Learn the Basics of Blender in Just 30 Minutes! | Daniel Krafft | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Learn the Basics of Blender in Just 30 Minutes!

teacher avatar Daniel Krafft, 3D Design, Game Development

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Lecture 1


    • 2.

      Lecture 2


    • 3.

      Lecture 3


    • 4.

      Lecture 4


    • 5.

      Assignment One Solution


    • 6.

      Lecture 5


    • 7.

      Lecture 6


    • 8.

      Lecture 7


    • 9.

      Lecture 8


    • 10.

      Lecture 9


    • 11.

      Lecture 10


    • 12.

      Lecture 11


    • 13.

      Lecture 12


    • 14.

      Lecture 13


    • 15.

      Assignment 2


    • 16.

      Lecture 14


    • 17.

      Lecture 15


    • 18.

      Lecture 16


    • 19.

      Lecture 17


    • 20.

      Lecture 18


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

*Please note this is a basic course - only applicable to those completely new to Blender*

Blender 2.8 is the most exciting 3D modeling program to many, especially because it's completely free and open-source. In this course, I will teach you the basics of this software. We take a look at modeling, rendering, animation, and more.

This is a great course for those looking to get started with the program in a short amount of time.

I have three additional courses on the topic of 3D modeling and game design that go more in-depth than this course but are also more time-consuming.


A little bit about me, I've been a freelancer in the 3D industry since I was 16 years old, and have managed to speak at events regarding this experience. I have a passion for design that has stayed with me ever since I was very young.

I was very happy to discover Udemy, where I publish educational content that now reaches over 5,000 students worldwide. All of my courses are kept up to date and questions are answered as soon as possible.

The course is risk-free as you have a 30 Day Money-Back Guarantee.

Blender 2.8 is a joy to use after you get the hang of it. Join today and begin your journey as a 3D artist. I promise you won't regret it.

I look forward to seeing you on the course. All feedback is always welcome.

Music from Bensound

Meet Your Teacher

Teacher Profile Image

Daniel Krafft

3D Design, Game Development

Level: Beginner

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Lecture 1: welcome to the course in this lecture. We're gonna go over the part that most people get stuck on, and that is actually navigating this interface. So to get you started off, hold down the middle mouse button to orbit around the scene. Squirrel it in and out to zoom in and out. Japan. Hold shift and middle mouse button Practice doing these operations as much as you can and as often as you can, because it will get very tiresome if you don't next, let's learn how to switch views to switch views. Use your number pad one on the number pad will launch you into front. Ortho Graphic for you. Three will launch one to write Ortho Graphic seven Will want you to the top nine will invert whichever you were looking at and 4682 will rotate your view, but we'll put you in perspective. Let's talk about the difference between or the graphic and perspective. Perspective is the kind of view that we see everyday objects that are closer up our larger like this square and objects that are far away are much smaller. The lines connecting these are called perspective lines. You may have seen a certain game style called Ortho Graphic. This is very different because objects that are closer, like this square are the same size as objects that are farther away. That doesn't for navigation. Next, let's look at these windows. 2. Lecture 2: throughout the course, you'll be using various windows to get certain tasks done. I'm gonna go over the basic ones for you. Right now. This big one is called the Three D View. It is where you will be doing most of your work in three D. Modeling. Here is the eyeliner, and this is where you can see all the objects that are in your seen. This is the properties panel where you can see all the properties of any objects that you have selected. And if you press in, another Properties panel will open up where you can see whatever you have selected and the properties of that object. Sometimes you'll need to manipulate your workspace. Let's get this out of the way right now. To do this, click in the top corner, there's gonna be a little curvy corner and just click it and drag to open up a new window. To close windows, click that same corner and drag it over the window that you want to close. Let's say you want to change a window to a different window. You click this object up here and change it to whichever you would like in this case. Maybe you want a second properties panel. There it is. Let's say you completely lose an object while you're maneuvering around to find it again, selected in the outline er and press the period on the number pad to focus in on it. Now let's talk about rendering. If you press the Z key, you'll have many, many options. One to view it and rendered one to view and wire frame and want to view in a look. Development mood. I do most of my modeling and solid view, but you can enter this as well. To do this, click this little arrow to the side. Here you can choose a madcap, which is basically a material that changes the way the objects air rendered. You can choose to add back face calling to check if faces air inside out. X ray to view inside of objects cavity shadow, depth of field to edit how you're viewing in the workspace. I have found that the default settings work just fine 3. Lecture 3: make a sword to do this. Delete this cube by pressing X and clicking to confirm pressing shift A to add a new object . There are tons of them, but I'm gonna choose a cylinder whenever you at an object. A little panel is gonna come up down here and you can choose a whole bunch of things about it, the one I care about right now, it's rotating it. The green access is always the wide that red is always the X, so I'm gonna choose to rotate it 90 degrees on the Wyatt to turn it sideways. There's more ways to transform this object. You can move it around by pressing G, which stands for Grab Bar, which stands for rotate, which stands for scale. And if you're in the middle of any of these operations, you can always right click to send it back or left click to confirm. Remember that you can press control Z toe undo and control shift Z to redo. Let's add another object press shift A. And I'm going to go to Aiko Sphere here, and I'm going to move it on the X by President X Key. While I've pressed G and then scaling it. Now we have something at the end of our blade handle here. Remember that you can constrain any transformation to any access, be it the Z axis, the Y axis or the X axis. This worst was scaling as well as rotating. I've decided that I completely hate what I've gotten here. I'm gonna show you the most efficient ways to completely get rid of it forever. One way is to click and drag. This is a box select. Now you've selected both of them. Another way is to right Click one and shift right. Click the other one, right Click me and select shift. Right Click means select multiple. Let's say I have tons of these. I compress the Seiki to open a circle Select and use my mouse wheel to make it bigger, Smart. Then I can click to select and click with my middle mouse button to de select press enter to exit the Circle Select mode. I've decided that I don't hate it as much as I thought and only want to hide it. To do this, I'm gonna select all them impressively H key. Now they're hit. If I want to unhurried. I can go into the outline er and click thes eyeball icons toe on hide them. Now, if you haven't wondered about this yet, you will. There's a little red and white cross hair thing. It's a three D cursor picture, a cursor in a Google doc, except instead of typing letters you're typing through the objects. Whenever you had an object, it will add it wherever the three cursor is. Practice destruction skills by selecting everything, pressing X and clicking to delete it. It's gone now. If you want to put the 30 cursor back in center, all you need to do. Remember this shift s Gorsuch world origin. That's all you need to know. 4. Lecture 4: Let's talk about edit mode to go into edit mode. Press tab. You could go back to object mode by President Tab. We're going up to this panel appeared using edit or object mode, whichever you would like. There are three modes in edit mode for a text like Mode Edge, Select and face light faces are connected by four edges. Eder's air connected by two vergis ease and verses or single points in space. You can switch between these modes easily by pressing 12 and three, respectively. So what exactly can you do? An edit mode? Well, you can extreme by selecting something impressing e you can inset by pressing I and you can bevel by President Control be you can add loop cuts by pressing control. Are and scrolling your mouse wheel. You can use a knife tool by pressing K and clicking. Press enter to exit the knife tool. One of my favorites is the spin tool click of face but three D cursor, where you want the origin to be quick spin Click the wrench screwdriver. Choose your access and click and drag and you can create character. There's a smooth tool if you click the purple deflated box and then click in the screen and an edge slide tool for when you've selected an edge and you want to move it around without moving the rest of the geometry. Let's talk about Adam Oates selection to select a whole bunch of things all in a row. Ault and right click on the horizontal of where you want it to weed. So I've selected this whole ring of edges right here. Alternatively, I could press control. All right click to select them vertically such as this. So all right, click control, right click that were, too. All right. Click on this. I would get this control right click, and I don't get this. A fun one is still select everything with a going to select. Check your de select, and it will de select everything in a checkered pattern. Remember that you can de select everything at once by pressing a twice. Let's talk about the orange dot. That's where the object is going to rotate around. If I press are and why it's gonna rotate around that orange dot Let's say I want the orange dot to be right here. There's many ways to this. Here's one I'm gonna select thes for edges right here, and I'm gonna average the distance of them by pressing shift US President cursor just selected. Now the curse is right there. Now I'm going to go back into object mode type and set origin and the space bar shoes Origin to three D closer now the origin is right there. And now if I rotate it, you could see it rotates right around that orange top. Let's say you want this here cube to line up perfectly with the end of this cube. Well, it turns out there's a feature for that press G and X to move it on the eggs and hold control to activate snapping. Right now, it's gonna snap based on the grid, which will work. But there's another way to do it to You can choose this icon up here and choose how you'd like to snap it. I'm gonna choose face and then g X and control, and then it will snap to whichever face you're holding it against. The same goes for disease and edges 5. Assignment One Solution: All right, I'm gonna go ahead and make my sword first. I'm gonna Addis owner gonna rotate it from the wide by 90 and add some Luke rats, But I'm gonna bubble them all. I'm going to extrude s shift X. You can choose to exempt a access from scaling by pressing shift and then the access later . Cool. I'm gonna skillet on the X like this. I'm gonna press control a Apply the scale. Now I'm going to have a you ve sphere and I'm going to grab it on the X place over here and rotated accordingly and skilled up. No, I'm going to scale this thing accepting, Going to do shift X Michael. Now I've got that. It's time to add the blade itself. So I'm going to add a cube. I'm going to rotate it on the x 45. Grab it on X skillet on the sea grab it on the X again. I'm gonna go into edit mode, press three to go in the face and I'm going to extreme this one or just grab it. How I'm going to extremes out again and I'm gonna present alter them to merge it at the center. Excellent. Now we get to make a hilt. So I'm going to extreme this thing down. I'm going to extrude and scale this thing on the why and then on the sea just a bit. All right, Now we have a sort of sorts aren't going to leave this Not like that at all. I'm going to go back into edit mode and choose to skill this in extruded out. Very cool. And I'm gonna street out once again and I'm going to right click. Just like that whole Looper faces E s. So we're Skillet out on the shift axe, and then I'm gonna skilled on Z of it. We've got we have a sword. I'm actually gonna add a little tip here by extreme this out all time at center. I just cleaned up a little bit more. Press two to go into a just, like, flicked this ring by pressing All right, click and skillet in a bit. And then we have a sort 6. Lecture 5: If you did the last assignment, you should end up with something like this. Now let's talk about modifiers. Modifiers are an intermediate wave modelling. Add them. Go to this wrench icon and select an object. Click. Add modifier. Now there's a huge, huge list of them. I'll tell you what's moving. Dio Subdivision surface is going to smooth and subdivide, making more faces more dense, but it will smooth it out. Array is going to create multiple of them and you can choose the count by sliding this count slider. Here we're gonna focus on this one called Boolean Have this 1,000,000,000 modifier to the sword. Now click the three D cursor over to the side. Here, add a cube rotated on the Z by 45 scaled down and going to top view by pressing seven on the num pad G. Why? To move it down a little bit, we're basically going to be cutting into this sword here, press control a and click apply rotation that's gonna make sure that there's no nonsense going on. And then now we're going to add a modifier, Ray and I'm going to decide this to the left a little bit and then choose one more. Now we've got an array of three of these things, and I'm gonna apply the ray modifier so that its actual mesh and it's not just in numbers. So now go back to the sword under the booing modifier, click the eyedropper and click the cube one as the object. Now click, apply, and you can delete these cubes. And now we have all these cuts cut out of our sort. Isn't that awesome? Well, the fact of the matter is, modifiers could be used for a lot of things. Amir modifier can take 1/2 and merit to the other half. If you have a complex object, a bevel modifier could add some resolution to it for you. Just please make sure that any kind of devils, including bubbles, that you just do an edit mode. You only do them after you applied this scale by President Control a and clicking scale. Otherwise, you'll get this nonsense 7. Lecture 6: this one should be quick. Did you know that the cube that you're looking at here is not actually an object? It's just a mesh within an object. The object holds the name and the properties, and the mesh is something by itself. To illustrate this, let's say I'm making creates and I just place these cubes and duplicate them shift d on the why and I do that a couple more times. But then I want to add detail to them. So what I do is I go and I start adding detail to this one. I'm gonna select several of them I to inset e s ex or why rather Teoh inset and scale on the inside. I'm gonna do the same with this side as well. And then halfway through the time that I'm doing this, I realize Oh, no, I haven't done this to these other cubes. I've only done it to this one. Well, it turns out that it's not the end of the world because this is just a mesh within an object. And these are just objects, so I can swap them with a mesh to find the mash I'm going to select this cube. Click this triangle and I see that the mash here is called Cube. But the one over here is called cube 10.1 So I'm gonna swap this one to Cube and this one as well. Cute. And now, if I make further changes to this one, let's say I beveled some of these edges. It's going to make the change to every single instance that I create here. Isn't that incredible? 8. Lecture 7: all right. Something that I know you're gonna have a lot of fun with is sculpting to go into sculpting mode. Just click this little sculpting button up here, and we brought to a window that looks like this thesis. Urkal is now read for some reason, and you could have the ability to click and modify this geometry. At first, it's not going to do a whole lot, but if you go check this box that says Dine Toppo, you'll see stuff start to happen. That's because dynamic topology allows you to add more faces. He closer up. You are. You can keep going forever. Something to note is that symmetry is enabled by default. So you're gonna have multiple sculpts going on at once until you go into the symmetry tab and click this X button to unlock that. Go ahead and do what every blender artist has done at some point and draw a smiley face on a circle. And once you've done that, you're ready to learn about the different brushes By default. You have the job rush open, which just allows you to draw on the circle or whatever object that you've placed in here another one is clay strips, which is exactly what you would think it is. One of the more interesting ones is called Crease. You click on that and you can add a little crease down and just cut into the object. And something else you can do with these brushes is hold control to do the opposite so you could hold control. And then on the outer ledges of increase, you can pinch things together. Same goes for draw. You can cut into an object. Withdraw Justus Well as you can drawn to it. Sculpting is an art form all by itself. This right here is horrifying. But if you put some practice into it, you could make some pretty amazing things. Something to remember his press f to increase your brush, size or dimension and shift f to adjust the strength. Keep in mind that sculpting will add lots and lots of geometry. And if you don't want that, you just go into the modifiers at a decimate modifier and then dragged this down to the desirable face count. And now you've got a much more low poly mesh that still tries to resemble the original shape. I don't even know what shape that IHS 9. Lecture 8: Let's say that your beveled cube is looking a little geometric. Well, there's something you can do about this, and that is to go to object shades. Move. What is going on? Here's what's going on. Go into the triangle again. This is gonna be your match tab and go under normals and select auto smooth. Now it's going to only smooth the angles that are less than 30 degrees and leave the other ones flat. If you want, Change it back to flat, just like the object. Goto object shade flat. What's weird about this belt? Cube? You know what it is. It's because it's inside out and sometimes you want this like if it's the inside of a room . But if not, it looked, just looks weird. So to fix it, go to edit mode. Go to mesh normals flip. Sometimes it's best to go mesh normals recalculate outside, and it will flip all of them, even if there's some that are inside. Like let's say, this one is inside and some of them are outside. You can select him all mesh normals recalculate outside, and I will make sure everything goes back to normal. Use this to keep your objects and renders clean and free from air 10. Lecture 9: I wasn't exactly done with this sword yet. Let's have some materials to it to do this, click this little sphere icon in the properties and click new. Now you got a new material you can preview materials by going into rendered. May want to add a light, though, just so you can see what's going on. You're gonna just the power of the light by using this power property right here and risk Arlena. Now I'm going to go into the material settings and I could make the sword any color I want . Or I could change the metallic nous of it. You into a whole lot. I personally just gonna keep it gray and metallic. Excellent. But what if I want this part of the sword to be a different material? Well, all you have to do is go into edit mode and click the plus icon here out of new material, Click New and let's say you wanted to be brown. It's would just change color ground and you're going to select which ever part you actually do want to brown. So I'm gonna go into wire frame. I'm gonna box select you're down. Minbar, Select. Here down, Actually get all of that and press a sign. And now if we go into rendered view, we can see that the hilt of the sword is brown and that blade itself is a silver iron color . But there's more, much more to materials, drug, open a new window and go to the shader Editor This is the material and note form. All these parameters can be adjusted to effect the sort of self I'm gonna go back to our silver material here. I'm gonna decrease the roughness. I wanted to be a little more shiny. Speculator defines how well reflections could be shown, and roughness shows how light is dispersed. So a roughness of zero is a mirror with speculative one. If you press shift a just like you would at an object, you can add many different kinds of notes. There are yellow sockets which indicate color gray ones which indicate black and white purple ones which indicate normals. There are also green ones which indicate entire shares. For instance, if I wanted this thing to be glass, I could just add a glass shader and plug that right into the surface output and then the thing would become glass, but I'm gonna keep it as a principal. So all I have to do to connect these things, by the way, is just click the dot and then drag it into the other dot That's all you need to know. I'll leave you some resource is to deep dive into materials, but for now, that's all you need to know. 11. Lecture 10: you may want to add some more detailed texture into your object, but before you can do that, you need to learn how to you. The unwrap UV unwrapping is taking a three D object and turning it into a two D image so that you can project images onto it. To do this, I'm gonna click are shader editor up here and change it to the UV editor. I'm gonna go into edit mode, select everything and give you smart UV project. I mean, up the island margin a little bit. This is going to make sure that nothing is overlapping and press OK, now, here you can see what is a two D projection of our three D object that should work just fine. One of the best sites for Texas is textures dot com. I'm gonna go into their metal tap here, and I'm gonna get some galvanized metal 12. Lecture 11: Once you got your texture ready, go into blender and switch to UV editor back to the share better and watch this going to where you downloaded it and just drag it into the note editor. And here it is. I'm gonna drag the color into the base color here, and it's going to apply that texture based on the UV map. It's looking a little stretched out, so I'm just going to go into edit mode, going to you the editor and I'm going to de select everything. And it's like this material and click select. And it's going to select everything that has that material on selected all in the UV editor by pressing a and then press S and X to try scale it and mess with the texture that is on the sword. And that's looking just fine. If texture user style. That's great. If not, we're gonna learn about texture, painting 13. Lecture 12: Let's talk about texture painting, which is a style of itself to go into texture painting. Click the texture paint button and you're going to see this Papa click new and just click. OK, You can also multiply this up to 2048 if you like. I'm just gonna click. Ok, now we got a black image here and what we should see is nothing yet because you have to make sure that you have a material with this texture on it. So I've got a new material and I'm gonna add an image texture node. Drop it in the color and then I'm going to swap this out with Untitled. And now that texture is ready to be painted on up. We're up here. We have the color texture and I'm going to have white on right now so I can draw white onto the surface or I can select any other color of my choice and draw that on as well. It's like sculpting. You can change the brush size. One of the useful features here is that color palettes, so you can click new and then you can selected the colors that you're using a lot and then click the plus button, and that will add and a little color for a color palette, and then you can just be using that. 14. Lecture 13: over light hand blender, therefore main different types of lights. You can use them in the admin you. One is the point. Light the sun, the spot in the area. The point light could be best compared to a light bolt. The sunlight. Well, the spotlight in the area light reminds me of retailer office lights. The area lights actually very interesting because you can change the shape of it quite extensively. Perhaps the most popular lighting set up is a three point lighting set up that you hear about typically to set this thing up. I don't need a key light a fill light in a back light. The key light is going to be the main light that's cast on the subject. Sometimes it's stronger than the fill light fill. Light is going to fill in and compensate for the shadows that is caught that caused by the key light. Now the backlight is a different story. It's going to create a outline of light around the subject from the back so that it separates it from the background. Here's what the scene looks like with just the backlight, just the key light and just the fill light As you can see, these are inappropriate. We have the key NFL starts look better because they compensate each other shadows. And once we had the backlight, it separates the subject from the background, which completes our lighting. So, alternatively, if you want a sky background for your scene, you just go to hdr haven dot com. It's completely free, and you can download any kind of HDR you want. Next. Go to the world tab here, click the dot next to the color box shoes environment. Texture. Go to open and drag the HDR into this box and press enter environment textures, concave and especially realistic. Look, because they're taken from real data. 15. Assignment 2: Hey, everyone, Daniel here. This is a time lapse of my texture Painting assignment, As you can see amusing multiple different colors in different spots is actually very easy. To pull off this kind of look, basically, take a lighter color and fill out any angles that are greater than 180 degrees and any that are less than 180 degrees. You paint darker. That's because angles that are less than 180 degrees, such as where the blade meets the blade, guard those air cavities. And so that's where the shadows will be put. And so, if you put a darker color in those areas, is going to give off more depth to the color. And the same goes for the edges, which is English that are greater than 1 80 degrees, or depending on how you look at it as because those edges, they're gonna catch more light because naturally they would have a bevel on them. But we're keeping it low, Polly, so no bevel, and we're just going to fake the light by putting a lighter color on it. Also in the stroke settings and texture painting, notice how I figured out that I can use a line instead of thes typical space brush. And I found this to be pretty helpful, but the space brush doesn't give a more hand painted feel. On top of that, I decided to go with different colored area lights to light the sword. You can use whatever kind of presentation that you'd like. I'm excited to see what assignment you come up with. Good job doing this assignment and happy creating. 16. Lecture 14: All right, So now I got a nice looking sword, and you want to render out a picture of it? Well, blender has some options for you. There's two main renders, evey and cycles. Here's the differences. Cycles is a ray tracer and is inherently more precise and realistic. However, it takes a much longer time to render things. E V is closer to what a game engine would render. It's called a rast a riser, and depending on your tastes, it could look even better. So if you're a game developer who's making assets, probably TV is your best bet for previewing. But if you're trying to make architecture or something like that, cycles is absolutely your best bet. 17. Lecture 15: it's finally time to render this thing out. Let's go over some render sayings and get going. First, you're gonna want to go to this camera tab and I don't want to deal with the background for this. So I'm gonna go under film. I'm gonna choose transparent. Now it's only going to render this as a PNG with a transparent background that I could put on anything else like a promotional image. Next, you're gonna need to set your camera angle, make sure there's a camera active, interesting and then press control all zero on the num pad outside of camera. You can use walk navigation to zoom in and out in this polar world looking tab. You can change the resolution and the aspect ratio and the output if you'd like. If you want to adjust the camera settings like the focal length and depth of field, you can do so in this camera tab. If not, go up here, Click render and render image. Once it's done, it'll spit out an image for you, and you can go to image, say vows, and then save your image 18. Lecture 16: Let's face it eventually. Gonna want to animate something. So let's do that right now. I got a cube here and I'm going to grab it on the X two extremely. This far. One at a whole bunch of rain cuts for density. You know, I'm going to add an armature, and I'm going to rotated on the Y by 90. All right, now that's what we've got. So I'm going to scale it up a bit and I'm going to select this end here. I'm in edit mode, by the way. I mean it extruded on the X. I'm just gonna be that a couple more times. Perfect. Now I'm gonna take this cube and select it and then select the bone structure. Last press control P and parented with automatic weights. Now I'm going to select this more mature. I'm gonna go into pose mood. First of all, something you're gonna wanna dio is going to this square panel. Good of you. Poor display in front. That way we can see it no matter where we are. And then you can just grab these things. Impose mood, which is up here, and just start posing this object now this object has been successfully raped. It gets a lot, lot more complex with things like characters, but it is exactly the same concept. 19. Lecture 17: that's no. You know how to rig something, but you actually still don't know how to animate it. So that's what we're going to fix in this lecture right here. Adding a plane atmosphere I'm in a smooth sphere we're gonna do is make a ball bounce and roll a little bit. So the basic principle behind animation is that Yuki friend, Something at one spot, such as the location. So I'm gonna bring the ball up here. I'm at frame one on this timeline. Depressed I and location to key frame its location right here. Now I'm going to grab it on the why. Move it over a little bit. But I should probably move up further. I'm gonna drag us to around for him. 60. Grab it on the wire and bring it to the ground. And it's ideal that it's exactly on the ground. Now I'm going to key frame the rotation again. I'm gonna drag out a window here, and it's going to be the graph editor and you got a mess here. This is the I assume this is the animation and two d four, and it's very slow, but we're gonna fix that. So select everything in here repressing a and then press T to open up the interpretation. And I'm gonna choose this bounce thing and there's a whole bunch of these, but I'm not. She's bounce now. If we play it, we see it does that, and that's not necessarily idea. The problem is, the Y Axis also has the bounce on. So I'm gonna select just this one, and I'm going to press two and do leaner. Now it's going Teoh move on the why at a linear rate and move on the sea on a bounce rate, and that's what it does. But I kind of wanted to be a little bit different. So I'm gonna press view or two. I'm impressed. Tiemann do Besseghir, and now we've got, like, a curved line that it moves along. You can additionally work with the rotation if you want to actually physically rotate the ball as it drops, but you know that's not necessarily necessary. So just mess around and have some fun with animation because these are the basic principles and you can keep frame anything in blender. So if you go up here, I could keep frame the strength of the world right now. I could keep friend. Right now it's at one. And then here I want to be 27 which is very right. And so if I were to actually play this, you would notice that it actually doesn't get brighter. So you can keep frame anything in blender, go out. 20. Lecture 18: Hey, Unity users, this one's for you. I'm gonna show you how you can bring a blender asset into any unity Seen very, very, very quickly and efficiently. I'm gonna use this little chest I made here and I've saved it onto my desktop. I've opened unity, and I've found the folder that the assets belong to. That's right here. I also opened up my desktop. Now I'm going to drag the chest file into the Assets folder, and there it is. It has appeared in unity, and now I can drag it in, just as I would any other asset. And the cool thing about this is that if I make changes to this chest and blender and save the file, it will make the change to the asset and unity as well. As for users of other game engines, you have several export options available to you. The most popular are fbx and O P J. When you do this, you'll have a whole bunch of options such as Onley export, the selected objects and an option to embed textures. However, before you do this, make sure that you've removed lights and cameras as they will also be imported and make sure that you've optimized the geometry of your mash before you do this. That being said, I have a great day and keep creating.