright, so what else? Maybe on this side we can add or no. Let's add three or four here. And here Oswald. Let's see sites. Alright, I don't like the war to show how applied on this piece right here in the half that as well. But this video become too long, so I'm going to end in the next video, we'll try to find a solution for, solution for this. So that's it for this video and see you next. 23. 023 Material Fixing some issues: Hello again, we'll come back. I didn't like the result of the material of the shaft. If I go to the Render, should be similar to this one right here. But it is not saintly. See what That's. Why is that? Alright, so this ring right here and the health itself, they are hearing the same material. Alright. I will hit slash to isolate this one. And let's see why that's happening. Maybe I think that's because of the glucan. I'm also quite sure yet. Or maybe because we didn't give it enough enough segments. I think that's the issue. If I go to the wireframe and the other sprite. In this case, if we increase the number of the subdivision, we can have another result. In this case, I can tap to edit mode and I can add extra Hs here. Or let's say 18 right here. Something like this. And one here as well. One here. I think this will be better. And maybe Yeah, I think that's it. You don't need to add too many edges here. That will be enough. Notice that the slide, alright, now the result is better. But what about this beam here? I think we have the same problem. And maybe we can give it the rivets material. Yeah, that's what we read through this to dislike, to excite. What about the woods material here? Listed? Select to isolate it. I think the material is not applied in the correct way. It should be circular. It goes like this, but it's not. Alright, let's go to the UV here. I just need to check the UV itself. This is a UV. Alright, for this piece, I think we need to King the UV to. As you can see, this is the result of the UV. Goes like that. I needed to go sit right like this. In this case, we need to make some tweaking right here. And I will select the UV and rotate it first like this. I need to rotate it because I need one of these polygons to align these polygons to decorate like that. And I will focus on this. A face right here. I need to tweak it. E.g. I need to make these vertices aligned together. Let's select those and his right-click and choose auto align. And let's say Club those as well. It's auto aligned in those here as well. And those here as well. So now we have perfect square hair or less. Let's say all of these vertices now a line in the perfect way. But those notes, alright, in this case I will select the whole UV and I just need to find this face right here. And the 3D view board, I can activate this option right here. It's called Sync UV. And now if I select the face, I should find it here as well. Now, I can just recognize it is right here. I will hit a to select all the UV and keep this phase, the active one. If you don't know how to do that, just a click and click. Again. It will be the active one. Alright. Now what I will do is I will go to UV and go to where it sets. Whereas as well as this follow active acquired, choose this option right here, and then hit Okay, if I hit Okay, all the polygons of the UV wolf follow this face right here, and the UV will be corrected as you can see here. So it is very nice trick to do, but I just need to make one mistake here. In case you didn't align these vertices in the correct way, e.g. like this. Now if I hit a to select all the vertices, and now this one is still the active. If I go to UV and cues follow actively, quiet and hit Okay? The UV will nodes. You will not get the correct result because you didn't align these vertices. So I'm going to hit Control Z couple time to fix that. So that's very important thing. Alright, let me get this one, the active, correct. Or let's say a line all the vertices by using auto. Align, a line auto and then go to UV, follow, activate quiet and then hit. Okay, and there we go. Alright, now if I tap out, as you can see, the, the material now applied in a circular way and that's what I wanted here. Alright, And one more thing I need to do here. I think I can duplicate this material because it's not applied here in the correct way. So I'm going to duplicate it and maybe I can call it would want to know underscore. We'll just to recognize its, Let's call this core. And let's see what we can do here. Or at least check the mask here, because most of the problem comes in from this mask. Let's mix some king here. So alright, pushing this slider, I think that's it. That's the only thing that we need to do. And lists of like the material and let's see. Yeah, that's it. We don't need to do much. That's it. Alright. What about the displacements? Can we tweak that to even more and make it more subtle? Now, let's go back here. And now we got something nice. It's like to excite. Now we've fixed the site and we need to do the same scenario for the other side. I'm not going to go to UV and fix the UV as I did recently. I will delete this and delete the wheel itself because you remember when we add a subdivision surface to the wheel. So let's delete those and now we can copy them again. The 3D cursor still in the middle. So I will hit Shift D to their Coby and then can throw em to open the mirror and then hit Y to choose the axis, and then hit Enter. Now we have another co-PI there. And for the wheel, let's see, grab this, have detailed Coby right-click, leave it in assemblies can throw MY and then enter. Now we have another Coby. And in case you want to make variation, you can do that. You can rotate the wheel itself or you can go to the UV and slide that over just a little bit. Make some variation, but no one could not start by the way. Let's go to the render and let's see what else we can do here. Everything looks okay. I think this is very nice result. We have here. We fixed almost all the problem. And we can add more staff alike in case if we want to add dust and use the ambient occlusion technique, we can have even more interesting result and we can leave it like this because according to the reference images, there is not a condition to add a dust on the ward or something like this. So you can accept this results as a realistic result or you can add some dots. Assuming that this is outside for a time. But for me I will accept this result and I will end this video and see you next. 24. 024 Modeling a platform to the cannon: Hello everyone. Welcome back. This video, we need to create a platform to put this cannon on. I have this image right here and a lie this platform. And let's try to create something, let's say similar to it. Or maybe we can make some change. I can put this reference image right here. And let's start doing that first, I will select the canon and let's go to the site of you. I will put it on the x-axis here, e to the z, and move this up almost right here. As something like this. Maybe we can move with just a little bit down. And we just need to rotate the legs just a little bit to align them with the x-axis as well. Alright, so in this case we can go to the top view and we can select all the details that we have here. All of them, and even the shaft as well. But before we do that, before we do that, I will select the shift itself. And they just need to make sure that the origin is in the center. And I will hit Shift S to bring the 3D cursor to the selected. And now the 3D cursor is right here. After that I will hit Shift a to add, and let's add an empty. Now we have this empty. Alright? Now let's go to the top and let's select these geometries. All of them. Move them. I just need to make sure that I selected the correct geometries, de-select the empty and then hold, shift, grow, grab the empty and make the empty, the active one. And then it can throw B2 to open the parents menu here and choose parents to object. And now all of these details parented to the empty. Now if I rotate the empty, all of these details will be rotated with the Mt. I go to the right view. Now if I rotate the empty, I will, I will have access right here to rotate. This licks on. Alright, so in this case I can zoom here and hit R and hold, shift and rotate this just a little bit and aligned to the ground. Alright, now let's hit, Let's hit Shift S and the bringing the 3D cross with the center and then hit Shift a. And let's start maybe with a cube. Okay, let's go to the side of your head as to the z. Scale, this make it smaller, something like this, maybe to the Z key and move this maybe right here underneath the canon and give it a length. Something like that. You can eyeball it. And maybe we can move with input like this. And that's great. And I will hit S to scale this just a little bit, maybe something like that. And then hit Control a and apply the scale because we scale this. Let's move this right here maybe. And let's have another duplicate, maybe beside this, hit Shift D, and let's take another copy next to it, something like that. And maybe we can make some variation like scaling this like that and moving to this maybe right here. And adding another Coby maybe here, or something like this. And maybe we can. Alright, let's take those two and hit Shift D to take another cookie maybe right here. Something like this. And let's make some variation. I will move this right here or maybe alright, and touch it, it, it, it's more the glove, this tab to hit more the club is four vertices and the surrealists spree this tool, select box, club is four vertices and from the top, you can align these vertices here. And you can grab those as well here if you'd like, or you can call me this one here at the end, Let's add one right here, top. And let's select these four vertices and you can activate them or if you like, and move this just a little bit right here. The idea here we just need to make, we want to make some variation here, tab out and maybe we can now less, I don't know. We can't select this row here, hit Shift D and take a copy right here. And the same scenario as well. This makes them very convinced bookstores here maybe, and take this one and maybe hit key and move with right here. All right, That's not going to work maybe here, I don't know. And maybe we can move this one. Let's take off these vertices. Sorry. Go to Wireframe, grab these vertices and move them just a little bit, maybe right here. And for this geometry, we don't need it. And now we've got some variation here. Maybe I can select this piece and this one as well and tab. And in the wireframe mode, I can't get up those four vertices and move them like that. All right, now let's select all of these. And hit Shift D to take another copy here to cover the canon. And yeah, I think that's it. Alright, let's make some variation here. Maybe we can stop and the club these four vertices and the club those right here. You can activate the vertex snap and turn off a light rotation. And it's not these vertices here. To camp e.g. we can have got up all of these and tap to edit mode and go to the vertex and the wireframe mode, you can grab all of these vertices and hit us to the experimenter to align them like that. Alright, let's go to solid. And now we got this result here. Alright, the same CNR for the sidecar of all of these top, go to the vertices, has Z to go to the Wireframe, grab all of these, and hit S through the exit or enter, tab outs and go to y. Two solid model. Alright, I will use these as wood planks and I will select them all like that. And it can throw light, apply the skill for all of them. And that's great. All right, now, with all of these objects selected and this one as well, we need to grab it. I will hit Control J to make them one piece. So now they become one piece. Okay? This one as well, we need to select it Control J, and now they become one piece. And let's open the panel right here. I just need to kick the scale. We don't have any problem, any problem with the scale because all of the axes are r1 and cool. Alright, let's see what else we can do here. Alright, now, let's try to these wood blocks here. And I think we can start with the cube. I had a cube and the smoothest right here, it's s and make it small. And let's move it here to the white maybe. And splits right here, e.g. and what else? Let's move this down. Something like this. Let's talk this mode and let's select this face, go to the face mode. Let's move this maybe here. And this side as well we came up with right here. And we don't need to make it that high. So I will take this up. Somebody like that. Let's give this a length, e.g. let's move this maybe right here. Somebody like this. And for this side of the same scenario, Let's move with me, but I hear somebody like that. I think that's what will work. And let's hit Control R to add one H right here. And this area, I will grab this face with this one, and I will extrude those out. So I will hit Alt E and use extrude faces along and non-normal and throw those out. Something like this. I think it will work. And here we have offset even because if I go to the top, as you can see, it's not extraordinary in the correct way. It could be like this. Alright, this option right here could solve the problem. So activated and there we go. Now we need to bevel this. So I'm going to select these two edges, this one and this one, and hit Control V to bevel. And let's pivot this and let's add some edges right here, except the bevel. After that, when you accept the bevel, you will have this menu right here and go to the profile, Profile tab and choose costume. And from here, whatever habe you will draw, you will have the result right here. Alright? I think we have here some option to pick something like this. It's exist with the blender, you can choose it. And we have, I think this one, alright, I think this option is nice. You can see I have very nice result here. If you want to make this even smoother or you can go to the sigma and increase the number of the segment to have better results. All right, Very cool result we got here. Very nice. Alright, Do we need to flip it? We don't need to flip it. It's very cool and nice. Alright, so that's cool. So I will accept this. And let's close the panel right here. And now we got this result. And one more thing here maybe we can do. We need to extrude those up. All right, now let's try to make some tweaking right here. I need to extrude this face just a little bit or let's say take it up, go to the face mode selected, hit E to the Z. Take this up right here, but I need to cut some area. I don't like it to be like that. I will hit heavily to take this face up, shift e to the z and take this up right here. And then hit P to open this approach menu and hit sf from the keyboard to pick the fairest option selection, or you can click on it and that's it. Now, we are still in the edit mode of this object. I will tap out and select this one and tap to edit mode for the senior face. Hit a to select the face, hit E to extrude this up right here. And that's it for now. From the top view, let's move this image right here just a little bit. The select this face florist and go to the top at this, more of this almost right here, something like this. And the side as well go to the top. Let's move this one. I don't know, maybe right here. I will use this new phase as a cutout. And it took catalysts by using a Boolean modifier. But before we do that, I will tap out and I will go to the face orientation. I just need to kick. If I have a red if I have a problem with the face that I just extrude this one. I mean, if this become red unit to flip it, in case you have a problem with that, e.g. I. Will flip this intentionally. I just need to show you what I mean. If I hit Alt and into the flip, I got something like this. I need to flip this back and corrected. To do this, select the Object tab to it, It's mode hit a to select everything. Naught z, hit a, and then hit Alt. And to open the normal menu includes a recalculate outside. Or you can hit Shift and to do that. And now it's fixed because if you don't, the Boolean operation is not going to work correctly. After that. Tab out and go here and turn off face orientation. And now let's take this as a Katara. As you can see, the origin dot is right here. It's not in the middle. So I'm going to right-click and set origin to the cumulative free to bring the old can do it to the middle of this geometry. Now let's take this down almost maybe right here. And now I will use it to cut this block. Alright, so let's see how can we achieve something like this? In this case. What I need to do is I need to select the geometry. All right, I think I'm going to activate one of the other ones that comes default with the blender. Go to Edit and then Preferences, and go to the admin section. And let's search for bull tool B 0 L. You will find this right here we just activated and then Save Preferences from here. When you do that, if you go to the panel, this panel, you will find the pulse tool is right here. Alright? You need to open it and all the option you got here, you can reach it by going here, hit N and open this panel. You can hit Control Shift B. For me, I will use Control Shift B. Okay. How can I make this work? To do that, I need to select the cutter and then the targets. So the first thing, you need to select the cutter and then hold Shift, grab the target. The target should be the active one. After that, just hit Control. Shift, be to open the Bowl Tool menu. In here we have two options. Either you use this group or this group. I'm not going to use the scrub. This one is faster if I choose difference, as you can see now I have some Boolean here. But we got some issue. If you noticed I will hit Control Z. I need to extend the length of the cube just a little bit, because as you can see, we have very thin face here. I need to avoid that. It's very easy just to tablet mode and put this here and this one, push this just a little bit to extend it and make it bigger than the block to cut that geometry, all of it. And then tap out and that's it. So like this hold Shift a cop, the target can throw shifts, be open, the bull tool, choose difference. And now we got this nice cuts. Or you gotta cut here. That's great. And now we just need to duplicate this one on the other sites and we will be good to go. And before we do that, I will go to the edit mode and let's go to the vertices. I think we can move these vertices inside just a little bit. Taking this here back, and take this side here as well, you can eyeball it. Alright, That's great. That's very cool. That's very cool. Let's go to the top now and let's select these two. This one, sorry, it's healthy to take a copyright here. And let's hit Control M to open the mirror and just give it the oxygen when you hit control. And the mouse will be like this. Four arrows, as you can see. Now, the mural is activated by the mirror. Now need access. When you hit Control M guest, give it the axis. For me, I need the y axis. So hit white and then hit Enter. And now we can move this and put it in the correct place. Now I can grab those to hit Shift D. And by the way, before you hit the end Coby them you can, I'll rub them and I've taught that you can cope with them. You can arrive one and then transfer them the UV for the rest. I think that's better. So I'm going to skip the I Can and move those right here and then hit Control M to activate the mirror. And I've told her that I need to give it the axis. So I'm going to hit X and then Enter, and then move those just a little bit and put them in the correct place. If that's too much or let's say that's big, become very big. The platform. We can scale it down. Let's go to this site, e.g. and we can scale it and make it small in case we want that. We have this option actually. Alright, now it's become small and beautiful. You can scale it even more if you'd like the sun option. Alright, so now I will hit Control a and apply the skill in case we have problem with the scale. Okay, Now let's give this some a bevel. Let's go to the modifier and add Bevel modifier. Bevel is very strong in big amounts, so I will add 0.5 to make the salary points five Enter. And now we have nice bubble. Maybe we can add two segments right here. And we can go to the object data properties and activate auto smooth here, and go back here and activate harder than normal to make the result pattern. Here we have some open area, we can fix them. And I think we need to fix them, but maybe we can do that later. Now we got the result here. And for these objects, Let's do the same scenario. Maybe we can, fairest, I think we can right-click, Shade Smooth fist. And I ruined everything. I can fix it by activating the auto smooth and then add a bevel above this. So I will copy the bevel from this geometry to this one. Okay, to, to, to do that, select the geometry that doesn't have the bevel and then hold shift and select another geometry with the bevel and then hit Control L. Or we can go to the modifier and go to this URL. And two is Coby to select it. Now we just copied the bevel to the selected one. I mean, this one right here. Now we have a double right here. And we can do the same scenario for the rest. So I'm going to select all of these. And I will go to the Object Data Properties. And I will hit Alt and click to activate auto smooth for more than one object. Because if you hits Porter's model for your activated, it will be activated to the active object. But if you want it to be activated for the all, you need to hit Alt and then click. And now we got it. Alright, the same scenario for the heyday smooth. Grab them, Right-click, Alt, click, and activate here this month for the rest. Now we just need to add Bevel, select those three here, hold, Shift, grab this one with modifier. We go to the oral and Kavita selected and those should receive the modifier or all of them. Has greats. Okay, I've started like I just need to add a plane underneath this tool block. All of these open areas that we have here between the wood planks. In this case, I can add cube and skill this with a Z and make it very thin and move it down underneath this, we can go to the site of you and let's put this right here, e.g. and tablet mode and go to Wireframe, grab these vertices and let's move those maybe right here, club those. We can move them here. Something like this and the same scenario here. And we can go through the fronts from the front side and move those e.g. right here and those here, maybe here. And thus it's actually something like that. When you complete control a lighter scale and you can give them a bevel if you like. Sit like this, hold here to grab anyone with bevel and go to this arrow Coby to select it. Now we have a bubble here. Either you can go to the 0 Object Data Properties and activate auto smooth for this to get better results. All right, So we finished right here. We just need to maybe I'll rub it and then give it the material. And we can say we are finished. And before we do that, I think we can select all of these details and hit M to open a new collection. Just hit New Collection and we can call this e.g. plots form. And then hit Enter twice to recognize the US platform. And now we can hide or unhide it. We can hide the camera itself if we like. So this is it for this video. And see you next. 25. 025 Texturing the Platform: Hello again, welcome back. This outcrop, the platform. Okay, first thing that we can do here, we can apply all them where the fire is because that's it. We accepted them modifiers. So let's grab them all like that. Select all of them. And you can hit Control a and apply because too much information. Now all the modifiers applied and the sublet, the view. And we need to open value vi editor. And let's select those e.g. talk to the nth mode, hit a. I've told you that here you can hit a and select all the UV as well. And in the UV here we have multiple options. We have a cube projection and we have smart UV projection. Let's try smart UV projection in this case. And if that doesn't work with us, we can use a qp projection and the smart UV projection when you choose us, we have this Menu and we have this angle. And we have some information here. I will accept everything as is and I will hit OK. And let's see what we got. Alright, Now we got very nice UV, unwrap it and I will accept this results. And that's very cool. Here we can manipulate the margin in case we need to have some space between the islands. And maybe we can add 0.001. All right, whereas it's, we just need a very small space here and this area. That's very cool. And for the angle, angle limits, That's very cool. Alright? It's controllable if we, we can control it, but that will affect the results. So 66 is very cool number here. And that's cool. And now we can see that we are wrapped all of these and this is very fast. Okay, let's try the same scenario for this one. Or let's say this one. Top hits a select all the UV here at eight as well. You go to the UV and it will smart UV projection except everything hit, Okay, and it's done. Finished assets tab. Let's select this and let's see how can we arrive. This tab has a selected art, the whole UV and go to UV, Smart UV and hit. Okay. And as you can see, we got a result, but it's not like what we want. Alright, in this case, maybe manually we can rub this. I think that will be better. So I will hit Control Z to undo that. And I'm still here in the Edit mode. I will hit Control Space to maximize the view board. And it's like to isolate this. First, let's make some which we can, e.g. let's add some H right here between those two vertices. Hit J because I need to cut this area to two. And let's see what else we can do here. Alright, so I'm going to arrow this manually. And let's see how can we do that. Let's go to the agent Alt click to grab this entire edge loop that you could go around the whole geometry. And right-click mark scheme. Now we marked this as the same, so this side will be splitted. The same scenario for this site, Alt click to grab this, but I need to just delete those. We don't need to target these edges here. This one and this one as well. Because I need this small faces. I need them to be connected to this site. And when you do that, when you select all of these edges, just hit right-click and mark scheme. As you can see, I just mark this one I've seen and the same should break here. Even this one, I can delete this heme here, right-click, clear theme. Alright, something like this. And so this side is open, and this side is opened as well. Let's see what else we can do. Now. Maybe we can add an H to cut this. Cut all of this maybe. Alright, let's see what's the best way to this list. Select this edge right here. Hold can throw the grub this and keep selecting these edges. Hold Control, select this one. Hold control or club this. Go here. Or it can throw all the crop, this one as well, until you reach here, right-click mark scheme. And as you can see, I added a seam right here. That's great. And I'm going to add an H right here to connect those to make the seam reach this area like this. So select these two vertices, hit the J to make a connection. This unit you'll pick, you can grab it and mark scheme. Okay, now, I will select this and this edge should reach this area, and this one as well as it should reach this area. So I'm going to speak those two seem to sublet them. And what's about this site right here? I think we can do the same scenario, but I will select this edge and this edge here and right-click marking scheme. And that will delete this one. I don t think that's I don't want this area to be opened like this. So grab it. Clear, seem OK, and now Control Space to go back, hit a, and here it's you and you're again twice and now it's around, but it's working to them. Angled base. I will expect this to confirm all that can give me a better result. Now it's done. But because we did some geometry changing, now I can to transform the UV for the rest because I connected some vertices and did some stuff. In this case, I will delete all of these and pre-COVID this one. Let's go to the top first, the 3D cursor in the middle. And I will change that transform to 3D cursor. Okay? Heavily today a Coby can throw em to the y, and now we have another copy on the other side. But that doesn't happen because the platform is not exactly in the center. In this case, if we want this to work in the correct way, I will accept this and delete it. And I will put the 3D cursor in the center of the, the center of this platform. I have this option or I can manually move the object that I created and I think that's faster on. We don't need to do all of that. It kept the club. Those can throw em to the x, sorry, because we activate the 3D cursor if they jumped here. Anyway, we have no problem with that. Move them manually key and move them just a little bit. And let's put us right here. Now though, all of these objects have the same UV. And that's great. We can say now we are finished here, but we just need to make sure that the size of the UV is correct. I will turn off the canon Collection and let's select one of these and let's add the checker material applied. And let's go to the material preview. Let's see the result of the kicker. Alright, we can't see anything because we didn't give it a material by the way. So we could choose the checker from here. From here. Alright, let's select this one and let's give it the same material that we have some variations. So grab those, this one and all theoretical or this and this hold, Shift scrub the platform Control L to link the same material. And this one as well collaborates. And let's give it the same material. All right, now, we need to kinda you for the rest of the materials, select those of them. And you can tap it is mode and hit eight acidic the whole UV. And you can scale this down just a little bit until the texts become, the size of the texts become similar to the size of the text or the platform itself. For this one, you can ignore it. It's not a big deal because no one will notice this. When you'll be satisfied with that. Now we can give it the wood material that will be created. Alright. The woods. Alright, there would apply it for this one. Okay, We have no problem. The syllabus and select the rest of the geometries here. Hold shift and grab this. It can throw L and link the material. And now all of these hearing the same material here. But we have some problem. I think. Let's go to the Render. Alright, now we got this result, but we have some problem right here. Let's go to the material IRB review. I think that's what would be better. I just need to change the direction of the result of the UV, e.g. a. High top here. I need to change the direction of these geometries. This side, I need to go to this oxygen notes like this. In this case, I can grab parts of them and hit Control L to link selects to select the rest I think. Or I can go to this option, turned off this, and let's go to the islands selection and pick the islands. And hit G and move it just a little bit here and rotate it. Hold control to an orthopedist, nine degree like this. And we're done. Let's make this bigger and make it smaller just a little bit. I need to focus here. And now we change the direction as you can see here. The same scenario for the site hits a silicon, the whole geometry. And now we need to focus on this side. Just want to click because we choose the island selection. Hit R and rotate it 90 degree. And we need to, we need to do the same thing for the rest here. Grab those. And I think we can select all of these. And top for all of them. Hit a and here we can select all the, you can select the, all the islands. Alright, I think we can. Let's see how can we do that. Let's move those away just a little bit. Alright. Crop them like this, and then r and rotate them ninth degree. I rotated this geometry, this island, and you think it is just one island. But this one island is for the three blocks. I mean, now, if I rotate it to effect this one, and it will affect this one as well. And this one right here, because we have UV above uv. That's why when you complete the club, this is our ninth degree of control and rotate 90 degree. And maybe we came up with just a little bit right here. And alright, we rectify the material, but the material is zoomed in, we need to scale it so I will select everything and then top and hit a select the whole UV. And in this scenario we can kill the UV and make it big. Or we can manipulate the material itself. And I think we can go to the scale of the material and changes. Alright, first thing, let's duplicate this. I think that's what would be better is duplicated. And let's give it a new name. Wood platform e.g. enter just to recognize it. And now all of these should hearing the word platform because we just copy it. Select the rest hold here to crop. This can throw L and link material. So now all of these geometries hearing the word platform. So whatever king we will make here too all affect the word platform itself. And now we can scale the material and make it small by adding coordinates and mapping. And we need to block this for all of these all of these images to get correct results. And as I said, this is an option. If that's a lot for you, you can kill the movie itself. You can go to the UV map and the skeleton and make it big. And that's e.g. if I select all of these top hits, a, select the whole UV and here as well at a and the scale of this and make it big. And when you do that, the scale of the texture will be smaller. You can use this option if you'd like. And then tap out. Well, to be honest with you, and this one is easier. But the problem with this one now, I can't use the peak. I can't pick the material in case I want to bake a mask because the UV become bigger than the square space. But I will accept this and I'm not going to bake anything here. Alright, now let's go to the Render and I just need to see the result in that window. I don't like this result actual end. Let's see how can we fix this? If I go to the mask, the mask is not working in the correct way. And the way that I like. Let's check this. Alright, we can't see any targeting for the edges. And this way I will use another scenario of masking. Let's learn something in your hero. I will search for geometry. So no human survival. And let's add double right here. And I will search for geometry. We have this geometry. I will hit Shift D to copy it. And let's put one right here. And let's go and let's search for math. Math notes. Alright, now lists of lists, sorry, not math, Victor, math, I guess I made a mistake here. Shift eight to search and search for Vic, tour math. Now I will like the big vault with a vector here, and I will plug the normal to the victory here. And I will sweep the blend two dots products. Okay? And after that I will hit Control Shift click just to see the results. And this is what I got so far. This changed the sample to six maybe. And here we have the radius. We can control the effect if we like. As you can see now we have something here. Okay? Alright, I will cut the displacements To have a better view here for now. And let's try to control this with romp Shift a. And let's search for Fromm color ramp. And let's push it up. Lagged value just a little bit. And the y-value as well. Alright, let's invert the information here is Shift to add listed for inverse. Let's put the inverse right here. I will hit Control. I will hit Alt and move the inverted from here and width right here before the, before the color ramp. And we have a mask here. Okay, let's see how can we tweak this and make it better? Alright, we gave it a radius 0.3 lists, add one and let's see the difference here. That's too much. I will add 0.1 and make the radius smaller. The sampling error will attain maybe to make it even smoother. But adding more sample, I will make this. It will be 12. 12 takes time to turn dark, so I will add seven, maybe just reduce a little bit. And maybe now we can, I don't know, maybe we can manipulate the color ramp. As you can see now we have some mask. We can use, alright, I will use this mask and instead of this mask that I have here. So I will cut the connection from here and move those away. Because the pointless method doesn't work right here because this geometry is no, it's not higher resolution. And I will use this one instead. Let's move those right here. And I will like that color to that her to the color right here. And lists of like the the principal PACF. And now we should see some variation here. And in case we don't see anybody can just check this. Or maybe we can reduce the effect of the, of the, of the noise texture here. Just take the killer arm back just a little bit, and then let's go back here. Add the principal PACF. And let's see what we got so far. All right. Now I can see something here. This make this a dark color maybe. What about the displacement? The displacement will not work in the correct way because we still using the the point in this method. And so I will rub them and hit Control X to dissolve them and delete them. And I can call this a group of nodes, Shift D to copy them. And let's add those right here. And plug that color to the color right here. And let's see the result of the mask here. Alright. I will reduce the effects. I don't know, maybe, maybe I can make it a little bit stronger, the white value. And I will upload this to the displacement. And let's see what we get here. Like bug that principle to control Shift left-click. And now we should see some height information here. I will hit Control V to render a small area like that. We can tweak that even more. Let's see how can we achieve that. Let's make the effect stronger. That black and white value. And let's see how can hold that can affect the the displacements list of blog bug of this. All right. Above this material, I can add another material. E.g. I will, I will duplicate this principle, PACF and I will put this right here. Let's have more space. And let's add a railroad hall hold Shift and right-click to do that too. At this point, I just need to have more space here. Let's put this here maybe, and this with this material and this area. More than displacement down maybe here. This one right here. Alright, let's go to this material. Can throw hips, lift. I just need to see this material. We need this to be or off to my trough. And we need to add some normal map here and this way, and this socket here or the normal map. So I will copy maybe these nodes crop them, hit Shift D and have a Coby here. And maybe I can move all of these notes down right here. I just need some space. Those. And let's check for normal map. Normal map right here, sorry, this one, shift a normal map and plug the normal to the normal and the results of the noise texture here and this area and the, alright, and the color right here. And let's see the results. Sorry, I guess I made them, I just made that mistake right here. It's wrong to use a normal map. We need to use a bump map because we are adding black and white image to the normal. So that's not going to work. We need to change this to bump. I just forget that. I will hit Shift S to open the switch menu and go to the inputs. The inputs are the C and the victory here. We have bumpy. Now the result should be okay, but we need to connect this to the heights, not to normal and cut the normal. And now that itself is correct. As you can see here. The question is why we created this? Because we need to create a mask with MPD collusion. So let's search for ambient occlusion will be the first option here. Hit Control Shift click just to see the result of the n-bit inclusion. This is what I got. I will add ramp, color ramp to omega, the effect stronger. Okay? And let's try to add a math here. Like it's right here. And let's change this to multiply. And lists can throw this to separate the effect just a little bit. Something like this. Or at least surprised that even more. And now we have a new mask here. We need to use it for the MPT collusion. So after that, let's move those just a little bit right here. And I need to mix between this material and the old one. I will hit Control, Shift right-click and move the most from here to here. And no triangular, we'll add mixed header automatically. After that, I need to like the the result of the ambient occlusion. Blog it to the factor here, and now plug this back. And now we should see something right here. We should see this material on the geometry as well. Alright, It's not so quite visible. We can control the color ramp to see something. Let's see the result. If we take this back, what's going to happen? Right? Let's check the mask itself. I think I can flip the colors here. And let's see what's going to happen if I flip this. I think now we got what we wanted because we need this material to be applied on the crevasses. And I think we got something like this. Alright, for this material, maybe I can control the roughness just a little bit and make it, make it rough. I will add care of power QB and push this up just a little bit to make this a rougher. Alright, now it's become rougher. And maybe this for this material I can kink the color to something like dust. Because now if I go to right, if I make it right as you can see, where this material applied. So I will try to pick something like dust and make it dark. Like we have dust here and the corners. Alright, that's can give the results, make it more realistic. I will hit Control Alt V to excite. And this is what we got so far. Okay, So this is it in See you next. 26. 026 The final render: Hello again, we'll come back. Okay, now we can render the scene first as you go to the side of you. And let's select everything and let's pull the platform above the ground like that. And the 3D cursor is in the center. I will hit Shift a and add plane here. Hit S to scale. Let's make it a little bit vague. Something like this maybe. And school. Now, let's add a camera. I hit Shift a and let's go to the camera. And let's add a camera. Now we have the camera here. I need to move the camera and put it in the position that I want, but I'm not going to move it manually. By the way, let's go back to the bounding box. I'm not going to move this manually because that takes too much time. The easiest way to frame the camera to the position that you like. Just pick any position from the viewport, e.g. I. Need to take an image for the cannon from here. Maybe just pick the position that you like, the ankle that you like, and then hit Control Alt zero. The camera will be framed automatically to the to the position that you like. And if you want to control the camera as well, select the frame of the camera and then hit the press shift and tilt the key, tilda key, you'll find it underneath the escape or beside the number one. And now you can move the mouse and the camera will follow your mouse and you can hit W to move forward. A, S, D, like you are playing a game. As you can see here. And now I can move it in any place I like. Let's go to the Camera Settings and let's change the focal length to 120. And I will move the camera bag. I will hit Shift a Tilda and hit us to go back like this. And the frame it I can hit Q to go down and e to go up. A few. Like if you elect to make the movement slowly, you can rotate the wheel of the mouse back, and now you can move in slowly. So let's, alright, let's zoom in just a little bit like that. Alright, that's great. So this is what we got so far. Because we are going to use cycle. Now we can select the plane and we can make it the object data properties here we can go to their visibility and activate shadow catcher. Okay, This option is nice option. If we want to hide the ground and make it received the shadow. And I will tap to edit mode and go to the age of select this a, this edge hit e to the z to extrude those up. Maybe. And listicle up those three edges, hit Control V to bevel them. And this pivotal them. But the bevel, as you remember, we still have the profile type switch to costume. I will switch this back to this option and reduce the number of the segment right here. Let's shrink the segment to ten. And thus, That's okay. Tab, right-click hated smooth to make this smooth and that's it. Let's go back to the camera and notice his ear and go to the render. And let's see what we will get here. Alright. I will, I can't accept this results because I activated in the film the transparency. I can see the plane. And if I want to unhide it, I can turn this off. In the same time. I need to make some adjustments to the, to the I just forget to the HDRI image. So I will go to solid for now and I will show you this too. No, I don't need to sweetness, I will use this window. And I will go to World. And to bring my notes. I need the lighting from the environment, but I don't see I don't want to see the environment itself. To do that, I need to duplicate the background here to the anterior code right here, and mix those together. Hold Control Shift, right-click from this to this. And now we have mixed shader. The factor we need to use light path, hit Shift a to search for light. Just type path. And you will find this like the first option camera array to the factor right here. And now if I hit Z and go to the render, I still have the lighting, but I just hide the background and I can see the plane itself. If I want to make the background darker, I can go to the second option here, the background and make it as darker and thus will affect my background as well. In case I want to make this darker. Above that. You can add material if you like. Sorry, you can't add lighting. If you want to increase the light or you can go here and increase the strength of the light from here. This another option. And now we got something nice. We just need to render it and see what we will get. For the ground. I don't know. Maybe we can make some tweaking. I'm not so quite sure. I mean, by Qin king this just a little bit and make it darker. Can somebody like this? And maybe I can make the roughness a little bit high. So I will take the dark value up just a little bit. And take this up as well to make it rough, not reflective. And now we can take a shot and see if the results. So if I want to render this, Let's go to solid. They don't need to be in the render and then go to the Render and render image. And here we have some option, Farris. We need to go to the Render Settings here, note viewport. And we need to activate the noise so we can clear the image after that is done. For the noise threshold. I'm not going to use the noise a threshold method. I will use the samples and I will add the number that I like. E.g. I. Can add to 100 samples when these 200 samples finished, render will be done. And I can add a time here if I like. And after the lender is fitting, the noise will be activated to de-noise the image to clean any noise happened to the image. And here we have two option. If you'd like to use GPU or CPU for me, I will stick with the CPU, and that's it. We don't have to do anything else here. Now if we are under, we can have realistic render before you render just hit Control S to save your work and now go to the Render, render the image. And in case you need to change the dimension of the image, you need to go to the output properties. And here we have the ability to change the dimension of the final image. And here we can double the number here. And yeah, Very cool. Now we can go to the Render and render the image. I will render it and when it's finished, I will be back. Okay? Okay, now the render is done and we got this results. And because we picked cloudy HDR image, we got this kind of lighting. And alright, let's, let's take this took her to the combustor and let's see what we can do there. Let's excite from the render. And let's tweak this view to, let's see, sweetness to image editor. And let's change this. Let's move the header. Let's change the editor to the combustor. And inside the image, totally search for the render. Whereas the results are under-resourced. And here just hit U is not. Okay. Now we have the render result, and here we have the output, whatever thing we add it right here, it will affect the final results. And let's add something here. Let's search and the cursor, Can we have color balance? We can add this node right here to control the color balance. We have these three circle. This one is for the shadow, this one for the mid tones, and this one for the highlight. For the hairdo. I think we can take, I can make it a little bit contrasts biting by taking this slider down. And for the highlights, maybe I can take this up to make some variation. And I can make the shadow a little bit bluish. 12, give my results. Say can make it a little bit interesting. And here we have the mid tone of we want to control it. We can do that. And let's move this just a little bit and let's hit Shift a lit search for the filter and let's add a filter node here. The upper right here is soft and it will make the results soft. I need to use carbon and reduce the factor to maybe 0.1. That's will make the result a little bit sharp, but I think that's too much. Let's add 0.03, maybe. Make it a little bit sharp. Think that's better. And you can use, you can search for care if you like, or cubic curve. And you can't control that even more if you like, if you want to make this brighter, you have the ability to do this. You can add two nodes here to control the care of. I can give you a better results. This image is nice, okay? Actually, this result, I don't want it to be bright, but I need to focus on the private area and make it brighter. Or That's great. Let's see the result before and after it M muted. Send any mutators. Alright, this nice. We can put a lot of notes here. Anything that we need we can put here and whatever we will add, we will see the final result right here. I don't need to add too many notes. The result that I got. Now, it's very nice and I like it, the shadow, the lighting, and it's very nice and unrealistic actually. And yeah, it's, and this is how to create the cannon at this, how to render it. And this how to create a create realistic or under, or at least maximize the image control space. And let's zoom in here. Alright, so this is the result. In case you want to save it, you just need to go to the image and save as and you can pick whatever folder you would like. And from here where you can change the format to whatever format. And I save it and give it a name from here. And he'd say, okay, let's kinda slot, we run this in the slot number one, I will kill you this tool slot number two because I need to make another render here. It can throw the space to excite. And let's make this small Swedish back to 3D view port. And now let's try to pick another angle. And I need to, I need to use depth of field in the, in the camera setting here. Okay, I will duplicate the camera had helped the end add another copy in any place you like. And as you can see, this camera, the era of the camera is black. That's this camera is that active? If you hit zero, you will switch to this camera, but I need to make this one the active, this camera right here. If I wanted to make this active, I need to hit Control zero to make it active. And after that, pick the view that you like. E.g. I. Need to pick this view. And then it can throw out zero to frame the camera. And now I can hit the Shift tilda to control the camera and put the camera in any place. Like maybe we can go from behind and put the camera e.g. right here, I just need to targets some area maybe like this or less, focus on the core. I need to rotate this so I'm going to hit R for the Z and rotate like that. Let's go to the camera and let's see. Yeah, that's cool. I need to focus on the shaft right here or let's say the rings. And this way I will go to the camera and go to the camera setting and activity depth of field. Now the depth of field is activated. Here we have. An option tells you, if you want to focus according to the object position, you can do that. In this case, what I will do is I will select this object and hit Shift S and open the pie menu and choose coursework, the selected to bring the 3D cross right here. The position of the 3D cursor, I will hit Shift a and add empty. Now we have an empty. Let's go back to the camera and let's pick the empty it as a fork, as a focus point. Now, whatever, when I take this empty or any place I like, the camera will focus on the, on the position of the Mt. And we can do something here for the camera in case we want, we can select the camera and go to the constraint and add one of these constraints. E.g. let's use dump truck. I need this camera to point to the empty wherever the empty goes. So let's pick the target. The target should be the empty. And after that we need to pick the correct axis. Alright? Alright, minus z. And now if I grab the MTN movie, the camera will follow it. As you can see here. E.g. if I go to the camera and I need to focus on the payroll, I can do that. And if I want to attach the empty to the surface of the barrel, I can go to the face, snap and I move the MTA and hold control, it will be snapped to the surface. I think that's could happen. Yeah. Now I can snap the empty to any place that I like and the camera will follow it. And the focus, point a to point B. The B, the position of the, of the empty. And thus can make the process a little bit fast. Or if you'd like to do this. So for, for me, I will hit G and hold Control and snap this right here. And now I will go to the back to the camera. And now I have the ability to move it in any place, what I like. And let's give this a try. You remember, in the render view, we switch to this too slow too. That's great. Now, let's see what's going to happen if I, his hand go to the Render. See the depth of field here. I can control the depth of field and I can make a strong or not strong. Let's pick the frame of the camera and let's go to the camera setting here. Here we can control the f-stop to make the depth of field strong or less. E.g. I. Will add number one, or let's say 0.1. That's what make the depth of field very strong, as you can see here. So smaller numbers mean means depth of field. First drawing. And bigger number mean. It means depth of field is a less Sichuan. If you want to take this to the default value, just hover over here and hit backspace. And it will, it will be switched to the default folder. A number for me, I maybe I can add number one and use it. And now, as you can see here, we have some fluor here as well in the focus just on this area. And that's almost what I wanted. And in case that's too much, we can add maybe 1.3 maybe, and make, make it a little bit less. That's great. All right, now we can make another render or whatever notes we added, the competitor, the effect will still remain and we will have it when the render is finished. Okay, so we're not going to lose that. So let's go to solid and hit Control S to save your project. Then I will go to Render and render the image. And when the lender is finished, I will be back. The render is done. This is the result that we got. It's very beautiful. The depth of field is very nice. As you can see here. The compensator still walking and now we have the effect of the compositor applied on the image. And yeah, I think that's it and that's it for the course. And I hope you'll enjoy the course and I hope you learned something here. My name is Mara Hussein and see you in future courses. Goodbye.