Learning Blender from Scratch (2. 8x) | James Leiske | Skillshare

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Learning Blender from Scratch (2. 8x)

teacher avatar James Leiske, Skillshare

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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.



    • 2.

      Introducing Blender


    • 3.

      Getting Started


    • 4.

      Interface Overview


    • 5.

      Viewport Navigation


    • 6.

      Advanced Viewport


    • 7.

      3D Cursor


    • 8.

      Properties Panel


    • 9.

      Layers and Collections


    • 10.



    • 11.

      Custom Workspace


    • 12.



    • 13.

      Objects in Blender


    • 14.

      Edit Mode


    • 15.

      Multiple Object Edits


    • 16.

      Origins and Transforms


    • 17.



    • 18.



    • 19.

      Data Properties


    • 20.

      Clean Space


    • 21.

      Sculpting Basics


    • 22.

      Advanced Sculpting


    • 23.



    • 24.

      Custom Brush


    • 25.



    • 26.

      Baking Normals


    • 27.

      UV Unwrapping


    • 28.

      Unwrapping with Seams


    • 29.

      Texture Painting


    • 30.



    • 31.

      3D Animation Overview


    • 32.

      Pose Mode


    • 33.



    • 34.

      Graph Editor


    • 35.

      Basic Rigging


    • 36.

      Weight Paint


    • 37.

      Make a Rig


    • 38.

      Particles Physics


    • 39.

      Force Fields


    • 40.

      Cloth Dynamics


    • 41.

      Waves and Rain


    • 42.

      Fire and Smoke


    • 43.

      Rigid Bodies


    • 44.

      Render Engines


    • 45.



    • 46.



    • 47.

      Light and Shadow


    • 48.



    • 49.



    • 50.

      Hair in Cycles


    • 51.

      Speed up Cycles


    • 52.

      2D Overview


    • 53.



    • 54.

      Draw Mode


    • 55.

      Ink Tools


    • 56.

      Animating Drawings


    • 57.

      Drawing Animation Tools


    • 58.

      Sculpting Drawings


    • 59.

      2D Effects


    • 60.

      Video Editor


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About This Class

Welcome to Blender the software that is free and is one of the best for 2D and 3D editing. You can do modeling, animation, compositing, and post-production. This course is for the beginner and it provides an overview of what Blender is all about. In this course, topics like modeling, sculpting, texturing and shading, 2D and 3D animation, rendering, fire and water effects, and even video effects will be covered. So what are you waiting for? Learn how to make games, movies, and animations like a pro!

  • Overview of Blender
  • Dealing with Objects
  • Editing Objects
  • Sculpting with Blender
  • Remeshing
  • Unwrapping Model's Textures
  • Painting Textures
  • 3D Animation Basics
  • Character Rigging 
  • Particles and Effects 
  • Rendering Engines 
  • Animation with 2D
  • Video Editor 

Meet Your Teacher

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James Leiske



I’ve invested years in learning the fundamental theories behind what I teach. I'm a zealous teacher that strives to bring students to a high level efficiently, with simple, easy to understand concepts, built on rock-solid theory. When you learn with me, you’ll learn well, and learn efficiently. That’s my promise to you.

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Level: Beginner

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1. Promo: with blender, you can model enemy and do all sorts of things. This course is designed for the beginner, and it provides an overview of blender. You could learn how to make games animations, how to work with three D models like a professional and learning blender from scratch. You will learn a general overview of blender in its interface. You will in how to deal with and edit objects you learn sculpting. In blender, you will learn re meshing unwrapping textures, painting textures. You will earn three D animations. Basics. You learn about character rigging and particles and effects. You learn about the rendering engines and blender Ulan animation as regards to two D, and you will learn about video. The video editor in Blender with anything in life that you are trying to learn. It's best to start today, not tomorrow. So let's get to learning all about blender 2. Introducing Blender: blender has a huge amount of tools, work flows that can make it a really easy software for three D editing. In this course, we will go over the blender interface, and we will look at the real time engine E V. In each chapter, we will discover all about three D creation. We will look at modeling and sculpting blender as well as text ring and animating and blender. Blender also has some cool effects, like fire and water, and it also does two D animation. We will be looking at all of that. Also, we can use E V or cycles to render and blender easily. We will learn all about that as well. If you are used to making games or something in the in unity on, you're used to the real time rendering. Then you will be used to blender and on the flip side, if you are used to Z brush, there's nice key maps that you can automatically jump in with. Blender is really great, and you can make art for games or movies or animation all in one software. It was also free to use, so that is really great and makes for an easy jump in with no barriers to entry. Welcome to this course, and thanks for joining 3. Getting Started: this course is for the beginner, and Michael is that anyone can learn blender from the course, even someone who has never opened up the software before. But while that is the case, I also kind of assumed that you have some general knowledge of how three D works like The View Port Animation, and it would be a great idea to take some basic foundation courses on three D editing. If you don't know that already in this course, we will be using the standard blender shortcuts. When you first open blender, there will be an intro screen where you can choose that. But alternatively, you can go to edit button preferences and key map, and you will see here these options Well, I am using, uh, the standard blender abusing standard blender option here, for the short cuts the keyboard shortcuts. But you can also go here to Blender 27 X to use the old standard or the old blender shortcuts. If you're used to the old blender, and if you're used to other software like Z Brush, you can switch to industry compatible. But for this course, we will be using the standard blender shortcuts. Some more settings. I will select here like space bar I will select to play and then left will be the select button, the left mouse button. So, yeah, that's pretty much it for that. And also, I'd be using the dark mode for blender, so yeah, to switch the theme of Bundy, just go to themes and you can go presets up here and you can either select blender, light or blender dark, but over using blender dark. Another thing I want to suggest is Go to system, go to see you D A and select intel as well as G force. If you have that, might as well have the most possible power that you can. So that is the it for the introductions to Blender. Let's get to learning how to use Blender. Thanks so much for watching 4. Interface Overview: with any new blink canvas as it were. Things can be a bit daunting Blender or the new blender, that is, if you're used to the old hasn't some modern graphics that once you learn them, become very welcome addition to the blender experience. This video is going to be an overview of blender the blender interface. Now we're past the introductions. Now we're going to start learning the software. So when you first start blender, you will have this pop up window this kind of handy. And for this video, it's a general overview of the interface. So she will. We will select General right here and that opens up just the general view. You can also go to file new General as well. So now, in the general workspace, you see this interface before your eyes. We will be going over all these workspaces and hopefully this gives a great intro to the software you can. You can change your workspace window by just heading, hitting control, holding down control and passing end. And you can now select which type of workspace window you would wish. But let's select general again. Now this large window right here this whole, like the one that's taking 90% would be like 85% of the screen is called the View Port and in other software, three D software. It's also called report as well. But in Blender, it's called the View Port. So in this view port, you can see we have the camera. Here we have our cube and we have our light. So as you can see it houses the scene are three D scene, and now we can select things in our view port. So it's select this cube. We have it selected here, just left, click on it and hold down G. And so now you can move around your cube. So that's and then use quick to finalize where you want it to go. That's example of how the view port works. Now, if you if you press t um, it was already open, but if you press t you open up your tools panel. Alternatively, this teeny tiny little button here can be pressed and open up, but I find it better just depressed tea. And here we have a bunch of options, and one such option is actually called rotate, and I'm sure you couldn't guess what rotate does, but that's just control Z. That and that's tools. More on that later. Now, on another note, you compress end. You have Presti and closed tools or keep that open either way. But press end opens the transform panel. So what is the transform panel? So we have the Cube selected here and now we can transform things by selecting knees and you see how the cursor is turned to a narrow in each direction so you can transform your cube on the X axis you can transform on the Y axis on the Z access. You can rotate it with a transform, and then also you can scale different parts of your cube. So no longer is it a cube. But now its shape. Yeah, so scale and dimensions. Alternatively, you can change the metrics of the dimensions here. So, CEO, it's 4.87. You can highlight that. Just enter five percenter and now you have changed the dimensions by entering it. Just double click on this area for press enter, and we have the dimensions changed using that method. So now let's select this tab tool. So when the press and we open up this tool, uh, basically options panel, and we will go over this later in the course. But this is just some different options for our tools. And then we also have the view tab. This is the settings for your camera, so you can select your focal length. Now keep in mind you can change these things very decently without worry, because you can. It's looked on this focal length right here. Select over this quick right click, and you can select reset to default value, and that will so everything at its default value. That's very nice toe. Just keep in mind. You can change the millimeters directly by typing, and so you could type in 60% or you didn't like the result reset to default value. So that's how that works so continuing on you can see above the main view port. There's these tabs, and what these tabs do are there different work spaces, and you can very quickly move from different workspace to different workspace. You can click on the modeling workspace, the sculpting workspace, and so now you have these different options here you've seen at a teen texture, paint shading, animation, rendering, positing, scripting. So a lot of these we won't need. But yeah, that's layout was the general. So sculpting is your swollen as the name in place, for example, you could great sculpting in the sculpting mode. Now here is a little tiny plus icon if you quick that you can create your custom work space . But let's not do that. Um, because this is just a general overview video. We want to just overview with the interface, not create our custom workspaces or anything like that. So now let's travel over to the right and you can see this window right here. It's called the outline er, so the out liners basic of place that houses all your objects in your scene. You can see the camera, the Cuban, the light are three objects in our scene, so it's kind of like photo shop, where you have folders you can create in the outline. Er now, above that are two different things here and what these panels are. One is called seen layer, and one is called view layer, and this is quite advanced knowledge. For now, let's say that the scene layer is everything in your scene and the view layer, Is it basically anything that you can turn on or off so below That is our timeline. We can actually drag it up here, and this could be used for animation. And we will learn about that later. In this course. That's the timeline. Could drink up. So on the right, we have our properties panel. This here has a lot of stuff in here. And as you work, you'll spend a lot of time in this properties panel. So each and every object and blender has its own properties. Um, so let's see how that works. Just click on the Cube, and now you can see the property. Bandel has changed quick on the light property panels changed. If you click on the camera, property panel has changed. So in this little tab of the object data properties, the icon kind of changes according to what you have selected. This is the case with everything. So just keep that mine. So that is the general overview of blender, and you can see how each window works and how it reacts to the window to the next. So now you may think that, um, you may think to yourself what if I got it into? Because if this is the first time that you've been introduced to this interface that maybe a little overwhelming. But don't worry. Just re watch this video if it gets a bit too complicated and just keep watching until you feel comfortable and then you can proceed forward as you feel comfortable. So now let's learn more in the next video about the view port itself within Blender. 5. Viewport Navigation: So how do we navigate in blender looking at the blank canvas in front of your eyes? It may be a bit overwhelming, but like I said in the last video, just rewatch things is necessary and poke along until you can memorize it. But I think you will find it decently. Simple to learn. So let's learn about navigation in the view port. Here. Let's do first things first. We need to know how to select things if we want to do anything in Blender, this is simply done by left clicking on an object. So left click on the camera, left click on the Cube lift, click on the light. That's simple enough. You just left click. Basically click. And then, of course, I want to let you know that left clicking in an open area de selects stuff. There's also a nice ability to select everything by simply pressing a and that selects everything. And alternatively, you can press Ault a and that will de select everything. Now, before we move on from that, you need to keep in mind that you can do right click. But as previous videos demonstrated, we have selected left quick as are clicking option, but it's up to you. Left, click right click you decide. So now, now we're moving on. What you want to do now is gained some knowledge on how to move around In this view port he went to learn how to rotate and pan and how Zoom so you can manipulate your report in the way you wish to move around the view port these buttons appear are what we want toe focus on. So unlike the rotate button here that only rotates a selected object rotating up here rotates the camera so you can select any axis here he want and you can rotate it. You can see here the X y and Z axis and this handy little gizmo situation. Oh, tell, you know, now all about this. So what will happen if you press tex? It will go into a Ortho graphic view, and it will snap to this perspective that you quick. So now it's snapped to the Y axis. Now it's snapped to the Z axis to the X axis and the other side of why access the other side of it so you can see that it's snapping to this situation now where you could do that instead of just clicking and snapping, you can actually hold, and it'll drag around the view of your three d object. So, no, we're at the back at the beginning of where we were And yes, so click and hold and it will drag around the view. Simple, but good to know. Of course, alternatively, you can, ah, middle click and that will move around in your screen to So now you see, as we move around, in our view, it moves around Ah, a particular point. Um, it just so happens that the particular point is in the cube and, you know, that's like the point of interest that our camera is moving around. Oh, I guess they call it the viewpoint about tightening. Sure about that. But I'm gonna call it the viewpoint. But we can also move around that to change the center of attention, attention. And you can do that by pressing move the view, this hand icon and you could just move your view. And now you can see our center of attention is now not the cube, but to the right of the queue. You move a few back to the Cube you go. And now let's use the gizmo. Yeah, so now you see how that works. Move the view. But if you do not want to click on the hand button every time, you can always hold down shift key and hold down the middle mouse button and you can move the view. Which is that Kik man? The shift key and the middle mouse button as well. So if you want to snap your camera back to a particular object, you couldn't do that in different ways as well. You can use the frame selected tool first of all, shift middle mouse button, and I'm gonna move around. They really click the Cube, and then what you want to do is go up here and press view and then go frame selected. And now it has zoomed in to the Cube that zoom out again, and the same effect can be achieved by pressing the period icon on the num pad. I just press the period our keep key. Now let's talk about zooming in and out, which I just did, but you need to know. So for that we have this magnifying glass and what you could do is you can just move the mouse up and down, and it will zoom in and out. Alternatively, if you don't want to click that button every kind every time, you can just zoom in and out with the scroll wheel. But it's a little less smooth because scroll wheels always kind of bumpy. Yes, until you move in and out on the num pad alternative. You can also zoom in by pressing the plus button on the num pet or the minus button on the num pad so you can see the num pad is very special for plunder, so that is it for navigation. But you probably have noticed that there's two icons here, this camera in this plane that we have not covered. So the camera icon will bring you to the view of the camera of your scene. And this is helpful in setting up your camera angles of previewing what your output image will be. So just click on the camera icon, and now you can see the preview of what this camera right here is showing. So click on that, and that's the preview of your scene. So that's simple enough, but the other one, if you don't want to select this book, uh, I just wanted you know you compress zero on your numb pad, and that will do the same effect. But now movie, not the last button here, this plane situation. It's an Ortho graphic view, and it's kind of a grid type situation. And so if you select between these different visions, it's a different perspective. Mode are the lack of perspective anyways. So what is the difference between these two modes? Well, the regular mode is a realistic. There is perspective in the distance and everything, Whereas if you click on this Ortho graphic mood, it's just Ortho graphic mode. It's, ah less perspective or, if at all, it's more flattened experience more like a two D. And so, as you can imagine, this views, you know, it's not very realistic, but it makes for making great models that are accurate for like concept or for two D concepts. Is and it's great. Well, that's pretty much it for this video. You learned a lot on how to navigate in the view port. Thanks for watching. Let's learn more advanced knowledge about the View Port in this very next video 6. Advanced Viewport: Now we just learned how to move around the View port. In this video, it's time to learn some more advanced Vieux Port knowledge. The first thing we will learn is at this little icon here, so it's a, um, I and mouse cursor. I can you see the little I there in the little cursor. It's trying to indicate something, and what it's trying to indicate is that it's, you know, a toggle of visibility, of visibility and click ability, so object type visibility. So I is visibility, and that is click ability, like the icon of the cursor. Sometimes it's a good idea to turn off some objects, visibility or click ability. Now you can simply click on the different things you want turned off, or you can lift quick and dragged down. So let's show how that works. So just quick on the mesh I and your mission will disappear. So but then you can click and drag, and all of it will disappear in verse versa. Click and drag, and you can do that from either way, the same for the click ability. So we turned everything click ability off. So now we just can't click on it anymore, but turned back on. Now we can click on stuff again, so that is how we can turn off the visibility or click ability of items in our view port. Let's move on over to the right here, this bow and arrow. So it's click on this bow and arrow and what this is, is it kind of toggles. The gizmo you can see turns off on the gizmo, but let's turn down the drop down menu. So report gizmos are handy and you can turn them off on on. As you wish. Of course. Don't forget about your navigation gizmo in the top right here. I already showed you how it could be turned off on. So object gizmos are nice, so you can turn scale rotating move and you can see in our Cube there how this object gizmo turned on and the rest of these er for things like the camera and lights and things like that. You can either turn these on or off. Gizmos are useful. So over on this next icon here, it's also trying to indicate something. There's two circles, kind of like it's overlay and basically what it is is it's view poor overlays. What this is It's just two dimensional overlays over your three D objects in your scene. And you may be thinking, What is that? Well, look at the grid. But floor, that is a two D element. Well, in this case, under our scene, right, there are sittings for this grid. Like you can see here. You can scale the grid or you can, of course, you can type in one. And President, er go back to normal. So that's how you can adjust the grid settings you can turn off or on the three D cursor text and annotation updates there. Lots of settings here and you can click and drag to move them around. See, you can turned everything on and off. So yeah, it's basically the two D elements that is in our seen your poor overlays. So now you can actually turn on some wire frame and face orientation also, But in order to achieve this on going to get a different model here, so just I'm gonna click delete on the Cube and quick shift A to bring the monkey in. We have our nice little monkey here and now go back to this and turn wire frame, and now you can see why airframe is turned on. And there's also faced orientation. More on that later. Turn off wire frame face orientation now and so now let's look at X ray mode, and this is indicated slightly by the icon as well as it has two squares like it's X ray in it or something. So it's just one bottle button and you toggle this X ray mode on off. So with the X ray mode on, that's press Z. And let's, uh, go to wire frame mode. There we go. Now we have wire frame mode on, and you can see here. This X ray mode is fairly handy because now you can see through through your model. It's X ray. Of course you can turn that off, and now you see just the wire frame that is facing the camera. But it's Pressey and let's go to solid again and let's turn off this X ray mode for now. So speaking of pressing Z and open, you know those options, you can choose them up here. These air the options of Z. Technically, they're solid. There's and they're basically shading options. And before we get into this, just make sure your X ray is toggled off. So let's explore these buttons up here. It's always great to explore buttons, right? Um, so for each of these, by pressing this down arrow. So, for example, here we have the solid display and solid mode, and this one is display. The object is wire edges, and this one is. You get the gist, but you can click. This displays the object according to what you press, just like when you press Z. But here in the solid mode, if you press this little arrow to the right, it brings up some settings, and there's quite a few options there. So as you might have guessed, the solid option of solid and there's a quick material here. Matt Cap Matt Cap is just basically material that is quickly placed over an object to make it appear certain color like it has a certain material. Of course, this is not the final render object is just a solid madcap color that is rendered in the view port so you can see a bottle if you want to change. Color is quick on this madcap and you can change it. But I'm gonna go back toe Matt Gray color. So on this same pop up window, there's another tab called Studio. If I click that and what this is is, it's all about lighting. So clicking here brings up a bunch of different lighting options, and this is just for the preview of the scene. It's not for a final render, and under these options, you can, like, rotate where the light is coming in from make sure to turn it on here, world space lighting. And now you can rotate the lighting. But let's just turn that off. Now Let's go back to the normal situation. But before I go on, I'm just going to duplicate this monkey a bit amount of Ted and the way to do that. Just go shift D. Shifty, shifty, 50. All right, so now we have our many monkeys. Let's go back here. Open up the view. Port shading drop down. So now, but I really wanted a straight is this button here called random, and this makes every object a different color. So if you're painting or if you have textures, you can apply those here compressed textures to see those and materials. Of course, that's Matt Capital. Change the color of all of them. But in the studio situation, if your purse random, you will see different counter for every object. So it's very useful to have this. When you make a three D seen have different parts, you can see them clearly, but also here you can change the background. Here, you can press Vieux Port and you can even change the the color of the background. And like everything I've been talking about, this is just the view port. It has nothing to do with the final render. Now there's a lot of options down here to fiddle with. I suggest you play around with ease and see what they do. It's now we moved on to this here. This is the material preview mode, and if you click down Arrow icon, this is basically what it is Talking about is the lighting, and it's basically a preview of light. So if you had some objects that had some the same material on them, like you painted or put textures on them, you can preview the lighting here. Of course, when you turn the lights on just a gray object. It turns it all bright white, as you could see here. But you can move the light around that, have some rotation of the light, and you can do that strength of the light. So that's how it can customize that. Now let's look at the render mode. This becomes a little more interesting, and if you click on here, there's ah seen lights and seen world. So you may have noticed there's not too many options here. There's seen lights and seen worlds turned on. And, of course, our light is behind our monkeys. So if we put it in front, let's take the gizmo and let's go ahead and move our light to the front of the monkeys. All right, so now we see here are monkeys have supplied on them. So the way you can deal with this is you could, uh, quick here and open up the render properties. Let's open cycles and you can see here. Now there's a pause button and the models look a little more smooth, I guess. And this pause button is handy. If you are of a large scene and you don't want to render your scene. So let's see here we can move our Let's turn the positive on. And now you can see here we can move around, are seen, uh, but it doesn't move around like it was trying to before. And then we can unp awes. There we go. Move around again. So this really hopes if you're trying to save processing power on your computer and this pause button is handy if you're large scene and don't want to render you're seen as you move around the camera live when Ewan pars it green starts the render Well, that's it for this video. And trust me, if you learn all these extra details of the report, it will become like a pro in blender in no time. 7. 3D Cursor: lender has a little secret that is called the three D Cursor. The three D cursor brings new edit ways to the three D Edit experience. It just really useful. It allows you to make pivot points and that snap things to where you want them to be snapped to begin with. Here, this is the three D cursor right here. That does it mean in it doesn't change? According to the zoom in, It's just right there, right there. It's a little icon type cursor thing. It's not really a cursor. It's just kind of an icon, um, access type cursor to move this little guy. It's very simple, You know, you might be thinking how in the world doing move it, but it's really simple. Just hold down shift and then right quick in an area, just hold down shift and you right click in an area anywhere you want, and the three D cursor will be moved to that area just right. Click in an area. Now, now, here's something interesting. You can click on the Cube and you know you're quick on the Cuban. It's your selection. The cube is selected, but if you just hit shift s brings up like a dial menu of options. Just hit selection to cursor and it will bring your selection your cube, that you have selected to the cursor. So, yes, you could imagine that is a great way to move selections around your scene, especially multiple objects that you have selected at once. Just no. What you should do is press shift, see, And you will see now that the three D cursor has been snapped back to the origin, it's in the center, which is called the Origin. Then you can move your coup back to the origin, usually by just going shift s and selection to cursor. Yeah, let's little demonstration of that. Now let's move the three d cursor back by holding down shift and right clicking over here. So now let's make shift plus a and let's make a monkey and you can see here as we bring in new objects, they appear over the three D cursor. So now let's move our three d cursor away from both our monkey and our cube shift right click over there. So to select both the cube and the monkey just quick on the Cube and then hold down shift and quick on the monkey. Now you have both your coop and your monkey selected. And now let's hit period on your keyboard and you see the style menu of your pivot point. This is the Pivot Point menu, but I want to mention that this is also the Pivot Point menu, this button right here. But sometimes I like just hitting the period. It's nice and convenient, so either way could choose having that pivot point menu Selective hit a three D cursor and now are seen will pivot around the three D cursor. For some reason, the Monkey and Cube got de selected. So now just to get our And now you can see we have the, um, the cube and the 33 d monkey pivoting around the three D cursor. And now you can see pressing RZ is now on the Z axis pressing our why is now on the Y axis and our X. Our X is now on the X axis for the pivot points control Z. So yeah, that's pretty handy, but you can use the same method to rotate round like normal. Just select our monkey here, press the period and then selecting Active element means that when we rotate, it's just rotating around. Just the object. Um, let's do our X and then our Why, Yeah, so that's how that works. Active Element versus the treaty cursor pressing the period button brings up that pivot point menu. So if you understand that now now let's do something a little different. Let's click on the Cube here. It's gonna move over here and zoom in on that a little bit. I'm going to select to Vergis ease, and the way to do that is to go into edit mode. And you know, the way to go into edit mode is to press and hold Tab and they move your cursor a little bit and then just release. And now it's in edit mode, and now you can see here we have selected one point and shift, and now we have both those points selection. Now hold down G, and now you can see we're moving that around. But now we tap Z, and now you can see it's going up and down based on the C X is now. Just tap that and we're good to go first tab and go back to object mode. Now follow. Follow these steps carefully. What you want to do is hit, period and, uh, go to active Element. And then what you want to do is go over here to the cursor, and now you have the three D cursor selected and don't press end and tool and let's go here to geometry. This is the surface tool. Some was tough and again make that go away. It's now you can see here instead of pressing shift and right clicking to move our three d curse around. Now we just left like and you can also see here that when we click on object, the three D cursor aligns to the surface of that object, just like on this monkey. It's moving around according to the surface of the polygons, the same with these shapes of the this shape here. So now let's try adding a new cube by pressing shift. A and typing are cooking the cube. It's now that we have this, cube added. We can do is push this button, add cube and weaken. Align to three D cursor. It's no, you can see our, uh, Cube is now aligned to the three D cursor. Not right now, because you move the cursor around. But let's go back to selection, and I'm gonna hold down s and scale that cube a little bit. Great. So we have that amazing It's Now, let's move the, uh, three d cursor back here. And so now what we can do is also change the transform orientations to cursor. So let's go back to selection. And we have this monkey selected shift s and selection to cursor, and we can now see that it has moved the cursor. But now when we rotate, rotate X, you can see now it's, ah rotating to the curse of their. But also more importantly, if you do rotate, why you can see it's now rotating. This little green line is going up and down there to the side instead of according to the grid. Let's try rz. Yeah, so now you can see how that works. One last thing I want to say is you can actually turn off your three d cursor. If you wished to go up to this button here, you poor overlays and turn off your three d cursor. I highly suggest you keep it on because there's a currency. It's quite useful little feature of blender 8. Properties Panel: When you work in three D, often times with software, you can go on extra mile and look at all the nitty gritty that is happening behind the scenes to make all the three D elements work. The way they dio this video is all about the properties panel. And I'm sure you have remembered this is the properties panel down in the lower right here . So let's explore the properties panel. If you put your mouse cursor over here, you can actually scale this window this properties panel to be quite ridiculously big, but yeah, so let's scale it about their That should be enough for this video for size. Now, one handy feature of this properties panel that has overlooked often is pressing control and space bar. So when you press control space bar, it disappears. So that's good to know, just in case you don't really want the properties panel in your face all the time, but control space bar because we want it visible for this video. The beginning of the properties panel is this tools icon here, and this is where your workspace sittings are. Of course, if you hit in and make sure your mouses over the view port hit end and then press the tool tab. You can see something funny here. They're the exact same things. So this tool tab and this tool tab here are the same settings. Windows. They're just conveniently placed here for ease of access. And then they're here for probably like a bigger screen to see the same. So this tool tab changes according to what you have selected. So if you press move, you have settings removed. Press rotate. Yeah, so changes according to the settings that you have selected and this workspace thing if you press workspace, this is the mode. This is the default mode in your workspace that your objects will be in. So right now it's in the default motors object mode. So let's go back over here in person to minimize that. So below the Tools button is like this camera type icon, and what this is trying to indicate is that this is the Render Properties section. There's a lot of settings here, and you can play around with it, but I just want to let you know each time you change your render engine, there would be different settings So look at this cycle's different settings. Yeah, but let's just leave it on TV for now. Now, this button here is ah, dimensions. And here you can specify things like your resolution here and your aspect ratio. So here you can change. Render settings, like if you want to render or over render it. You can do it here. Like this. Uh, you can render or over render it so just type 200 enter and you can over render it. But let's go back to 100. There we go. Now don't Here is your frame settings. I normally leave list one like it is just number one, if you put it below that things get, have problems. One thing, though, that I think is awesome is ability to change the step and what this is. Let's just enter 20. So what is Step? Basically, what this is is you're render will render every 20th frame, and that that is an amazing feature, so you can render quickly just to see, you know, previews. You don't have to wait hours every time you render all your frames. It's just a good way to preview Orender with less frames rendered. Now let's cool down here, and this is your output settings was the time you want to render out image, But you can also render out video. So here you can pick, pick this F F M p e g video and press RBG and then just tap that little button for encoding . And, uh, you can dio m p e g four at age 264 That's generally the industry standard from video. But let's go back to PNG here because you normally just render out an image or images. Now this next button is like a scene, and it is handy. This is specifies each layer. Um, so up here you can see your seen layers here and in this scene layers section, you can pick objects and collections you have here, but here you can see what's going on in those seem layers in this button right here. Now, this tab below it, like this teardrop type icon, is another scene tab, and this is where you choose your camera and which camera you render from. In case you have multiple cameras and you could change your units and many other options here encourage you to play around that now blow that is this red icon. It's kind of in the shape of the world, and it's indicating the world properties. This is a place for you were you show where the world lighting is coming from. Of course, this is the regular solid view, so it's solid. It's not gonna be showing the lighting. But if you go to rendered, you can now see things changing so color. Just tap that. And let's give that, um, a lighter color for this world and you can see now we're changing the color of this world. There's gonna press control Z. Now, if you press the right to this color picker, this little button right right here there's a bunch of other settings here. So here you couldn't press environment texture, and you could actually open up an actual eight high res image that you took and use that as your sky texture. Or you could just tap here and use a Skype texture provided freely. Anyways, I'm just gonna control the and go back to the color. Then I'll go back to solid mode up here now, below that is this orange box and it is the object properties. There's locations, rotation scales and you can choose what parent it is. Lots of options here. For the purposes of this video, I'm just kind of going over this quickly. But later we will see about this. And now these blue icons. This is the modifiers. This is the particles. And this. Yeah, this is the physics. And, um, this one is the constraints. Now the screen train go icon is an object data. Here we have vertex groups and shape keys. Protect groups like await paint map and Schicchi is blended shape. This lets you enemy, enemy, and change the shape by moving urgencies around. And of course, there is UV maps here. That's of course, important as well. Now, the last two icons here, pro pretty is about materials and that you use So here you can change the color of your cube so the base colors this. Of course, if we change it to read, you can see nothing has changed. You have to go to rendered mode to see that blow that is ah, brushes. And it's important to have Russian sittings. If you are to do sculpting and things like that All right, So this is a quick run down of the properties panels? Fear not if you feel a little bit overwhelmed because we will be going over these and later videos and you will need to learn all about these properties because they're needed if you want to become a blender pro. 9. Layers and Collections: blender has scenes, and a scene is basically a collection of all the things in blender. A scene on has the objects but has the render settings, the collections and the view layers and all those sorts of things. You can find the scenes area right up in this area right here, and the scenes is basically this teardrop type icon in this area. That's the scenes area, and we can actually make a new scene Over here. You can click this button to the right the opposite of the tear drop type icon. Click it and I can create a new scene. Now we have seen 0.1 and you can see now we have seen and seen 00 What, of course you will notice that when we make this new scene, it is a blank canvas. There's no objects in it. So let's add an object that's just press shift A and let's make this little monkey head. Now we have added this object, but first g just move around a little. All right, great. Now you know, once we have this monkey at it, I was shows Sure. Something really nifty. You can have the same object in different scenes. This really helps if you're animating or something like that to have shared objects between different scenes. So the way to do this is your press control and l you know Oh, first of all, just make sure you have the monkey active in selected. So now press control l and you go here to objects to seen and then just press seen Well, it's already on scene zeros or one suppress scene. And now what will happen is when you go to seen the monkey is now shared between the two different scenes. Yeah, and like I said, this really hopes for animations for you have set of settings and objects. So it keeps it really organized and shares the same object objects from scene to scene. Now let's do some edits to this Find monkey we have here just to show you something cool about this linking. So it's just hit tab and let's go into edit mode. And then let's just press G Oh, let's, uh, quick one spot Tep g don't press and hold g. And so now that's good. And then I'm gonna go tab and go back. Teoh object mode. All right. Now are monkey has some weird effect on its head. But this is just to show you how things work. So what you will find is that if we go up to the scene later, go back to see one. You can see the edits to seeing 0.1 have changed over to seen layer are not layer but the scene different. Seen the original scene. And so this monkey is link between these scenes and the changes you make in one scene are reflected in the next scene. So now it's press G and let's just move the smoky a little bit over here. All right, Now it's moved. And so now we can go back to the scene where we added the monkey and you can see that's moved as well. And yeah, it's just really useful that what your change in one scene is reflected in the next they're linked. So moving on, we have view layers right here. A few layers and these air nice because they let you specify different settings for your renders. I am just going to drag this out here, right here, just here. This, uh, tap here so you can see a little bit better this stuff and what you can do is you're gonna actually double double click here. Just rename it if you wish. So in this named Blair right here we have this layer and we can add new layers of we wish as well. But let's just stay with this layer here. And this is the layer that we have activated. So in this layer, let's press, see? And now we have made a new collection. Now, in this collection, we can drag things into it like the monkey. Oh, let me just, uh I got a little mixed up here for See, I went to the first collection. And yeah, so now, now we have this a little more organized. This is the way I want it. So let's take this. Suzanne, for some reason this monkey got name Suzanne, and you could just drag it into this collection, this new collection and you could double clack, click double clack it. No, um and you can rename it new collection. She also spell it correctly as well. Okay, there we go. And snow are monkey is in the new collection Now, if you press this button here, you can tuggle some things. They're filters, and this camera button here is basically it's It's an icon indicating the random render ability, and this deformed type arrow is indirect light. I'm just gonna turn those on now with these questions and things. You can make brand new layers if you want to add to, and you can do that by impressing this. But I've showed you that before, and so you can actually make a new layer. And let's just name that new layer, and I can see we have view layer and new layer wonderful naming conventions. So if you're used to Photoshopped Layers system situation, you can kind of think that collection is just kind of like a group. You can group commands like these these commands into different groups. That's just prissy again. And now you can see a connection move the cube and, uh, into this different collection. And so the camera and the light you could actually turn off all of those by just pressing this here and these air commands that apply to the whole group that's within good. Yeah, So collections have another secret up their sleeve. Um, you can create an instance of an object with collection. Just click and drag. And now you have another instance of this monkey in your seen that actually go to the different seeing here and you can see that it's not linked. But we can fix that by right. Clicking are actually control l and then to that. And now we have the instance as well on the other scene. And basically what this is this new one right here is just a copy of the original. It's an instance. So as you work on one object in this first selection, both of them will be affected. So this little cross hair right here is indicating the origin. So let's move this with G. And we moved it to the origin. And you could see that the instance has moved to its cross there because that's its origin . Its the copy of the origin. Yeah, So as you can see, that's how that works. So scenes, layers and collections and blender that you do a lot of stuff and the abilities you have with them for your three D animation, especially a very great indeed. This is just a general overview of them. We will be getting more into them later. In this court. Of course, collections act as nice grouping type situation. The layers are way of organizing the collections, Of course. Then above that is the scene, and everything that is inside the scene is the layers and collections with their different render settings. You know, it's all I think, the beauty of this, it's it's all in one blender project, so you can be more efficient this way, and you can save just one file rather than a lot of different exported render settings and different stuff like that. So that's a huge benefit. A blender. 10. Workspaces: I've already talked about. Workspace is a bit in this course already, but I want to talk now about workspaces and focus on this topic so we don't miss anything To activate a workspace, you can just press control and end, and that will bring up a nice little pop up window. And what this little pop up window will dio is it will show you the different work spaces available to you. So let's go ahead and press sculpting and let's not save that. And now we have sculpting mode, and you can see this is quite different workspace as compared to what we have been working with so far, most of the controls to navigate around like the middle mouse button. You can still turn around your object. Can't really see that much because you can hear Let's just sculpt something on. And now you can see we're moving around that fear. Yeah, like the navigation is the same. But when you click on the object you're actually sculpting on it. You're not dealing with the first season stuff. So now let's open up a different mode. That's first control and and now let's go to two D animation. That's not savour sculpted look. And this performs in a similar situation. You can drive perfect circle here, just kidding. But you can draw a circle, and but then, as you move around, you can see it's the same could move around. You're seeing, like, just like the three d editing, but in instead it's two d animation, so so that works. So I guess what I'm trying to say is moral of the story is all of these things. They have different work spaces and a workspace in blender is simply a spot where the view port is set up in a way that is tailored for that specific experience. What's even better is in Blender you can switch between, uh, these different work spaces easily, you know, from work space to work space. Let's control in. I'll go back to general. So now we're back to square one. From here, you can see the top. These tabs and these tabs air very useful their navigation to get different different work spaces quickly by the click of a button. Of course, we have the layout tab that we're on, and this is the one that is kind of default, and this is where you will probably spend most of your time, depending on what your goals are with Blender. But let's when John Woods and let's quick on the modeling tab. Now modeling tab is basically edit mode, Edit mode and modeling town are the same, but when you have modeling mode activated this workspace, you have some added benefits, like here on the left. You see all these tools lots of tools available to, and they have a lot of added benefits. Later, in this course, we will learn about the modelling tools here. But there's another thing, if you right click, you have, ah, a Vertex context menu. But if you can see here is if you a quick on. So this is the verdict sees point, and this is the, uh, you know, EJ select. You can see it hovers over there, a little description, and so if you right click, you have a different context menu and then face select. You have a different contexts menu for each of those different things. Now let's press this sculpt tab. We're back to sculpt, have and you can see it's sculpting mode. You can't really sculpt a square, so I'm not gonna even try. Just But they're large polygon CIA trying to sculpt here, and it's just moving a little bit these various season whatever. So it's not working. You have to have more polygons, and we would be getting into sculpting later in this course. But sculpting mode workspace has a lot of nice buttons over here to the left. And, of course, if you right click, it's not a context menu. It's now settings where you can change your brush size and things like that that let's move to UV editing mode. Don't go too much into this because they're explaining what you ve czar later. But that's the UV editing mode. I know we're in the texture tab and you can see here the cube now is purple or pink. Whatever. Um, because there is no texture attached to it and you can actually draw textures on here and to do this. Let's just press knew this button right here. Um, and then that's it. And now you can see I'm drawing on some nice white designs here. Really, really professional, amazing work. I love it, but it's just it's just basically showing you what I could do there. All right, so now we have this fine piece of artwork drawn onto this texture now, but you have noticed the cube remains pink. So to transfer the drying, you have to go to material. And that is in this kind of ball, this red ball icon And what you want to do is you want to look for a base color. It's right here. And then you click on this button right here and then careful. Now it's, Ah, image, texture right there. And so now you have that. And then if you see this like picture, I call in this folder bows image to be linked. You'll see this entitled, and now you can see a work is complete. We have drawn on the texture. That's how that's done. But one thing I will also also wanted to mention to you is you can actually paint right in this, uh, three d experience. But you have to be fairly careful with doing that because according to your system, it could slow down. But if you have a really fast computer than you can do this, just fight. Now let's go to Shadow mode. Shadow mode is a little different, and this allows you to specify what materials here. Uh, down here you can see reflections. These these mode, these nodes, boats that's notes help you especially the material will be going on. Oh, I'll touch on this later in the course, but yeah, these air nodes. And then down here you can see the reflections of your objects. So this shading places just a workspace, just a place. You can see the look of your scene and get a good idea on how your textures and shading will work when it's finally rendered. Now let's go to animation mode and this boat is great because has a dope sheet down here and that dope she at the bottom of the View port. This allows you to manipulate your objects for animation. And, of course, over here is like your camera. That's the camera right there. This is the view of the camera, so it's nice set up for animation now. The rendering tab is, as you might expect, it's just a render. You can actually render image up here and, yeah, so that's the image rendering tab will be going over that later, believe me And that compositing tab. What you want to do is you wanna press this button here, used nodes, and now you can see these nodes air activated. And what compositing tab is? Basically, it organizes all your it composites, all your things together in these nodes, you can use a lot of notes and you compress. See which shift shift A. And you can have a lot of different nodes that you can add here. That might be a little confusing to you right now, but later we will learn about that. Now, the last workspaces actually a scripting place. And it's for coding. If you know language like Python, you can actually write your own code. And I won't be going over that in my course as I don't know how to code. But it's really great for those who know how to code. You could do some amazing things anyways, So that's just a general overview of the workspaces in Blender. Thanks for watching 11. Custom Workspace: blender is awesome when it comes to these workspaces. And if that was not enough, you can actually add custom workspaces to add a new custom work space. You can just press this little button right here, this, uh, little plus button and it's kind of small, but it's right there all the way to the right of the work spaces Tabs. You can base your custom work space on something here, like modeling or sculpting or you via texting. But if you press it here, um, you know, so you can you can base it on for existing work based workspaces, But I'm just going press duplicate content. Now it's a good idea idea to rename the workspace. So to do that, you just double click. And, uh, let's name it, James. Work space. Great. That's my workspace right there. Now let's get to customizing it. We know how we added a new workspace tab. Now we need to customize our workspace, so it's actually, you know, our workspace. So I'm going to adjust the view ports here now, in this rounded off corner here, you can see this new ah cursor kind of ah, cross plus icon cursor just gotta drag over there until about 25% of the view port is there in the same thing for this I'm going to now drag about until probably 1/3 is there. Now you can click on the View port on the right here and on this button right up here. I don't really know how to describe this button, but this button to the left. Here, this editor button just quick. That and now you will have some options here. So let's go ahead and choose. Choose the Shader editor right here. And so we can see here. There's some problems here like this. Properties panels are probably type panel is there sinister press end. And now we have that now pressing and just makes it so those nodes were front and center on . So now I can, you know, see those a little better. Great. Now I'm going to customize the situation further. I'm going too quick on the same button on the left report The lower left report. Click on that button and I'm going to go ahead and choose the image editor here. All right, so now you can see we have a completely customized type situation here now to customize where my workspace, even mawr I'm going to the properties panel over here, and I'm going to go ahead and press those tools type icon here and then we can have this drop down button here. This workspace dropped down. But now in this mode area, going to go ahead and choose edit mode and what this will do is it will make it so every time I go to this workspace, it will activate the edit mode. And then below that are these settings here. You can see you can add or filter some add ons here, and you can customize some great stuff here. So it's now quickly edit. This works it based a little more. I'm going to turn off gizmos and you can actually go ahead and do that by clicking this bow and arrow type icon. And you can see now that the gizmos are now turned off. Now for this I icon, I'm going to actually go ahead and turn off the camera and the light you know that we are seeing is just kind of front and center. So this just allows me to focus a lot on what I'm doing without the extra you I in the way , of course that you is useful, but for you never know. In a custom seen, you go do what you gotta do now, As you press another tab, lets go into sculpting mode. If you go into sculpting mode here, you can see you can go a lot of data in your sculpting mode. But then let's go back to James Workspace. And now you could see that the edit mode that chose right here is now activated. No, the settings that we selected are there in our custom workspace. They're saved. Now. One last feature of this custom workspace video is quick favorites. So to show you this, I will go into edit mode, which it's already in an emote. So just press tab if it's not in edit mode and going to an emote. But there is so let's just press this edge. I come on here, this button here and you can see what we can subdivide are square, but let's say we wanted to subdivide up more often. Instead of cooking edge subdivide. You can actually right click on it and add to quick favorites. So now that's great. How do you get to that? You just press Q on your keyboard and, uh, cute and I can subdivide again. Cute subdivide. So you can imagine how wonderful quick favorites could be for your quick favorites. So all those features are pretty wonderful and you can customize your workspace is to your liking and blender like so thanks so much for watching. 12. Preferences : blender as a lot of things going on. And in this video I will show you kind of an intro to the world of customization with Blender so you can edit and customize your editing experience. So there's a thing called Startup File. And to get to that you compressed file here and then go down to devotes. And now you can see save startup file. You, you know, explain over this now. So in the last video, we learned about quick favorites. You can access them by pressing que in order to Let's go to edit mode. And since we added quick favorites in edit mode, I'm going to edit mode and then press Q. And now you can see that subdivide the quick favorite that we added in The last video is here. Eso creek favorites are transferrable from experience to experience, and it kind of is like its own world, this little pop up, and as you could see, the edit mode is different from solid or the object mode. So if you press Q, there's nothing there. I didn't save anything there yet, but in edit mode there is stuff there, and it only changes based on what you add or take away. But that being said, your customer expects the spaces like we learned how to make them in the last video. They're dependent on your blender file that you save. So if you save the work you did in the last video and if you open up that file, you're good. But if you open up a blender just from the start, you know, like the icon on this desktop or something, then your customers space is not saved. So the goal is to save our custom workspace. So every time we lunch blender, we get this custom works base. When it starts to do that, I'm going to create a quick workspace here. So plus, press this little plus icon, likely we learned how to do in the last time. And I'm just gonna double quick and do custom custom. There we go. And I'm gonna customize it just a tad on. Yeah, just basically to show you that, you know, it's a custom where space. So let's say now that we have our custom workspace created, we want this to not only be saved to the file that we export are safe but want this custom work space every time we lunch blender. So to do this, all you need to do is go to file file defaults and save start file. But do not move your mouth. See how that little wouldn't pop up to spirit press saved, started file. And, uh okay, make this current file a default. Yes. Quick save, start file. But if you move out, it just disappears and it won't save. So be very careful. Make sure you go default safe start file and then keep your mouse on this little pop up and click save start file. I mean, I've made the mistakes. I've made a huge custom workspace. I just did file, save, start file, and then I thought it was safe. But it wasn't because they have the sneaky little pop up with. You have to click. So there you have. When you open up a new blender project, this workspace will be saved and ready to be used in any new blender project. So let's do that. Let's go to New General. Don't save. But you can see nothing changed because we opened our new project with our custom workspace as default so, along with custom workspaces, you can also adjust your preferences in edit, so go to edit and then preferences. And now you have your preferences here. And so you have many options to choose from. And you can manipulate how your blender works for you. So right here, front and center is resolution scale. And this could give away a pin kind of really stranger could go way down. And but yeah, uh, so it's quite handy. And so if you need bigger text in your mom, um, that's great for your vision. But if your monitors too small, you might wanna make it smaller. So all the you I can fit on the screen. And so, But, like other things, you can double click on that. There's one presenter and will go back to default or a double quick, Let's go 1.5 percenter. But yeah, I like the one there we go. So below that toggle is, uh, recon turned on or off. Tool tips and other interesting things now below these settings is right here. Themes. And there is presets, like the theme dark and the theme light so you can see blenders completely different as faras the visual. Everything is the same, but go back to blender dark. But if you really, really want to customize your user experience, you can actually click user interface and could go into each and every different thing here , and you can actually customized the colors of everything. So that's for someone that's really, really interested in this. You can customize all of that now under that his view port. And here you can play with settings. But one important city here is the ability to limit your texture size right here. It's off, but you can actually limit your texture size. I'm gonna leave off, but you can limit it, so that's important. Um, you know, if you're limited in the ways of RAM on your computer, you can limit your texture size to come state for this so under that is lights, and you can specify your own HDR eyes and things like this and editing under that is editing, and that not you can specify what things get duplicated when if you press control or shift D Now under, that is animation, and that allows you to change your T frames so you can see If it's visual or only insert, you know what you need. You can have warnings about key frames right? Right there. It's ticked on, and so that will make it so you'll get a warning about auto key frames if if if you leave that on by mistake and you could even allow negative frames. But I would suggest to not have that now. Below that is add ons and add ons. Air like mods or plug ins for blender and blender Foundation itself makes some of them most of them and some of these air installed by default in your blender experience and, uh, some of them here. You've been ticked on by default in your blender experience, which obviously you need, but so you can turn them off or on here. Yeah, so that's that. And of course, you can add more by third parties or by blender itself right there. Just Presidents Doll. It's now to go to in Pat in input in Pat. And you know, having a numb pad in blender is a great idea. And in the input section here, you can see there's an option to emulate a numb pad, Uh, and so this helps. If you don't have a numb pad case you have one. So let's go to our view port here. Let's just press one now if I press one on the num pad a ghost one if I press run one on the regular keyboard to to So I pressed three on the NUM pad four in the regular keyboard, five in the number six on the regular keyboard. So you know that's how you can work. If you don't have a number, correct it preferences. And I'm going to turn off me like, uh, numb pad because I have a number pad. So for the rest of these, navigation settings encourage you to play around, see what fits best for you. But down here is a thing called Q mop. It is a part of the preferences you should pay close attention to. So if you come from other three D software's, you can select this industry compatible and you know it just makes it so. The shortcuts are similar to other three D cell for like Z brush, and if you come from an older blender, you can select this. But let's just leave it on the default there. Blender. Now here you can select with left to right according to your desires. And then on the right here you can select which space party. So if you select space and then go in here and press space, you can actually search for things just like an spotlight for Mac or in the search bar. You know, start menu or whatever, Windows. So that's how that Twix and But I'm gonna leave it on, play the default situation there now to system now, right here in this C o. D. A button you can select if you have your graphics card. So I could just have the G four scraps card. But I like to have both adjusting for that little extra room for power. And now save and load. This is really great. And you can choose how Maney versions you went. You're save to be saved out right here. You have two versions right there or one and then right here is a timer. So it will save every three minutes every two minutes every one minute. So two minutes is generally a good idea and now file paths. This is basically just the default windows. If you're in Windows, the phone directory here and here in this file path, you can see where you're saves will go and everything's render output different things, and you can choose where the file paths are. Basically. Now, one last thing I want to mention is, um, as you change things in blender. If you turn off splash screen, it will forever be turned off. You turn it on, it will be turned on its saved. But if you press this little hamburger icon and then if you select this, if you press splash screen turned off and then just close it out, go back to Preferences. Um, it's it's you need to make the current preferences you're save and see this little Asterix there. It means it's not safe, so just press safe. But I was like, Just auto saves easy white. Why should I press the button? And of course, this is where you can load factory preferences. But be careful about that. But so that is all about preferences and blender use. Utilizing these will help you make better use of blender in its abilities and enable you to customize according to your style 13. Objects in Blender: in this field, we're going to be exploring about blender and how to add objects in our and this is our first topic. That's not quite an introduction. It's still kind of an introduction, though. But so adding an object is fairly simple. You know what you have to do. His, uh, move your cursor over here right there and you can see there's the add button and just that's easy. It's just lets you to add any sort of object that you wish. But if you wish to not move your cursor from all the way over here to all the way over there, not that that's really hard to dio. But if you don't want to do that just pressed shift and A and you can have the same same button as if you were to press ad. So shift a. So to demonstrate this. Let's go ahead and click on this cube and just gonna hit delete on the keyboard and and then we're going to press shift A and let's add an object. So cheers mesh gonna choose this sphere. Now, Once you add an object, you need to freeze. Do not move your mouse. Do not click anything. Freeze enough because there is a feature that could, you know, disappear to be going forever. If you move around too much in Blender, this nice little button in the lower left right here it's kind of a pop up ad to I C E O Sphere and just quick that like I did. And it will bring up some nice settings that could been lost if we didn't click that the very first thing that we did after adding the object. So here you can change subdivisions a little, Um, keep in mind. It's probably not the best to go way too high with that, but three is totally fine. And then here you can. Actually, instead of quick clicking it like that, you can actually click and drag, and that's not more useful. So yeah, that's cool. It's a lot of cool things, and you can actually move it on the X axis and the Y axis in the Z axis. And you know, then you can also rotate it if you wish. Yeah, but then, of course, double quick and enter 0% and go back to default there. Zero. But like I said. You need to be careful because you can go away this little pop a button if you do something else. So let me demonstrate that real quick just like this Fear Shift Day and let's repeat the action. The Miss a mish and this fear. But when we started from Square one, it was minimized. But let's say we didn't see that in the lower left corner there, and we went and clicked on the canvas and back to see It's all gone. So you need Teoh. Make sure shift a fear and before doing anything. If you want to have this, what kind of deal do with the stuff that you wish to do with that? And then you can move on and it'll disappear from you forever. It's no. Now, let's delete this for good, and I'm gonna go shift A. I'm going to add a curve here. A bay Zier, never notify. Have pronounced that correct, but that's the base here. And then you can hit Tab. And so this is how that's done, and you can address these tangents right here. Um, just kept G, and you can move these around kept key. You can move it around. Yeah, so G and you could move these attendants around. Now, if you wish. You can hit a and you can actually select everything and then you could actually right click on and then subdivide, and that will give you more options there. Then you could press G and oh may go the middle press g. And then that could be a little more smooth of a transition there because there's more supervision levels with those arrow type things. So that is the basic beige your curve. But I believe that we shall continue on with the demonstrations here. Now, if you press shift A, you can go to surface is here, and there's a lot of nerves. Surface it. But yeah, continuing down. There's a thing called metal balls and these air. Fascinating because you can add more than one. We can emerge together as you go up them around. You don't even have to press shift a and add new metal balls. You can actually actually press shift e. So let's demonstrate this year at a ball and I'm gonna zoom out a little bit shift day and let's add another ball. But then G and you can see that if you eventually pull it out, it's separate. But if it's closer together, then that's it. But then if you do shifty, you've duplicated it and then you know, like that. So it's quite interesting these middle balls and they're strange, they're, but they're really nice to work with sometimes. Now, if you hit F three on your keyboard, you can actually Well, first of all, I'm gonna select a to select all and then I'll hit F three and me keyboard and then I'm searching for convert to And then I'm gonna go ahead and convert to mash from Curve or Metta because of those air medal. And so now you can see they're just one object. Now it's just one mesh anyway, So when I delete that, we're gonna continue on. So let's hit shift A and we're gonna add some text. And what you can do with this text is you know, Texas really needed feature, and so you can actually just tab and you're in edit mode. You can backspace backspace all the way and, uh, just type in anything. Just keep it simple. Hello? All right, then tab out and you have your text. And then, of course, if you have a tabbed out, then you can go ahead and rotate your text around and move around and things like dis but text for now. And then let's go to shift a Again. This is grease pencil, and this is really useful for two D animation. So later in this course, we will cover that you know where applies more logically. Now this is armature. Armatures are fascinating little things, and they're really great. They're basically a rig in three D editing terms. Amateur have three editing modes, and so right now it's in the object mode, likely found up here and then edit mode and pose mode. So with object mode, of course, you can Christie movement around things like that, then in edit mode, if you click edit mode, you can now press E and you can add new armatures like that Presi do bunch of new amateurs . And then lastly, this is the oppose tool, and this tools mainly for animation. So, like I said before, the post tool will talk about later in this course. But anyways, that's let's go ahead. Go back to object mode really? Oh, that shift a and his lattice lattice is a really great and they're really useful if you want to modify your objects and then next is m empties. So it's just put an empty Cuban there, and basically what empty is is it has no info and hence the name because it's empty. But these air kind of handy and you can show off things, and you're seeing this way. Next go shift A is image and, uh, quick reference. You can actually go ahead and import images in there. And images can be really handy for either a background or just the image right in your seen lights. They're needed for your three D scene for your renders to be visible and no light probe. Um, there needed for your rendering and special specifically e V. Later, we'll cover all about lights and the cameras. Just go over the camera and we have a new camera selected to go ahead and move it a bit. So we have our new camera here. I need to divide street something here for you. What you wanted to do was actually quick, this teardrop type icon in the properties and for camera. You can actually slicked multiple cameras if we went shift A and we actually added in another camera, you could actually select the different cameras. But there's control that. See that for now. And another really thing that is interesting is you can click on this line here in actually moving in and out. So just you just want to go to from the teardrop type outcome to the camera, the green camera type icon. And if you click this line here, you can see over in the right spot right here. The focal length is moving. You could either just that there, or you can adjust it from the actual settings properties. I delete the camera, the shift day and speaker. You know, speakers for audio and force field. First fields interact with your objects that have physics or particles and things of that nature. And a collection interface is interesting, so I actually have nothing. So it's shift day that's actually at a a cylinder, and then that's G with that over there. And then let's add K Cube. So now I'm going to demonstrate the collections instance, Just pick collection and know what that will do is it will actually make another, you know, an instance of the objects that you have in your scenes, All the objects in your scene. You just have to keep that in mind. It will make an instance of all the objects in your scene. So if you want to do that shit day collection, I'm gonna go ahead and delete this. All right. Well, that is it for this video. And this is how you add objects to your seen objects. Play a vital role. And as you work with blender, you will be doing with them all the time. 14. Edit Mode: Now let's get into the nitty gritty and start editing. To do that, you have to go into edit mode. So right now we're in object mode. Go into edit mode and snow. You're in edit mode or, alternatively, you can press tab. And so you're in object mode. Press tab. You know, it's so yeah, Tab makes it object mode and it mode easily successful. So just make sure that your cube here selected and I'm going to zoom it in here so we can just see it a little bit better. Tools are over the all over the place, so let's get to learning a few of these. So now there's a nifty shortcut key command that you can use, and that is to press a twice. And what that does is it d selects. And then, of course, selecting a flex at all, double tapping a diesel exit. So on your keyboard you can have some shortcuts here. 123 Just press 1 to 3 in a few of noticing something, but the corner here there's one selects the Vertex licked, too. This selects the edges and three selects the faces so I could either click it or I could. 123 321123 So, yeah, it's an easy, fast way to select protects points, the edges or the faces. So let's go into Vergis. Ease a mode, the number one on the keyboard. And then what you want to do is you want right? Click on the bottle here and you can see there's a lot of options, and it's for the Vertex context menu, and then also you compress control V, and that will bring up some more options as well. Now go into two into the edge, select. And if you right click, you will see there's a whole bunch of different options for that. And if you go to three the face like there's different options for that as well. So all these menu options can be found up in this area right here. These buttons right by those options, Um, so they can all be found here, and then a few of them can be found in the left side. This bar over here, the tools are over here. Now, moving on. You can see over here in this toolbar here and what you want, what you can do is you can hover over stuff and this is called extrude region extrude freely or along an axis shortcut shift space bar E. But you could also just use E. But so yeah, clicks explore this a little bit more. So let's make sure that faces is selected. Number three. What you want to do is make sure that it's all selected here, are actually just one of them. Don't slicked a double tap aid and then just select one of the faces and then you compress e press and hold e, and you can bring up and extrusion out of there. Nice. I sent simple. Now want your done that you can actually further at it. Here in this nice little box, you can move the X axis or you can move the earth. The Z axis is most important here. She couldn't move that precisely where you want it and yet, so that little box in the lower left is very useful. But you just need to be careful, because once you move on to other things, that little box disappears. Now let's explore a little more and choose this bed level basil bevel the bevel one. So right here is bevel. Now, if you click that little box and left is gone now but so bevel and you can see control B is the struck cut for bevel So But what you want to do is you want to select the face here and then So a bubble bubble mode. You could either, uh, push the button, select to face and then click and drag. Or I'm gonna control Z that or, uh, you can not have it selected and you can go to control be. And that's selected face control be. And now you could see the bubble is now working. And of course, there is a bunch of bevel options and settings and the slower left here as well, so you can deal with, like, segments. Or you could, you could add, It's just at one segment. You can add the profile. You could actually do that in the width, so there's a lot of options that you can do down on the lower left bucks once you set it up . Now let's go to another tool, and this is called Luke. Cut and right here it's called Luke. Cut control are is Luke cut and we can see here is you can add, um, Luke cuts here and if you click and hold moves around, but if you hit escape, it will move it back to the front and center center there. Of course, with that, you can actually adjust the number of cuts. Let's do let's do for cuts. And so when you're happy, you can just click or compress enter and the So let's move to this other side. So we have now added one to this side. Let's go ahead and add for them to that side as well. And when you're happy with your selection, they're activated. So just double tap a to UN select them if you're happy with that. So you see, we have a nice little box type thing with a bevel of the top, and it has a bunch of loop cuts, so selecting edges is a must know. So to do that, just press to you have unto already, and what you want to do is to go back up to this select box. Now you're selecting things instead of having activated on the loop cut, and what you can do is you can click on an edge and you can see now that it's an edge is selected. But you know, doing that makes it so the other edge is not selected. So let's say you wanted to select the whole thing. Just press control and can make it so you can select more than one edge, just hold down control. And but that it's not entirely what we wanted, either. So what you want to do is hold down Ault, and that will actually select the entire Luke cut. But let's say you wanted to select more than one Luke Luke cut. What you want to do is piss all shift, and now you're slicked more than when Luke cut, so you can quickly add to your selected loops by pressing All click and then shift and then , you know, clicking more than one loop. But your remember, you can diesel ect everything by just hitting a twice. That's easy enough, so this works the other way as well. You can select these horizontal who could loop cuts. It's now let's go to the side of this thing that we have created, and we want to hit several of these faces in faces most so quick. Three. And let's just hit several of these faces control and hold down control. And you have hit several of these faces and then press e for extrude. And now you have the extrude mode and double click a on your keyboard to de select everything so that you have that shape kind of made Now, no, once that is done, actually select these faces again and I'm gonna right click and subdivide And now you can see all these faces have been subdivided And now I'm going to intentionally kind of destroy the geometry. You know, when we smooth it out So go to object mode Just hit Tab and we're now in object mode. So now an object mode What you want to do is hit control 12 or three we hit 31 is kind of more rough, but three is even better And so you can see that subdivided quite a bit And in edit mode, you can see that these edges were added kind of ruining the mesh and it makes it look not so smooth. So hit tab again. We're in edit mode here and you know What we see is these edges are not complete. They're not complete loops. So what we want to do is we want to get rid of these offending edges. So it's double quick, every double click a to de select everything. And now what? What I would teach you is how to give it of these offending edges. So what I'm gonna do is hit Ault and, uh, shift. And I'm just gonna select these edges thes offending hedges. Now the offending edges are selected. What you want to do now is press X on your keyboard, and what do you want to do is dissolve edges. And now you can see that things are back to normal with Luke cuts all around loop pitches. And it made going back to object mode made this area more smooth. So this dissolve edges. Situation is kind of a nice feature because it will leave the face intact. It just dissolves the offending edges per se. So now it's select everything. Just hit a on your keyboard. So having right, clicked everything gonna hit three on the keyboard and I want to smooth everything so all the faces are selected and then we have everything right. Click and press shape, shades smooth and now let's go back to object moons you could see now it's completely smooth. So you can see this is just a sample of the edit mode and the object moodin Just a few clicks, we find ourselves this having this smooth, somewhat weird object. But nevertheless, in a few clicks, we built this. So thanks for watching, and I hope you learned a little bit more about edit mode. 15. Multiple Object Edits: we have been talking about how to edit objects in Blender, but now is in this video. I want to talk about editing more than one object at once in Blender. So to demonstrate this, I will simply click on this cube here and the shift to D and can easily duplicate and add another cube there. And it's simple demonstration, but I will show you how I can edit more than one object at once. So it's going to edit mode, hit tab and go to edit mode. So just tap a and you have selected everything in your seen. Alternatively, you could that would have paid de select everything or just quick in an open spot and then hit Let's go to object mode again and then hit quick one of them, and then control shift and you cook another. So that's another way of doing that. But I'm just going to click a on the keyboard so that's just hit tab and go into edit mode . Hit A and you can see both of these cubes selected and they're ready to be edited at what? So I'm just gonna zoom in a little bit. You can see it little better. Yeah, So these air separate objects and you know they have their own names. Cube cube 0.1 and you can edit them all, all at once and where there is selected. So let's go ahead and do this. Let's hit control if and let's shade shade both in at once That's right. Click and go subdivide and in the slower little left box and they go to four. We've subdivided it four times, and so you can see is that you know both of them got edited. So let's go into a wire frame mod Z on your keyboard, and we're now in wire frame mod alternately. You could quick that up there and then just click an open spot or double toe a on. You can see we're in wire friend mode now, so it zoom in a little bit here and let's hit, see, and I'm gonna grab one of these and what I can do actually here is select a bunch of these Vergis ease and doesn't matter, because this just for demonstration purposes. But, as you can see is a go on both of these boxes. They're selecting both of the boxes. Vergis ease. That's really handy. And when you're done selecting those video overseas hit, enter on your keyboard and let's go in the tab and edit mode, that's what you want to do is hit e and press. Enter and then press Cult Plus s and this wolf. It will fatten the verses here because, as you can see, we have fat in the first season in both of these cubes. As we have selected the Vergis ease both at what? I'm just gonna double tap a to de select everything. Now I'll show you one less thing, and that is to snap things to step Vergis ease. That is. So what you want to do is you want to have this like magnet type icon selected. It's the snap icon, and then you want to make sure that vergis ease modus on. You could hit one on your keyboard or or click this button here and now you want you want to do is your only select one of your vergis. Ease here and then G, and now you can see it's it's ah, snapping. Not very well, but it's snapping, and so you can hit this pit G, and it's snapping. Now you can see it's, uh, one more. And let's tryto snap this stuff together there anyways and you could see that these cubes are interacting with each other. They're snapping together, so it's a double top aide de select everything. Then let's go into object mode and you can see these air still two separate objects, but they're snapped together, so it's really handy s so technically they're still separate objects. But you attend them all at once. These features air really nice. I'm sure this will make your work and blender all the better. 16. Origins and Transforms: welcome to another blender video. So the first step for this video is to go into edit mode. So just hit Tab it tab on your keyboard and press edit mode. Now, another thing you can see here is all the Vergis ease are selected. Nothing we want to do is hit one on our keyboard or, if it's already there, just quick, this Vertex mode up here. So now let's scale this cube. What you want to do is just s and we can scale this cube and let's rotate a little bit. And what you can see is on your keyboard when you rotate. It's rotating around this origin, the origin that we have used all along. And then let's press G. Let's just move this cube a little bit to the right, and then let's go back to object mode here and click this cube. I know what we can see is we messed things up a little bit. We have offset this cube. We have rotated it. We have scaled it, and so if we rotate, you can see there's a problem because it's rotating around the order. Well, it's not a problem technically, but it is if we're wanting to rotate around the origin or the the middle of the cube, but you can see it's rotating around the origin of the entire scene. So how do we deal with this? What if we want to rotate around the middle of the cube instead? So at first, and of course, this is an option. You can move your three D cursor, so hit shift and then right click, and you can see the three d cursor has moved. But as you can see, the 30 cursors only going on the surface of the cube. So if you rotate, you can see it's not really doing its job according to what we wish we wanted in the middle of the cubes that rotates around the middle of the Cube. So to do this, what you want to do is come appear and active element. I will make it so the cube is the active element and is the selected item or whatever for what we will belt do. And so what we want to do now is set the origin. We want to change some things, and so to set the origin. What what I find is easiest just to go to, UM F three on the key Bert keyboard, hit F three and then search for set origin and search for set origin and these options come up. And so let's hit origin to center of mass volume and you can see our little dot here this little yellow dot moved to the center of this cube. And let's just go up here and make sure that's active element. And now you can see as we rotate. It's rotating around the middle of a cube, and we have achieved what we wanted to do. And so let's reset. Something's gonna hit Cult G that will take the cue back to the middle of the scene. Holt are, and that that makes it so. It's back to the defaults of the rotations. But you know, not quite, though. As you can see, it's still kind of rotated off. It's not completely what we want, because we have already rotated before doing all of this. So it's basing the defaults on those rotations I did so continuing on I'm just gonna hit X and delete that. And let's create a new situation. No, you don't know the scene is empty. Let's take our three D cursor back to the center, so just go shift, see? And that takes the three D cursor back to front and center. So now let's add a new cube shift a and hit mesh and cube. We have a new cube and are seen and were in to move this Cuba little just like we did in the last serious of actions. Little to the right here. And, you know, before rotating, I'm goingto make sure that's on active element. Is button up here active element now? One thing you might overlook is if you want the origin back to the center, see if we rotate around. It's, Ah, the Cube, like we learned how to do in the last in the last serious of actions. But what if we want the rotation back to the origin? So to do this, you want to do control and a and you have this apply menu and just click all transforms, and that simply makes it so. The rotate goes back to the middle and you can see our Cuba's no rotating about around the origin, and you can see when we when we pressed control a and click all tracks, transforms it. Just carried the orange or yellow dot Put it in the origin spot. It kept the cube out in open space there. All right, So last but not least, what I want to you to do is snap a new object to averted sees of this cube. So that zoom in a bit to our cube. This is it, Tab Going to edit mode and then And let's quick, just this Vergis is here in the corner of this cube. And so now that we have the Spertus e selected, what you want to do is go and hit Shift s now bring up the selection grid and hit cursor too active. And that will bring this origin point to the active. You know, the overseas that we have selected and then if we added a object shift a monkey, we can see now that the monkey has been added to overseas point that we you know, the selection active point. All right, that is snapping, transforms and all about origins and blender. Thank you for watching 17. Modifiers: So we have been learning a lot about how to make some models and blender and learning how to do that. But now in this video is going to be about modifying those models. It's a different process as compared to what we have been learning thus far. So put your seat belts on and let's dive in and learn all about how to modify our models. We make blender, so to teach this, we need to first model something. Then we can modify it after that. So let's modify this cube. I'm going to hit Tab to go into edit mode. Sitting tab and I pressed Edit mode. So now we have edit mode activated. Zoom in just a little bit. What impressed control are toe add an edge loop head look right about there and then control are again to add a edge loop. So now we have to let EJ loops there, so I'm going to go into the faces mode. Hit three on your keyboard or this button right here. As you noticed, hitting three moved over there. And then let's just go ahead, flicked these faces so you click on one. Hold down control and you can select and you have all four of the top faces selected. Then let's hit control be. And what that will dio is that we'll add just a bit of a bevel to this. Great, it's Now, let's click on the middle of face right here. Uh, just zoom in a little bit here. So we clicked on the middle face and what we want to do is make it a little bigger. So just hit s on your keyboard. That's for scale. So now you can see we have made the middle face just a little bit a little bit bigger. So now with this middle face selected, having it selected still just e on your keyboard and instead of going out like this for you to go in and go in about that fire so great, All right, so now I'm going to hit edge loop again. So control are and, uh, I'm just gonna add the edge loop about there. So having that edge loop still selected when he s on the keyboard and you should see now I can sell scale some things, So I'm just going to scale it in just to Ted, like that and then control are again. And let's add an edge loop around just for having more faces. All right, so now it's coming together. So let's move a little bit around with the middle mouse button held down him circling around this thing. And just like when we started off first, you he three on your keyboard to go into faces moded and have that selectors to control hold down control and select all four of those bottom faces. And then I'm just gonna hold, uh, s to scale those bottom faces. So nice. Now we have our shape made and it's like a very Minecraft type pot. So now we're going to get into the modifying part. We have made our model, but now we want to modify this pot so it's not so squarish. It's not. Now it's like a Minecraft type design. But now we want to modify it and add some smoother add some details and things like this. So let's hit tab again. Go back Teoh object mode and click on our pot to select it. And when you knew is hit control three and you could see now something interesting has happened. We're gonna learn all about this. What happened was it was subdivided subdivision. So you can hit control one. And it's one subdivision controlled to control three. Patrol four or five. Yeah, so that's that's control. Three is about Good. So to see this further, we need to click on this button right here, This tool icon and this is where modifiers are opened up. And to see this little better, I'm going to go ahead and doom this out a little so you can see the names and there you can see here subdivisions that's added, and you can actually increase the subdivisions and things like that from here. So this is a subdivision modifier. That's what happened when we did control one control to control three were with keyboard commands controlling this view port stuff. Now, if we click on add modifier, we can see that there is modifiers and these modifiers are broken up into Maine categories . So the first row on the left is modify category and modify will hence the day modify the data of your object modifying objects. Data is a little complex for this video, so we will talk about that later. But there's another category here called Generate and generate modern fire modifiers. It will take your mess, your objects and generate more geometry on your model. And for that matter, it could actually generate less geometry. So more geometry or less geometry. We will see that in this video we're gonna learn about generate. But moving on deform deform, as the name implies, takes your existing geometry and kind of changes it, and it deforms it, reshapes it into other things. And then there is simulate simulate takes the physics side of the object in the blender are physics and stuff like that and particles and physics. This is the particles and physics side of blender, and it modifies them. You can't really modify them technically, but you can give them some properties. And in this category, that's how we modify the the simulations. Basically. So let me explain that just a little bit more. So physics works interestingly. And if you had some particles flying down on this pot and you had a collision here, um, to make it look like Adam modifier and go to simulate an ad occlusion, basically what would happen would be are particles will hit the pot and your model here, and it would hit the visible pot so it would Clive with a pot itself. So let's go ahead right there. So you see here the collision is under the subdivision and it would hit pot itself. But if you if you move the collision up, the hierarchy reappear, then it would actually go ahead and hit this geometry. So you know it wouldn't consider the subdivisions because it's above the subdivision. So it would hit this John tree. So that might look a little weird if you were toe have different collider issues. And have you ever played video games? You can see what collider issues are, and this is kind of how that works. And there's a hierarchy here, and it's important to notice. And so that I guess what I'm trying to say is there's an order of operations. And so this is the way the simulation works. It simulates it's modifier for the simulations. It modifies the particles and effects. So, yeah, have you not go ahead and get rid of this collision? Great. So now it's Adam modifier. Let's add one called Ray Generate array so you can see there's two and you can actually change situations here, can move it around and then you can move the count. So now there's 34 and so on, and so I can you can imagine. Array is quite nice. You can add more of them, the same object and as you were just different things. They will all be adjusted. So let's go ahead and do that tab. Go to edit mode and let's go toe overseas mode and let's like that G and you can see as we modify it won. The rest of them were modified. Let's go in tow. Object mode again. Great, Nice. So we have our weird modified little pots in the array. Now let's talk about bulletins. A 1,000,000,000 Zahra. Little interesting, but they're really awesome and really handy so you can add billions under mark fires. And so just add Boolean so we can see now under here we have our bullion added, So to make a boolean work, you have to have multiple objects. So I'm going to go ahead and press shift A and add a cube here and I'm gonna move that cube around so it's interacting with these two pots nice and, uh, just about there. Nice. So our cube is like this. Now let's go back to our this object Click on this object. That's where modifiers air and what you want to do is click this. I drop her type icon and hit your cube. And so now it's technically bullion doubt. And so if you go to the Cube, um, right there, now you can see if you click the cube, make it invisible. You can see now the bullion is at work. Billions A really interesting. They're really nice. So the next thing I want to show you is decimate and this one can slow down your computer. But this May is how you take an object and reduce some of the polygons it has. So let's, uh, do that. Let's add modifier and cook on decimate Scroll down. We have our decimate, and you can see here if you just take your, um, click and move it like this, you can see now the face count is going down right here. Quite drastically. That face count can go down quite a bit, so let's decimate this mates important. So there's some strange edges that happen from decimation, but it's decently useful for objects with very flat surfaces and also for, like, sculpting and such like things like that. So let's go back to modifiers, and here we have one called Solidify, and I'm not going to click on it. But it's great for things that are flat, and it can take text to make it thicker for exam. Later, we'll talk about rigging an armature right here in the deformation reform tab. It's really important. Amazing for that. But with this deform tablets quick on simple deform here, simple, deformed, you can see it's deformed it a little. Simply clicking on it has some interesting facts how things happen here, that scroll down a simple to form and you can play around with the settings here and you can see you can change like the angle. And like I said, it slows down your computer occasionally. So keep in mind about that, but you can deform your object quite amazingly, you with all these deformed options, So I'm sure you could see um, you can do a lot of deformation is with that and then over on the right here, it's important to keep track of your stack or your order of operations. It's really important that way. Objects look correct because if you switch the order of something might change everything. So, yeah, I recommend you go ahead and play with these modifiers. There's a lot of modifiers to try out, and I hope they really enhance your blender journey. Thanks for watching. 18. Constraints: Yeah, So welcome to another video. Today we're gonna be talking about constraints and constraints, allow you to build relationships between objects, but then also break them. So to do this, obviously we need to objects. So hit shift day and let's add monkey right there. Press G on the keyboard and why? And then I'm just gonna move it over there a little. And so now let's get into the constraints to move this over, swimming in a little of that over a bit. And then So the constraints is found right here in this little Icahn. I don't know really how to describe it, but this is the constraints. Just like the modifier section is the tool icon down here is the constraints. And let's add a constraint. That's first child off. All right, so next what you want to do is just quick on this eye dropper on Let's go ahead and click on the Monkey. Actually, no having this smoky, selected click on the Cube. So I made a little mistake According my order of operations, what you want to do is you want to click on the Cube. So I clicked on this monkey and I got rid of the child of and so click on the cube and click Child of Quick this eyedropper and then click on the monkey. And now you can see the Cube has snapped over to the monkey. Of course, we don't want that. So what you could do is just sit in verse and now I know we have it. Now, when you move the monkey around, you have your cube snap to it. And it's indicated the by this little blue line that is attached to it. Yeah, so pretty awesome. And so now I'm gonna show you a little bit of animating. So just, uh, go down here and bring up this animation panel timeline, and I'm gonna zoom out just a bit to show this little better. You know, what you want to do is cook I and then hit location, rotation scale. And then along with So just click on this, move it over there and along with that click G and why I'm gonna move this over there and then click I on the monkey and quick location rotation scale. It's now we have something interesting. What's really awesome. It's basically the animation of these two objects moving along. But let's say in the middle he want the cube to stop and then the monkey to continue on. So just bring that cursor into the middle. I think. Click on the cube and then quick I on the keyboard. We're pressures over the cube or selected the cube click location, rotation scale and the just move this over one key frame when little keeping look again and click Visual location, rotation scale. And so then what you want to do is you want to click X here. So that's so X there. And so now what you want to do is click I while this your cursors hovered over this influence here and then go back a frame there and click I, But then click movinto one. And so know what you have is this cube as you animated along, it stops and monkey condition continues on. It's really nice. So moving on, I'm going to take this animation window. Just kind of popped down there. Cook quick control, end on Quick, General. And just don't save anything because we're gonna start over as I show you new things is to know what we're gonna dio is ah gonna hit shift a right here, Shift day and And what you want to do is quick, empty and then plane access, And now you can actually go ahead and move it up. So I pressed G and Z to move it up very nicely. And so this is a plane access. But what you want to do first is click on the Cube and go back down to your constraints tab and then click on the constraints. And then what you want to do is click a track to for track two. I mean, all right. And then So now that's up, like, normal. Quick, this little eyedropper tool and then try to get it on there. Now it's This blue line is dotted line is indicating that it's connected to its a constraint to its tracking. So issue press g and move it around. You can see now it's facing this police over there. This, uh, it's a track tracking to that. Really awesome. All right, so I'm just going to click on this here and right click and delete. So now we have our Q back from the next thing. I can't really explain it now. I'll just explain as I go. So shift a and add a monkey and then g z and let's move it up a bit. It's now we have our monkey and acute. Now click on the Cube hit. Uh, yeah. Now you wouldn't you want to do is go into edit mode Tab quickened edit mode And yes, now it Click on these little overseas here, go to this green icon Object data quicks. This little plus icon there ver ticks group right there and click a sign that so then quick object mode again. Click on the monkey. Go back to hear the constraints. Cook here and click copy transforms, uh, click the eyedropper and we can click on the Cube. Now it's snapped inside the Cube. Of course, we don't want that, but you can see here there's a Vertex group and you just click that and, yeah, so there is that. It's really cool. Ah, now you'll see the beauty of this. If you click on the Cube tab, go into edit mode, let's go ahead and click three on the keyboard to click faces. But as we move around the face, the group, the Vertex Group that we selected and then the copy Transform of the monkey. We can see it's all connected and Ah, yeah, it's awesome. Okay, I really like this feature. Press s on your keyboard, and you could see is your scale. It does nothing. So you just keep in mind that, you know, rotating works and, uh, and then moving around works for the copy transform. It's a really useful thing, but you can see there's a lot of trends are constraints in lender, and I encourage you to play around with all of them. Thanks for watching this video all about constraints. 19. Data Properties: in this video, we're gonna be talking about object data and that can be found here. Object data, properties. So in the case of a mesh like when you do shift day these type of objects that miss mish objects there's a whole bunch of things that make the object data. For those ended this video, we're gonna be talking about the Vertex groups, shape keys, UV maps and also the geometry down data down here. I'm gonna zoom in a little bit on this cube here, and, uh, I would have hit Tab, go into edit mode a twice to de select everything and hold on control key. And I'm gonna go ahead and select a few of these for Texas, these architects points and to make a Vertex group out of this But you want to do is then just click plus and then a sign and no, a double tap a again to go out of that. And so having done that, where you can do is then press select and it will select the verdict sees that you have assigned to this group. It's really nice. And so another thing that we can do is you can go upto edit mode here, and you can press weight paint and might take a little while to load up. But once it slowed up, you can see the weight paint of what you have here. Red means what you have selected and blue means what you do not have selected in a group. So if you create this new group, you can see it's all blue because nothing is selected. And what you could do is you can actually paint on this stuff here, this weight paint, it's really useful. And later we'll get more into this, but its really useful for armature and particles and effects and things like this. Later we will talk about that. All right, so it tab go to edit mode back to normal, double tap paid to de select everything, and actually, uh, let's go tab and go to edit mode. So now we have that selected. And so now let's go to shape keys. Just gonna hit, um, one and then, uh, quick that to make another one. All right, so now that we have key one selected tab, go into edit mode, press control your keyboard and select these three for Texas, and you could just move it up here like that. So to change this, what you want to do is hit this range minimum zero, and you can actually move this value appear, um, And this is how shape keys work. So the basis is this, and key one as you move, the value up is ah corresponds to the what You have changed as you moved those selected Vertex for text points. All right, so that's ah, a little bit about Shakey's. Just be careful about shape keys when you have modifiers. Some sometimes modifiers don't really like ship keys. So just gonna go ahead and do that right now and close up the shape keys because now we're gonna move on. And so here we have UV maps. You mean maps can be edited here later, we'll be talking more about that, but here you can add multiple UV maps and edit those. It's technically in the object out of properties. So that's the UV maps here. And now let's talk a little bit about geometry data way. We won't be doing much here. I just want to explain a few things. If you were to have edit brought in this cube from some other program. Here is where you can clear some of the data. And so this cube is perfect because it was created right here in blender. But if you were to have brought in and O. B J file or something, here is where you can clear some of those data. And, of course, there's no customs but normals here, but yeah. So this is where you can clear that stuff. Yeah. So, knowing that, conceive a lot of headaches when you bring in new objects into you blender. Anyway, so that's, um object Data Properties. It's a short overview of this, but knowing object of properties. Well, we're really help you when you work with Bender. Thanks for watching. 20. Clean Space: Now I want to talk about something in Blender when you're working, and that is just to be clean. When you're making animation or things like that. Often times things could get a little messy. So I'm gonna talk to you about how we can just take the extra step and make things a little more clean. So let's click on this cube and, ah, let's do some things quick I and then click rotation, location, rotation scale, move of the this over here. And then it's quick G and move this cube of their and cook I and location rotation scale. You can see we have a little animation. Let's see over here. Um, let's see. Let's just move this cube a little and then cook I location Rotation scale. Yeah, so interesting animation. But anyways, it's not really important, but I just wanted toe get some stuff in there. Some data. Snow. What you want to do is quick. Well, it's not needed, but I'm just demonstrating stuff just quick here. And, uh, click this button the editor type don't sheet, and then, uh, let's let's just go ahead and Action editor and then just quick x there great. Now we just kind of ruined it. No explain. So the question is now our animation is gone. So what do we do now? I guess we deleted it or something, huh? And you know, if you go toe dope dope sheet right here, you can see there's no animation. So where is it? What you can dio is you go quick. This button right here and quick orphan data and and their actions you can see there's the animation. So this this orphan data, you can get a little cluttered so you can delete things and stuff. But then it's saved here in the orphan data. And, yes, that could make your file your safe. I a little, uh, larger than it needs to be. So you could Dio you could just press this button. So yeah, What you can dio is actually, in order to do it, you need to move this out a little here and now You can see, you know, with my set up my screen actually couldn't see it. But if you move this out here, you can see this purge buttons just quick. That and you can prove your data. Now you can see all that data. Useless data that got deleted or we deleted. But it was still there is now purged. But you can see here the brushes air still here. And that's because right here there's this thing called F and that's called standing for fake user. And basically, what that means is that is toggled on. And all these brushes are saved when you do a purge because you want your brushes, even if you do everything you want brushes, toe use. So this f is toggled on for fake user. So let's go back to the action editor and that's just click new here. We have a new action and you can quick that shield and then let's go ahead and click X is now we have our action. And so that shield when we created Tuggle that shield and then deleted it, um, in this spurge date or this orphan data right here, the orphan data, uh, f is turned on, so that means it's staying there. But you can still get rid of it just quick. Quick it. And now it's not the f is urine. Toggle the f off. And then when you cook purge. So let's do that. Let's Ah, let's get rid of this one on its keep action, But then purge action 0.0 zehr one. So the F is on for action, but off for action. But 001 So quick. Courage. And now it's gone. Yeah, let's just purge everything. Great. So that's how that works. So I really wanted to show you how to do that. How to purge data. It's really important because, you know you can delete things and you can wonder why is my whole set up going slow when you know I deleted this stuff? It's because it's in this orphan data stuff. It's still there. So to officially get rid of it, you have to press perch anyways. Thanks for watching. That's it for this video. 21. Sculpting Basics : Well, now we're going to be talking about sculpting in blender. And to do that, you can always go over here to sculpting right here and now this sculpting. But what I'm going to do is in Leo. I'm gonna go to you, just press control in, and I'll just press sculpting, save your work if you have it there in the layout. And now this will open up a special sculpting mode. So you may have noticed that up here, all the workspaces have disappeared, but they haven't really. So what you can do is just quick there, go to general, and you can see now that you have all your regular, um, stuff. So yeah, sculpting. That's what we're after. So let's get a little familiar with this sculpting mode over to the left. Here we have tons of different options that we will be exploring in this in the coming videos, a bunch of different little options. And then over here, if you click this button this tool here, this tool icon have some many more options that you can manipulate your sculpting abilities and then, of course, the sculpt, you just click on it and it's sculpting right there. Now I have my we come tablet here. So I have the mouse and you could news. Click See, I have my mouse selected and that's what I did again. Just click there and that works for sculpting. You just left click. But to get a little more detail, you can actually have your wake home tablet activated. And as long as this icon right here, strength, pressure is on, it will register that. So this is the strength. So this is how this works. You just take and take the strength down, and then you can see now as your sculpt, it's just barely sculpting. There's almost nothing. So if you put it a little up, as you take here we come tablet and sculpt. Then it's just a little more content there. And then, of course, if you take the strength close toe all the way up there, then you can take and, uh, there's a lot more content that's going in there. All right, so that's that. All right, so to turn around this model, I'm just, uh, quick in my middle mouse button to rotate around it. Of course you can. Quick, these gizmo tools, and it'll do that as well. But something you may know Stone. Here there is a symmetry mode and symmetry mode is really important, so you can see on the X axis. Let's go to the there. So now you can see that's working. But you can also do X, y and Z, so you could actually literally do a bunch of, ah, interesting sculpting situations with X, Y and Z. But generally the X axis is quite important, like if your sculpting a face or something like that so you can see there's a lot of polygons. They're quite visible and so you can actually click up here and click wire frame and you can see the polygons as there, um, clearly there. So if you want more detail, let's go and turn off the wire frame. Now you can actually go down here, too. Yeah, so this din top. Oh, you just select that and then drop down quick, smooth shading. Now you can see it's a lot more smooth and nice, and so let's go here to white frame. It's kind of just smooth, shading it to make it nicer, but let's say you can uh, the detail size from 12 to 6, And now, as you sculpt their let's turn on wire frame, you can see there's a little more, um, polygons. Air generated. Let's turn three on and now you conceive and more polygons air generated. So this detail size is kind of important. But beware because if you put too much probably guns in there, your computer will slow down quite a bit, and you can even see it here. How this is really smooth, smoother, and this is less smooth. But with smooth shading, it all kind of looks a little smooth. Without it, you can see what's going on. There s so that's didn't top. Oh, it's really important. But now let's continue on, and I will explain a few more things. If you hold down F, you can change your brush size, so let's have a huge like that and you can see its genome ish and then hold down f. Let's take it down. I really don't like that and you could see its real small. That's that's how you adjust your brush size. That's important to know for sure. All right, so that's a lot of stuff that we can dio. But over here, let's just move this out little so we can see more details. Um, you can actually press. Subtract. So right now it was adding and you compress, subtract eso just hit, Um, just two f on your keyboard on Let's make that brush size a little more and now you can see we're subtracting and you should be careful because with the wire frame concedes that subtraction has actually added a lot more polygons into your I like my computers handling it quite well. But if you had a slower computer, it could ah, get a little confused with all of those, probably guns, and have to think about it. So, yeah, just be aware about that. If, by the way, if you notice that your computer is slowing down quite a bit due to all these polygons that are being generated, what you can do is just go back to 12 or more, and then as you work, then you could see there's way less polygons that air being used. In fact, you could go over the small polygons and just ruin everything and make it not so nice. But still, it's less polygons and computer won't be so, uh, slow, but that details nice. So let's add three again. And now you can see we're adding a lot more polygons. We're just ruining everything, but yeah, anyways, enough fiddling around. That's the basics of sculpting Hope you learned a lot. And in the next coming videos, we will be doing a lot more about learning all about sculpting in a blender. 22. Advanced Sculpting: well with our course so far, we learned about the basics of sculpting. But now we're gonna be talking a little bit more advanced on. We're gonna learn about the brushes and what they can do. So this is just a tad bit more advanced about sculpting. So, like I said before, you have to press control in and pair sculpting to go into sculpting mode. And over here to the left, we can see tons of brushes, and this is what we will be covering mainly today. So with the blue brushes over here, what they do is they add Volume two what you're doing so you can click here, just click and drag, and it's adding volume in the press control Z and the reds. They remove volume. Sometimes they flattened stuff out, but they definitely remove volume and going down. Here we see the yellows, yellows, air, really interesting. A Z. You can see the name implies pinch, grab, deform. It's like you're working with your hands, you're taking it and you're actually just taking it and pinching out different things like that. That's what the yellows do. And down here we have the white and the black and these air masks, so we won't be covering that in this video. But that's what they are. So let's go back to the top here to the blue. So, yeah, let's Ah, learn about the draw feature so you can just click us little to icon to bring up some more settings about that una Pull this out so you can see things better. And draw is, as you can imagine, just simply drawing kind of content on to the ball here. The sphere and you could actually go to subtract over here, and you can actually subtract content as well. So it's mainly these blue ones are mainly for adding content that you can subtract as well . And there's the strength here so you can see now you're adding content, but technically it's so minute the strength. It's not much, which is needed sometimes that we don't do something like this. So and the next one is ah, called draw sharp. It's just simply like draw up that was on subtract. So it's simply like draw. But it's just a little more sharp, and this next one over here is called Clay, and it's as you can imagine just kind of like some clay. That's the what the name implies. It's like you're adding, if you're playing with Plato or something, it's like you can add this strength up a bit and you could just add Cem Plato adding some Plato like layers of Little Plato. And this especially something you want to dio if you want your surface to look a little more like clay at the next one is called clay Strips. So let's go up here a little bit. And that's the clay strips. That's what they look like. Believe it or not, some three D artists actually mainly just used place trips. But let's go down here right here to din Toppo, dynamic topology and let's turn on smooth shading. And now we can see our work is a little more, you know, because before is bad, but without data mixed apology. But and, ah, if we want more cause if you go to a wire frame here, um, you can see it's not extremely detailed, so we can actually go to like, 6%. And now when we add this, you can see wire frame. There's a little more do three Okay. Three. Yeah, there. It's a little more details there. So let's go to a wire frame. Yeah, a lot more little polygons. They're great. I'm gonna keep this dynamic apology on that way. There's a little more detail when I'm explaining these things. Yeah, so right here is called Layer. And is that as you can imagine, this is just kind of Ah, a layer type situation. You're just kind of adding layers. And it's almost like if you were adding, if you were doing landscape, this would be kind of like a cliff face or something like that. So the next one is called inflate. And, as you can imagine, it inflates. So let's go to inflate again. For some reason, it moved. So press f on your keyboard and let's just get that draw size a bit. And as you can are dress size lot. Parcher as going to see is you just work with that. It's now inflating what you have added. There will work here is really turning into something strange, but yeah, so there's a lot of, um, polygons going on, and also you can press deflate here and you can actually go ahead and deflated in a press control Z. And I'm actually going to go to dynamic topology here in per six. That way, we're not, um, that deflate. There we go. We have a little less polygons going on now. Our computer was starting toe Slow down because if you have too much information with tournament topology, didn't Toppo that could be bad for your system now is press F and let's take our cursor down in size. And down here we have blob. I love how the icons and blender really detail what the thing actually does. As you can imagine, this blob, it's kind of a beloved like the draw tool, except it just is a little more blobby. Any ice that's blob. And lastly, but certainly not least for the blue is crease. This is a really important thing. Uh, creases really help you with your work. So as you can see here as you go along, your crease increase is starting to appear Increases really, really do well with when you're trained to add details to your sculpts. That's Greece. Of course, you can add to the strength or the radius. The radius could go way down and you could have a really strong small crease. And now we're going into the red icons, the smooth. This icon also really displays what it does. That's what I love press f. And we obviously need a bigger brush for this. And you could just actually go over everything. And it just smooth everything nicely. Just smoothing all this chaos. Berman press control z a little bit because later I want to show. But they could smooth some of this a little bit, but yeah, that's smooth. I'm gonna press f to bring the brush size down again. Our next tool is called flatten and well, I just made the brush size small again, But now I need to big. So maybe not as biggest. So there we go. As you can imagine, this just simply flattened thing flattens things out. So now this plateau is for sure Plateau making it look. The top is really flat. And yeah, flatten is quite useful and needed. Let's go away frame to see how that's going. Nice. The next task we have is to use the fill, and as you can imagine, that just fills and it's really nice. Um, so that little crease that we made is now very much all filled. And then, if you use the smooth can smooth it out. And now it's pretty much back to square one. Yeah, Phil fills a really good thing. Now this next one is just called Scrape and let's take the brush size down a bit. And that's actually add 12 to the dynamic tempo, while this really is causing chaos in the top there, so you have to be careful. But as you can see here, it's just taking these tops here, and it's just kind of scraping scripting them along. And that's scrape. It's like if you actually had a scrape tool physically when you were doing your work. And like if this was actually just clay, this is a scrape tool, really handy. Now we're going into the yellow icons. This one's called Pinch, and basically what this does is it takes something smooth like this. And if you just drew the draw, size it up a bit and it's just taking and you're pinching that. So now it's more Well, it's pitched. Yeah, so this is all nice and pinched this wire frame you can see here. Um, these polygons air kind of a mess. So if you just smooth that out a bit there, that might help that. Okay, let's control Z that later in this course, so explain how to deal with some things like this. But right now, our focus is this pitch and all the rest of these brushes. The next one is quite interesting. It's simply cold grab. And you just simply take your geometry and grab it and pull it. So it's like, literally, if you were to take this mass, if it was actually clay in front of you. Take 22 of your fingers. Pinch it and grab it over there. All right, Last dictate form. Um, this is what that does. It just simply kind of takes the whole thing and deforms it plastic to form snake hook. I'm goingto Ah, Now we have dynamic tempo, uh, dynamic apology on, and you can see that really helps with that. But if we tit to the Sorry if we were to tick dynamic topology off, you could see how that could happen. But with dynamic topology on now things are a little better. And if you go if you go too fast. Things can. It's working out really nice right now, but things can go to get interesting. So that's Snake Hook. That's at as you can imagine, that is a really important rushed to know. Next is thumb is just taking, and I'm gonna take the brush size down just a bit, just taking like your thumb in real life and smashing the geometry with your thumb over. You're thumbing your geometry next. We have, um, pose and pose is quite strong. So if you just take the strength down a bit, um, and it's better let's take this drink down quite a bit. And this radius up Tad pose is basically taking the geometry and doing this. It kind of runs. You have to really know exactly what's going on, but you can kind of rotate it around. And, as you can imagine, if we had Mawr polygon count, this would be a little more better. And of course, you could do that and then go to smooth smooth it out. So that's pose. The next one is called nudge, and you can't really see too much what's going on. But if we turn wire frame um, you can see No, just just kind of nudging the polygons around the thumb. Kind of just nudges it in one direction, but nudge, you can kind of just nudge it around and then, like since we're on this topic, rotate just rotates it, and you can really see how the polygons are being rotated quickly there. Let's turn off wire frame. All right, well, that does it for this video. And this is your nice little creation that we have. It's kind of chaotic and weird and strange, but it gives you a nice little run down. Of all these brushes, sculpting and blender is actually quite or pleasing than one might think. There's, Ah, a lot of other like software's like Z brush. I have a course on Z brush, but see, brush is amazing. But if you're just kinda quickly getting some sculpting done blenders really nice, depending on your needs, you may only need blender Anyways, I hope you enjoyed that and learned a lot about these brushes 23. Masking: All right. So we are continue on continuing on in our sculpting journey and blender and so, yeah, just press control end on, go to sculpting. And now we have our nice little sphere up here. By the way, a little step of knowledge is if you just right click on your mouse, it'll bring up strength radius. And that's really important to you know, you can just easily change things like this. Um, strength you can just quick and drag. Or it could enter a number and there. Yeah, so that's just great click. Nice and easy. Of course it's up here as well. Um, yeah, let's get to the topic at hand. And that is we're going to be talking about masks. Masks are really useful for when you want to get some precise sculpting going. So let's learn about masks. So just purse F on the keyboard. I'm gonna change the size of radius, and I'm just going to paint some things here. It doesn't really matter what I'm just painting along just for demonstration purposes anyway, So I'm gonna go like this, and I'm going to go ahead and turn on dynamic topology there. Make sure that's configured nicely. Smooth shading. Alright, so that's just a little bit better there. And Oh, let's go ahead and add some more details here. Basically, what I'm going to dio is I'm in a mask in in the the caverns here. Not the caverns, the holes or whatever making the lower parts here. All right, so now we have that. And now what you're going to do is you want to go ahead and just, uh, hit mask. And so, with mask selected, let's let's just go ahead. And there was some of this stuff. Take the strength and put it all the way. Toe one and let's take the radius and put it down a bit. And I can just paint and it's nice, nice and precise. You will see soon what the amazing benefits of a mask are. All right, so we have our masks and simple enough, so I'm gonna go back up to draw here f on the keyboard. I'm gonna take the draw size and put it up quite a bit, and then you can see as we're drawing, we're, um, drawing all around. But the parts that are masked off are not really being affected. Their staying there stay nice and flat. So now you can see I'm sure the benefits of masks there are wonderful. For what? For many reasons, masks are great. And so when you're done with that, you can go down to mask just quick mask. And when you can, you can press, subtract, and then you can click and get rid of the mask selection. So we move this sphere over a little bit, just like that, and I'm going to show you something else. Let's, uh, take the brush size down just a bit and let's take the strength and go toe like 50. And now we have the masks, as you can see, not quite a sharp, especially if you take the strength way down and you can see as you go around. It's a very soft ingredient. And yeah, and then if you go to draw, um, draw on there, you can see it. And yes, so I generally recommend just just taking the mask. Go back to mask. Let's just subtract that. Take the generally just recommend taking the strength and just having a nice and sharp at one there anyways, so yeah, just keep the strength at one most of the time that will work, and you can always use the smooth brush if you want to smooth things out. So I'll demonstrate that a little bit right here could get a mask. Subtract. Okay, subjective that. Let's take the smooth brush and you can smooth things out. The smooth. I like better. So, yeah, from Ascot. Generally, I prefer the strength to remain at one, so that's kind of it. For masks. It's a simple video, but you learned pretty much I need 9% of what you need to know about masks in blender. Masks are really great. They can make your sculpting powers a lot more useful. So have a good one. Thanks for watching. 24. Custom Brush: Hello, everybody. So now we're gonna be talking about how to make your own brush. This really adds to the sculpting experience. And so, in order to do that press control end and we're gonna be in sculpting mode, That's, ah, important to be in to make a brush so you can test out your brush. So to make a custom brush, I always kind of like to, um, go up to this corner here, and, uh, it's let's go ahead and get rid of that. And so, at this very corner right there, you can drag in a new scene right here, and that's really important. And this next scene, let's go up here and what you want to do is press image editor and appear press paint and then press this button right here this texture properties type thing and brush off course and pressed new. So to make a custom brush, you need a black and white image you compress open and bring that in here. Open image and then Alfa. Here's if you have enough to keep that clicked on. But we're going to do is pressed new, and now we have some details here to fill out. So it's good to name your new brush, my new rush. And, uh, I'm gonna go ahead and put the asterisk to, and that makes it to K. So just est risk or what? You recall that a little that thing, I think it's called asterisk and then to two que 2048 pixels and ah, black and do what you do not need to have 32 bit float and when that's all good, just press, OK? Now you have my new brush ready to be edited now continuing on texture here and then press this shield icon to make a fake user. That way, if you open and close blender or purge it, your brush is still saved, and then all you have to do is click this button and click my new brush and then school out little. And there there is your new brush, the texture that you have here ready to be edited. So to edit this, you're getting the press, this little button here or T for tools and for these other options. And of course, you can drag the scene over here and then shift middle mouse to bring that up front and center a little more. Now you can edit your tools and settings here to work with your new brush. Now, what you need is for your painter tool to be white. So just keep it on white there. See this little button or icon near it means it's on the color white. And then, of course, keep your strength up it. Number one. Now you can drawn there that purse control Z to get rid of that. But yeah. Now, another thing I want to talk to you about is called Fall Off. That's right down here. These icons are would indicate fall off. So right now it's on this icon right here. The preset, um, it's ah, set brush type. So if you press f you okay, so if you click and press Okay, um, it's control city that press f and if you quick that you can see and it could console your system down was such a huge best, but you can see there's a soft edge around it. But if you click this button right here, um, you can see it's a hard edge around that. So that's what fall off is about. You can pick whatever you wish, but I'm gonna hit hard edge. Bring known the brush size a bit and there we go. So it's now time to draw something, and the white area will be your brush. So to keep it simple, I'm just going to make a simple X. Uh, something like this doesn't have to be perfect, of course, cause I'm just demonstrating this video. I made an X, and so now you couldn't see When you press f and change this brush size, you have an X there. All right, So one thing I thought I would mention is you can see here when I do this X the changing of sides of the breast. You can see there's some fall off on this spear. What if we wait? Don't want that. Um, so you can actually do is go down to this side and you see here there's, um, fall off settings down here, so just go impress constant. And now, when we change the breast size, the change is Korean for that. So they always I kind of missed around with that. I mean, the press control Z And so now oh, down here. I need to keep this ex visible there grief anyway, so but the point is here and then fall off Constant. The point is, we have now this custom brush, but there is a slight problem here. It's gonna pixelated, so you can just turn on dynamic topology and smooth shading. And now it's It's a little better, but And of course, there is issues here. Sometimes, if you turn on that dynamic topology, that's a bug that's being worked on. So just turn that off and you can add the's. X is here to your spear, and this is our custom brush. Yeah, nice. So that's about the custom brushes you can see. It's kind of tiled here the way it's going into the scene. It's kind of ah, tiled. So if you if you don't wash tohave it tiled. What you can do is then go up here and turn off the tiled press area playing or you're playing or things like this, and that will make it so. It's not tiled when you enter it there, all right, so that's how you make a custom brush and in the form of an ex anyway. So that's Of course, you can turn off symmetry mode if you don't wish that to be on. Yeah, they always Enough of that. That's a quick introduction of how to make custom brushes in blender. Thanks for watching. 25. Remeshing: Hey there. Welcome to another video about sculpting and, Ah, today we're gonna be talking about re meshing and like, if you're sculpting and blender or any other thing like Z brush or something, you couldn't generate some really high, high poly things. Like there could be a lot of polygons added to a scene and our to object or three D model or something. So, yeah, so that's a really awesome thing about, um, sculpting is you can add a lot of detail, but at the same time, while it is a positive, it is also a negative. So I'm just gonna put a little bit dynamic topology going there. Yeah, so you can add a lot of polygons when your sculpt really fast and things can sometimes get a little out of hand. So this is what we're gonna be talking about, how we can organize, um, organized that to our advantage. And so the goal of this video is just to show you how you can sculpt away freely sculpt, but then take your sculpture and then, um, use it for animation or whatever you when I use it for, um especially animation, cause two of models around stuff. You have to have a things a little organized. So I have this really beautiful ugly situation quickly. So let's learn how to use this in applications like animation. And so the first step in this journey is to press this little plus button, just go to General and then layout. And now you have your, uh, sculpture in the layout kind of a weird sculpture, but nevertheless for demonstration purposes and just make sure that it's an object mode. So the first step just hit Tab and go into edit mode. And you can see here the polygons air extremely dense. Some parts of it kind of well organized. Maybe not around here and stuff. But look at that. This fear is just extremely dense. That's not a good recipe for things like animation. So let's just go back to object mode. So let's get this figured out here, press shift e and now you have another sphere and then just press em. And after pressing M press new collection and I'm just gonna type blow rez. And now here we have this collection called Lo rez, and for some reason, the shifty didn't work. So, uh, Okay. Okay. Shift De and then click. Now we have those there. So hit hide one. And you see both of those. Um, I'm gonna bring the other one here into the collection and then one of them into low rez. So nifty little thing you can dio is you compress to on your keyboard and you have the low rez press one and the collection, um, the first collection will be selected. Press to the lower, lower as selection will be selected. So of course, toe select the lowers. You can just click the new sphere there, you can even hide the other collections. And so that's really useful. Um, so your hide the other collection now you only have the lure is displayed, but yeah, let's leave that all visible. Of course, if you want to, then add it to your low resolution to become low resolution. Because if you have go to edit mode, it's not low resolution. You have to click this tool icon here to the modifiers section. So, in ad modifier, what you want to do is then go to decimate right under generate decimate. And then I'm gonna bring this over a little bit, so you can see more details here and then go to this view port overlays and turn on wire frame. And yeah, so, uh, let's ah, hide that collection. All right, so now we have this low resolution. It's not low resolution now, but we're trying to make this low resolution, and this is how we do it with a decimate. So first, let's do un subdivide, and you can just click this little arrow and you can un subdivide it. So in unsub divide, you can see that it's doing nothing. And that is simply because these ah polygons are triangles, triangles. They're not squares. So you have to have square polygons. Um, so it's one thing out Should have mentioned earlier. But now let's try collapse. You can see collapse. You just take it down, down, down, and it can take the face count way down until it's one literally or two or something, so you can get real simple from here or like go back to away complex. So this is totally not needed all those faces so you could take it down to where you want it. And it's more comfortable like this. Of course, you can turn off wire frame and see how it looks. And you could even take it way down to only 1005 100 faces or something that got this might be good enough for a background object or something. Um, even less so. Yeah. Um, it's really useful collapse. Let's take that back up. And the other one is called Planner and are plainer Sorry. Cleaner is really important. Um, because you see here these planes, wherever there's a face of the object that is, I think it's less than five degrees or something. It all becomes one big polygon, so that really saves, um, save some space there. So planers really nice. Yeah. So in the end of the day, you should choose what is best according Teoh what you need, and so, like, you could choose collapse. And then here there's a Vertex group you could choose and only decimate that and triangulate. Um, yeah, there's a lot of different options on subdivide. Of course, in our case, didn't work really really well. So it's actually, um delete this and leave this one to, and that goes shift a Let's bring in. Ah, it was a new sphere. Okay, so now you can see with this fear. We have a nice polygons here that should work with this unsub divide. Yeah, it does. So, yeah, if you're polygons are square like this, you can actually take your un subdivide and then just take and simplify it quite a bit. So it's no longer a circle there, but yeah, So one subdivide could be useful if you have shapes like that. Anyways, this is how you decimate and remesch your character. Earlier sculptures. It's really useful to save space, especially for applications like animation. Thanks for watching. Have a good day. 26. Baking Normals: in the video. Prior to this, we learned about re meshing, and that's really useful to take some object that your sculpting and making it, uh, a little more easy to work with for things like animation and stuff like that. But, um, let's say, for example, you now want to, uh, take the detail that you have and keep that so, yeah, instead of taking all the details of your sculptures and getting rid of all that detail for the sake of making it a little more easier to work with, um, like for animation stuff. What if you wished to actually keep all those small little details at at the same time, Um, as making your actual polygons count less and stuff like that. So remission is what we learned about before, but the way to kind of re meshes of where, but yet at the same time, keep these details on your model, or at least projected on it is called baking Normals. So that's what we're going to learn about this video today is baking normals, and that's to lower the polygon Count on do like what we're doing in the last video. But at the same time keeping this details, Um, on this little object. So we're just sculpting some of these weird little details here and now. The goal is to lower the polygon count like we did in less video, but then keep all the details on. So let's see how to do that. All right, So once you have sculpted on, let's begin the process and similar to the last video go to general and layout. And now we have our sculpture in the regular layout window here, make sure you click on it and have it an object mode. So just push shifty, enter the M and press new collection. Just type low rez purse, OK and hit two on the keyboard. And what that does is it makes the lower is model now visible on the other original model that's supposed to be. The higher is hidden, as indicated by that little hide the view port icon there. And so the next step is to get rid of this detail for the low rez that is so quick on your low rez sphere. Make sure that selected go this tool icon and I'm gonna go ahead and drag this over here, so I have a little more real estate and make sure you have a quick add modifier generate decimate. And so now let's go into work wire frame that we can see and you can see. There's tons and tons of polygons, which are able to show the detail pretty well. But let's just collapse this a little and bring the polygon count down quite a bit. So the goal is to Let's hide the life frame can still seeing some of those details. So let's even take this down further. Uh, it's too much for 1000. Let's see why. Afraid? Let's do 5000 5000. So this is a lot of computations for the computer to go through. All right? So no, it said, Yeah, so there's still some detail there, but let's try to make it even less like, uh, perhaps 2000 or 1005 100. Their 2000 is good. You can see that the details now gone, and this is great for, like, a background object. But our goal is to project the detail, actually stick the resolution down even more to like 1000 88 96. Great. Yeah, so yeah, no more detail. This is definitely the road low rez solution and then just hit, apply. And now when you goto wire frame, there's very few polygons going on there. Nice. And so no, but you want to do is hit tab, Go to edit mode and just make sure I'll just cook a to select everything and with all the poly polygons and versi selected, hit you on the keyboard and then go smart UV um, on a project there. And then just make sure there's Cem these air click the right little bit and click. Okay, so now that that has happened, just go back to Hodja Object mood. And now we're going to do is make sure real estate is used well and bring in a window here like that and then also up here. And the goal here is to do Ah, an image editor have that selected and then known here have ah Shader editor selected. Just go to this window press end to get more real estate there and then go to this window T to get more real estate there. So to recap, we have our low resolution model here. But if you want on your keyboard, you have the high resolution model. So the goal now is to take the detail here and project it onto this low resolution model. So the next thing to do, just make sure you are an image editor. Then press do. We're gonna type in this whatever. Bake this and then do ah, star four. Makes it four times size star for winter and then click 32 bit float and purse. OK and the computer. It's no thinking about that and your school out there. It's a rather large image. Now we're going to be working in the shader editor. So I'm just using my scroll wheel to scroll in and out and holding down the scroll wheel middle mouse button to move around seen. So now you want to do is ah, shift A to make new thing and and and shift day go to texture and then image texture. Now you have a new little window here, and then go here to this button to select the bake, Which is your image up here, right? Nice and snow. What you wanna dough is click on this button for render Santee settings quick on cycles. And now this is the correct engine to do this and cook on bake. And this is the details now opened for these options. And yeah, so now you know where to do this. You need to have all of the stuff visible. And so first click on Quad Sphere and then pressure shift and click on your lower resolution, as indicated by this lower our darker blue. It's indicating the low resolution one is selected. And so now that that is all done, go down to your big settings and the cycles and, uh, go selected too active. Um, just type in one meter or so and no, that's pretty much it for the options Here. Uh, one thing I forgot to mention is for the bake type put normal and now just press bake. And so one thing I forgot to mention isn't instead of shift what you want to do, There was a little air there, Uh, you want to click on Quad Sphere and then press control. And then so now now it's what the what you want. And now Chris Bake, and it's going to take a while on this machine, especially to bake this texture bake. So I will just cut this video here, Come back when it's done. All right, So now it's baked. What you want to do is, uh, here you have your baked image. Just click this shield that way. If you perjure, restart blender, it's saved. And now go down here to this big citians here, let's learn about here. And so what you want to do is we're gonna be moving around these little windows here and press shift a and just go on the search bar on type in normal. And then it's like normal map. Put it there and color. Bring ah color to color there and then take the normal map and go, uh, normal to new. Normal. Good, of course. Make sure that here you have bake big selected. And so now what you want to do is, uh, drag us over a little bit and, uh, make sure that disk election is hidden and no, you can click view port shading report shading ana. So those details are now protected on there. But you could see it's kind of ah light colors so you can go to base color and just kind of Bring that down a tad or you can. It looked from here. Different options, but yeah. Um, basically, I was fine. Nice. Let's bring that actually lower. That way you can see even better. And there you have. You have your low resolution now. High resolution. So, um, if you let's just see that here. So if you select your, um, high resolution one, it's pretty much the same as your low resolution one. Um whereas there's way less, um, way less topology and ah, polygons in the low resolution one. But lo and behold, it looks the same as faras detail. That's the beauty of the baking normals. So yeah, I'm sure you can see the total benefit of this really great for animation and things where you have to have low polygon characters. But also the sculptor's work can be retained. Anyways, Blender makes it. There's a little bit of steps, but blender makes it nice. Um, anyways, that's that's it for this video baking normals. 27. UV Unwrapping: and welcome to another class. And in today's video, we're gonna be talking about UV editing and basically where I'm about to say kind of sums up, you ve 18. So I'm sure you have seen maps of the world. And so a globe of the world is as it is true on the Earth. You know, um, it's the way that land is. But then, if you want to take the world into a two d map, just a paper of the map of the world, then you can see that parts of Antarctica and Greenland, tops of Russia and places like that tops of Canada are all stretched out and look longer. Then they actually are, Um so yeah, and that's basically sums up movie editing. It's taking the three D elements and stretching it out in the two D landscape. Mary two d situation. So let's dive in. So the first step is just toe bleat our cube here about a shift day, and that's at a monkey mish. Just this is just toe try out this stuff and then under the ad monkey options, UnTech generate u V s because we're gonna be showing it to you today manually, and then go up to UV editing right up here and zoom in. And we have our, um our monkey. So, um, you can see here under UV maps, there's actually nothing. And so we want something there? No. So take a cursor over the model s U on your keyboard, and then press unwrap, and now you can see here we have the unwrapped UV of this monkey. And for sure, it looks like the Antarctica stretched out stuff. And northern Canada and Greenland. Ah, this is the rial on this side. On the right side is the rial interpretation of this polygons. The left side is a to d ah, vision of this. All right, so moving on, let's look at some other options, Have your cursor over the model, press you on your keyboard and let's press smart. You via project, and you want to make sure that these little margins are up. At least one tick there and yeah, suppress. Okay. And now you can see this is completely different. Set up in our UV. So let's continue on and search for more things. Have your cursor over the model. Percy, you. Let's press project from view. And don't here like normal, you can scaled the bounds and things like that. And Ortho graphic view. We don't really necessarily want that, but yeah, so this is really useful. For if you were to have, ah, the three d seen on you knew that no one would be, Um, you knew that the three D characters would only be seen from a two D perspective like it wouldn't be running around, uh, running around the character. They would just be looking at it. They're, like, stuck in one view from the front view. So yeah, that's example of that works. All right. Hope you learned a lot a little bit in intro to UV unwrapping. And there's a lot of options. Encourage you play around with them. And the next video, we'll learn a bit a little bit more about UV rat unwrapping. Thanks for watching 28. Unwrapping with Seams: welcome to another video. So in the previous video, we learned about UV unwrapping as it pertains to blender and its default modes and stuff like that. But in this video, we're gonna be introducing unwrapping, uh, using Seems eso kind of more of a custom approach. So to do that, of course, we have to add something to unwraps a mish and our trusty monkey again and then go to UV at a teen and let's zoom in here. Um, we have there we go. Our monkeys there. Oh, I just made a mistake. So that's Ah, control Z shift a mish monkey. Go to monkey. Do not generate you these because we're trying to accustom, do stuff so nice and ah, lastly Then we need to hit edge select. And of course, because we're going to be generating a seam. Yeah. Oh, and then, of course, press you and press unwrap and the perceive again and press life unwrap. There we go now were set up to generate our seems So having selected to on your keyboard or just clicking up here and Ed Select, he can go ahead and now click on an edge. But you can see in the left Here are you ve has disappeared. So you can do is hit this button. And, um yeah, you ve sinks selection that won't be making it so won't be disappeared. So then, uh, you can do is go control shift. Hold those teeth keys down, and then you can continue. Teoh, you know, select edges here. Nice. So it's keep on selecting those edges. And if you select one further away, it will short take the shortest path and so slick that hope. Really Don't do that. Um, select. There we go. But tricky there. But, you know, we're selecting them just fine now. Ah, up controls A You need to slick that one. That one. That one on. And that one. That one. That one. That one. Yeah, but tricky. But now we have a complete loop there, and we can do is then press if you right, click on your keyboard and then click Mark Seem now you can see the UV has marked to this seem for us, and you know, that's fine and everything, but I'm going to control Z all of that and de select what you can do. So you can actually control shift Click on, uh, that, and let's go ahead and click. Here. Click here. What about their All right, So that that's nice. And then you can right Click and mark seem. And now you can see you don't have to have a fish finished loop. You could just, uh, mark the scene on the back of the head there. Um, yeah, but at the same time, there's still some busy work in here that we can, uh, make a little less of a problem. So a general idea is Ah, let's go ahead and select around this ear here. So control shift. And, um, make sure you're, uh, double top aides de select everything and then shift control shift and your quickie. Now on these seems here. It is quite a complex thing to get around this. Ah, year. But you can do it. All right? Just make sure you have control. Shift selected out. That's a little bit much there, control. See you that. Okay, there we go. Now. It was a bit of work, but we managed to know we didn't manage Control Z. That and what we want to do is select that Now that we have that now we can right Click and mark. Seem you can see the ear is now, um, separated from the rest of it. Double tap aid to de select. And now, now, let's do same procedure again. So just it's like this stuff and slipped there. There. Yeah. I was just wanting to reference the other side to make sure I'm following that same pattern . Ah, yes, there. And then let me just make sure you de select that one instead. Okay, It's a bit tricky around those ears, but there we go. And then Mark seem nice. And now the ears don't have a de select everything. Now the ears are seemed out there. Nice. Yeah, So you can see. Um, we're doing pretty good. Well, with our selections, there's some busy working here for the purposes of this video. I just kind of kick started you. But there's another thing I want to show you is you can see here these, uh, you ve zehr quite close together. So we don't want that, cause in case you're painting on them, you know, went like spray paint over spray on the other one. So you could press UV and then go down to pack islands and then press this little button and you can just select these margins. So there's some distance. There's quite a bit of distance. Don't need that much. But just anything about like that. That way, there's at least some distance between the islands. Well, that sums up for this video. In the next video, we're gonna learn out of paint, and, uh, that sums it up. This video of Maine, um, piece of wisdom that you learned was the market seem selection. Thanks for watching. 29. Texture Painting: All right, Welcome to another video eso First step in this video's delete that cube and what we're going to be teaching learning today is, ah about painting texture on object. So first, let's bring in an object shift day mish monkey. Just an example situation. And, of course, uh, to paint. You need to go the texture paint tab. So now we have the texture paint tab and there we have our monkey. It's nice and pink, ready to be painted. And so we see here this purple pink type color and what this means is at texture is missing . There's no texture at all. And so whatever you see that pink color, that's what that means. And in a similar situation, um, like color for, ah, world setting. If if there's a pink kind of color anywhere in this world, uh, that kind of means that there's a mission texture there. But yeah, we're working on right now is the smoky. It's pink, meaning there is no texture. All right, so to add a texture, what you want to do is, ah, you want to go ahead and go to the material properties and just press new and uh, so in based color, uh, it can quick there and click on image texture and all right, so then click new, create new image and ah, base dicks. Tear something like that and just purse. OK, great. So now you have your texture on your monkey. That was black. No pink anymore. In this case, it turned black automatically. But if it still is pink, go object mode and then go back to texture paint and it will reload as black. All right, so let's get going here. You can click this little teeny, tiny, microscopic button there, or it could just per send on your keyboard and then brings up your painting properties. And the same goes for this site as well. Um, are actually not really that this applies to both anyways, so yeah, um, over here in the tea for tools, you have the paintbrush. And down here you could actually click on texture. And you can actually add your own custom brushes if you wished. Um yeah. So let's learn a little bit more how to actually paint. So yeah, let's get going here. Of course, if you right click, you can choose which color nice and conveniently there. Let's choose the color. That's just use red or something like this. And, uh, there you can see I am now painting in the three d scene of the monkey. Isn't that cool? And as soon as I release the stroke, it then updates on the two D layout as well. And then over in here in the two D, you can actually go ahead and paint to D and live updates on the three d. So it's really cool. And, yeah, so you could definitely see how, um, that would be really useful. Um, especially since you know that's one of the big bonuses of Blender is being able to paint in two D and three D at the same time, side by side. So to be quite honest, that's actually quite it. You know, um, rather than paying, like, photo shop or something, you can just paint live here, and even if you're just touching up or something, that's really useful. And Lender calculates everything nice. And so if you're painting down here, calculates where to put the edges and, um, yeah, so this year here at updates over there this year they're updates over and the two D seen. And most of the time there's really ice. Seems there's no like hard edges between the paints. It's all just calculated very nicely. So and, you know, to be honest, that's pretty much it for this video. But yeah, so you could go over here and you could fiddle with a lot of sittings, like you could change your stroke, etcetera. So there's a lot to fiddle with, and I could make a lot of videos about painting. But I think the best way for you to learn about painting would be to just play around with all these settings and learned about all of this. Yeah, and I know I feel like I'm leaving something out, but it's actually quite simple. And that's it for this video. Basically, so have a good one. 30. Shading: All right. So today we're gonna be talking about shading. So first, let's just hit. Delete on the keyboard. Get rid of that cube shift day mesh monkey. Same situation is yesterday. Texture, paint. And yes, at a texture here. New could that and based color, image, texture and new and texture or something. Okay, that's so good. Turned black nicely. Okay, but then can go back to object mode. And, uh, texture paint can that way. Just reloads things a little better. And that's press end on the keyboard. Bring up some koalas. All right. Uh, so I think we had read last time. So let's just go ahead and start painting. Cem read, and you can take the rude es of the brush. The goal here is just paint whole thing. Well, not the whole thing, but enough so I can show you about shading. All right? Yeah. Here. You can make sure everything's painted, And if your brush is large, your computer may not be able to keep up entirely. All right? Everything is now painted, Mitch. Nicely. Okay, so now we are Step at step one for the shady on. Of course, the goal now is to go to shading Just cook on the shading tab. And now we have our monkey nice and painted red. Now we can deal with the shading. All right, So, uh, before we do any shading when you go to the modifiers add modifier and just go to generate subdivision surface. That way, it's some divided a bit and right click actually control F tab, um, and then edit mode and then control if and then just shade smooth and then tab again and would go back to object road. So now it's nice and smooth, and it looks fairly close to what we would get in a final render. So, yeah, this is, uh, just give you a brief introduction here. Course we talked about before, but report shading here. It's ah, looked of type moans You can click here, and this rotation thing can actually change your lighting so you can change the way your object is lighted. Um, yeah. So that's cool. I just wanted to show you that so exploring a little more we have done here are, um, our nodes or whatever. And there's a principle be sdf the texture and material output. You will always need a principle Be SDF in a material output and you can also add nice things like textures. But yeah, basically what this does, is it? It is the data or whatever that makes all the shading happen. So this principle be SDF has all these options here for shading. You can actually go here and see some of them as well in this material properties, of course. But all of them are here, and this is where you add it all your shading properties. Basically. So one thing I want to show you is something called subsurface. Uh, so you can actually turn this on a bit or off, and it's basically adding kind of a milky texture. And subsurface is good because you know, our human skin, our skin on our bodies. Actually, if you think about it is when there's color in this when we're looking at other humans, it's subsurface kind of the skin. Yeah, obviously, because you can you can put your fingers up to the light and you can see the red, but capillaries and different whatever so he could see that it's red. So it's subsurface. So that's what subsurface does. Continuing on down here. There is a very nice feature called metallic and a change it it just changes the whole thing to more of a metallic look. So, definitely, if you were modeling a car something this would be good property to add to make it look makes and metallic e and continuing on, we have roughness. So roughness, as you might imagine, is the degree of roughness. So if you turn it off all the way, look at that. It's really shiny and nice. But then if you take it all the way to the rough, it's like a real soft plastic type dough or something. But here it's like glass. But in the middle of you might imagine, like we had just in between those two. That's roughness. And down below here is called clear coat. Uh, you could just Dre Okay, clear coat. Um, they go quick coat is nice, because it actually is kind of like subsurface. And this roughness combined. Yeah, anyways, but that's clear coat. Um, like, turn it off now. All right, So then here's a mission. This just kind of allows you to admit some light from your object, and then Alfa allows you to have some like transparency of for your object and things like that. So that's that's a bit of an overview of those nodes. Principal GSDF. So let's play around a little bit here. We played around with our advanced B S d f thing, and if you might have noticed the cursor just kind of updates, you can scroll endlessly. It's nice. So let's actually add another thing. Shift a and let's go to, um, Shader here and do, uh, see diffuse B S A d f. And this is like the basic one. And so, But in order to have that work, you have to connect it to material. Put your connection press control. Okay, Yeah, it was control. And instead of clicking like this, it's right click and you could just cut. That's now. There's nothing, and then you can go drag that to the surface, and now you have a new color and settings for your monkey head. Yeah, so let's continue fiddle and what you could do. You can change the color and stuff, but nothing you could do is you can actually drag the texture color over to the color, and you can see now it is using the texture color. And there's a little bit of roughness here from the diffuse BST of. But it's nothing like the principal be SDF anyways. That's just a brief overview of this whole situation. And now you have learned the basics of shading and shading is really awesome. And blender, Thanks for watching. 31. 3D Animation Overview : welcome to another video. In this video, we're gonna be learning about three D animation. This is somewhat of an overview of it to begin with. Course, we have to do that first before we get into the to the nitty gritty. But anyways, so three D animation is basically just making your objects come to life, and they're animating them. Blender does that really well, So let's learn how to do that. And blender. So yeah, animation. To do that, it's best to click on the animation tub. No, we're in the animation. And so here you can see um, the camera. I just pressed g to move it around. And that's what shows you the the animate, the rendered frame. Whatever the This is a viewers perspective camera here and down here is the dope sheep. And over here is the same properties type, pal. But if you quick here right there with the nice quick and hold nice, the cursor changes to this cross type cursor. You can dragon another option here, and from there you can click on, uh, the graph editor there. Nice. So to animate blender, you have to add key frames and the way to do that is, well, first quick on the Cube and then click I on your keyboard. And now that brings up a bunch of options. And in this video, we're gonna be talking about location, rotation scale and even a little pop up, says insert key frames for satisfied. Keating set for this cube a key frame. It saves the location, the rotation and the scale. They're just click that, and now you see the location, location petition in the scale are saved. But, um, that's kind of cumbersome if you want to animate that way to press I and quick irritation or occasions that you could. But I you know, bringing up this thing would be nice if it was easier and it iss so just quick there, that button and what that is is it's auto keen button to make sure that works quick on this keen and then up here quick that and click location rotation scale. And now it will be automatic. The location rotation scale. We'll add automatic key frames. So let's take the first step at animating, so you just have to click here, click and hold and drag over here. Um and it doesn't really matter. But we're just gonna put over here somewhere. And, uh, And then what you need to do is, uh, this dragger seen over here a bit and quicker cube impressed g z or why, actually and move the cube over here and now you can see the cue frames automatically. I went in there, but you can actually press, are and rotate a little bit s. And you could skillet a little bit. And then you can click this over here or something like that, and, uh, let's see, G, that's Ah, Move it on the X axis over here, rotate like that for something and then scale it too small. And so now let's move this back over there and then in blender. If you wanna watch your information, the way to do that is to for space bar. So it's per space bar, and I can see the animation going. The location, the rotation and the scale are all saved for that animation. Let's do that again. It's pretty cool. You're well on your way to animate it. And blender. It's quite simple, really. Once you get the hang of it, especially with the auto key frame feature. Very nice. So I'm gonna show you if some shortcuts If we press space bar, we can see that the cube actually goes out of the camera. And so to fiddle with that it action might be. You know, you could actually move the camera here a little, but, um, instead, let's all right. So instead, instead of moving the camera, well, let's just controls either hold of that, All right? So instead of moving the camera, But you can do is just kind of edit it to remain in the camera, make sure it stays in the camera. Could see it went up to the top there. So, um, but especially in space bar and slowly going through the scene to figure out if it's in the camera could take a while. So we can do is press the up arrow key to go the next key frame or the down to go back and then, alternatively, the arrow to the left or right you can take, then just go even more slow. But still, it's an option. So up Carol Key is defined most useful. Quickly. Go back so you could see the next key frame is out of the camera, for sure, so G and you can slide and then go to the next key frame and let's just slide it back into the camp. So now go back and press space part and you can see now the whole animation is playing within the camera, and that was able to be edited quite faster, using up a narrow key rather than pressing space every time and figuring out the key frames because, yeah, anyways, that's good shortcuts to know. All right, so one more thing I would like to show you is down here. If you type in like 100 or something, it will loop. So your plane and it stops at 100 then loops back from the beginning. So that's a good way to when you're editing. So the full before, uh, show is actually about 200. So let's type 200. All right, so now it will loop at 200 will show the whole animation looping as a really good feature. If when you're editing animation to make sure everything is fine tuned, watch it over and over again. All right, that's a good overview of animation and blender Hope you learned a lot and, ah, looking forward to showing you more in this upcoming videos about all about animation and blender. Thanks for watching. 32. Pose Mode: eso Welcome to another video. In this video, we're gonna be talking about pose mode for as it regards to three D animation and blender. And so it's not readily available. Like if you go up here, you don't really see oppose mode or anything like that. So we have to two is per shift eight at a new object and then go and just quick armature. Now, of course, we see here the armature little bit visible there, but it's inside the cube. So to make it visible quick on this little the object out of properties, the running man, that's kind of indicating oppose the winter and then click on view port this, uh, display right there and then click on in front on. Now our armature is displayed in front of the cube, and with that zoom in a little. And first let's quick on this cube and then cook, uh, shift and then click on Ah, the armature. And then what's that set up? You want to do that in that order, not the amateur, and then shift and quick the cube you when you cook the cube and then shifting quick the temperature. So what's that stun Go shift. Uh, shift shift, Teoh. No control. P. Sorry. Make sure Control, P. And here's where you get the set parent to for objects and things. But when you have are immature. Um, this bright yellow instead of the orange means it's the last object selected. So control P armatures. No, some options here, but let's just cook bone for now. Oh, and there you have it. So it's de select everything and then click on the, uh, armature are now the bone or whatever of this object and then do control tab are actually just tab press tab and go to pose. Of course, you can look, pose up here and yes. So now clicking armature eso Now this armature is the bone of this cube. Yeah, So since we select a bone, it's like the bone of the scoop. So to demonstrate, having selected the armature g and as you see is you move around the cube. Our I'm sorry. The armature. The cube now moves around. And this is because we're imposed mode press are and you can rotate s and you can scale. Um, do less stuff are Yeah. So that's the power of Poe's mode, Jack. Sure, the Ault s Ault are all TGI can everything defeat default, just like if you were in object mode her it, um, or edit motor, whatever with the Cube, it would, um, just like the post mode. You know, what's awesome with pose mode is if you click on pose right here, you can see there's a ton of options for posing, So there's a lot to learn about when it comes to posing. So, yeah, with with this armature pose stuff, you can do key frames with it, too. So quick, I on your keyboard and location, rotation scale and so uh, is like normal key frames and stuff. So if you press keen some something here, let's just hit location, Rotation scale for active Keen set That way when we pressed I it does that her and then, ah, new keeper him type. Now this is just, um, it's just it's just user interface. That's basically it. So let me give an example. If we move this over here to, like, 100 or so, go to keen, uh, purse extreme and then Chris I and so we have added a location prediction scale. Um, and it's all see, it's a different Icahn now, as compared to the yellow over there, it's red. And that's all user interface. Basically. So, Yeah, enough. That's just user interface. But now we're gonna be actually doing some stuff. So let's take this armature here. Let's go ahead and, you know, on this 100 let's Ah, move it over here. You can do a lot of stuff. You can rotate, compressed G and move it. You could scale it. But the important thing is that we have Okay, so that didn't work. So it But you need Oh, uh, you need to press auto keen That way. It's automatic. The key frame, location, rotation skills. So now let's move it to 100. And now let's move it. Let's just see if that worked. Yep. So that worked. And, um, yeah, so over here you can actually do a lot like I was saying scale. So that whole thing changes just like a normal animation. Could I have made it a little bit of a mistake there? So I'm gonna delete that key frame, and then over here we'll do the rotation and scaling, and then this key frame. I'm gonna delete that key frame. There we go Now. It's nice and smooth. Good. That's what we wanted. Just like a normal animation. So let's let's play with some of these posts in the pose mode. So if you take see, it's 107 the key frames. So if you put it like 1 52 or something, that kind of like in the middle of the animation and what we're going to be doing is using this break down tool and you can see there. Ah, the shortcut is shifty, so take your cursor onto the armature. Make sure that your cursor is on the armature and press shift E. And now you can move it in its animation and you can favor one side. So let's favor this site quick. And so now let's play this animation you can see on the left. It's slow on the right. It goes fast. So let's control Z that that shift e And now let's favor the right side so shift and you can see it goes fast and then slow on the right. So that's a really cool thing. Is break down er tool. So Yeah, one more thing I want to show you before this video was wrapped up is we can see I didn't do it really evenly, but one of seven is Thean frame. So let's go 107 there percenter. And so that is Now our animation ends there one of seven. And, ah, you can go to pose mode eso uh, instead of this pose menu. I I want to do something first. Goto like frame 80 are 76 or something and then just right click in the canvass the scene. And then you can press calculate motion paths just quick that I make sure that the end is 107 It's all uniform and then click OK, and it's a really cool thing you can see after having done. Our armature are big donor tool. You can see the the path of animation inducts so you can see in the middle goes a lot faster dot, dot, dot dot and then in the very end, it's really slow because of our breakdown or tool. All right, so there's one last thing I want to show you before this video's up, so let's take our thing. They're moving into like they're so and then Now let's move the Cube. You can see it's kind of like pulling out of that motion path just quick. And now the motion path is calculated accordingly, and here you can move it around, and it totally changes. According to the It's that you dio, it's really cool. Anyways, that's enough for this video That's about pose mode in animation and how it's really helpful. Just a few examples of what you can, uh, do with pose mode as regards to animation three D animation. Thanks for watching. 33. Drivers: welcome to this video. This video will be about drivers and Ah, a little noon secret of blender. So drivers are like a light switch, if you think of it. So a light switch to turn on the animation there like a trigger or something. So without fumbling over words, I'm going to demonstrate to you right now. So the first step of demonstrating it to you shift a and quick armature. I am. I are richer now, just like the last video. But now let's go to this running guy here, the object of properties, which shows up when you have an armature selected, go to view port display and press in front so we can actually see the armature. And I'm zooming in here and yeah, I'm gonna put it over there for you will see why. So the next step of this video is to click on the Cube so you have the armature select a bit. Now we're going to the cube and automatically is here. But make sure that you are on object out of properties and under shape keys. What we want to do is press plus plus icon twice and have key one selected Nice. So now in the canvas earned the if you put display or whatever. Um, just three on your key, actually. Sorry. Hit tab. And then go to edit mode. That's the first step tab, edit mode, then three on your keyboard. Or just go take your cursor up to face select options there and then take and click on the top face. All right, so that's all good. And then hope toe s on your keyboard, and then we're just gonna take this face up about there so nice. And so now we have that all just it quickly to what? What I'm wanting to show you. So now let's go out of edit mode tab, object mode, and you could see what we did Just disappeared. So that's odd. But not so because under the ship keys key one value, you can drag that value upto one, and I will bring back what you did. Drag it to zero, and I will disappear. So that value is what determines that. So So the goal is with the driver. You want to control this value, so yeah. So the way to do that is under the value put your cursor right here over the value data. Here. Click right, right. Click on your mouse. And then here is where we add the driver. It's like hidden away in blender. You have to know what you're doing. Undervalue right. Click add driver ups. Um, control Z. So right, click add driver. And without moving your cursor, this little thing shows up. But what we're actually after is, um you know, if you get advanced, you couldn't learn what this is. But what we want is show drivers editor. It is. And now we have our driver editor. Great. All right, so with this blender drivers editor, uh, looks kind of complex, but basically, we have to do is press object and could amateur bone and cook bone. And this type is where the final act is done. Under type. Select that and go upto average scale, cause that's what we're trying to do today is the scale cause we processed on the keyboard to scale it up. And you can see when you do that every scale, it then reflects the changes, right? So I'm just going Teoh, take this. Minimize the drivers editor, And if you select the amateur Chris End on your keyboard. Um, you can see that the scales 111 there. Um and then, like matter if you select a cube, value is one. So those two are reflected. This scale is one. And this value this one. So yeah, let's bring up the the editor Blender Drivers editor. And there's a fix for this For this value one bar go here and changed the plus to a negative and chains a 0 to 1 presidenta. And you see now the value is zero. And that's the best way I find you can actually click here and figured out that way, but I find the bar negative was an easier solution. And so, without further do, it's quick on our bone quick tab. Good. Oppose mode. Cook on the bone again. Quick s on the keyboard. And now you see the bone is now the light switch or the trigger. It's the driver, That is, um uh, switching this No animation. And you could imagine this could get really complex with everything quite amazing. So drivers can come in handy that kind of hidden away. But there can be handy. One last thing I want to show you which controls you, that it's let's go back into the Cube Here are actually let's go to object mode become the Cube minimum range. Let's go negative to unwto. Maximum rage to enter. And now let's go back to bone. Good tab. Go post mode. Click the boat, click s on the keyboard And now you can see you can actually go both ways because we put negative to our positive, too. So, yeah, nice. Well, that's pretty much it as faras drivers in blender that I'm going to have in this course but encourage you to really learn about drivers and see what they could do. This is a sample of what drivers can do and the power that they have. Thanks so much watching. Ever have a good day? 34. Graph Editor : All right. So welcome to another video. This video is gonna be about the graph editor in Blender, away to control animations. So to demonstrate this lettuce animate So go to keen here, Go after King. Active, keen set location, rotation scale. So that's now on there and then click the life. But there, that way it records animation, key frames, and for for this here, just this up a little so you can see it and all right. Okay, so now it's prison press I and then do and you can see as we move it around, the key frames were updated down there, right there. Yeah. So you can rotate and move it a little, g and, uh, scale. That's just it doesn't really matter what we do, because this is simply a way to demonstrate the animations, because we're gonna be using that graph editor. And, you know, right now we have interesting animation here. Quite odd, but an animation nonetheless. So the next task for you to go in this corner just right in this corner when the cursor changed to this cross, cross their type thing and let's bring up this graph editor and then the graph editor is here. Uh, so to do that click this button here to choose and then press graph editor. And here we have the graph editor in Blender. Let's learn about this graph editor So things they're kind of chaotic right now, So to make it a little more noble, pests normalize. But now it's just one little thin strips, so you could press view and then their first view selected there. No, things were more organized for our purposes. And if it's too large or something, what you can do is press control and middle mouse button. You could squish it or size it according to which just move the cursor around and you can move it around the way. Wished where convinced Shift in middle mouse and you can move it around like this. Or, I believe, just middle mouse as well. But nice. That's for organization purposes. That's nice. Just, uh, to mount a little bit here so we can see this cube animation better. All right, so in this graphic torture, you compress G, and you can move your animation along like normal. Or you could press G and X, and that will make it along the time They're just normally or G And why? And that will move along the values, um, you can scale so you can make your whole automation like, larger. Um, and then also you can rotate. Rotating is bit confusing for me, so I don't do it. Controls the that. But you can do rotating. So something else. So I wanna show you. So we're here. An object transforms. There's these details. Um, so I'm just gonna move this out a little bit so you can see better. And this is like X location, rotations and scales so you can actually take and drag box here over these and then press shift H right. And now you're X Y and Z location are the ones that are selected, and the petition and scale are not selected. So you can know only deal with the X, y and Z, Um uh, location, not the rotation or the scales, as you can see by the animation that was just played. So, uh, to continue, I'm just gonna go ahead and turn all of those back on And then in a press, uh, a to select everything. Now, the next thing that I want to show you is if you press shift e shift A. It's extrapolation. And so So having selected everything. If you go to shift E, you can see X extrapolation, and right now it is on constant extrapolation. You can see as evidence by there at the end of the key frame. It's just constant. If you go shifty and make cyclic, you can no see. It's, ah going to replay the animation over and over again and so, continuing on that concept, you can actually press t. And here is the, um, interpolation a Don't pronounce that totally correctly, but right now it's on this one. But if you press linear now, you can see the animations just a little more linear and its way of moving. And if you press tea and go to Constant now, I can see it's really blocking animation. It's almost like I stop motion type animation that's not really well done or something, but bait Busier is the one that I like the best, cause it's most smooth, but you never know. He might like the others as well. So one more thing I want to show you in this brief video about the graph editor is if he prints V. It's right now on Auto Clamped. But if you go automatic, it changes things a little more, um, to be to its automatic way of doing things can press vector now. It's a vector type situation, Uh, but let's go back to a crimped and that's what we had anyways. That's That's the graph editor in Blender I just wanted to let you know about. That's a really important little tool for animation and encourage you to play around a lot with this graph editor. Thanks for watching. 35. Basic Rigging: welcome to another video. In this video, we're gonna be learning about a basic rig for a character because we have been learning a lot about animation. And so now we need to learn about how to rig the characters so we can animate them. Well, so quick on this cube, delete starting a fresh with blender and then shift a press armature and then shift again. Miche and monkey, they're so the next step for this basic rigging is to press one not on the keyboard, but on the num pad. Um, or you can, ah think it was view. Um uh, few port front. There we go. And so we can zoom in here and we have the monkey. And if you click that little dot up there, that is the armature. So let's go to this running man like we have done in the past this, uh, object of properties and press in front so we can actually see the armature. And then let's cook click Bone properties. All right, so now we're ready to do this basic rig. Let's Ah, cook Tab going to edit mode. And yes, so we're cooking the top little ball up here and you want a press e on your keyboard and you couldn't bring out a new bone for the rigging. So I want to put it, like at the base of this ear Here. Of course, if you move the scene around, you can see it's not on even on the ear. So press g and then why? And let's make sure it's close to the ear there, Um G and let's move it a little bit there. G y they're all right. So we made sure that it's, uh, let's just move out there now. It's, uh, at the base of this here and then press one again to see the front of the monkey. And and so, having this selected ah, we can go appear to bone 0.1 and we're actually going to name it left ear something percenter. Um, actually, move this up just a tad. There we go. 1st 1 on the num pad nurse left here. All right, so the next step is to press on the armature button appear and then what you want to do is press symmetry rise, okay? Actually, quick on the whole, um, bone and then quick symmetries. Now it has made another bone on the the right here. And you know, that's interesting, cause its left ear, it's right here. So blender is smart enough to name the right gear because you'll named left here. Um, yeah, so that's really nice. But if it for projects didn't say named it something weird and blender wasn't smart enough to understand that you can go to our mature names and auto name left right, eso The next step is to either tempt this little microscope button button there, press end on the keyboard, go to tool and then goto X axis mirror percent on the keyboard, and that X exit smear makes it. So when you do click on this ball here right there and press E, it will, um, see, on the right year. It's doing what you have. Its symmetry mode, basically. So then let's go ahead and plates up out there, then place E for another one out there. Very nice now, as we see is we swim around, rotate it's not on the ears, so press g and why? And I'm gonna move it into the ear there. Click on this one G y they're So now we have press one on the num pad. We have the armature set up the way we wish. All right, so we have the basic bone structure now. So what you want to do is press shift and then slicked, Uh oh. Sorry. You have to go tab and go to object mode and then de select that So then shift and select the monkey and then shift and select the bone. And basically, what you want is the armature to be a lighter blue and Suzanne the monkey to be a darker blue or over here the monkey to have, like, orange border and the bone to have, like a yellow type border that's indicating that the bone was selected after the monkey ass said the next step is pressed Control p And so here we have armature deform with empty groups meeting with no weights with envelope weights or automatically some nous select automatic weights and you can see that much has happened. But if you ah, select the bone here tab, go to post mode. You can see here. Uh, if you press are twice I can see now that you are with the bone moving around. You were model, so you can see, uh, are twice. And we really moved that year back, so are twice and you can see move the entire head. I'm not gonna do that. But point is, I moved here back, were actually rigging our monkey here and moving it pretty awesome. And so the last bit of knowledge that I want to show you today about the basic character rigging is ah, you can see So click on this and then shift. Click on this bones. We have to hear bones selected. The two bones we edited Goto pose, and then just copy pose, and then go pose again and pace pose flipped. And I can see the here on the other side is now edited just like the year in the left side . And that's because, um, it's here, left here and right here. No, the naming convention. So blenders really sparked that way. It's really nice. Anyways, that is the basics of character regain and blender. Thanks for watching 36. Weight Paint: All right. So welcome to another video. If you don't know what this is, please watch the previous video. Because I have this set up, uh, for basic rig and but something some one of the customers told me was they saw that, uh, when I pressed Tab, this little radio menu pops up, so I'm going to show you how you can so edit preferences and key map. Just make sure that's there. You couldn't untech tab for pie menu. And now when you goto tab, it just goes to object mode Edit mode, object mode, edit mode, object mode, edit mode. I guess the only reason why I have tab for Pie menu is just because I like having this little radio menu a shuriken go click up here for the all the options. And it's a lot quicker to just press tab to go to edit mode and object mode. But I like to have it just available for, like, pose mode and other modes. So that's just I just wanted to let you know at this tab for pie menu could turn it off or on whatever you wish for this course, I'll have it on anyway. So now we're gonna be talking about is we'll go to Tab four If you have a tab on just for object in edit mode, go up here, press pose mode and you know, quick there double quick are on the keyboard and you can see as we move around it's decent , but you can see like the ice socket is now moving totally in weird directions. That's not very nice. If we want to move our monkey and have the eyes still, you know, in a reasonable location control Z that and we can double our and no, the ears decent. But you and see now right there. Part of the head is moving. So what if we don't want that? So this video is gonna be about wait painting And that's a way to make it so you can move things. Ah, a little more logically. So yeah, let's dive right in. Basically, the next task to achieve this is to go to the object out of properties, a little running man and ah, display as quick that and quick stick. Now our bones are displayed as a stick instead of the regular, um, octo head dro octo head drill. Whatever you call that, you might be laughing right now, but whatever. Let's do stick. And yeah, that basically makes it so we can see underneath instead of having this big, fat doctor octu head roll in the way, um, stick and then go to object mode and then click on the monkey and then go down here. Object mode or tab. Um, if you have the radio menu on for tab and quick weight paint and now you're in the place that we want to be this, uh, I'll explain this about this, and this is how we can make our object able to be rotated and moved more. Um, just a little better. So let me explain this, um, red right here means that it's completely attached to the right year bone. Um, and then the screenings, it's less, and blue means that it's completely not attached. So that's the bone. Uh, it's kind of black now, but you can actually still cycle through the bone. And so this right year point double 07 is the very tip of the year. Right here, point double 03 is the middle bone, and then right here, of course, is that, uh, bone going down from the top of the head to the base of the year. And you can see as you select the different bones, the colors change. That's because, uh, it's showing where it's able to be. It's attached to Not. The red is attached to green is slightly attached, and blue is completely not attached. Now, let's get toe weight painting. What you want to do is click this here in the stool. Goto wait good. And zero. Yeah, Go back to the this icon upside down triangle icon, object out of properties. And it's quick. This right here. 003 and basically what you're doing, Let's press f and you can change the size of here brush and what you're doing, Seo, you can paint over the green. You don't want that. At least I don't want to. Uh, what you're doing is just making sure that no, the base of the ear is blue that way, the head is not moving and it looks pretty good, but yeah, basically just making it. So when you move the year, you're not moving the head and I compress f to change the size of the weight paint get more precise. Um, there we go. And let's go to the next year. The tip if and you could see a little bit of green there, this is obviously better done with a they go wakame tablets, Something like that. There we go. And what you're doing this to you? Just doing it so you can move around the ear without moving the head. All right, moving on. Now let's click on the right here, and you could see the problem here When you move your head. Uh, the right side of the head of the monkey you can see the eyeball is completely having no wait, it's ah, it stays stationary as you move the eyebrow on different things like that, which we don't want, that we want the eyeball to move as well. So to adjust this go to actor tool in which space settings and increase the weight just up a bit for you can actually, right click on your mouse and you could increase the weight accordingly as well, as well as the radius and different things like that. And so what this is doing is it's making it So you know there's some weight to it and where going to paint this I And the purpose of this, of course, is to make it so the I moves along with the eye socket and eyebrow and all of that nice. I think that's good enough. You just want to make sure it's all wait Great painted in there. So now there's one more thing I would like to do. Uh, we're here. We have the right year selected. I would like to go back to year goto Wait, just turn it off completely. Or I could just done right click, But nevertheless, and I want to just kind of paint, um or unpainted. Whatever you call it this side of the head make a completely blue and not necessarily completely on top of this head, but basically to make it uniform. There we go. And just this side. That way, when you do move the right side of the eye and the eye brown things, you're not gonna be moving the other side as well, because, you know the other side, we want to move with the other side's bone. Okay, so yeah, pain over this nose and mouth and things because later we can add a bone to That's Well, okay. Yeah, Just make sure it's completely blue. All right. Good. All right. So now let's see how this works in a press tab. Or you can actually just go up here as well. Object Mood. Oh, aren't actually just go ahead. Uh, not protect object mode. Click on your monkey and you can click object mode. Click on the bone. That's where the stick is. Not quite. It's nice. Sometimes you want turn it back that we can actually click on it, but I'll leave as a stick for now. Go to pose mode and now click on your bone. Double quick are I know you could see it's a lot more nice. It's moving along. The eye socket still needs some more painting Probably. Yeah, this whole head is now moving along when you move it because that's what the weight painting dead. And for sure this here, uh, you can see as you move along. This here, this head isn't the head part, is not moving with it, except for maybe that right there, but nice. And so you might be thinking, Well, that's fine and good and stuff. But what about the other side? Since this is a symmetrical model, uh, let's go to object mode. And then let's go to wait paint, and let's actually bring this down here in these object out of property section and what you want to dio Since you painted nicely, this right side gonna take left anything with left and just remove the veritext group. And you might be thinking with this crazy. But then and now, since that's all done, you can click on right year Little drop down button, right click here. Click Copy Vertex Group. Same with the right ear copy for Tex Group. And lastly, copy. Protects group. Make sure that you have all the right years copied. And at the end, there's right year underscore. Copy, underscore. Copy. All of them are copied. We're not gonna be worried worrying about renaming them currently, But now make sure that you select the copied ones. And since you just copied it, uh, it's not totally achieved. What we want, what you want to do is click on this thing and then mere took for text group, and it will just take the weight paint that you did and move it completely to the other side. And like I said, this is good for, like, a symmetrical design like this. Um, if you don't have a symmetrical design, you could try this mere Vertex Group topology, and it might work. But you may have to manual paint the whole thing, but for for smart, symmetrical thing, this is really ice. All right, so now let's get to renaming this. You just double click like any Windows or Mech folder and change the word right to left center. Well, forget you should also get rid of the copy. Now, enter right click, change the right word to left and get rid of copy and just go down and do that to all of them. Otherwise, things could get a little confusing. It's important to have all things organized with folders. Whatever program there in. All right, go back to object, mood and, uh, quick on. Oh, sorry. Go back to object mode, click on the bone and go to pose mode. Click on that double click are And you can see now the other side is moving, just like, um, just like the other side because you smeared the object and stuff So great. Mere the bone. Yeah. So this whole situation of weight paint is really, really important for character animation. It's really, really important. It's pretty paramount, actually, for animation because yeah, without it, characters would look a little confusing as they were, um, running along or something like facial expressions and things the eye sockets would removing in the eyes would be able to seen eyeball and stuff. So you really need to have the weight paints. All correct. This is just a small sample video of how all of that works. I hope you enjoyed. Thanks for watching. 37. Make a Rig: When working with Blender, it is useful to have assets that you can, or any other thing like Z brush or other software. Three D modeling software It's good to have assets that you can use over and over again to save a little time. Thankfully, Blender has some of those in the form of add ons, and today we're gonna be looking about at a rigging solution for human character. So to do that, go to edit and preferences and then click on add ons. All right, so there's a lot of add ons. A lot of them are not even installed. Eso What you want to do is go to search and search for rig Rick. If I so rigging rigour, fight right there, click on it and it will take a little bit. But And after clicking on it, it's now installed. All right, so now cook quick there, click on your cube, just hit the delete key and now shift a and go toe armature. And now, instead of well before armature was just one button. There was no drop down menu at all, but before it was a single bone. Now there is human Meda rig animals and basic things like this, but we're going to use the human meta rig. Here we go. There is a basic human, uh, rig that pretty much solves all the joints and things and even facial features of a human model. All right, continuing on. So there's this nice little rig. What I'm gonna do is we're gonna press one on the num pat. Not the regular keyboard, but the num pad. Alternatively, you could view, uh, Vieux Port front, but yeah, and zoom in here. There s one on the number bad and zooming into the face there. All right, so now the next task is I'm gonna press a shift Ray click. And so I repeat that again. Just shift right click. And that takes our three d cursor here and just kind of put it in the middle of the head there. That makes it so when we add a new object to the head, it's in the middle of the head, and we'll do that right now. And now I'll just have the monkey mish. So shift day mish and go to monkey. I'll definitely need to scale that down, but yeah. So the goal of this is to have this on the monkey in the head area. We're going to see how this ah, human rig will work. Well, for that, we're just gonna be dealing with the head monkey head right now. Okay, I'm gonna move around here a little bit and compares G and why? And we can move it according to position of the bones. Okay about there. Now it's one on the keyboard again. And next I'm gonna click on the bone structure that regain and then click data object of properties and then, ah, view port display and cook in front where you can actually see the bones. And so, yeah, we have our bone structure here, Uh, quick, this little microscopic button here, or press and on the keyboard. And, uh, let's go ahead and click on the monkey and right here in the X. Just press zero and enter. Make sure that's zero there and again. All right, so now we have our bone structure are rigging, and this human rig is really nice. Has all the joints you need for a human model. Um, as you could see, there's joints like the knees, hips and twisting of the hips, the spine, the feet with all the joints in the feet, arms, hands and all the fingers and especially this face. Now this face is not built for this monkey. That's a good thing. We can edit it and help. It worked out better for the monkey head. Okay, now the double tap A to de select everything. And now you can actually edit things. So it's it's looking here, this complex structure of bones here find something to move. Let's click on this here and you can you can actually press G. Why? And you can move it there controls the that. But the better thing is press spin on the keyboard. Uh, goto tool here and then goto X access X axis mirror percent of the keyboard to minimize that g y. And now, as you move that it does the X excess smear. That way the face bone, the editing of the bones in the face are done in symmetry mode. Basically, I'm going to move down the mouth, so it's not correctly positioned. This is more position for a human, So what you can actually do is press control, or I mean shift. Sorry. So quick. One shift shift. Shift shift, actually. Shift shift, shift shift. Don't like that big one there, Compressed G and Z and that will take and just move down all those there out. You can edit this a little better here. You could move these around here, press G. You can move it closer to that What this mouth actually looks like in this monkey. And if you want to select both them and instead of clicking, shift or whatever and of course you can do that. But then it doesn't slick the other compress beyond your keyboard, make a little box, Just kind of drag over it. And then it was like both All right, there's our face. Just do you Why, that little bit? There's our mouth. Rather nice. You can see how that can be edited decently. All right, so that was decently difficult. Way to make it a little bit easier to go to this object out of properties. Go to display us and stick. Now you can see it just just a tad better. And so now let's move up. Some of this is data here. If you just click on one point and press G. I won't select everything. So it's important to press be drag a little box and then you'll slicked everything there. So let's move it up here. There we go and then be make a little box. Hopes so double tap a de selecting be bucks. Now I can move stuff there. G y. That's a little closer basically. So double tap a DJ slicked everything Be little box there. We're just trying toe match up this to the monkey instead of the human skull that it was built for anyways enough that now it's fiddle with the I. All right, so now let's focus in on these this I hear, and you can actually go here to this magnet. Click on that to make it snappy and then click Vertex how a. It snaps to the Vertex points. So was pressed G and let's snap. This is for text points because this is the eyebrow. And so it's not quick that, and were snapping it away to the Vertex points. Uh, just adjusting this that way. It's more along the lines of this eyebrow of monkey instead of the eyebrow of, um, the human that was built for just like that. Let's do this for the I as well. Yes. You can see how that poops. It's important to press B and in select them. You're selecting multiple ones. Double top agency. Select everything B and G. So you can see how that this, uh, vertex snapping is quite useful in this situation. Sometimes just not totally according to what you wish. But you can always edit that later. Sometimes you have to move the thing around just so you don't select other bones. Okay, there we go. But there Oops, be slicked. G move there. I think that's good enough. That is our i more. It's better. Okay. And then just be select all this and then g let's try to move that in the middle of the I there. Great. Nice. All right, so that's enough for now. Obviously, we could continue on editing this rig according to the monkey head, but we read, we edited the mouth and the eyes and eyebrows and yeah, I think that's good enough for now for the purposes of this video to save time. So let's go back to object mode. And now if you're in a report display. You can minimize this in under the object data properties, and below that, you can see there's something called Generate Rig right there under the rigor. Five buttons. And there's advanced options here like you can rename it stuff. Uh, but let's close Hopes I clicked on generate rake so it takes a little bit. Um but so I didn't do anything to the advance opens options. But the end goal was what I wanted to do. I wanted to cook on Generate Rick, and you can see now it's generated the rig. All right, so now let's select the bones that we have here, And, uh, what you could do is go I m and then do new collection Metta rig. Okay, and then you can push shift to, and that will hide it. Now you're just see your rig instead of the bones can actually click it, and you can actually move it around and stuff like that s So this is the next thing that we need to do is we need to go back to Well, we're in object mode. Select the monkey and then shift, uh, click the rig press control P and the quick automatic weights like we have done before. You could see that kind of ruined up the monkey a little bit, but that's normal, believe it or not. All right, so now we have our rig here. You can go to pose mode up there and you can click certain things and you can move it around. And, ah, let's just play around here. Moving around. They can move the shoulders here, Chris. That's not attached the head. But basically, this neck type joint is attached to the monkey. So you could see if this what had a body, you could actually move around the arms. And, uh, from all of these, you can move things around and you compose it for animation purposes. All right, so that is Rick. If I and it's really useful for animation and things like that, you can actually press end on the keyboard. Okay, so I've been pressed end on the keyboard. You can go upto item here, and you can see many options here for rig layers and you can even turn off stuff. You could turn off all of this except for the head. If you wished the head rig Yeah. So that's Ah, a short video of how to rig your characters. Blender is fully featured for animations, for film and games for things. And this is just a short sample of rigging your characters. Thanks for watching. 38. Particles Physics: All right, So now we're continuing on in our blender journey. We have talked a lot about animation things. Now I want to talk to you about some particles and effects and things like that. So, um, particles and effects and blender Really nice. Really easy to use. Their really amazing. They're a great addition to things like animation. So the first step to do that is quick on this Q press delete and then pressed shift a go to mesh and press plane, and then all pressure s on the keyboard. Just kind of drag it out a little bit like that. Like so. All right, so, uh, next it's pressed g and ah Z and let's move up this plane about there. Click on the light. Just click. Delete for now. Move this whole up a little bit here. All right, So now, um, the next thing click on your plane and then go to Particle's properties. That's this button Here, Um, right there and then just click plus button particles. Sittings. It's so set up right now for kind of a rating effect. So play animation with this button here or like it says, the shortcut is the space bar. Now you can see it is raining. It's, uh, having this little particles effects. And it's now raining. It's really cool. You bring that back up animation. All right, so it's play around a little, Um, in blender, you could do a lot of stuff. So, uh, I figure the best way to show you is a few examples. So in the right here in the particle properties, you can go to physics here and let's look here. No, brown Ian is interesting, too. You can just click on it and moving up or down. Or you could just hit five and enter something. That and when you press space bar, Brownie in kind of makes the whole thing whole raining process have little variety. And the more you go up, the more variety has. You can see now the rain is really just kind of shaking around in. Each particle has its own kind of path, and it's a brown. Ian is what that does and drag dragon damp. These are basically making it slower. So damp grew so fast. And dragons Canada like that as well. So yeah, um, you can actually animate with this too. It's pretty cool. I'm gonna turn all those off for now. All right? So the reigning is awesome instinct things. But now let's look at something else. That's kind of interesting. Uh, so let's go back to normal and de select the plane shift day and let's go ahead and add a monkey. And then, uh, having the monkeys selection just pressed em on the keyboard, which stands for moved to collection. Um, let's make a new collection monkey. That's okay. And I can see Suzanne here. The monkey is in its monkey collection. Now it is press shift to on your keyboard, and it's effectively hidden this collection. Yeah. So now, um, go to the plane. Click on that. And nowhere in this particle properties. Let's go to render. This is the render here and render as, um collection. You can. I'm sure you can see where this is going, renders collection and then click here. Instance collection and click monkey. And now you can see. I'm sure you can see right now, but now you can see, uh, these are actually monkeys. It's raining monkeys. All right, let's continue playing here. Uh, so let's go up here rotation somewhere. I'm gonna minimize some of this. So it's more organized, and I'm searching for rotation right there. Okay, click on rotation Ticket and Click Dynamic, and I can't really see it here, but, um, okay, I can see them rotating. Now. You have to kind of jump bump up thes properties. And now they're just randomly rotating as they fall. So it gives a little more life to it. Life to the reigning monkeys. They're rotating and jumping around, just being all crazy, like All right. Okay, Casey haven't noticed. It's really hard to see these monkeys, so it's fiddle with that close rotation. For now, keep those effects. That's kind of nice Under emission, Um, let's fiddle with some of the properties here. So to 50 is about the animation lifetime to 50 because we want them full animation and number. There's 10th are 1000 monkeys Right now. Let's change that to, like, 75 or something like that, right? So now there's only 75 monkeys, But problem is, they are hard to see, So to fix that, let's close the mission. For now. Let's go back to render and under scale. You can see that. Um, let's go point, um 50. Well, they're real big. No, let's go 0.30. That's that's probably good. Now, now our monkeys are completely visible as they're animating. Very nice. All right, well, we have our monkeys. But now let's add something even more awesome to it. So de select the plane. I just have your cursor on the canvas here has shift a mesh And let's add a cube, okay? And go to tab and edit mode and, uh, double top aide to de select everything and then quick shift, click. That way you get both of them. G. I couldn't gz that Wade's like that. And, uh, now go back to object mode right there, and you couldn't scale it now and pressing s you can impress Z. You can actually scale it like that. But we're gonna press why we needed that. Uh, that and, uh, no scale, X. There we go. Now we have a plane there. Actually, it's not plain, but it's a basically an object that the monkeys can bounce off of. All right, so now what you need to do is go to here, um, physics properties. Okay, So you can see here this cube enable physics for collision. And so now let's see how that works. Cantonese. You now see, the monkeys are colliding off of the platform that we made. Pretty awesome, I think. And so I'm sure you could see the many, many possibilities for that. All right, well, that wraps it up basically for this video. Sure you can. We're not expecting this, um, to make training monkeys in a video here. But basically, what I'm trying to say here in this, um, particle properties here is that admission is port important. That's the mission. Um, philosophy and rotation are important to edit the way that it admitted objects perform and physics. Also important for that, renders Leslie important. Um, for obviously rendering it, uh, rendering the monkeys like we figured out. And then this show emitter thing is also kind of important when you render it with the plane. Be shown or not, That wraps it up for this video. It was a lot of fun making raining monkeys. Thanks for watching 39. Force Fields: All right. Welcome to the video. Last video. We learned about particles and effects and things like this in this video. Let's learn about force fields, and that's basically ways to interact with your particles in effects. Click on the Caleb first step, delete now shift a mish plane just like last time scale and moved the plane up a bit. But instead of moving the plane, let's just keep it there. Click on the light. Delete that as well. All right, so we have our plane here. Now go to particle Prepa Dues Quick. The plus button. Now end when it says end press to 50 lifetime to 50. And I was set to go. All right, So continuing on, um, one thing I want to do here is where it says start zero. And so here frame start is one start here is zero, and this basically will make it so it loops and there's no second delay or whatever for it to reset. And the next amazing thing that we're going to be doing is that scroll down missions what we've been editing so far. But now let's go to field weights right there And where says gravity. Let's put negative one enter. And now you can see um, we achieved the opposite of what we had going on last time. The gravity is going up instead of down because it's negative one there under field weights . Wow. So that's pretty cool, isn't it? It's like bubbles going up in the ocean or something like that. And this is basically what we learned, um, in the last video. But we're now gonna work with some force fields to work with our particles. All right, so let's go back to the beginning here. Um, we're gonna mean now, adding some force field. So to do that press shift a and then go here to force field and then vortex. Where? Texas. Pretty cool shift Z. Let's move this four text up of it As we play this animation, you can now see, um, you know, if we hide this vortex Ah, you can see that this is really affecting our bubbles or whatever. So it's kind of swooshing them inwards or something like that. But now let's go to here Physics properties. And here you can change stuff. So if you pressed 10 in here now, it's crazy. uh, So if you past five might be a little less crazy and don't worry here I put start zero and all of that to reset it that way. You know, it resets just a case. Things happen in control, the during our edits. So now let's go to inflow and you can see here let's suppose five for inflow and wow, Interesting. So let's see what happens when it resets. Okay, Same situation. So let's do like one. And so yeah, the inflow. That's pretty cool. Really interesting. Really Like a vortex, for sure. So that's edit this situation further deposit so I can see a little better. All right, So now let's go to shift a at a force field and let's add the force that may the force be with, you know, uh, so what I did there was I pressed G and Z and I moved the force from here to there. All right, so now let's play again. Nothing has really changed because there's nothing going on right, because, well, strength is one. So let's add strength to 20 and power to one. Enter. Now let's see what happens, especially when it resets. See what happens here, all right. Interesting. Now it's kind of like it's forcing the particles in there. It's still letting them go, but it's forcing it to stay a little bit. And so something else I wanted to show you is your strength. You can edit it like 25 basically for editing, editing the strength of the force. So back to 20. Um, it will eventually let it go. But if you go like 23 let's see. Well, hold it. It's holding it now it's, Ah, it let a few go. So it's It's a lot of fun dealing with this for so try 24. Is that enough to hold it? It's enough power toe hold winds. Strife back now. Uh, yeah. So it's pretty cool and could do some crazy things with this, but yeah, let's go back and just hit 20 and just let it go a little bit. Ah, All right. So there's one more thing I would like to show you. Um, I sure, I'm sure you can imagine the many, many possibilities of all these particles affects and the force fields to work with them. That's just press pause. Um, with the space bar for a shift a force field and let's add some wind so G just could move that over sheer at G C g y. Okay, then Now G Z just so it's nice. And but then press are key. Rotate it good, are okay, there's nice and it should blow against these particles. Make them blow. Of course. Uh, let's now at it strength because it's just one. So that said a 10. Now it's blowing it that way. Let's do something very crazy. 60. Boom. Now it's blowing it like a So it's 20. Yeah, so that that's the wind and some crazy things that can happen there. So, yeah, I'm sure a few videos ago you would have never imagined that you would be making something like this. But I just want to demonstrate some of the power of particles, effects and the force fields that you can have two force the particles and fix in the ways that you wish. Pretty awesome stuff in blender. Thanks. Watching 40. Cloth Dynamics: I welcome to another video. This video is going to be about cloth and collision dynamics. Ah, very nice element. A blender. Very important to know it's the first step of this video is too quick on the cube. Quick daily like we always dio and then snow. Let's compress shift a and add monkey like we always do. Just getting. And then, uh, let's go to edit mode here and then right click impress subdivide nice and then go to the subdivide and entered as smoothest. Just enter one for this Move. This, um, go back to object mood. That's just to make this monkey slightly more smooth That way, if a cloth, uh, goes against this with collision, it's not so sharp. Just a little more smooth. All right, so the next step, I'm just gonna go ahead and click on this light quick delete for now. So the next step after that spreads shift a again, a keyboard and at a plane, um, now, press s on your keyboard. We're going to make this like that far size and the press G on the keyboard and, uh, yeah, g And why? Let's move it over here. Good And now G and Z just moving up the little All right. Good. And now go to edit mode right here or tab. And then now, right, click and subdivide. And then now, under this subdivide click on there Number of cuts, That sad 50? Yeah, maybe 70 70 or so to move like that. Smooth, this zero. All right, we're done with Subdivide there. All right, so now we have this here double tap A to get out of everything there and then press c on your keyboard and let's just go ahead and select. Uh, I don't have a to get rid of everything for seeing the keyboard. Let's try to get this where you have three selected here and then over here is well, press. See. Okay, so now we have press enter. That way you could move around again without having see, uh, confusing all that. And now go to hear object out of properties. Vertex groups, plus button rest, a sign group and, like, uh, something like pins or something like that. All right, so that's all good. So now let's go. Toe object mood. We have our pins. Are radio figured out? Right. So now, um, out of edit mode and into object mode. We want to go to physics properties here, and we're gonna be talking about cloth so quick on cloth, we're gonna try to make this a cloth, and here we have stiffness. And so stiffness is interesting. Tension is important to understand. The lower it is, the more Clough like it iss more, more attention. Higher it is the more well, tension, stiffness it is how much the material resists stretching. So, like, maybe a tough sail of a ship would be high attention and a sheet of in the bed would be low tension. And below attention, we have compression. I'm gonna set ours to five. And compression is basically as my imagine. Um, how the cloth compresses around an object. So, like, uh, if it was a sail of a ship, it would just kind of it was if it was put over a rock, it would just kind of have a little bump in the sale of the ship. It was on the ground or something. Reservoir was a sheet or something. The compression around the rock would be much more visible. So that's what that does how much do that, too resists compression and then down below. This is deafening. Dampening is basically, um, affecting the rest of the cloth. So say, this plane became cloth and it went down onto the monkey. Dampening determines everything else. That's not touching the monkey. How effects is affected by the little part that's touching the monkey? Will the rest of it be affected by it? And that's you can just that here dampening. All right, Lastly, for the cloth properties, let's take an open shape in the pin group. Let's go there and click and select our pins. And basically, this is saying that the little areas that we selected in edit mode and the group are now stuck. They're gonna hold the cloth up. Yeah, that's the PIN group. All right, so the next thing we need to do is quick on our monkey. We need to make it a collision. So, having our monkey selected in object mode, um, quick on physics properties, we have it open right here anyways and quick on collision. And here everything is pretty good. But in soft body and cloth, I'm going to change the 2 to 5 right there 0.5 thickness. Outer just affects a little bit that the outer face thickness. Okay, so our monkey is officially a collision to the cloth. And now let's let gravity do its work, and you can see that computers. It's taking a little bit tired. Think about all of this. You can see it's really working pretty well. That's pause. And now let's look at it from a different angle. Island's press play Very nice. Looks pretty nice. Awesome Pause. All right, so you can see that the cloth is a little bit. Has a little bit artifacts or faceted type. Look, you couldn't see the Polygon is quite a bit, so to fix that go uh, to edit mode tab. We have the monkey selected, so let's go back to object mode. Quick on the plane tab. Edit mode. Double tap A to de select everything and then tap aid. Select everything, having all of the selected press control f on your keyboard and now go to shade smooth. Okay, now everything should be good. Go back to object mode and let's replay this animation now. This should be a lot more smooth when it hits the monkey. Very nice. The more polygons air completely visible there. Awesome. All right, well, let's watch this one more time. The glory of it all. And I'm sure you can imagine once it's rendered, it looked pretty cool. That's a small sample of cloth dynamics in blender. How you can use collisions and cloths and effect all of this data. It's pretty, pretty awesome. Blender, uh, literally has billions of options, so it's just a small sample of what it can do. There's endless options. We encourage you to play a lot, play around a lot with, you know, the physics, so thanks for watching. 41. Waves and Rain: Welcome to another video. In this video we're gonna be talking about, uh, another little update particles and effects. And in this video, we're gonna be specifically talking about waves and rain how to make waves and rain. So the first step, as usual, quick on the cube there still eat. And with your cursor out on the campus here, open space press shift a on the keyboard, shift a and then go to mess right here and plain. And then press s on your keyboard and your scale it up like this. Something like that hit tab go into edit mode and then right, click and press subdivide. And then click on this little pop up here for the subdivide properties. Number of cuts and just go 100 instead of just one. Now you have 100 cuts. Nice. All right, So we have that plane. Nice. Just press tab. And for me, I have the radio menu, and I like that for some reason. I know, but just press tab normally just to automatically go to object mode. But I could get there. You could click it here, and ah, and then let's click on this light press G. Smooth it over there. Okay, shift right click. And let's move that three D cursor over there, so it's kind of the way as well, and I'll click on the plane here and then goto physics properties and click on dynamic paint and then click on Add canvas and you could scroll down here and then press surface type instead of paint click waves. There we go. All right, so that's good for that. Um, now what you wanna dio is just de select the plane for now and then pressed. Shift a and then go toe mesh and click UV sphere. I went over there because we ever three D cursor there, and G easy to move that down a little bit into the plane. And under the physics properties, let's go to dynamic paint again. And instead of canvas, let's quick brush, and that's pretty much all you have to do. Oh, and then add brush course. Okay, now that's all you have to do. Now. You can see that's making an indent into this plane. Uh, sold that click on the plane and click right click on it, right Click with the mouse and press shade smooth there, that's a little better. And now you can see um, it's kind of more feeding into the plane, but let's see it actually work. First play G. And now it's really a wave. The UV sphere is It's like a rock hitting into the water blue. Plump, Nice. That's what we wanted to accomplish here. I wanted to show you the waves. It's really cool. All right, let's take this. Make this actually, in animation. So up here, let's quick that their press I on your keyboard and click, uh, location and then move this timeline over here. Like there. There, Someone doesn't really matter. G and the keyboard moved this still blue the obtain. First I had the keyboard impressed location. All right, so now this should be a nice animation of the sphere splashing into the plane. So I'm going to show you something more. Click on the plane and you can just scroll down here and let's have this animation plane. You can see splashes real quick into the plane like it's water or something. But under time scale right here you can change the data, so change it from 1 to 0 point 20 or some compressed center. And when the animation restarts, you will see that the plane, it just, like, slows down a lot. It's like, uh, like a molasses or something like that. Really, really slow versus water. Which water would be like 1.50? Let's trade that. Ah, real quick boom doesn't even splash. So one was pretty good for representing water. Yeah, very nice. All right, so that is waves pretty awesome. But now let's ah, go to the second half of this video to talk about a rain. So click on this. You ve just hit. Delete. Um, shift. Right click. I'm gonna remove the three D cursor back in the middle there. And now shift a on the keyboard, adding a mish and another plane. Uh, let's press G and ah z and move this up here and then s for scale. There we go. That should be good. This will be a nice rain. Just certain g z move it up a little bit more. Okay, So the next thing is, you need to purse particle properties and just simply press the plus button that's adding particle properties to this plane that we have selected right here and then go back here to physics properties and go dynamic pain again. On type add that is brush in an ad brush similar to what we did to the UV spear. All right, so the next thing we need to do is ah, under source, click, uh, particle system. And then under particle system, just click the particle of settings. All right, so now when we press play, it is now raining, and it's raining on water. It's the wave system is now interacting with the droplets of rain. It's pretty cool. Really awesome. What blender can do? Well, all right, that is wave system and rain in a blender. Just a small sample of continuing on with our animation and particles and effects. Pretty awesome. What? You could do it. Blender. Billions of things you can do in blender. So I hope you get help. You What did your appetite a little. And I encourage you to play around a lot and learn what else you can do with all the particles and effects and animations in blender. Thanks for watching 42. Fire and Smoke: All right. Welcome to another video. In this video, we will be learning how to set something on fire. So yeah, uh, sit this cube on fire to do that. What? You have to dio that's press, uh, f three on your keyboard. Sometimes you have to press function and then f three most of the time you have to do that . And then tape in quick and ah, smoke smoke that we owe quick smoke right there. It's quick on that. And now we have, like, this box, it's kind of Ah, a box where the fire is inside and all the smoke and stuff But before anything before we move and click anywhere else quick in this little pop up and under smoked style A quick smoke plus fire. All right, now everything is ready. So, um, when you have a fire or fluids or any effects like this in blender, what you have is a domain. So this box here is called the domain. This is where the fire and the smoke happened and it's country strained within this domain , it can't have smoke go outside of the domain or anything like that to solve that You could just scale it up if you wish. And, yeah, so make the domain slightly bigger if you wish. Yeah, Um, so that's what that is. It's called a domain. All right, so let's click on our Cube. It's kind of tricky, but you can kind of see the black lines here, the outlines of the Cuban under this mode and, uh, clicking on the Cube. Let's cook on physics properties and don't here and smoke. Um, the type you wouldn't make sure that it's on flow. Basically, that is saying that this cube is where the smoke and the fire flows from. Um, yeah, basically, that's That's it. Float, type smoke. Yeah, smoke and fire. There we go. Well, continuing on, let's go back to our box outer box, the domain. And under the physics properties, we can. Well, it's a type is domain. And yeah, So there's a lot of settings in here, like you'd put creek, the flames drop down. You can see the flames, speed and the citizens of the smoke and all of that, and ah, yeah, a lot of settings here, um, now behavior, you know, uh, density and velocity and different things. Ferocity, sorry and things like this, but yeah, the best way to do it is just to see it. Watch it burn. Well, that's quite amazing. And we're running about 18 frames per second. That's what my computer can handle, but yeah, quite amazing. Now, yeah, computer should handle this decently. Um, if you want more detail, its press pause, you can actually type in 64 that would double the detail. Let's go back to the beginning. And now you can see my computer has slowed down quite a bit because of the extra detail. So that's too much for your system. You could go back to the 32 or even less, but 32 seems to work well. Yes, that right there is, like, magic and blender. It's pretty amazing. Fire and smoke conflicts like this. Awesome. All right, so let's switch to, uh, report shading and yeah, if we press play now, the fire has a different look to it. It's, but that's because you are using under here the render properties years in TV. So let's switch the cycles. I know you can see. Um, well, it's a bit, um, you know, pixelated. But as you freeze on a screen, it will load up and, you know, rendering this whole animation. Who will take a lot of time? You can see a life view of the fire, and it just gets pixelated when you move around, because then it has to load each frame. Eso That's the benefit cycles. It's really nice. And ditto. Let's go back to evey just a little bit more manageable for the system currently, anyways. But, yeah, I'm not going to do that, sir. Let's go back to the regular mode and see our fire burn as a sample of it. It was before rendering it so there's a lot of settings with this says you can imagine. So those air in the, um, physics properties tab and yeah, So let's fiddle with some of this. Um, let's go to temperature and let's just put it up quite a bit. And now let's press play. Now you can see the whole thing is just a lot more hot, and it flames up a lot more quickly. Let's increase the temperature a little more. Okay, back to the beginning of the animation and no, you conceived even more hot, but you can see that it's constrained to the top of this domain. Eso Yeah, that's that's that. Um, Now, since this domain is cutting off the smoke, we need to fix that. One thing you can dio is click on Adaptive domain. Um, and then you can add like, margins and resolutions. And now, as you press play, Okay, let's add even more to try that. Okay? Big beginning of the animation. Now you can see as you are going. It is adding domain to smoke that way. There's more and more. Um, but you can see it's a little more glitchy when you do it that way. So it's quick off of adaptive domain for now. So another thing and what I do generally more often than not, is I just scale up the domain and you can press G and Z and move it up like this, and yeah, so you can scale the domain, and that just makes it so when you do, um, start the fire has plenty of room to do what it has to dio. You could just scale the domain as big as you want, and it's a lot faster than the adaptive domain Yeah. This is just a few snippets of knowledge of how fire and smoke work in blender. Hope you learned a lot. It's quite amazing. All these effects, as you can see here, there's tons of different options occurred. You to play around. I just played around with just a few, so, yeah, thanks for watching. 43. Rigid Bodies: welcome to another video of learning blender from scratch This video, we're gonna be talking about rigid body physics, and specifically, we're gonna learn about how to make a chain dropped from the air and still remain a chain. Basically, Um, So the first step of this video, like normal, is I'm going to click on this cube shift, click on this light and just press the delete key on the keyboard. In fact, this camera to do it just so we can see stuff a little better. And then even a press shift, a mesh plane press s on the keyboard and skillet up quite a bit, just so we can see a nice big playing like that. So this plane here having it selected, what you want to do is go to physics properties. And since we're gonna be talking about rigid body stuff, click on rigid body and rigid body type, uh, slicked passive. And the passive action means is it will be, well, passive meaning, uh, let's see how I could explain. So the chain, if it were to hit it, it would, um, react to it. But the plane would not move itself. It would be stationary. It was be like concrete. Be passive. So it is like a collision type situation. But Richard body passive. Next, let's press shift a on the keyboard, go to mesh right here and cube and, uh, rest g o on the keyboard and then Z and let's move up this cube. What about their very nice next press one on your numb pat to see the front. Or another thing you can do. Let's go up to view here and then go to view port and press front. And that will do the same thing, just in case you don't have a known pat. But if you have a known pad, just press one nice frontal vision of this cube and plane. All right, so next what we will be doing is adding something more. So press shift A on your keyboard. Oh, before we do that, let's shift and then right click and move the feet three d cursor up there. That way, when we had a new object, it it spawns just below this cube, pressing one on the num pat again to go to the front vision press shift day, and people were going mish and then go to tourists. There we go. Now, with this, tourists take the radius and just kind of make it smaller there. Not so it's not such a thick tourists or whatever. And then press s on the key word. Let's scale it in just a bit. All right. Now press R on your keyboard to rotate and press X. So it's rotating like on this X axis in the 1st 90 and percenter. There we go. And then now pressed G and why? And move it in. Ah, in the middle of this cube. So looking at this, it's G Y middle is about there. All right, there we have this. This so the beginning of a chain hanging from this cube. All right, so the next order of operations is too quick on the Cube and under the physics properties, click on Rigid Body and Select passed just like this plane because this cube is the one that's holding this chain, it's going to be passive. And then click on this tourists here and click on rigid body and passive as well under the physics properties here, and the reason why we're doing that's because thes this Cube and this tourists here will be the one that's holding the chain. Basically. All right, so I'm gonna zoom in just a bit to see this slightly better. And then I'm just gonna press shift d on the keyboard, and I can see that duplicates this control Z shift D And then let's press, uh, actually Z and just move it down a bit and then x Oh, and then g z There we go. We're just trying to move this and the now it's press rotate and ah z 90. There we go. And then G spring is in a little bit and then rotate. Um, why there we go, G g. Why? Actually, see, sometimes I get confused with all the hit. Shouldn't, but there you go. So basically, the goal here doesn't have to be perfect, but we're making it so that tourists, uh, doesn't actually, um, merge into the other toys. But it's just there It's chains, the bacons of a chain. I'm So the next order of operations is to select this too active Richard, body type active. It's not gonna be a passive just sitting there. It's gonna be active moving up and down and stuff and under collisions, tape type the shape and put it into just mesh. Now let's press play and you could see there's a problem. It's just kind of going crazy and not very realistic. So let's go back to the beginning. And the way to solve this is too quick on the original tourists and under collisions instead of convex Whole quick mesh. They're So now when you press play, it now behaves just like a chain. Uh, except it's not chained. There's only two. So that's adds more, Say I've been impressed. One on the num pad, press shift e and the keyboard breasts are are and can it rotate this 90 degrees? Okay, basically, we're just adding some rings here and shifty again are are And yeah, we're just adding the rings, making sure that they not but not merging to one another. And one on the Newman. Um, Pat again and shifty one more time. Are, uh that's and then g There we go. All right, So let us see this in motion. That's press play. And now you can see the rigid bodies are creating a chain that uses the force of gravity to make it swing around, and it's really awesome. I hope this kind of what's your appetite for all the billions of things you can do in blender? We went through some of these samples, didn't paint cloth collisions, force fields, Richard bodies, smoking fire, I hope, and in those just a few examples. But there's a lot of stuff, so I encourage you to play around with all the physics properties. Thanks for watching. 44. Render Engines: welcome to another video. Today we're going to start our process of rendering learning about how to render in blender rendering Blender? No. And so in blender, there is three different things here. Evey workbench and cycles. TV's The new one cycles the old one, and we're work benches previously called Open G O, I believe. But yeah, so let's talk about this. E V is special, and let's start on that one. So evey basically, is a really time render engine. So to demonstrate this, we should go here to report shading. And so you might be thinking, Well, that doesn't really do much, but let's add something. Let's per shift a mish and plain. And then let's scale up the mish like so office. And then let's go to, uh, the Cube and press G and Z on the keyboard and move it up. Now you can see there's shadow here over this plane, and it's always pressed G and move it around. The shadow, um, dynamically changes according to the lighting and stuff or, um, trust controls a move that back or you compressed G on the late and like manner. The shadow will change dynamically pretty awesome. That's the power of E V. It's, Ah, a live rendering engine. So, yeah, if you if you were to go back to the object mode just the regular, nothing would be new. But then if you were to go, yeah, but nothing truly, unless you go to the the shape Vieux Port shading Bennett's new. So if you go back to cycles, it's not completely real time injury rendering You can see it really takes a lot of effort to render its but, uh, E V through the nice. It's really quality, but there is some limitations to TV, so that makes show those limitations even a click on the Cube. And then I'm going to click to material properties. There's material here. Otherwise I would have added one. I'm gonna scroll down here to metallic turn metallic all the way up, and then I'm gonna take roughness and turned all the way down. Now this cube is completely metallic and reflective. So, yeah, let's let's learn about the limitations of E. V to do that. Um, let's go ahead and click Shift A and monkey. Let's add a monkey and let's move this monkey up a bit and then G And why, actually G and X and let's move this monkey over here, you know, rotate. Ah, this monkey. All right, so I'm gonna press are on the keyboard and z on the keyboard. I'm just gonna rotate this monkey kind of facing this cube, and then I'm going to take the monkey and go back to material properties and ad material. All right? They're based color, and I'm gonna take it, make it blue or something, or green doesn't matter. So what I was talking about is about reflections. This Cuba's action not that reflective right now because we turned with metallic all the way up. And we're wanting this to be reflective. So you have to an e v select screen space reflections under the Render properties. And now you can see that it's reflecting. But not not quite because, uh, you can see a little bit of green there in the Cube. But it's not really reflecting as we might think it would. And that's because e v to achieve live rendering. They do some cheats like that. They don't actually show reflections like so if we were to go to cycles now, you can see the reflection is working really well. The life rendering. It's toughly not that great, but the reflections are a lot better, and you can see my computer started to breathe heavily because of cycles. But yeah, so those are some of the limitations. Just an example of TV C A E V is really awesome because you can like quicks monkey Move around on the shadows. Update quite well, Quick, fast. You can pick the light moving around just really great life, life rendering. But for things like reflections, cycles is a lot better. And, yeah, so it's basically a cheat TV does. It misses out on some of those other things. It's a quick and dirty approach versus the cycles, which is more clean and total total quality. But yeah, and before this video closes, let's talk about workbench. You can see I've selected that, uh, technically, workbench is not much different than the regular solid mode, but so what? Work benches is in solid mode. If you click this down arrow button, you can change, uh, change the lighting and different things, the color and stuff like that. Whereas if you port shading, um, all that data is right here. So, like TV, you would have to go to solid mode and then go to here, whereas with workbench clicking here going to the report shading, Um, all that data is here so you can change this. Render properties like Matt Cap and stuff like that. And it's just a quick render of workbench is just a quick render engine for basic stuff like that. Yeah, So to sum it up, E V is a nice fast engine, but it lacks a few things, like reflections and details like that. Workbench is just a fast approach, and you can get quick and dirty stuff with it, like conceptual designs or something like that. And cycles is the total quality on rendering engine. That's so I hope that was a good introduction to the different rendering engines and blender. Thanks so much for watching 45. EEVEE: All right, So now we're in blender here, and we're gonna be talking about e v the render engine evey right here. So to demonstrate this, I'm just gonna press shift day and the keyboard and at a plane press s on the keyboard, and I'm gonna skilled up quite a bit. And then I'm gonna press on the cube, press G and Z on the keyboard and just kind of move that up, right? And then I will quick on the light and quick on object of properties for the light. All right, so now we're gonna be doing something really cool with these lights having the light selected right here in a press on area. Make this an area light up to see that we need to go to report shading, obviously. And yeah, so we have our nice area light, and I'm gonna move this late, probably around over here, and then press are you can rotate it like there, and then I'm gonna take the color and change it to kind of ah oh, a pinkish or something. Color like that pink color. All right. And then, while I have the lights still selected, I'm gonna press shift. E and I have now duplicated the light. Just move the light somewhere like, or share something, and then rotate it. Um, Okay, good. All right. I'm just gonna move it. Sheer basically there. I want to see the shadows. Ok, okay. And then now I'm going to make make this light kind of a bluish type, like, All right, so we have our cube here. I have the lights now pointing down at them. Um, I'm gonna just kind of rotate this cube a little bit. Something artsy like this. Okay. Oh, and rotated like that. G Eazy moved up just a bit, so it's just touching their right. All right, so now we have our Cuba and the lights air hitting it. It looks pretty cool, but, um, if you're zoom in here, you can see that the shadows are, uh, not extremely extremely quality. I mean, they work and stuff, but you know, there that's the way I explained in the previous video. There, there, evey shadows. So there. It's kind of cheating this doing it quickly. Bacon it live as we move around because there's life. Ah, lave rendering with this. Yeah. So, um What if you wanted the evening shadows just to be slightly more quality? First of all, you need to go to the render settings rendered properties here and under evey you have your shadows option. This hones in on what we're after a here and basically to adjust this. You just kind of make it larger. And anything bigger will make the shadows look just slightly more Crispin quality. Um, you know, you have to be careful, cause the larger you go, the more computing power is required for live rendering. I'm just gonna leave it. Uh, this it's Yeah, right. So the shadows look a bit nicer. Having increased there picks, pixel ege or pixels. Yes. So you could also you have soft shadows here. I don't know if you can see that difference, but it really does help. Um, and then high bit high bit depth is nice. A swell, But you have to be careful. The more things you add the, um the more complex the scene gets for your life rendering and TV. All right, so you can see it's looking pretty good, but you can see, um, there's no light bouncing back, really at all on this side of the cube. It's pretty dark. So to fix this you converse shift day and go toe light probe, and then you actually can do is, uh you can add these light probes, and they actually really hope so. Well, I didn't even Oh, just the light probe here. This this volume here really helps. So a few, um, press s on your keyboard. Just scale it up. You don't need it to huge. And then g and Z, um, just gonna move it slightly under the plane. That way, it covers this cube. We need our light to be bouncing around in this box here. All right, So, um, the way to do this is to make sure that you were in render properties for evey minimize shadows, cause we're done with that for now and go to indirect lady. And here's a bunch of more settings. So what we're after is having this box selected to make sure you select this volume here. Um, and then what you want to do is just click, bake indirect lighting, and now you can see Oh, son, it's gotten magical. No, but if you hide it, you can see it a little better. Yes. So it's It's really nice. It makes this whole thing with real great. But if you click on this cube, move it out. You can see how it just gets rid of the baking stuff so important to keep that nice and baked in there. And you can use thes volumes to, um, have indirect lighting. All right, so one more little thing, this indirect air it size here. If you first of all, you need to click on the I and you can see now their way to a huge but basically, um, when you have these on, you can see which ones of these points got baked in which ones did not. But we'll keep that. Anyways, um, this is how to use lighting and stuff and kind of introduction to some of the settings in E . V. Um, you know, do eat lighting cash and then in the shadows, um, skit. Rid of all those settings, put it back toe what it was like before you can see it looks pretty gross compared to what it was before. Especially, you know, without lights and stuff. It's like what it wasn't so Yeah, control z O. That to get back to what we had previous were a nice and that's big direct lighting again. Make those huge things invisible. Make this visible. Yeah, So you can see that really helps you These really nice, really nice with live rendering. And that's just a small sample of ET. We'll be learning more in the videos coming up. 46. Reflections: All right. So in the last video, we learned about E V, the rendering engine, and of the others too, but, um well, yeah, we've learned about E v workbench and cycles. How? But then we learned about E V. How it's, um, a little faster. And it has live rendering, and it uses tricks to achieve that. However, um, sometimes, like with reflections, for example, they don't work all that well because of this life rendering. It's kind of a cheat, so some things don't work as well. But in this video, I'm gonna show you how you can get around that and get some reflections going anyways. E v. So to demonstrate this obviously, when you've seen the quick on your cube just could delete and then per shift a mesh and playing and and then our why and then type 90. Okay, enter and then g x, I believe you and removing it back there a little bit, okay. And then s on the keyboard and scale it up. There we go. Nice. And you noticed with blender how, when I was scaling it, um, let's go back to the beginning scale News how the cursor is going off the screen. It actually goes and travels on to the other side of the screen. I think that's really nice in Blender anyways. So now we have this plane. All right, So and then shift a mesh and let's add a UV sphere, okay? And then go to edit mode or just press tab and then pressed Control f and then go ahead, go down to shade. Smooth. Now go back to object mode. Just gonna press G. Why a movie over a little bit? Like there. All right, continuing on let's per shift a again Go to mesh and cube and I'm gonna press s and scale it down just a bit. And then g and why on the keyboard and just move it over there or something like this Going to go ahead, click on this UV sphere G. Why move it like that and scale it up again? Okay, so we have some nice things going on here. Now I'm going to shoot him magic. Make sure that your render engine is on TV because that's what we're talking about today and then go down to material properties. All right. So next. Oh, and I have this cube selected. So make sure this plane is selected. Just click on the plane right there. And yes. So under material properties, click new. And now we have materials for the properties. No. And so to make this plain kind of like a mirror, what you need to do is you need to click on the metallic, just click and drag right on your keyboard, or just type in one. And her, uh, So the metallics all the way up, and then the roughness is all the way down. And obviously, you can't see that until you go into view Port Shane. So then quick on the UV sphere and do the same thing. Material properties at new. Now we have materials now for the base color. I'm just gonna at a little tent of green or something like that. Okay. And then the same thing Metallic all the way up, roughness all the way down. All right, so we have our basic reflections going, and you can see there's no reflections. All right? So continuing on, um, you know, the gold is for us to have reflections, so go back to render properties here and our e V engine is now open their, um and then go down to a screen space. Reflections turn that drop down open and the ticket on screen space reflections and now you can see as we move around. Sometimes these reflections show up a bit, Um, and then, like there's some reflections in the sphere is, well, cause it's supposed to be reflective as well. This half rest race, you can turn it off. And ah, this reflection, uh, if you if you can see look right there closely, it's kind of pixelated, and if you turn it off, it gets a little more clean. Let's see if we can see that on the okay on its fuzzy over there off its A little more clean. So turn that off if you wanted a little more clean. But there's a drawback If you have it off. If you have a complex seen, it will load a lot more. It will be a lot more heavy loading. So all these options help TV have live, rendering a little better than like cheats. But you can turn some of them off and make it loaded a little longer, but you have a little more quality. Let's actually turn. Turn off half rest trace. From here on out, this is a simple scenes. That's fine. Next thing I want to show you is something called Thickness, and you could see as I turned it up. It's just like duplicating the reflection. And it's just making it, um, more thick. Uh, and it's just a cheat to make make the reflection, have a little more, um, nicer border suit. You don't have to turn it all the way up. That looks ridiculous. But, um, se it's just about they're just turn it up a little and you have better borders or something like that. That's what thickness does eso you can see here there is reflections and stuff, and we have fiddled with some of the data to make it, um, a little better, whatever, but it's not quite perfect. You know, there's not quite perfect reflection, and that's because we're in E V. Um, it's live rendering and has cheats, and sometimes things were missed. But there is a little cheat and TV to get this reflection actually still going. So press shift a on your keyboard and then go down to light probe here. We've been here before. Um, but now we're gonna turn on reflection plane. All right, so now we have reflection plane. Chris are, uh why and the 90 on your keyboard enter on your keyboard. There we go. And the G Jean x on the keyboard, and we're gonna just move it in there. Eso What you want to do is make sure that this is so we have the plane. They're completely, um And what you want to do is g X and just make sure it's right in the middle of that plane . It's covering this entire plane. Okay, so now press s on your keyboard and scale it ups now covers this entire plane. Oh, and like magic now, the script reflections are a lot more perfect. All right, so yeah, um, scaling up and down you can see as you scale down the nice reflections go away. And as you scale it up the reflections of here again, um G and, uh, X you can see has to be inside this, um, the thing that we added there to actually make it work. Yeah. So, yeah, just make sure that your object is within the borders there, and this reflections will work. And, yeah, that's pretty much it for this video. It's a shortcut to Evie's Um oh, it's even is really nice for live rendering and working really fast. But sometimes, you know, it doesn't completely live up to everything, since it's so fast and it has some issues. But with things like this, um, you can get around that. So that's it for this video, all about the E V reflections. Thanks for watching. 47. Light and Shadow: All right, welcome to another video. This video. We're gonna be talking about lights and shadows as it pertains to E v the render engine. So go up here to render properties and make sure you're on TV, cause we're gonna be talking about TV. All right, So in order to in order to see all this, we need to have a scene. So for shift a on your keyboard and open a plane. Purse s on your keyboard. Let's go ahead and make this plain scaled up quite a bit and then go to material properties right here and then pressed new for materials. And let's change the base color of the plane to something like, Ah, a green. To do that to see it will have to go to report shamed so we can see what TV is doing That's just turned to green or something like that. Nice. It's. And then what you want to do is click on the Cube and let's change the base color from, like, gray or whatever too blue or something like that doesn't matter. And then you can press zero on your numb pad, not on your keyboard, because that does nothing but zero on the num pat or you compressive you, um, cameras and go to active camera. And that does the same thing, but zero on the num pat. I like a little bit better. All right, So the next thing that I want to do here is press this little button there or press end on your keyboard and go to tool are actually view. Sorry. View and then lock camera to view. And this makes it so you can actually move around your scene and zoom in and stuff like that. Okay, so I'm just gonna go like this, something like that. And then next Ah, just de select lot camera view keyboard to minimize that quick on the plane. Scale it up. So it fills that camera. Okay, Very good. Oh, and I'm in a person and a lot came into view again. Just Teoh notes that right there, kind of particular. But there now, de select low carbon view and on the keyboard. And now when you zoom in, you can assume in the entire view there. All right, something like that, they would go. And the next thing that I will do is shift and right click. Probably about over there and then shift a in the keyboard. Mesh and monkey there, we'll press s on the keyboard scale town and the G on the keyboard. Just move it here. G y I mean it. Here, um, Z move it up a bit and our toe rotate. There we go. Now we have our monkey in the background. Lots of Oh, it's a next press zero on your numb pad. And, uh, now, it could just move the scene around and stuff like this and click on this late and quick right here, object out of properties and switch the light to an area light. And now, quick on the zero, the num pad again. And there we have it. Now we're gonna start looking at some issues that arise. S So what we're going to do is go over to the render properties here and simply click on Bloom. You didn't and that just kind of makes it more. Um, he's e and we're soft. Um, you couldn't kind of change some settings like the intensity and stuff if it's just slightly too intense or something like that. So Bloom is nice to make it a little more soft. No thing is ambient occlusion you can turn that on. You can turn that down or whatever you wish. And that just kind of takes the dark spots and makes them just slightly more lighter. Kind of equal. Equalizes it out a bit. All right, so next let's look at our shadows, right? Right off. You can see there's some problems with them, Like the little corner is not. It looks kind of audits because of TV's downfalls. Some of the shortcuts that TV does soft shadows is already selected. Otherwise, it would look really bad. You could select high bit depth that might help, but you can add some pixel ege pixels, and that will make it more smooth as well. But there's still some problems with evey, so let's look at how to fix that. All right, so there's still a problem, though. Um, make sure that the light is selected right here. Alternatively, you could go out of this camera mode, and that's just selected manually. But you conflict it there as well, and then go to the object of properties of the light. And then down here, Shadow is on you can see it. And right here there's a little tiny minute area where is not totally and shadowed. And that's a cheat that, um, e v does to make it faster. But if you're quick, it it kind of fixes that. And you can change the distance, distance and stuff like that. And, ah, thickness, different things like that. Um, so what about their right? So next let's talk about depth of field, go to your camera. And here you can take on depth of field and then sucked this I dropped Rikon and you conflict which objects to connect the depth of field on just selecting it. Um does it pretty well there Now go to render properties, step the field, make sure that is on 100 100 pixels, right, and then go back to object of properties. And now you can fiddle with the settings here. And, um, you couldn't turn on the ratio are our Turn it up for F stop for anything like you wish, and you can even zoom in a bit and see if this stuff is affecting the situation. You can see it's a little bit, um yeah, having that depth of field on does help quite a bit to add the extra depth of field. Nous hope it out. Yeah, So, um, don't overdo it too much, but yeah, that's the field could really help. So right here you see a nice scene with lights and shadows. And that's how you can adjust some of the settings and e v to make your, um seeing look a little bit better. I hope you like this video. And it learned a little bit more about lights and shadows as it pertains TV. Thanks for watching. 48. Workbench: All right. So today we're gonna be talking about workbench and work. Bench. Since we're talking about the rendering engines, workbench is basically just the normal editor right here. The view port display. Everything is cube here is rendered with workbench. And here you can have the data on the settings you can change to effect the way your models look. And it's workbench is really useful for things like sculpting and just regular layout type stuff. It's just more easy to work with when you're doing stuff like that. So go over here to render properties and under render engine click workbench and well, ah, you see here all the settings, just like here are down to this right sidebar here has workbench, Right? So, actually to see workbench mo, do you actually need some stuff in your scene? So I'm just gonna move, uh, this cube here pressing G and the keyboard and just kind of moving it here g z and moving up a bit and disliked that. And now press shift day, uh, playing and press s on the keyboard, and there's kind of scaling that up. Okay, We have a plane now and per shift a mess and I'm gonna add a monkey here. Gz move it up a bit, Scale it up a bit. Press s G. Why moving over there bit. And that's just are, uh, see. And you could just rotate. It may be like that. Okay, Yeah, it's just kind of whatever. I'm just making a scene here. G, why move this plane over here? G x of it. Okay. All right. Something like that. In case So for the monkey going to press control f Make sure while you're selecting this monkey go to ah, edit mode press tab to go to edit mode and then press control f and ah, shades smooth. There we go. And then right click on it. Press subdivide. And right here and this little subdivide pop up number of cuts press to smooth this, um, one enter their go, and then I'll go back to object mode. And lastly, let's add something else here. Um, it's at, uh, cone. So per shift shift a on the keyboard mesh cone and you compress G on G Y or X, actually, and let's move. Here s to scale it up a bit. G um z to move it up there and then go to edit mode tab and edit mode and then, uh, press control f on the keyboard and shade smooth and go back to object mode. There we have it. How we have a scene toe work with to demonstrate the powers of workbench Nice. And so in order to work with workbench. It's on right now, but I have to do is go to view port shading, and there's not much difference. But a little bit of difference in this is workbench. And, uh so let's look at options for workbench. Um, here we have our workbench settings and under lighting right here. This drop down menu. We have some studio lighting. You can choose which type of lighting you wish. And as you quick through these, it kind of changes. According what you quick on. And here you couldn't click on world space lighting this button, make sure that's on, and then under rotation, you can actually rotate the world space lighting, but I'll turn that off for now. Next. No thing I want to show you it's interesting is, um, cavity so you can click on cavity and here it kind of you can see there. Now, the shading is really being affected by these options here. So if you want more shading it again uh, all that in the cavity option. But I'll de selected for now. I just wanted to show you that Essam continuing on and Work bench there's color options. If you click random, it will just kind of randomized the objects in your scene. Um, so there's material that's wreaking material here. Object and other things like Vertex for Tex is like when you the Vertex painting that'll show up. But for the purposes of this video, just cook random because that's sort of meat. All right, so yeah, um, that's quick on Cavett again. And here there's a thing called outlining. I don't know if you can see it, but if you look at the edges very closely, outlining will appear not just kind of outlines it a little very nice. And the cavity you can kind of adjust according to your desire. I'll keep that on I decided, And yeah, so once you're happy with some selection here for lighting, um, I think go back to what we had. It looks pretty nice. All right. So next I would like to turn on shadows and I can see some nice shadows we have here. This cube is in the air, so, um, a swells monkey. So the shadows kind of fact. Let's g z that and bring the show. Bring it down to the ground there. G z. There we go. Now, the shadows are not period oddly, And here you can change Change the intensity of the shadow right there. And in this little gear button, you can kind of change the shadow direction if you wish. So I'll do it. Something like that. Uh, you can change some other settings here, like shadow shift and shadow. Focus. Right. Leave that off. Eso This video is not done yet. Um, let's go ahead and double tap a to de select everything and you couldn't go to Matt Cap cook on their land. We'll cook on material again. And Matt Cop is nice for things like when your sculpting This is kind of the red default color of Z brush or something like that when you're sculpting and there's different madcap materials that you can choose. Um, different people have their different favorites. That was really weird. Um, but yeah, this red one is fairly standard, and that cap gray is fairly standard. Anyways, that's Matt Cap. All right, So to wrap up this video, um, there's the flat color right there and you could see that's real flat. Um, clicking on random, that kind of helps add some variety. And if you under cavity, you can kind of add some of the intensity of the shadows and stuff like that, and flat is really nice. Um, for see, especially with random seemed the different objects in your scene and specialists cavity and anyways, so that is workbench. This is my imagine more of what the name implies. A workbench. It's not like a final rendering solution. It's mainly for as you work to fiddle Cem settings and see your objects slightly rendered, but not like entirely what they could be. Just the workbench. Thanks for watching 49. Cycles : Welcome to another video. This is continuing the rendering. Siri's videos. This video's gonna be talking about cycles so you couldn't go to render properties right here. Go to render engine. And that's the cycles. We're gonna be talking about cycles. Um so to talk about cycles. Well, first of all, it's ah, Like I said before, it's a rendering engine that's a little more quality than TV or workbench, especially workbench. But at the same time, there's some things you need to know. So to demonstrate cycles, we need to have some sort of a scene. So let's make that, um, let's go ahead and press shift a and add a plain press s on the keyboard and scale it up. Just kind of at this year, click on the cube and just kind of move the cube up. Uh, move. Why, g X Uh, G um, z kind of move the cube over here, and then I'm gonna rotate the cube so it's somewhat sticking into the scene a little bit like that. Doesn't really matter. Something like that. Okay, here we go. And then shift a on the keyboard. Yeah, it doesn't matter. This is just an example, I'm adding a cone here, and G why scale up the cone? Gz Okay. And right. Click on it. Shades smooth right now. Obviously. Shift a mesh. Lookie g. C. S to scale up the monkey a bit. Jeez, Egan G y ah g picks and then rotate Z just gonna rotate the monkey similar to the last scene a little bit, but just something like that, that'll be good enough. All right, So for this monkey women oppressed tab go into edit mode, uh, control F and I'm going to press shade smooth and then right click on it and subdivide. And in this little subdivide number of cuts to and smooth this one, There we go. And now I'll go back to object mode. Perfect. Just creating this scene here so I can demonstrate cycles. All right, so we have our scene made. So what, you want to dio press up here a few port shading and that enables evey like we are used to , But instead I want you to click here on render properties, go to render engine and press cycles, and now we have cycles here. Doesn't look too much different. It takes time each time you freeze the frame to render it further and further, and you can, you can see already it's extremely quality compared TV, but there's a catch every time you move around. Ah, these pixels happen quite a bit and it looks pretty interesting. But when you freeze the frame, it starts to render it again. And the computer is starting toe breathe a little more heavy. Sorry about that. But yeah, you can see it's a lot more quality, but it takes a lot more juice from your system. So that may just demonstrate something to you here in a go back here, Gonna zoom out here. I want to show you behind here so you can see here this cube. It looks pretty nice, but let's go to E V. There we go. The more simple you can see, the shadows are kind of blocky, sometimes without some of those settings we learned about previously. And it's real dark behind the cube. But when you switched cycles, um, lights kind of bounce around, so it's a little more visible. The parts that are behind the delight because it's ah Ray tracing system where lights, rays of lights or bouncing everywhere and cycles is just real quality. When it comes to that, I get it. Use E V to move this over sheer Now, switch back to cycles so you can see here. Um, it's a bit grainy. You know it It kind of renders pretty quickly. But no matter what, no matter how much time you sit on a frame, it will remain grainy. There you can see there it's quite grainy. You couldn't go down to here to sampling and in the view port you can add some simply in here, and it will help a little bit, but it will never get rid of all of it. So something you can do is quick on here. Um, if you fuel air properties, I believe Oh, yeah. And then you go down here to the very bottom and you have Denoix Z. Just take that on. And what that will do is it will change nothing currently. But when you render it, it will get rid of all these fuzzy um, particles and stuff that are not rendering totally, perfectly. So, yeah, I'm going to go into my camera. You couldn't do that. We're going to view cameras, active camera, and here you can see this scene is kind of off centered. So you can do is press in Cuba or go tool actually view and go toe lock view to camera. And now you can move the scene normally, like you're used to. All right, there. Go now. I'm untech luck you care members and to minimize that. And now we have a fairly good view of the scene. It's render this. Let's go to rendering render image just cooked that I know your, um it will render I'm gonna cut ahead and wait. This will render All right, So I skipped ahead in this video. This rendering will take according to your machines power depending on the time. But as can see here, there's no more fuzziness. It's nice and clea