Stylized Blender 3D Environment: Greek Temple & Garden Workshop

1. Introduction to Greek 3D Environment: In this workshop, we are going to build a complete, stylized Greek Temple and garden environment in Blender. By the end, you will have a portfolio ready environment and a practical repeatable workflow for stylized word building. Hi, everyone. I am Rosefield. You may know my work with Tudor from the Arabic Acid Pack and the cyberpunk downtown pack. Here is what we will do. We will work like environment artists, elegant columns, carved stone elements, ivy laced arches, sunlit paths, and sculpted foliage that ties the whole scene together. We will block with clean proportions and human scale. We will model modular pieces for fast iteration. We will keep UVs disciplined so materials behave. We will layer stylized shaders, direct foliage with geometry nodes, light for mood and readability, and then unify the look with a tasteful compositing pass. We start with the blockade. I will show you how I lock composition, halfway flow, and focal points early. A human scale reference stays in the scene from the first minute, so stairs, columns, and planters read correctly without guesswork. Next, we build a modular architecture kit, column sets, arch modules, trims, low walls and planters. The goal is smart topology that deforms and bevels predictably and UVs that accept trims and decals without wrestling. This kit approach lets you iterate quickly and try lay variations in minutes, not hours. We will unwrap with clarity and use a trimsheet approach for repeated motifs. Decals add storytelling detail to plaques, vases and stone surfaces without blowing up texture memory. We will set up a simple but effective lighting rig, warm sun, control bounce and contact shadows that ground forms. To finish, we will push a cohesive post look in the compositor. Gentle contrast shaping, color balance, and a restrained bloom bring the stylized re together. I will give you the exact node setup so you can match the final look and adapt it for future scenes. Who is this for? Beginners who want a clean, guided pathway into environment building, self taught intermediates who want to speed up modular thinking, tidy UVs, and better foliage control, and anyone who wants to ship a finished, stylized environment rather than collect half done pieces. You will download a tidy course pack with the environment blend, the modular kit, trims and decals, foliage node setups, and reference sheets with human skill right beside your assets. The idea is simple, remove friction so you can focus on learning and creating. The end, you will have a complete Greek Temple and garden scene, a reusable modular kit, and a presentation ready render you can proudly add to your portfolio. More importantly, you will have a process you can use again on plazas, courtyards, ruins, and town squares. So if you are ready to build stylized worlds with confidence, jump in. I will see you in the first lesson. 2. Master Blender Viewport Navigation and Scene Orientation: Hello, and welcome to stylized Blender free D environment, Greek temple and garden Workshop. So in this course, I'm going to show you how I approach larger environments in blender. We'll create some modular pieces that can fit together using the grid, allowing us to quickly block out an environment. We'll build it in a way that allows us to stay flexible so that we can easily make changes at any point. I'll show you some techniques on how to build fast and efficient while also keeping the scene optimized. I'll show you how to set up some nice lighting, some foliage. We can add to the scene to make it feel more alive and how to create both a still render and a turntable render. We will also go into compositing so that we can change the final look I've ever seen. Now, this will mostly be a modeling course, and most of the textures will be provided, but we will be going into a little bit of texturing when we make changes to those materials. So I hope you enjoy this course and you come out of it with a better understanding of how to make stylized environments in blender. So before we start, I'm going to play you a quick video on the basics of navigating blender and making sure you know how to use the viewport and the different panels and just know your way around. So if you're quite familiar with blender and you've used it before, you could probably skip this next lesson, but if you're completely new, then stick around for this short video. Welcome, everyone to the basics of blender navigation. Now before we begin, it's important to understand how the axises work within blender. So we can see at the moment, we've got a green line going this way and a red line going this way. This is called the Y axis, and this one is called the X axis. We also have one that is the Z axis, which we can't see right now. It doesn't actually come in with blender viewport as default. But if you want to actually set it on, you just come up to the top right hand side, where these two interlocking balls are, and just click the Z axis, and now we can actually see so how do we actually move around the blend of viewport? There's a number of ways of doing this. One of them is over on the right hand side here. You can see if are over here, it's the zoom in and Zoom out. I can actually left click and move these up and down then to zoom in and Zoom out, or I can use the actual mouse to actually zoom in and zoom out using the actual scroll wheel. There's also another thing you can do with Zoom, which is holding control shift and pressing the middle mouse, and you'll see you have a lot more control over zooming in and zooming out. Now the next thing we want to discuss is actually rotating around an object. So how to do First of all, we'll bring in a cube with Shift A, bring in a cube. Now, if I press the middle mouse button and move my mouse left or right, you can see we can actually rotate around. Unfortunately, though, we're not actually rotating around this cube. So to actually fix that, we need to center our view onto the actual cube. We basically want to focus our view onto this actual cube. So to do that, we're just going to press the little dot button on the actual number pad, and then you'll see that we actually zoom in to the cube. If I scroll my mouse wheel out, you will see now if I hold the middle mouse button and turn left and right, we're actually rotating then around the cube. And this is important because if I actually bring in another cube, so if I duplicate this cube with Shift D, move it over, so bring in my move Gizmo. And now you'll see if I rotate around this cube, I'm not rotating around this one. So it's fix that just press the dot button again, zoom out, and now it can actually rotate around this cube, as well. Now let's look at something called panning, which means that we're actually going to move left and right. And we do this by holding the shift button, holding the middle mouse, and then we can actually scroll left and right around our actual viewport. So now we've actually discovered how to zoom in and the different ways we can actually do how to rotate around an object and how to actually pan. We can also come up to the top right hand side here and use these buttons here. So again, remember we're looking at the Yaxs, the X axis, and the Z axis. If we come to our Yaxis and click that on, you will see now that you've got a front view of the Y axis. If you click the X axis, then we can change it to that red X axis, and finally, the Z axis, as well. Now, there are other ways as well that we can actually look around the viewport, and these involve using the actual number. If I press one on the number pad, it's going to te me into that white axis or front view. If I press two, it's going to actually rotate that slightly. And if I press two again, it's going to rotate it slightly more. Now, if I press the eight, it will rotate it the other way, as well. Now, to go into the side view or the X axis, we can also press three on the number pad, and that will give us that effect. We can also press seven to go over the top, as well. Now, what about if we actually want to go to the opposite? So instead of going from the bird's eye view, we want to come to the underside of our model. Well, that's actually quite easy as well. All you need to do is press Control seven, and that then will take you to the bottom view of our actual model. We can also do the same inside view and on the X axis and YXs. So, for instance, if I press one, I'm going to be going into Y axis. If I press Control one, I'm going to be going into the opposite side on the actual Y axis. Can also find these options just in case you forget the top left hand side here under view. So if I go down to view and go across the Viewport, you can see here that this actually tells me exactly what I need to press to get the viewpoint that I've just actually explained. Now, we also have the button on the number pad, which is number five, a number five button in blender toggles between perspective and orthographic views. Perspective view offers a more natural realistic viewpoint with objects appearing smaller as they get further away, mimicking human vision. Orthographic view removes perspective distortion, making all objects appear at their true size, regardless of distance. Useful for precision modeling and technical work. The other thing that number five does, for instance, if I come to my cube, at the moment, I am able to actually zoom into the cube. However, if I press number five, I will not be able to actually zoom into this cube no matter how far I zoom in. I'll still be able to move around it by pressing the little dot button, like so. But if I actually want to actually work on the inside of an object, I can quickly press number five, and then I can actually go in and work around the inside as well. Now, if you're working on a laptop or something like that or a tablet and it doesn't actually have a number pad, you can also use, if I press five, the actual squiggle key, which is under the escape board on the left hand side of your keyboard, and that then will give you pretty much the same options as we had before. So we can click the right view, we can actually click the back and we can click the left view, for instance, the opposite to what we had before. So instead of pressing one and three, we just press the little squiggle line, and then we can actually view whichever side we need to. Now we're nearly at the end of this short introduction, there are a couple more things that you can actually do. If you come over to the right hand side and you see here where we've actually got the name of the actual parts within our scene, we can also grab them from here and then press the little dot B to zoom in. So I can grab this one, press the little dot B, and that then will zoom us in. The other great thing about this is we can also come in, shift select them press a little dot button, and then we're able to actually rotate around both of these cubes. Alright, everyone. So I hope you enjoyed this short introduction to the navigation within blender, and I hope from now on, it won't be a struggle navigating around the viewport. Thanks, lo, everyone. Cheers. 3. Import Stylized Assets and Customize the Blender Grid: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. So if you look inside your course files, you will find a blend file called freediTudor Greek course Resource Pack. And inside this blend file, we have a few things we can use to help speed up the creation of their environment. So we're not going to have to worry about creating any new materials from scratch really. We have some here. So we have some wood and some clay. We have different types of marble we can use, as well as grass and some dirt. We have some trim sheets over here, so we can use these to add some, like, decoration to our models, make it look a little bit nicer. This is going to be very useful. So we can just use this stone sculpture at the top of our temple. Saves us going in and sculpting this crazy detail. Now we also have some foliage we could use as well. So we have these flowers. We have these hedges. Now, this is a geometry node. So we can customize the leaves. We can go into edit mode, and we have this shape underneath it. And if I drag out this face, it creates new leaves, which is really cool. We have ivy over here. So if I isolate this, I'm going to edit mode. This is basically a curve, and we can move these points around to just shape the ivy. So very powerful. And we can also customize what the leaves look like with these settings over here. We have some grapes, we can just throw in. We have our grass. So this plane has some settings here to adjust the grass, and it's the same as the hedges, really. If I were to drag this ear shape, it will just create grass along the plane. And then if I went to, like, control scale, yeah. So there is our grass. So I'll do that. Now, we have a human reference. We're going to use this all the time when we're building out objects, so we know how big stuff actually is in comparison. This tree is very useful as well. It's another geode. We can create all different kinds of trees here. And these cypress trees are just static, so we can throw those in. And we have some mountains as well to go into the backgrounds, which would be nice. Now, I'm going to show you how to bring stuff into our scene. So I'm going to go to File and then just hit New and I'm going go to General. Don't Save. Okay. So this is our default blender scene. So to bring stuff in, I'm going to go to File and then append. And then we want to navigate to your blend file. And then we look for the objects folder, and then we're going to search human. So we have Human here. We can click this and hit append. So this comes in over at the same location as it was in the other blend files. So we're going to hit Alch I'll bring it to the world origin, and we can just move him to the side here. Now, one thing we should set up before we start is if we have a look at ER grid. So Egrid in this view is fine. We have 1 meter squares that we could use. But if I go into top view here, now we have all these little squares, and if we zoom in even more, we get even tinier squares, and it just keeps going. We don't want this because it's going to get quite confusing, so we only really need the 1 meter grid for this scene. So if we go over here to scene properties and we go to units and then under unit system, we're going to change this to none. This will allow us to change our grid settings in the overlay. So we now have access to this setting here. So we can change the subdivisions to one here. And then when we zoom in, we only get these 1 meter squeeze. So yeah, our scene is ready for our environment. I will see you in the next lesson. 4. Build Stunning Reference Boards with PureRef and AI Tools: M Hello. Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden Workshop. Okay, so in your resource folder, you will find a PURFL with all the images that you'll need for the course. I've provided the main reference. This is the scene that we will be building out. I've also included reference images of the different assets that we'll be making. Each image has the human reference next to it, as well as the grid. So we can see this wall is 4 meters by 2 meters. I've also included some real life photos. They're always useful to have So yeah, there is our Pure f. If you're new to this program, I'll play short video explaining where to get it, how to use it. If you know about Puref then just feel free to skip to the next lesson. Welcome, everyone to our in depth referencing guide. And it's very important that we actually use references in pretty much any kind of modeling or environments that we're actually going to be work on. So before we actually do anything, before we put any cubes down or anything like that, it's really important that we have some really, really decent references to actually work with. So the first thing I want to recommend is that you can use something to actually put all your references on, like Photoshop or even word. But what I'm going to recommend is that you use something called pure so if you go to the site, that's called purev.com, you will actually open this, and from there, you can actually click Get Pure Rv, and that then will take you to this download screen. And you will see at the moment, you've got 157 or custom amount. You can actually put this on zero and actually get this for free. So it's completely free, and you can come back and make a donation if you like, and then all you need to do is click Download. So the only things we're going to talk about pretty much for reference in here, are going to be free except our mid journey part. But there are other alternatives like Dlly and a load of others out there that you can use instead of mid journey. Once you open up pura, then, this is what you will be greeted by this screen. And if you want to right click, you can actually drag this around to any of your screens or you can actually make it smaller like so. And it's a really, really good program this really, really handy, highly recommend getting this. So now let's actually think about getting our references. And there are a few sources that we use to actually grab references from. But generally, what you want to do is you want to build up a kind of reference pack if you're going to be a hobbyist or a professional in three D modeling or environments where you're going to see things perhaps on Pinterest or sketch up, and actually, you want to save them in a file. So I know people with thousands and thousands of images that they've saved over the years. And whenever they're coming to a project, they'll then dive in and actually find all of the images that they've got on that particular thing. This could be a samurai warrior or a Chinese bell. Also, a lot of people I know as well, who are working professionally at this will go around museums. They will take their own actual images, and then they'll also upload those to the file as well. First point of call if you're not actually got your own database yet is probably going to be actually Google. So let's open up Google, and you can see here that at the moment, I'm looking for a Victorian delivery truck. Now I'm going to do is I'm just going to go through these and get some nice references like this one, for instance, and then I'm simply going to right click and I'm going to copy image. Then what I'm going to do is I'm going to go over to PEF, so I'm just going to open it back up, press Control. You'll see now that I've got my nice image in here. What we're also able to do with Pure vs, we're able to also pull it out and make it bigger if needed, which is really, really handy when we're putting in lots and lots of actual images. Now, the next thing I recommend you do once you've actually got an image in there, is what you can do is you can left click and drag it over somewhere. And then what you can do is you can press Control N and you can actually make a note. So let's call this Victorian Trucks. Let's put it trucks. Now, within my scene, I might actually want a Victorian lamppost as well as part of the scene or something like that. So let's actually look at the next one. So the next point of coal is actually going to be Pinterest, and let's actually put in a Victorian lamppost. So let's try that. Like, so let's see what we get, and we can see we've got many, many styles, especially this one. This one's actually really nice. This one's also really nice. So what I'm going to do is I'm going to actually take this one, I'm going to right click Copy Image, go back to my PUEv and then drop the images in there, like so, and maybe make this one a little bit bigger. What I tend to do is I gather a load of images for each of these things. When we're actually building a scene or even just a model, you want to grab as many images as possible. I'm talking hundreds of images here. And especially if you're doing a scene, you want all of the little parts. You want everything down to the lighting, the environment, the trees. You want to grab references for absolutely everything because it will make your scenes just really, really look so much better if you've got some really good references. So now let me show you this is one that I'm actually working on at the moment, so if I come over and load reason and I'm just going to load this one here, and you'll see at the moment, I have all of my props. I have all of my main buildings that I'm going to be looking out to use as references. I have a ton of doors. I even have a load of foliage. I have all my windows. I have my lights over here, and I also have, more importantly, all of the lighting. In other words, it's a scene. So what time of day is it going to be? Is it going to be, you know, early in the morning, or is it going to be at dusk? Is it going to be a night scene, or is it going to be midday with that sun beating down on my scene? Just make sure it actually matches the scene. There's no point having a scene like this, for instance. So this one here, if you've got a log cabin out in the snow, you really want it to match your actual scene. Now, before moving on, there are a couple of other places that we do go to use for referencing, especially something like sketch up, which is really, really great because you can actually come into an actual scene. And then what you can do is you can actually rotate around it and really, really check out how a model is put together like something like this, which is one of our actual own. But you can see here how easy it is then to get a good idea of what actually incorporated in this scene you can actually do from there then is we can actually come down and we can actually get some screenshots of this or even right click and copy image. There's also, let's say, if we wanted to do a Victorian truck, for instance, to keep the same theme as what we've been doing, you can see that there's no end of actual Victorian or vintage type vehicles on here. Not as many as what there is on ArtStation, but still a very, very good place to start looking for reference in. That leads me on to my next one, which of course is ArtStation. This simply is one of the biggest resources for referencing or for looking up artists in the world. So let's put in a reference of Victorian, for instance, and let's see what we actually get. Let's search artwork, so we're going to search artwork and let's see what it actually comes up with. Should be lots and lots of things to work with here, especially good, if you're looking for actual lighting. So you're looking for lighting effects like this one here. And again, we can take these actual use them for references. And the best thing is about ArtStation is we can also come down and look at things that may be our concept art, so two D or actual three D, and we can also come down as well and look at what subject matter it is. So it could be automotives, so Victorian automotives, or it could be architecture or something like that. So the possibilities with ArtStation are pretty much endless, and you're able to grab tons and tons of really, really high quality references. There are, of course, hundreds and hundreds of other places you could probably go to grab references, but I'm showing you these because as far as references go, these are some of the best places to go. Let's move on then to one of the things that we really use a lot of now, which you want to thought actually would come into it as far as referencing goes, but it actually is really, really handy. So let me introduce to you now Chat GPT. So here is Chat GPT. You can see that we have Chat GPT four, but we also have 3.5. 3.5 is actually free, and it is actually good enough to do whatever you want. You really don't need to pay for this. It's also free. So what I'm going to do is I'm going to go to message, and I'm going to type in, give me ten different buildings for a Victorian town scene. Something like that. Let's click Enter and let's see what it gives me. So you can see now it's given me a lot of things to actually work with here. And the best thing about this is you can also say, give me ten more. And it will just then go ahead and give you ten more. Now, these things are really handy to use because then I can simply take these ideas and it'll also bounce other ideas to me, and I can then go into Pinterest. Or Google search and actually look them up or try and find something like this. And I can kind of get ideas and design my scene around there using all of those things and especially Pure Rv. We can also take them in to our actual Mid journey. Now, again, our mid journey is paid for. I think the lowest amount is $20 or something like that, but there are many, many free things out there, but I will still show you what we actually do with our AI based image generator. So you can see at the moment, this is the image that we've actually generated. I know we've called it is Victorian era delivery van, and this is what we actually get. If we go to my images, you will see that we've generated a ton of images about all of the things. Especially we use this as well to generate textures. It's not just there to actually generate images and ideas and things like that. You can actually use it to generate transfers that are going to go on Windows or adverts or actual textures. And we do use this, especially for things like curtains, because it's really, really easy to get that look that you're actually looking. You can see, we've got a lot of ideas for living rooms, we've got a lot of ideas for bedrooms and things like that. What we can also do in mid journeys, we can also go and explore. And what you could do is you could up with a search prom Victorian. Let's put in carriage. And then we can also get ideas from this. So if I put in Victorian carriage, you can see this as what comes up. Now, if we come over to here, we can also see if we click on here, this is the actual prompt that somebody put in, so you can actually take that prompt, maybe change it around a bit, and then get your own images rather than just simply copying other people's images. It's a great place to start to actually gather your own images. The other thing is about mid journeys, I can come in for instance, let's just go back. And then what I can do is I can hold the shift but down. I can grab all of these, for instance, and then what I can do is click the download button and download all of those images. And the best thing is about PUREv is you can bring in multiple images at the same time, so you can just drag, drop them, and then they'll all appear actually next to each other. So really, really handy things to have. So, lastly, then, to sum up, don't do what I did a few years ago, where I just dive straight into blender and not even think about references and just find references if I had to while I'm actually building something. Don't do it that way. It leads directly into building a beautiful grade box, as well, all this, because first of all, you grab all of your references, you make sure everything's set out. You can go and find some more references if you need to. You know, if you suddenly have a spark of inspiration, you want to make something on the fly, then grab some more references for but to start with, grab all of your references, have them really, really nicely laid out, and spend, even half a day to a day grabbing all those references. You can then save the pura that as well into individual files, and then you'll have all the other references around that particular build in there, ready to use maybe on another project in the future. Or everyone, so I hope you found this useful and I'll hope you'll take my advice going forward. Thanks everyone. See you on the next one. Cheers. 5. Essential Blender Modeling Tools Extrude, Bevel, and Bridge: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. Okay, so before we start modeling, let's learn how to model, you know? So if you're completely new to Blender and you haven't done any modeling at all, then stick around for a short video on, you know, the basics of modeling and using object mode, edit mode, moving around faces and vertices, you know, everything that you'll need to build a scene in Fred. Now, if you're quite familiar with modeling, feel free to just skip to the next lesson. But yeah, stick around for this short video. Welcome everyone to the basics of modeling in blender. And this is a short introduction just to get you started on a few of the basics in modeling. So the first thing I want to do is bring in a primitive. So the way that we're going to bring into primitive is press Shift and A, and then what we're going to do is open up a menu, and you can see that we've got all of these things along this actual primitives menu. But the one we want to focus on is the actual mesh. And from here, you can see we can bring in many, many things like cylinders, cubes, planes, and the one we want to bring in just for now is going to be our cube. That we brought our cube in the next thing I want to discuss is object and edit mode. And you can see at the moment over on the left hand side, we're actually in something called object mode, and this means basically we can manipulate this whole object. So if I press G, I can actually move it around my viewport like so. If I press S to scale, I can actually scale the whole of the object in. But the thing is, we don't really want to work in object mode necessarily, and a lot of the time, we're actually going to be working in edit mode. So we can come up to the top left hand side and put this in edit mode, or we can actually press the tab button and jump into Edit mode that way. You will notice once we've actually gone into Edding mode, we have a lot more options to use, and more importantly, we have a lot of the topology now to play around with. The first thing you'll notice the difference being is that we have now these three options up at the top left side. If you have over them, it will say vertex, edges, and faces. Now, vertex is going to be these little points here. The edges is going to be these edges of my cubes or any of the edges. And finally, we've got the faces, which is actually the whole polygon face. Now, you can also instead of clicking on these, press one on the keyboard, and that then will jump you into vertex select. If you press two, you can go into edges, and three is going to take you into faces. From here, we can actually manipulate any of these parts. So you will notice at the moment, I've got a gizmo here. Now, if you don't have the Gizmo available, coming over to the left hand side, and you have this little button here that says Move, or you can press Shift Spacebar and bring in your move tool like so. So now because I'm on faces, I can actually pull out this face like so, if I go to edges, I can actually grab one of the edges and pull this out like so. And if we're on vertexes, I can grab this vertex or grab the second vertex with Shift Select, and then pull this out like so. Really, really easy to actually manipulate things once you know how to select each of these parts. Before we go too much in the weeds with actually modeling in this actual Edit mode, let's just jump back into Object mode for now. What I want to show you is how we can actually move this actual cube around. So as well as moving it with the actual gizmo here, we can also press G and actually free move this object around or we can press G and Y, too. Let's put it along the Y axis, move it around or the X axis, for instance, and move it this way or even the axis and move it up and down. To drop it back where we started, let's just right click like so. So that's actually moving the location of it's not a cube anymore, but let's just say it's a cube. We can also scale this in as well with the S but so we can scale it in or scale it out like so. Now we can also press the S button, hold the shift button, and then we have a lot more finesse on actual scaling. Can also scale this up by, let's say, a factor of two, S, two, enter, and there we go. Of course, we can scale it down pretty small as well. Now the next thing I want to discuss is rotating, because if we rotate it with R and just rotate it around, we haven't got a lot of control over how this rotates. What I want to do instead is, I always want to press R, then attach it to an axis, which might be the Y, so the green one, and then rotate it either by free hand or by actually inputting the value under our number pad. So if I want to rotate it, let's say, by 90 degrees, press the end button, and I've rotated this round by 90 degrees. Now, if I want to rotate it back, I can press O Y, the little minus button on the number pad, 90, and then we can rotate it. Now there is something else that you need to know. We also want to reset our transformations, and this is one of the most important things within blender, because if you don't reset your transformations, Blender still considers this a cube, even though it's not really a cube anymore. So what we want to do to reset our transformations is press control. A, all transforms. Then you'll notice that the orientation has moved over here because it will always move to the center of the world. From there, then we want to actually reset our orientation as well. So we want to right click set origin to geometry, and then it's going to put the origin right back in the center of this object. Now, it's also important to know resetting the transformations will also impact things like UV mapping, things like modifiers. Basically, if you ever have a problem in blender, always make sure that you reset your transformations, and then most of those problems will definitely go away. Alright, the next thing about resetting our transformations, it makes it really easy then to get something back to how we had it before. In other words, if I press S and scale this down, and then let's press R and Z and rotate it round this way. Because before this, I actually reset my rotations. What I can now do is press Alterns and put it back to the scale that it was before I did anything and then alternR and actually reset that rotation as well. So really, really handy, once you've actually reset your transformations in what you can actually do. Now, moving on, we're actually going to be looking now at duplication. So if I come round here, I'm able to actually duplicate this. If I press Shift D and then press the Enterbo it's now a duplication, and I can move this over to the right hand side. So now we have actually two objects. Now, what if you want these two objects actually combined, and you didn't mean to actually duplicate it in object mode, for instance? Well, that's easy. We can just shift, select the other one and press Control J, and now they both actually join together, as you can see. So if I press tab now, we're able to come in and actually work on them both at the same time. What happens if we want to actually split them up, so we don't want the objects to actually be together. That's all easy. Just make sure that you select one of them first, and then all you're going to do is press L just to select everything. So all of these faces, then you're going to press P. Come down to where it says selection, and now if I press tab, they're both actually split off. Now, of course, using the same command, if I press tab, I can actually come in, grab a face, for instance, press Shift D. I can actually also duplicate things with inside Edit mode as well. So we might want to duplicate all three of these. Shift D, I can actually come in then and actually duplicate them like. It also means, though, is that these, when you duplicate them in edit mode will be part of the same object, of course, because in edit mode, they're not actually classed as an object. They're clustered as the same actual part. Now, for the next part, I'm going to bring in a brand new cube, and I'm just going to show you some of the basic modeling techniques within blender and go through a few of the options. So here we have a brand new cube, and the first one I'm going to show you is, if we come into Edit mode, we'll always be working in edit mode to show you these things, make sure you're in Edit mode. I'm going to grab the top face. And what I'm going to do is press E, and that then is going to extrude this out. Now, sometimes you will need to extrude something out and it will need to be along A axis, for instance. So all I'm going to do is go to Edge ect, grab this edge, and then what I'm going to do is press E, and you can see, because it's not tied to an axis, it's floating around everywhere. However, if I press the Xpon, you can see now it extrudes out, following along that actual axis, which then makes it really, really easy to manipulate it where I actually need it to. One we're going to look at is something called beveling, and then all I need to do is come in and I'm going to grab my edge. So I'm going to press two on the keyboard, grab an edge like so, and then I'm just going to press Control B like so. And you'll notice now it's actually bevelled off that side. You'll also notice down on the left hand side here, we have something called an operator panel. It will be closed. Just open it up, and from here then with the actual bevel, we're able then to turn the bevels down, for instance, turn them up, move how the shape of the actual bevel is going to be and all that other good stuff. Pretty much anything you do in blender is going to give you an operator panel like this. We're not going to go too much into this, but basically, the moment that you press Tab button to come out of Edit mode, this is going to disappear, and then you're locked in with the actual shape that you've chosen or the insert or the extrusion. So just bear that in mind. So the moment I press tab, that actually disappears. What about if we want to bevel off vertices and not edges. So for instance, if I come to a vertice like this and vertice like this, press Control B, you'll see that it bevels off like this. But if I come to one that are the opposites of each other, press Control B, you'll see nothing actually happens. However, if I press control shift and B, then we're actually able to bevel off the actual verts like so. That's another handy tip for actually bevel. Now the next modeling technique we want to discuss is actually edge loops. So how do we get more geometry onto this? So, for instance, I want to bring some edges on here, I can press Control, and that then will bring me one edge in here. If I left click then, you can see that I can put this either this side or this side. But let's say I want it right in the center. I'm just going to right click on the mouse, and that then is going to put it right in the center. Now, the other thing I can do with the operator panel again is then come in and turn all of these up to give me more actual edge loops, and I can even move them to the on the right. Now, I can also, if I press Control Zed, come in, press control law. I can actually scroll up on the mouse wheel to give me as many edge loops as I actually want. Or if I want a little bit more fins, I can actually type it out on the actual number pad, so I can type out 120, for instance, and have 120 edge loops. To cancel it at any time, just press the escape board, and then that will cancel it out. The next modeling technique I want to show you requires two actual blocks or two cubes like this. And all I'm going to do is I'm going to come in and I'm going to select opposing faces like so, and then I want to actually join these together, for instance. So all I'm going to do, I've selected them both. I'm going to right click and come down to it says bridge faces. And now you can see I can actually join those together. Now, if I press Controls and just go back a minute, you can also do this by coming in and let's say grabbing this and this edge. And what I'm going to do instead is, I'm going to press the F bone like so and come down to the bottom, as well, and then grab both of these and press the FBne like so. Sometimes bridge will not work because bridge has to work with two edges and nothing in between. In other words, nothing selected there. If I come into this one now and try right click and come down to it says bridge edge loops, you will see select at least two edge loops. So we can't actually join over from there, and that is when it's a good idea to use the FBN instead. Now the final modeling technique that I actually want to show you is something called insert. What I'm going to do is I'm going to grab this face here. I'm going to press the ebon and then you can see you can actually insert this as in, and from there, you can actually extrude it out if you want to. You can also then press Control B and bevel it off if you want to. And you can see now it's really easy to use all of those techniques that I've actually showed. Now, lastly, the last thing I want to show you is the insert again, but this time we're going to grab this base and this base, and if I press I, it's true you can actually insert them both at the same time. Now, the best thing though about insert is, if I press the I and then press I again, we can actually insert them separately from each other like so. Now, I see a lot of renders on Facebook and other social media that kind of look really, really blocky. For instance, if I press tab now and go into object mode, you will see this actually looks pretty blocky. But there's a really easy fix for this, so it doesn't actually have to look like that. All you need to do is once you've actually finished, right click, come up and where it says shade auto, smooth, and that then will shade it off based on the actual angle. So really, really easy to either shade flat, shade completely smooth like so or shade auto smooth like so. If you actually are struggling and you actually want it to shady a little bit smoother than what it is, you can come over to the right side where this little triangle is, go down and open up the normal, and from there, you can actually increase this and shade it even more smooth based on a higher angle. The default is always set to 30. So make sure you set it to 30 in case you actually overdo it. The last thing I want to show you in this introduction is the actual cursor because I think it's very, very important to actually modeling. So what I'm going to do at the mono is I'm going to make another cube with Shift D, and then I want this cube on top of this cube, for instance. Now, if I move my cursor over here, so shift right click. And then what I can do is I can press Shift desk, and I'm going to go selection to cursor, keep offset. And that then is going to move the exact center of this cube, all the orientation to my actual cursor. Now, how would I get this then on top of this cube? I would literally grab this cube. I would first of all, right click and set the origin to geometry just to make sure that origin is right in the center. So I would then press Shift Desk cursor to selected, and that then is going to put my cursor right in the center. And then I would grab this cube, and from there, I'm able to go Shift desk selection to cursor, keep offset, and now that cube is right next to this actual cube here. From here then, I can actually bring this up, and let's actually just have a quick play around of everything that we've learned. So you can see now if I pull this going to join them both together then with Control J. And then the first thing I'm going to do is come in, grab this face and this face, and we're going to right click then, and we're going to come down to bridge faces. And then I'm going to bring in some edge loops. So let's bring in two or three edge loops. Left click, right, click. And then what I'm going to do is I'm going to press Alt Shift and click just to select all of this edge going around here and press the S but and pull it out like so. From there, then, what I'm going to do is I'm going to bevel off both of these tops, so I'm going to grab this top, shifts this top. I'm going to press Control B and actually bevel them off like so. From there, then I'm going to bring in an insert, so I'm going to grab the front top here. I'm going to insert this with the eye button like so. And then from there, I'm actually going to extrude out. So I'm going to extrude this out like so. Now, let's say I want a bigger piece on the next bit, I'm going to press Shift D. Pull it out, so this is a duplicate of this face. I want to press the S but to make it a little bit bigger, and then I'm going to press E and pull that out along the axis. Finally, then what I'm going to do is grab this one and this one and going to right click then and bridge faces like so. You can see just how easy this really is now to actually start building out some really, really complex models with everything that you've just learned. All right, everyone, so I hope you enjoyed that, and I'll see on the next one Cheers. 6. Greybox a Temple Path with Solidify and Bevel Modifiers: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. Okay, so now it's time to start grey boxing air environment. So I'm going to start with this area at the frontier, the floor, and then I'm going to build this little path that goes all the way around the temple. Okay, so in blender, I have deleted everything else in the scene except our human reference. So let's start by hitting Shift A, and let's add a plane. Now with this plane, I'm going to change the dimensions to 4 meters by 4 meters. Remember, you can get this menu back by hitting N on your keyboard. Now with this, I'm going to add a validify modifier. And I'm going to change the thickness, and then I'm also going to add a bevo modifier, change this to 0.01. And under shading, I'm going to hit hard and normals. And then with this, I'm going to hit Control A and apply scale. Now you can see where I've done this before. I'm going to just reset my cursor at the moment. You should be here. So I'm going to do is go into Edit mode on the plane and select this bottom vertice, and I'm going to hit Shift S and cursor to selected. So this will bring our freed cursor to here. So in object mode, we can right click this now and set origin to freed cursor. So now the origin point of the tile is on this corner here. So now with this, we can hit Alt G and it'll bring this to the world origin and have it set up nice and perfectly on 00. What I'm actually going to do with this one is I'm going to bring this to the side, and I'm going to duplicate it with Alt D and bring this just along on the x axis. So by dupicating with Alt D, instead of shift, we create an instance. So any changes that we make to this mesh will affect the other mesh. So with this plane, I'm going to hit Alt G to bring it back to the center. And now, if we go up here to our snapping tool, we can select grid. Now, if we go into top view and we hit G at wall holding Control, when we move this around, it will stick to the grid so with this, I'm going to Alt D again and move it on the X while holding control and bring it 4 meters across like this. Now we want five going across and then three going up. So that's what I'm going to do here. Let's go into top mode. And remember, duplicate with Alt D and then just move it until we have. Five planes going across. Now we can select all of these and Oct again and move it up until we have five by three. Now this is where is the PUFL here. This is this area here at the front. All right, let's go back into blender. And let's take this middle one here and opt and we can move it to here and one more the here. So now we're going to create the path going upwards. So let's grab this plane and duplicate it, move it along the white. And now if we hit Shift, it should repeat that same action. So let's do it, so we have one, two. Let's go to six, one, two, three, four, five, six. Now, if we look at the reference, this one starts at this corner here. So let's grab this one. Come to top view, Alt D, and we can move it, so it's just by here. And now we can move it so it lines up going all the way around. So I'm going to do is Alt D Y, move it up like that, then shift to repeat an action. Now we can opt D again, X, move it along here, and then shift to repeat that action again. And there is our path going all the way around. Now we also want one going down here, so I'm going to grab this one, Alt D Y, and move it here. And then down by here, we have an area, but it goes down some steps. So we'll do that later on. Yeah, here's the start of our path. The next thing you want to do is put all these into a collection so we can stay organized. So I'm going to hit A, so we select everything, and then I'm going to deselect the human and hit M, New collection, and we'll call this path. There we go. Now if we save our work. And then one thing I want to do as well is if we go onto this down arrow here, and we can turn on cavity. And with cavity turns on, it just gives nice highlights on the edges so we can see a lot better. Yeah, there's our path, and there's our tiles. And the way I did this with the bevel modifier, so we can see, you know, just how the tiles line up. And we know this is 4 meters, this is 4 meters. And it becomes a lot easier when you're building everything else with all the walls, and you can just see if it matches as you're making. In the next lesson, we will make some curbs going around the edges so that we can separate the path from the grass areas. 7. Curve Based Path Edges Using Snapping and Instancing: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. So the first thing I want to do is I'm going to go into Top view, and I'm going to select there a path. And I'm going to hit GX eight and GY eight just so that it's out the way of the world origin when we bring in new objects. And let's get started on creating the curbs. So I'm going to reset the world origin with shifts, and then I'm going to add a cube. Now for the Z axis, I'm going to put 0.125. And for the Y, I'm going to put 0.15. And I'm going to keep the X as 2 meters. Though here is our curb. Now we want this to be up here. So I'm going to just bring it up a tiny bit so that it's on the red line and maybe make it a bit water as well. So we'll bring this down a little. So the height doesn't really matter. As long as it's like 2 meters across, it should stay modular. But the Y and the Z you can kind of play around with. I'm going to duplicate this with shift D and just move along the X 2 meters. And I'm going to duplicate it again and rotate it on 90 degrees. And we want to bring this over here. Then we want this corner to be matching. So I'm going to select them both. Perhaps Control J to join them. And let's go into edit mode. And up here in the snapping, I'm going to change this to face. I'm going to select this face. Press G, then Y, and then hole control while having your mouse cursor over this face, and it will snap to this face. Then what we can do here is maybe we delete this face and we delete this face. Now we can to Edge select and press Alt and left click to select this edge loop. With the same face snapping we just did, I'm going to hit G x and snap it to this face here. So now it's in line. Now what we can do is if we hit A and then M and then merge by distance, these should all be joined here. Oh, we need to add an edge loop. I'm going to hit Control R over here, bring in an edge loop and then GY, snap it to this face. Now let's merge them all again. Let's check over here. This all should be merged now. Now we can just build in this face here. And now we have a corner piece. Now we can check if this all lines up correctly. But wait. Let's first do the origin point. So this one, the origin points in the middle. We want to go into edit mode and select this edge on the left, and then shift S cursor to selected, back into object mode and set origin to free Dcursor. Now with this one, we want the origin point, going to top view. We want it to be we're going to wireframe. We want it to be on this point here. So I'm going to cut back into solid view, and I'm going to go underneath it, going to edit, select this face, Shift S, cursor to selected, in object mode, set origin to freed cursor. Now, these should hopefully line up perfectly on our tiles. So before we do anything, let's select both of these and press M and put them into a new collection called curbs. Now, I'm going to move these both over to take the way. And let's bring back our grid snapping. And let's rename these. So if you want to find an object in your list, just have it selected and then press the period key on your number pad, and it'll just snap to that object. And we can double click this and rename this curb. And like this one, we will rename this curb underscore corner. Now let's let's do this one first. So we will duplicate an instance with Alt D and then press Alt G to bring it back to the world origin. Now we can go into top view. And let's fill in these edges here, not the corner ones, but we want the ones just offset from the corners. So I'm going to hit G hold Control and bring it here. Now we can duplicate with volt D again and just do the same that we did with the path. Maybe we're going to hit Shift R to repeat action to speed it up a bit. And let's bring in this corner piece. At the Alt G. Now, we need to rotate this. I'm going to go Azi A -90 and bring this to this corner. Now let's grab this piece, D Z 90. Go to top view. And let's move this here and duplicate these, so they go all the way up here. Now we can grab. You can grab all of these. You select the corner one. So just the straight ones. Alt D and then move it up on the Y to here. Going to need one. But we could have a corner piece here instead of a straight one. So I'm going to delete that one and bring this one up. Al D Y to here, and then rotate on the -90. There we go. We want a corner piece over here. So I'll D X to the corner, AZ 90. No, we want -90 -90. There we go. And then I'll D Y, bring it to this corner. Z minus Z 90. And we want some Oh, we could do more corner pieces around this corner. So describe this one D Y to this corner, and then Az -90. Now that we want Az 180 for this. There we go. And then DX to this corner. And then we'll rotate it until we get it right and pressing wrong buttons here. Alright. Solid view. There we go. Azzi -90, there we go. Now we want one by here. So we'll go Oc D Y and then rotate it until it muches. There we go another corner piece here. Now we want some straight pieces. So let's fill in this corner first. O D Y. Rotate. Say by here. We could bring this one across. And then RZ, is it 180? No. Just keep rotating until you get it right. There we go. We want a load of straight pieces. So let's grab this one. A D X to here, and then D Y, and then we can do Shift R all the way There we go. Let's grab this one and duplicate it to this corner. We can grab this one and move it to this corner. I'm just grabbing these because it saves us from rotating. So we can have one here. And then any more corners? We have a corner here. Then we're going to have steps here, so we might have to change these for straight ones. So we'll delete these and we'll grab corner pieces for here. Grab, we'll have a straight piece here, and then a corner piece. Let's grab this bottom one here and we'll put this here because then it might go down this way a bit more. So we have these corners, let's do the inside corners. So we want this one Alt D and move it to this corner. Let's grab this one, Alt D two. No, we don't want that. We want this one. Alt go to this corner. And now, I think it's just straight pieces left here now. Yeah, so we'll just get the straight ones. One, two, three, four, five, six, seven, eight. I'll duplicate these up here, and then fill in this gap here. And then we can do the same with the top. So Oct Y, and then fill in the gaps. And side. And let's grab these ones. I'll do X over here. I'll be missing any We got over here we need to do. So let's deselect these two. Come on. There we go. And let's duplicate these and bring them over to the left and duplicate them again to this side. And then we will fill in the gap here. And I believe that's our curbs. Now, we can delete these middle ones because we will have steps here. And we could probably delete these middle ones too, because we'll have steps going up to the temple. We will delete these ones because we will have steps here. And we might need to change these to if we have an area going down here, we might have to have straight ones on here, but that's up to you if you want to go that far, like down, you know? Yeah, I should be fine for now. There's the blockout of our curbs. 8. Model Temple Steps and Railings with Precision Snapping: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden Workshop. Next, we're going to make our steps. So let's hit Shift S and cursor to world origin. And let's add another cube. And let's go to front view. And I'm going to hit G Z one so that the cube is on the ground plane. Next, I'm going to go into Edit mode, and I'm going to select this edge and hit Control B to give it a bevel. And once you left click, there'll be a little menu at the bottom here. And under profile type, we're going to click Custom, and under preset, we're going to click steps. Now we're going to have to add more segments. So I'm going to add 16 segments and then just increase the width until it's as close as you can, so it looks like some steps, a bit more maybe. There we go. Next, I'm going to select everything with A and go up here and select freed cursor. Then I'm going to hit S Z one, not S one, S 0.5. I'll scale it down towards the free D cursor. Now the steps are 1 meter high. Next, we want to select this vertice down here, Shift S cursor to selected, go into object mode, right click Set origin to free D cursor. Now we can move this across the way and duplicate an instance with Alt D, and then we'll hit Alt G to bring it back to the world origin. And now we can just go and place this in our scene. So holding Control, I'm going to put one by here. And we can duplicate this one, GX two to move it across 2 meters. Next, we can duplicate these two and move it across the Y to here and we will duplicate these two again, move it across 2 meters on the Y, and then we can move it up by 1 meter with this one, we'll move it down by 1 meter. G s minus one. And we can have some steps by here too. So we'll select these two OD Azi -90, and we've rotated around the free Dcursor, so I'm going to undo that and go up here and choose medium point we'll go with. And then Azi -90, go into top view and then move this one to here, and then we can have one by here. So we'll just duplicate these Old to here. And these are steps on this side. Nice and easy. There we go. Another thing we could add at this point is the little side pieces on the side of the steps. So let's reset our cursor again, and we'll add another cube. With this one, I think if we just go into top view and we can just do this manually. So if we move it here and we can use face snapping for this. So if you go to the face snapping and if we hit GX and hold it over this face, it'll line it up here, and then GY and snap it to this face, and then GZ, and then snap it to the bottom face. Now with this, we can go into Edit mode, select this face and then just move to here, and then select the top face and could bring this down to around about a good height to here. And then we can select this edge and just bring this one down to here. What we could do is also select this face, and we'll hit E to extrude. And we could bring it to back here, I'd say, looks good. And now with this, we can add a mirror modifier. So what we could do, actually, instead of a miror modifier, because this is two objects, we can just duplicate with Alt D and move it across. If we hit GX two or GX four, I might need to go a bit further. So we can just do this face snapping. So if we move it to here and then press GX and snap it to this face. It's nice in place then. We do have some clipping here. So what we could do, select the original, and then we could just move it to the side a little bit, just so it's not clipping through on the faces. Doesn't really matter. Yeah, there's our railings. Now, I might want this edge to be further back. So I'm going to go into edit mode and alt lick this loop and just hit GY and bring it before the curb. I think that looks nicer. There we go. Here's the blockout of our steps. So one thing I would like to change is the temple steps. So I think these need to be a bit wider. So I'm going to select these two and duplicate them and move them across. I need grid snapping back. So if you go back to grid GX, hold control, and then we'll duplicate these Alt D, X, hold control is start of our temple. And the last thing we want to do is select all of these because we forgot to do it. And we bought new collection of M, name this steps. And we could hit F two on this one and rename the steps if you want. Try and be more organized than I am. And yeah, I think that I'll do for our steps. Maybe we should also put these into our steps collection just to stay nice and organized. There we go. What I could show you a cool little trick to rename all these objects is if we select them all, and we'll make sure this one is selected last. And if we hit F and then we can search batch rename and then make sure selected is selected, and we will choose setName method Nu and we'll name this steps. Hit Okay. So the main one should just be called steps, and the rest should be 0.01 0.02, et cetera. Then these two railings. We'll name the left one railing then we can just do this one manually. 0.001, I guess. There we go. Now it's all organized. I'll see you in the next lesson. 9. Build Modular Walls and Corners with Clean Geometry: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. So in this lesson, let's start creating our walls. So it's pretty much the same as we did with the curbs. So let's add a cube and G one to bring it up to the floor. And we want this to be 4 meters on the X. And then 2 meters on the Z is fine. And then on the Y, let's try 0.5. That's probably too thick. That's 0.25. I'll be a good size for our wall. And we want our origin point to be the bottom left vertice here. So Shift S, cursor to selected, and then right click Set origin to Go No fret cursor. No, we don't now we can reset our cursor to world origin, so we don't forget about. And move this to the side F two to rename this wall and M new collection walls. There we go. Now we can Alt D, lt G and make sure we got a grid snapping on and we can start moving this into place. I'm going to move it along this edge here all the way to here. So let's start by going to here, and we need to bring this down by 2 meters. I'm going to press GZ minus two. Now, it's going to snap into this, but we will get rid of this later on, let's just ignore this for now. Actually, what we can do instead is let's delete this. And let's go to our original and go into Edit mode. Instead of having origin here, I'm going to choose this edge and then Shift S co selected. So when we choose an edge, it goes in the middle of it. So now we can go into object mode set origin to three Dcursor and this should line up a lot better now. So Alt D, Opt G back into our grid and move it to this corner here. Now we also want some corner pieces. Let's 50 this and Old G. We're going to top view and shifty again and then Z 90. If you remember the method we did with the curbs and we joined it, we'll do that again. We'll select them both. Control J into edit mode. We'll grab this face and then with the snapping, we'll choose face and then GX, hold control to snap to this face, and then we'll delete this face and then delete the inside face. Next, we will move this edge loop. So I'll click this edge loop in the middle and we will snap it to this face. So GY hold control, snaps it in line with this, and then we need an edge loop here. So control, and then GX hold control snap to this face, and then hit A, M, merge by distance. And then I'll click this loop, fill in that face and double check it's all connected. And there's a corner piece. So now we want our origin should be in the middle of this bottom face here. If it isn't just selected and it's selected and then origin to Fred cursor. This is our original, so we'll have to rename Wall underscore corner and just move it out of the way, Alt D, Alt G, and this one can go to the site, we need the grid snapping again, so choose grid snapping up here. GX, hold control, move it to here. This one can be corner. And we also need to bring it down. So we'll select both of these GZ minus two. And we can see already that this might be too thick, because the curb is actually, you know what? We'll leave this for now because now that the walls are in, I can see that we won't even need these curbs. So we can just delete those, and we get some clipping with the floor. So what I'm going to do is go to our original measures. And this is the main reason why we did instances, so we can just make quick changes like this. So I'm going to select these top faces. If we go into front view, we can see that they're in line with the grid, and we can just move it up a tiny bit, just so it's above just the tiniest amount. So now when we go back, we don't have that clipping with the floor. So now we can just go around and duplicate our walls and place them in. So I'm going to just D moving with control. And for here, I'm going to go straight across all the way to the end. And on the right side here, we're going to have some grass. So I'm going to go maybe two walls across. So we'll go here, and then you can do Shift R to do it again. And now we want some street pieces here. So D Z 90 on the top view. We'll move one here and then Old again, move it up to here and it's starting to take shape. Now, do we need one here? This will be covered up, so we could just leave that. We don't need just keep a gap and now. And now with this, we want to actually delete this one because we want a corner piece here. So we'll bring the corner piece over. And make sure this is correct. Go over one more meter and then RZ. If you hit RZ and then Hole control, you can snap it while it rotates instead of trying to guess which number it is all the time. Now we can get this one. Alt D RZ 90, bring it to here, and then we will Alt D Y four and then shift R to bring it all the way to here until we need corner piece. RZ flip it that way, GY. Is that correct? I believe so. Yes, should be. No, wait. We want to go further because we're going to have grass at the back here. So maybe we go a bit further up here. Should we have four meas or eight meas? I think four meas should be fine. And then we can just fill this gap here. Now, it's just about going all the way around. So we can just duplicate these straight ones. I'll select these and duplicate them at the top to move up here and then fill in whatever gaps we have. We'll keep going GX there, and then I'll shift R A why do we want? Let's go. So it's the same. We've got 8 meters this side, we'll have 8 meters this side. And then we can, we'll get rid of this last one and put a corner piece again. Oct X and rotate. We'll select all of these octeX like Ross, and we'll go to this corner. So OcteX have this corner here. I guess we can just fill up this gap with more walls. So AltiX here, and then I believe this is our last one. Do we need more walls? Yes, we do. We'll have walls going across here, too. So let's select these two. Now we have some snapping here. So we're going to have to think of how we can fix this o. I will try and figure out a fix for this later on because I'm not sure what we can do about this right now. I'll figure it out as we go. But we'll just fill in this gap up here, so I'll de remove some walls up in here, and that should be fine. Just to be safe, let's fill in these gaps in case we get gaps later on. We don't want to deal with them, so we'll just fill them in. Underneath the steps should be okay. We will need a wall going up the back, but we can do that later on once we get some more objects in so we can see where to place the back walls. But for now, this is really bothering me. Maybe if we swap these out for straight pieces, it might fix it. So I'm just going to move this out the way a sec and put a straight piece in. Move it on the X. So that's fine there. Reduplicate this one, DY, move it to here. We still get snapping. Yeah, we still get clipping. So we can just cover this up with it's a lot better. We've fixed the snapping on this side. It's just that they're all the same height. So we can ignore not for now. It'll be covered up by another piece later on, and we can delete this one. And there is our blockout for the walls. Is everything in the correct collection? We can collapse these collections. So we'd have to keep scrolling through, maybe bring the stain a bit. And these we can select objects, they're all in the collection. Everything's organized and we're ready to move on. 10. Fix Modular Wall Clipping with Mirror and Merge Tools: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Okay, a quick fix that I'm going to throw in here is the clipping that we had with the walls. So in order to fix this, we need pieces like this. So for here, you can see this is a T shape, so we need to create a separate T shape. And then if you want it to be modular in any direction, then you could also create one like this. So I'll just show you how to create pieces like this. I'm not going to use this in my scene because the only clipping we have is by here, and this will be replaced with if we look see these little columns, they'll be on the corners anyway, so we won't be able to see the clipping in the scene, but I thought I should show you guys at least how to get around these problems. So let's say we have this corner piece that we made, and we'll duplicate this, and we will duplicate a straight one. And we want to move these both to the origin points. So I'll just delete these and press Alt G on this one, and Alt G on this one. And we want this to be this side. So it'll be GX minus four. And now we need to join them up like we did with the corner pieces. So let's select this face. And we want this inside face here, and we're just going to move this over here and delete that face. And then we go into Edit mode on this one, and we want to delete this face. So now with this, we can join them both together, make sure the corner piece is selected, so we don't have to reset their origin point later on. So this is the main piece. We'll join them together into edit mode. Alt click this loop, and just turn on face snapping and then GX hold Control, snap to this face. And there we need to just merge everything together. So M merge by distance, and there's our T piece. Now, if a snapping is really bothering you, you could just place it here like I have here. And also, you know what? We'll just commit seeing as we've gone this far. So there's our main piece, we'll ob D and then move it into place. We need the grid snapping. GH control, that goes there and then rotate it, and then it fits perfectly here. Now, from my scene, I don't have any cross pieces. But in case you want to do something yourself and just make it up. I'll show you how to do a cross piece, so we need. Oh, we could do this with a mirror modifier, actually. So if we go into the modifiers tab, add a mirror and make sure it's on the right axis so that it's across. We'll make sure clipping and merge is on. And then we just apply that mirror. And we've got some duplicate faces here. So we'll just select everything merge by distance, and there is our cross piece in case you want to use it. So yeah. Have fun. Be creative and just don't be afraid to just do whatever you feel like doing when it comes to building the unit. You don't have to keep it the same, you know. So, there we go. I'll just move these somewhere, like the way. There we go. And let's double check they are in the collection. We will need to rename them too. So let's rename this wall and then we can rename this wall X. And these need to be renamed as well because I didn't rename them, but underscore.001 and this one Wunsce Dt 002. There we go. You guys have separate collections for these if you wanted. I think we'll be fine keeping them in just one single wall collection. There we go. That should fix your snapping issues. 11. Model the Temple Base with Bevels and Face Snapping: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. So in this lesson, I'm going to start building the base of the temple. So we're going to go back to Blender. I'm going to hit Shift S to bring my cursor back to the world origin. And let's add a cube. Now let's press GZ one to bring it to the floor. Let's go into top view, and let's just bring it. First, let's go into Edit mode and select this vertice, and we'll put the origin point to here. So cursor to selected and then set origin to free Dcursor and then we'll hit Alt G. Now with grid snapping turned on, I'm going to move it to right by here. Now with this, we want it to be across, so it's much in on this side. We need to measuate the distance here. This is 2 meters, two, four, six, eight, ten, 12. We want it to be 12 on the X. There we go. Now we want it. There's 2 meters, 2 meters to the path. So how many meters is this one, two, three, four, five, six, seven, eight, nine, ten. So it'll be ten on the Y. And the height should be fine. Now, we also want it to extrude this way. So I'm going to do is going to edit mode and put it in an edge loop, and I'm going to hit Control B on this edge loop so we can bevel it like this. And we want to use face snapping now. So I'm going to go to the face snapping and I'll click this loop, Gx and snap it to this face then the same with this one, GX control to this face. Now we can go into face mode, select these faces, and then hit E Y minus two, and I'll bring it here. Now, here we can delete these curves and also we can delete we look underneath these steps. There's curves here that we don't need either, so we can delete those and bring our steps back. And there's a start of our base here. This might need to go further. We went to ten, didn't we? This is two, four, six, eight, ten. So what we can do is bring it another 2 meters. So I'm going to select all these faces and just hit GY two, there we go, there's the correct length. Next, what I'm going to do is go into Edit mode, and let's select these faces. I'm going to hit Shift D, right click and then hit P and separate selection. Now, if you go back into object mode and we try and select that face, it might have to hide the base. So we have this piece here. I'm just going to move this up for now and then bring this back. And with this, this will be the starting piece of the roof that we can use. So we will deal with the roof a bit later on. I don't know why this is selected here, but yeah, we will go to the roof later on. It's a bit more complicated. But what we could do is start adding the columns as well. So this one's really easy. We'll reset our cursor and just add a cube. This one doesn't really need to be modular. We can just place it in manually. So we'll just put G Z one to bring it up. And we can just do this by hand. If you just select, press S and shift Z and you'll lock it on the Z axis, you only scale it on the X and Y, and we can just bring this down to maybe this amount. And if we select the bottom face, we'll put the cursor to select it. And then we can just right click Set origin to free Dcursor. Now with this, we will first rename it to column and put it into a new collection column. I'm just going to move this to the side somewhere. It's over here. We also should rename this rename this temple underscore base and put this into a new collection called Temple. In the next lesson, we will start putting this column object around our scene and see what else we can make next. 12. Build the Temple Structure with Edge Loops and Inset: Hi, welcome back to stylized Blender Fred environment, Greek temple and garden Workshop. Okay, so next, let's start on the temple building. So you can grab this face. Go into Edit mode, and I'm going to delete these edges with Control X, and back into object mode, and I'm just going to duplicate it, bring it down a bit. And let's go into Edit mode on this one, and we're going to extrude this face to this face. What we can do next is first, let's get the height. I want the Z to be six, and then let's bring it down to the floor. Now we can just shape this by hand. I'm going to choose the back face and bring this forward a bit. Now let's select the side faces. Let's go into front view and scale it on the X, and just bring it in about here. That should be fine. Now with the front face, we want it to go a bit further in. So just around about. It's going to top view, and we need to hide this top face at the moment. Now, if you're going to edit mode with this, I'm going to bring it to this line here, I think. There we go. And maybe just bring this tiny bit more. Allright. Now let's bring back the other face, the top one and edit mode. Screwed this down a little bit, so it's about like 1 meter so let's put this on line so we can see and bring it down. Now with this, we can just bring it down to this face. Now let's duplicate this top face, shifty going to bring it up a bit. Then we want to P separate selection. What I'm going to do is bring this down to the face and I'm going to edit mode and just extrude it up a little bit. I'm going to put an edge loop in the middle, select this edge. It's going to the front view, and one, two, three, four. About 4 meters high, I'm going to bring it up just so it's on this line here. Next, I'm going to select these two faces and before we inset it, we need to apply a scale. I'm just going to control A, apply scale back into edit mode. Hit I to inset it just a little bit and extrude it in. And let's insert it again. I'm just keeping an eye on this edge so I don't want it to overlap when it gets a bit smaller, that should be fine. Let's extrude this in a bit more. This is too much. I'm going to point to face mode. I'm going to alt click this face loop and just bring it forward on the Y a bit and select these faces, bring it forward on the Y. And what I might do here is Alt click this inside face loop. And if we hit Alt S, we can adjust how thick it is. And I don't like how I don't like how small this edge is here because once we add a bevel modifier, it might not work so well if it's so close together. So I'm just going to quickly test with a bevel. Put it to 0.01. I'm just shading hard in normals. And the bells working fine, so that should be okay. Maybe if we just select these two bottom faces and just bring it up on the Z a bit more. And you can see here where the bebles getting smaller and smaller as this edge gets really small. So I just undo that. And I think that will be fine. We'll see how it looks later on when we add some lighting because we might I do want this to be a bit thicker. It looks a bit thin. So what we could do could do is lift everything. So it's going to front view. I'm going to go to wireframe mode up here and in edit mode, going to vertice mode. We want to select everything except except these two verses here. I'm going to shift select these. We want to go down to this corner. Anything below this we don't want to select. Let's select these as well, so we have the top corner here, and then we can bring this up a bit further. I think this looks a lot nicer. Now with this, we can select this inner edge loop again. Hit olds. We have just more room to play with and it looks a bit nicer, more thickness. I think that should be all right. Now, this isn't straight. What we can do to fix this is if we select this edge and we go to appear to edge snapping, let's turn off the bevel so we can just see. I'm going to hit Gx and hold control over this edge. Now this will straighten it up. Let's do it to the other side. Select this edge. GX, hold control over this edge, and it will straighten it out. Now we want some placeholder pillars, just so we can see a bit better how our seene is looking. So I'm going to shift right click here to about three Dcursor here and let's add a cube. And on the Z, we want this to be six, and let's bring it up and snap it to this top face. We need to go onto face snapping again. GC hold Control. And for the X and Y, let's put this to 1 meter. We can just move this back a bit, it's under the lip here and we can do it about the same space on the edge. Let's bring it to a bit here. Now we can just duplicate it, but duplicate, move on the X and bring it to this side. Did I duplicate this twice? No, I didn't. Let's have ones in the middle. I'm going to go halfway on this line, bring it across. One to here, and then one to here. I think that's a good spacing in the middle here, and then we can have the door in the middle. We might want a bit more room, maybe. So maybe we can bring this front face back a bit. And what we could do is, do we have a reference? Yeah, Let's bring this guy over here. I'm going to bring him to the front so we can just see how much room we have. I think there's plenty of room. Yeah. Yeah, there's a blockade of a temple building. Next, we'll go on to sorting out our lighting setup. 13. Set Up Stylized Lighting with Sun and Skybox: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Now it's time for us to set up our lighting. So let's go into Edit and preferences and click system on the left here. And you want optics and to choose your GPU. Now, you might have different settings based on your system and what you have. You might have to choose your CPU, if you don't have a GPU. You might have to choose Cuda if you don't have optics, but go with Optics if it's there. We're going to go to our render settings over here and change this to cycles. So now we want to change device to GPU, and we want to tune on denoising. And I'm going to choose optics with a denoiser. Now we can speed this up a bit by changing the samples to about 40. That should be fine. Now we want to go into our rendered view. And let's add a light and we'll choose sun. I'm going to go to the top view and move this over here. G to just bring it up a bit, and I'm going to rotate this, so it's like pointing at the temple, maybe up a bit more. And that should be fine. I'm going to bring it maybe up a bit more, rotate it on the Z a bit until we get a nice nice contrast. There we go. Now, the shadows are a bit harsh, so I'm going to go into light settings and change the angle. Let's bump it up to five. So I'll give us some nice softer shadows here. Now let's add a Skybox. So let's go to File append and let's go to the resource folder and choose the blend far. Now we want the world folder. And stylized Skybox. Let's append this. Now let's bring this up and we'll go into Shade Editor, change this to world. If you click this, you should see stylized Skybox. That's bright. Right. You can adjust the hue saturation and value of the skybox, if you want to change it up, you know, bring the saturation down or up. You can change the hue if you really wanted to, or you can make it darker by just changing the value a bit. I'm going to leave this as it is, because that's what I used for the scene last time. But the light, I might bump this up to strength for free, just so we have more contrast between the light and the shadow a bit. So yeah, there's our basic lighting setup. Is there anything else I'm missing? Yeah, that should be fine. You if your scenes a bit laggy, you can change the samples here. I'll speed it up. You know, Less samples means less rendering, it should, even with one sample, it's quite right. Now, this material, it's very just white and bright and it's hard to see what's going on. So I'm going to select our steps. Let's start with the steps. And let's go to object under the shaded type. Let's add a new material and call this gray box. I'm going to add a ambient occlusion node. And a color ramp a ramp like this in. And with this black bar, I'm going to bring this up at a bit here for now, and maybe bring the white down. So click this white arrow and just make this to, like, a grayish color. Now I'm going to select all of these objects like making objects. Make sure the steps are selected last and Control L link materials. We need to do some manual assigning here. So all the white ones. Then make a gray one and control our link materials. And now we have some nice shadows, so it's easier to see how we're lighting. Now, I might bring this down a bit. Doesn't need to be super intense. That should be okay. And maybe bring it a bit brighter. That should be all right. And there is our basic lighting setup. Another thing we need to do is fix our collections because we didn't do it last time. So I'm going to open up this walls collection, and we can see that the sun is in here. So let's move this to a new one called lighting. And the temple is also in here, too. So let's just go into solid viewfin select these we'll move these to temple and these ones I'm going to put into a separate collection called pillars. We should also rename them, shouldn't we? So if you look at this, white box where it says walls. It's got a gray square around it. That means it's an active collection. So any new object that we add to the scene will be added to the walls collection, so I'm just going to click this one up here, so I'll go into scene collection instead and double check. It's just all the walls, e. So the pillars we can leave because we'll replace those, but the temple we should rename. So this one is the roof base, so temple roof base, and then temple Roof. Temple underscore. Roof. This one is Temple base, and then this one we could just name Temple. Just leave it as temple. I'd be fine, I guess. And I think that's it. So we have our basic lighting here. Then we can start with filling these holes and add some grass and then we can start building the railings, add the columns, and then after that, we could start wrapping and doing some texturing, switch it up a bit. I'll see you in the next one. 14. Fixing Scale and Object Links for Uniform Scene Setup: Hello, and welcome back to stylized Blender Fred environment, Greek temple and garden Workshop. So we need to fix some issues that I've just noticed. So if we look at our wall and look at the scale, it's not uniform. So this is going to cause us some problems when we unwrap it and add some textures and stuff. But if we apply the scale, we'll get this warning, say, make single user and apply transformation, which means it will no longer be linked with the duplicated instances in the scene. So if I was to apply this, you know, any changes, they don't update these. So just go ahead and apply the scale. And what we can do then is open our walls collection. And I'm going to select all the walls here. And then shift select this one, and then we have to hit Control L and link object data, so they're all linked again. But now the scale of all these are messed up. So what we can do is just hit Alt S and that will clear the scale and should fix everything. So now we need to double check the other objects. So the steps are fine, the tiles are fine. The column is fine. They're all one, one, one. Now these curbs. So we'll do Control A, apply scale, hit apply, and then we need to select all of our curbs, curb, but, bu bu curb, and then Control L, link object data, and then Alt S to fix the curbs. And then the corner one we need to do, select all the corners. Control L, link object data, and then Alt S. What's left the wall corners. We'll control a apply scale apply. Then wall corners, you'll select these, control L, link, Alt S. And this one, I don't have any duplicated ones of this, so I can just control A apply scale, and I'll sort that one. And then this one row A, apply scale, apply, select Control L link object data, and then Alt S. I think that's fine. Now let's double check these as well because we don't have them over here. So these are scale 111, they're fine. Temple base, we can just apply scale on this. We can apply scale on these. This one apply scale. Apply scale, and then the roof apply scale. And everything you're now seeing should be uniform. Is there anything else I need to fix? I think that's it for this lesson. Next, we can actually start adding some grass. We're filling this area at the front as well. And then we can start doing you know, after we do the grass in this area, we'll move on to unwrapping and doing some textures. I think that'll be more fun cause we've done a lot of blocking out so far. So yeah, I'll see you in the next lesson. 15. Filling the Courtyard with Modular Walls and Grass Geometry: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Okay, now let's start filling in these gaps. So for this bottom left area, I'm going to use these wall tiles. It's going to the top view and duplicate with Opt and bring it across. Now we're going to need grid snapping again. So let's go to grid, and now we can place it here, and let's just fill in this area. So GX, and then shift, select all these OD Y, and then shift. And then we want to bring them down. So let's select all of these and I don't want to bring it down all the way. I just want it halfway. G Z -0.5, and I'll bring it halfway between these steps. I think it looks a lot nicer than going all the way down. For the grass, I'm going to duplicate this piece with Shift D, and we'll move it over here. And if we go to the object properties here, we can change the viewport display color. So we change this to like a green and get a bit darker, then up here in your overlay settings, you can choose you can choose object instead of material, so you'll use this object color. And this is only in the object like the solid view. It won't change it in the rendered view. Se fault for separating and just knowing what's what. So with this, we can just move this over here. And I'm going to go into Edit mode, and I'm going to change the snapping to increment. So if we move this edge or holding control, it'll snap to the grading a lot of increments, and we can just have more control over where we put it. So I'm going to move this over here. Now we want to add an edge loop so we can extrude this way, control, and then I'm going to move this edge to here. So now we can extrude this edge to this end over here. E and then X, hold control, and I'm running at a screen space here. Hold that GX, here we go. Now with this, we can add edge loop here and move it into place, select this edge, and extrude it on the Y. Gonna keep moving it over. Now, if you accidentally like left click and then try and move it when it's like halfway, it'll just snap in increments like this, we don't want that. So it's probably best to just go back to grid snapping. And yeah, we'll stick to grid snapping, so it stays on the grid. Now with this, we can duplicate in edit mode. So if we duplicate this face, shift D X, and we'll move it to here, and we want to grab this edge here, grab this edge GY we'll bring it to here so we can put an edge loop into here and then extrude here. And we can just duplicate this face and move it to here. And then we can duplicate this face. Oh, we need to fix the edge here. So if we press forward slash, we can isolate this. And is this connected? No, it's not. So select both of these edges, and then I'm going to hit forward slash again so we can see the scene and move it on the Y. So it's like here. Now we can add edge loop here, bring it to this corner and extrude this edge on the X. There we go. And then edge loop here, h X, hold control, and then extrude this edge on the Y and go into object mode, press M, new collection grass, and we will also rename the object to grass. There we go. Now we can start next by well, we will get to texturing. We'll throw in some textures. So before we end this lesson, let's just get some materials into our scene. So let's go to file, append. And in our blend file, we want the material folder, and I believe we can bring in multiple at once. So let's find the marble. We'll go in marble wall tiles. We'll go with marble wall damaged, marble white and marble floor. So all the marble ones. We're going to append all of these at once. And we'll start unwrapping some objects and throwing some textures on them in the next lesson. All right. I'll see you. 16. Accurate Texture Mapping with Seams and Sharps: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden workshop. Okay, so before we start adding some textures to our objects, we need to learn about unwrapping. So I'm going to play you guys a short video on the basics of UV and wrapping, the difference between, like, seams and sharps. If you're quite familiar, you can just skip to the next lesson. But if you're completely new, then stick a rein for the short video. Welcome everyone to the shut introduction to marking seams and Sharps part of the course. Before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seems you can think of like seams on a piece of clothing, like a shirt or pair of trousers. The main job of Seams is to make sure the texture that you're trying to place on your mesh goes on correctly, but more importantly, gives you control of how that texture will look. Sharps are more like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on or measures. This makes them look realistic. It is also important we do this not only for rendering and blender, but also sharps carry on through to other software or games engines we want to use like substance painter or unreal engine as an example. So with all that said, let's get started. So here we are in blender with our starting cube. Now, if I click on my cube and go to my UV Editing, you'll see that the cube is basically unwrapped in this actual way. So basically, it unwraps like a present. Now, if I come across and I grab this cir cube, and I press Shift D, and then we press Shift spacebar to bring in our Gizmo, and we move it across. And now let's say I want to alter this cube a little bit. So what I'm going to do is I'm going to press the tab button, and I'm going to go into Face Select, click the top face Shift Spacebar to bring in the move tool. Bring it up so. Now, let's say I want to unwrap this. Now if I grab this with L just to grab everything and I press the U button for unwrap, you'll see that it unwraps exactly the same way. Even if I reset the transformations of this, it will still unwrap exactly the same way. Now, let's mark some seams and see how that has an actual effect on our actual unwrap. Let's grab the top and we'll come down to the bottom. What we're going to do is we're going to press Control. Then come down to it says Mokens. Now, it's important to remember that it's controlee to mark seams in facelet. But if, for instance, we're in Edgec if we come to this edge, if we press Controllee, you will get this option up as well, Mxms. But you can also right click in Edgeet and you can also see we can mark seam this way as well. So for now, though I'm not going to actually mark this scene. What I'm going to do is I'm going to grab the whole thing with L, like so, and now I'm going to press unwrap and you can see it unwraps completely different. Now, let's bring in some textures so you can see what exactly I'm talking about. If I press S tab, I'll come up to my materials panel up here and I'm going to give this material. So I'm going to come across to the right hand side, click on my material button. So let's now bring the material I've already prepared. So if I come across this little down arrow, come on down, you can see I've got one here called wood, and let's click that on. Now, you can see what's happened. We've actually applied our material to this object, where you can see, it's pretty much a mess. The top of it looks fine, but the bit going around the side is all bent and skewed. So if I zoom out and I press Tab now, you can see that the reason is it's not actually UV unwrapped correctly. So how do we fix that? If we come up to Edge set and we grab this edge, and now I'm going to do is I'm going to right click, come down to mark Seams and now grab the whole thing again. I'm going to press you, unwrap, and now you'll see it unwraps absolutely fine. You can see that woods looking really, really nice actually on this mesh now. So what this does, the seams do is actually gives you control of how this actual texture is placed on this mesh. You also need to take into account that this is basically an infinite loop. So if I come round and I look at this pace and this face, you can see that they're going round. If we have no seam, when I talk about infinite loops, it's basically going around and around and Blender doesn't actually understand how to unwrap it. So you'll end up with that mess we had before. Now, the other thing to take into account is, if I turn this board around, for instance, swan going to do, I'm going to come over to the left hand side, the viewpoint of my UV editing, press A to grab everything, 90, spin it round. Now, the other thing I want to show you is that where we join these actual seams up is also really important because you'll never ever get it perfect on here where there's an actual seam. Let me exaggerate this a little bit. What I'm going to do is I'm going to press tab, I'm going to make this a lot smaller and I'm going to move it into the center of my UV map and then I'm going to press tab. Now you can see that these edges don't line up whatsoever against this other side. So this texture here doesn't line up with this texture. The reason is because we've got a seam down there and that is the actual break in the texture. Yet if we come round to this side, and I spin this round. So if I grab it or Z 90 and now go to this one where we can see, you can see that these line up perfectly. And the reason is because obviously, there's no seam there. The seam is here. So you need to take that into account on your own measures and objects that when you're applying textures and materials, try and put seams where you're not going to see them. So if it's on a door handle, for instance, try and put them on the inside where no one's actually going to see them. So always bear that in mind when you're actually marking your seams. So now let's discuss sharps. So if I bring in a new primitive, so if I press shift A, I'm going to go across the mesh, I'm going to bring in a cylinder. Now, you'll notice that this cylinder has all these little edges around there, and let's say you want to make a cup or something, the last thing that you want is all these hard edged faces in there. Now, there are things we can do to sort this out. So the first one we can do is we'll bring in another cylinder. So I'm just going to move this one out of the way. So shift Spacebar, bring in my gizmo, move it out of the way. Shift A, bring in another cylinder. And this time, I'm going to come down to where it says, add cylinder and turn up the vertices to 100. And now, you'll notice that we do have a round edge. But the problem is that we've brought in 100 vertices to actually achieve that. And that's not something we want. We want to use as few polygons as possible while still getting a really good looking mesh. So how do we achieve that? Well, there are a number of things we can. First of all, we can come across to this right hand side, and what we can do now is come to where it says normals and click on Otostmo. Then we can right click on the viewport and click Shades Move. Now you'll notice it's actually been smoothed off. But the problem with this is, if I turn up my autos move, you can see if I turn it up all the way, it goes really, really funky, and that is because at 107 degrees, Blender decides that these edges along here needs moving off. So it doesn't give us a lot of control. If we do this on the other one, if I grab this one, right click Shades move, Atos move on, you can see again, even with lower amounts of polygons, we're still able to smooth it off. But if we turn this up, we're still going to end up with the same problem as what we had before. So how do we solve that? Well, if we come in now, press the tab button. Come to the top, grab the top, shifts like the bottom. Press Controllee because we are in face leg and we'll come in and marker shop. And now you'll notice if I press tab that now it's got Hard edges on there. This gives us control. So this is why we actually use shops. No matter what I turn this up to 180 degrees, which is the highest it goes, it will not get rid of those shops that we mark. We can also mark shops around the edges as well, Server grab this one and this one. And now because we're in Edge select, we can right click. Come down, mark a shop, press the tab button, and now you'll see you've got hard edges on there. So it's very important that you mark sharps, where you're going to actually want hard edges. It's also important that you get into the habit of marking shops when you're actually marking seams. Then what happens is, when you join two objects together and you turn up the autosmooth if needed, you're not going to end up with some measures like this. Every one. I hope you enjoyed that introduction to marking scenes and shops and as they say, on with the show. 17. Texturing the Floor and Curves with Bevel and UV Techniques: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden workshop. Okay, now that we have our materials in the scene, should we start? I think what'll be call if we actually start with the floor. So we'll click our main floor piece, and we'll go into Edit mode, and we'll hit A. Oh, what we should do really is Actually, it'll be fine. We'll just hit U and smart UB project and hit Unwrap. And we'll pull this up. And I'm going to make two windows here. So we have the shader on this side, and this one will be UV Editor. Now we have our island here, and I think that's all we need to do for this piece. So if we go into let's go to rendered view, and we'll just choose marble floor tiles. And now we can have a look at how they appear. So, our floor tiles. A nice. Should we rotate this? So let's click the main object. I'm going to edit mode, and we'll select the UV Island, let's rotate it 90 degrees. So with this, what I might do, actually, let's go back to solid view. Okay, so we're just going to delete this one. We don't need this anymore. And let's select our path objects, and we will just control J to join them all. So that should be fine. Now, what we can do is press A to select everything, M and merge by distance. So now, if we go into isolated mode, it should look like this without the little gaps in between. So it's just like it's all one flat plane. This is merged over here, but this won't be a problem because we won't really see this corner, so we'll just ignore that. What we can do now is going into top view and I'm going to press U, and I'm going to project from view. Now we want to hit N in the UV editor and bring up our Texel density checker. And we're going to choose make sure all your UVs are selected, and we're going to change the Texel density. So I'm going to hit 512. And it just scales up the UVs, and 512 is the perfect kind of It's like the sweet spot for like two K textures, and it's like the right size for the textures that I made for this course. So now we go into the rendered view and have a look at our floor tiles, yeah, they're looking a lot nicer. I much prefer to look at this. If we go into the viewport shading material preview, and we click this disabled show overlays, get rid of the grid, and let's focus on this object a lot nicer. Smooth the way. And we can have a look Yeah. So it's going to rendered view. And there is our floor tiles. So how much time do we have left 5 minutes? Let's smash out another object while we still have time. What should we do next? Well, let's do something simple and quick. So we'll do the We will do the curbs. So let's bring our overlays back. And I'm going to well, we can do two at once. So we can select both of these. And what I'm going to do is actually add a bevel modifier. So bevel and then amount to 0.01, shade into harder normals, and then Control L copy modifiers. What we can do then is select them both. U, smart UV project, unwrap, it's all fine, and then select all of our islands, set it to Once you choose five, 12 once, you can just press a set TD button if it's got it here. That's the right size and with this, we will have. Let's go with I think marble wall damage would be good. I imagine they're on the floor so they're going to get more damaged than just the marble white. We go with marble wall damaged. Let's go into a rendered view so we can see. I'm going to hit Control L and link materials, they're the same. Now we added a bevel modifier to these curves. But even though these are linked. The modifiers do not carry over. So these are still flat. So we need to select all of our curbs, select objects and then shift select this one, and then we control L and copy modifiers, and we should have the bevel on all their curves. Now we have a look and rendered, and it's looking very nice. Yeah. So in the next lesson, what could we do? Maybe start on, well, we could do the steps and the grass, we'll get some grass texture in. We could do that. Yeah, I need to keep remembering about these ones as well. We'll do those because they're quite simple objects. And then we could get to work on the railings. I will see you in the next lesson. 18. Unwrapping Steps and Grass with Smart UV and Texel Density: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. Okay, next, we're going to start texturing our steps. So I'll select my steps over here, and we're going to go into Edit mode, select everything, hit U, and hit Smart UB Project, and Unwrap, we'll select all of our islands and set Texel density. Now we can choose the marble or white material. So I just need to append it again, find the resource folder. Okay. And go into material marble white. Let it go, we'll apply this material going to rendered view, Let's have a luxury. Okay, we also want a bevel modifier on this. 0.01, I might thicken this a bit, so I'll go like 0.02 and then shading to harden normals. Now with the linked duplicates, the modifiers don't copy over, so we need to select our steps and we'll select all objects and then Control L, copy modifiers. Now with the bevel, you can see here with these steps that there's quite significant gap in between. What we could do is go into edit mode and we could hit Alt S to scale it up on the normals a bit just to close it. Just like that. No, we don't will sort the little gap. So that's how steps done. Also, with the floor, we can remove this solidify and the bevel. We don't need these now. So it's just flat. We don't have a gap here with the bevel or anything. Next, we can just throw on the grass texture. I will go to Edit mode on the grass, select everything. I'm going to go into Top view and for this, I'm going to project from view and then we'll set our textil dentity With the grass, I'm going to go with 128. I was looking at the size of the texture and I think 128 just looks better. You'll see now when I put it on, I just need to append and look for our grass materials append, and we will apply this material here. So this is the size of the grass at 128. If I stick it to 512, we can compare. And I just think it's a bit too small. The tiling is, like, too obvious. Even though, this will be covered by actual pieces of grass, I'm still going to stick to 128 for this one. Have it nice and big. And I like that look at that. It's nice. So, there's our steps. There's our grass. We can do these pieces as well. So I will just go into Edit mode on this. U SmtUVPject wrap, select all of our islands and 512. With this, we'll go with wall damaged. There we go. And then double check all the collections are okay. Yeah, we're all fine. We don't need to rename or anything. Yeah. So yeah, we'll get to work on the railings next. I'll see you in the next lesson. One last thing before we go, um, I will choose this, and I'm going to grab this face first. I'm just going to bring it forward a bit, 'cause I want it to be, further than the bottom step. And I think that'll be fine. We won't have to re unwrap it because we just moved it a tiny bit. That should be okay. Anything else we should do? No, I think that's everything. Right. Yeah. Now I'll see you in the next lesson. 19. Modeling Decorative Railings with Bevels and Arrays: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Okay, now let's start with our railings. So I'm going to shift this cursor to world origin. Going to bring her a human reference with Al G, bring him over and then bring him forward a little bit. I'm going to select a column piece, Alt G, select a wall piece, Alt G, GZ minus two to bring it down. And with a column, I'm going to hit Alt G GX four. And this is a bit too thick. So I'm going to change the scale. So instead of 0.6, let's see what it's like with 0.5. Is this now linked? These look like different sizes. I must have duplicate with shifty. We want ALD, GX four and apply the scale on these. Now we want to add a cube. So Shift A adds a cube. Let's change this to four on the X and control A apply scale. Let's select this edge. Shift S, cursor two, selected object mode, Right Click, set origin, two, three D cursor, and then hit OG. Now we can bring this face down all the way to spring closer and bring this top face down to just the top of his foot to about here. So like this, hit a shift D Z and bring it just above his knees. Now, let's select everything S Y and bring it in just so it's a bit thinner than the wall piece underneath like this. Now we can. We will select these two edges and Control B, add a little bit of a bevel here. We'll just select these bottom edges. Control B, add a bevel here. And maybe with this menu, we can increase the segments to three, and you can play with the profile shape to get a different kind of curve maybe that will look nice. Now with this, let's add the bevel. So we can double check, amount to 0.01 and shade into harder normals. Now, because of this bevel, we might have to adjust the bevel even more to bring it down. So it's like there we go. So it's nice and smooth. Go to like here. I'm at 0.004. Let's go with 50.005. Now we can select these two top edges, and I'm going to bevel this and let's adjust the profile shape again. So it's like, nice and round outwards like this. Now, let's shade smooth on this. And we could try by selecting these two edges and marking Shad and if we bring it down on the Z a little bit, actually, what I will do is add an edge loop here and Control B and just add a single bevel to very close to this edge. And then let's select there were sharp edges. If we bring it down on the Z a little bit, we can kind of create this kind of shape here just to add something a bit more interesting to the top. Now we want the cylinder pieces. So let's add a mesh cylinder, change this to 16. And we'll hit Alt G. And we want this to be on this face. So I'm going to bring it up and then snap it down. It's good to face snapping. Snap it down to this top face. And it's going to edit mode and just Alt, S shifts. So it's like nice and thin. We need to bring this over so we can see S ShiftZ. So it's like just fill enough to fit onto these pieces, and we want to bring this top face down, don't we? Bring this face down, and then we can snap it up to this face. Now with this, we can add an array. Change the count to eight. You want a constant offset and I'm going to choose 0.4. And it's going the front view. This line in the middle, we want this so it's equal, move it so it's in the middle of these two pieces. Now we can start shaping our cylinder. So let's first shade the smooth and let's add the bevel. Let's go quite small on the bebl because it's a small piece. So first, let's check our scale in object mode. It's all 111. You know, apply your scale if it isn't. Put the amount to 0.0. Let's go 0.05 0.005, actually. 1005. Now, let's add an edge loop in the middle and Control B and put the segments up so you get the loop in the middle again, and let's move this to here. I'm going to put an edge loop here and an edge lopeeglopa. I'm going to alt, click these two edge loops. We need medium point. S, scale it up to about here, then go to individual origins. We're going to scale this in so we get a nice shape like this. Now we want an edge loop here and an edge lopea, select them both with Alt left click and individual origins and scale them in then what we could do is select this edge loop and bevel it, add some segments, so it's nice and curved. I'm going to add one edge loop here to keep it asymmetrical and scale this in, nice and thin, and then we can bevel, it's nice and curved. Maybe we could select this edge loop and bevel this. To curve this. I'm going to keep the curve, quite tight. And we could move this up and down to get a different kind of shape. So if you move it up, I quite like this kind of shape and we can move this edge loop down. Yeah, I'm happy with that. Now what we could do to tighten these bevels up is I have to hide the bevel modifier, as you can see. I'm going to select this edge loop and right click and Mac Sharp. So now we get this kind of creasia and we could have a crease as well. So I'm going to select this edge loop, right click, Mac Sharp and let's have one here. So MAC sharp now with this, this looks a bit too smooth. What if we mac sharp? You know, that's too sharp, I think. I'm going to undo that and just bevel it tiny bit. Play with the segments. We'll go with this many and have a nice tight bevel here. Now, we want to make these edges a bit more noticeable. So we could add a small bevel here. Nice and tight so you get this kind of shape, and here as well. So let's select this one and this one, very tiny bevel. Or we could mark these sharp, actually, and get this kind of shape and mark this one sharp. And then she put her bevel back on. Yeah, so I'm going to remove this sharpness here, so clear sharp on this edge loop, bring her bevel back. Yeah, because we were marking sharps to the bevel off. So I'm going to undo all the sharps, I said, clear it sharp, add our bevel again, and now we can see what we need to adjust. So this edge here, I've left click it. You can't seek the bells in the way, but we could try, we don't want to scale it. If we bevel it and add a tight bevel, we have more control. But then we may as well just mark it sharp at that point. Yeah, we'll have this. So I'm going to select this edge loop, Mac Sharp and this one, Mac Sharp I'm not sure if I like it or not. You know, we'll roll of it. That's mark and this one sharp as well, so mac sharp. And yeah, I think that will be okay. What we could do with this top face loop is S shifts, so like scale it out a bit, so it's like more towards the edge of the railing piece. And are we happy with the shape? I think that's right. Yeah, we'll go with that. You can just experiment with your own kind of shapes, you know, do what you want. Because every time I've made these debate like three times now, and every time I'm like G I don't like it, I'll redo it. But, you know, I'll just I'll live with these, I think. Okay, so next, let's let's select these first and then select this one and hit Control J. Now, this might affect our bevels. No, we want to undo that first, sorry, and apply array modifier. And what's the bevel on this, 0.05, and this one is 0.05. So they're the same. So select this one, select this one, Control J, and there we go. Now, we can go into edit mode, A, U, Smart UV project, and unwrap. Now let's go to materials, and I'm going to add two materials to this plus icon. And the top one, let's choose marble wall damaged, and this one will be marble white. So now we're going to render view, it's the marble wall damaged by default. So all we have to do is go to edit mode, and with L, we can select all of these. And we can hit a sign on the marble white. So now we have some difference between the railings and the cylinders. And the sssons already getting pretty long. So in the next lesson, we will first, before we forget, let's rename this railing. Now, we name these railings, didn't we? So I'm going to rename this to steps underscore railing. And then this one to steps underscore ailing 001. Now with this, we can rename this back to just railing and then new collection railing. In the next lesson, we're going to move this over. In the next lesson, we will start placing it a rain Dow scene. 20. Placing Railings and Columns for Scene Layout: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and Garden Workshop. Okay, so the first thing we need to do is select railing. I'm going to Edit mode, select it all. We didn't do the textil density. So let's just set the TD to 512. And let's get nice and close so we can just double check and let it render a bit so we get some more detail. And that's looking nice to me. Okay, so I'm going to go to solid View and let's Alt D and Alt G, and there we can move this into place. So let's go to our grid snapping. And then we can just move this around where we want it. So I'm going to place one here, and then OpdXODX four. And then we can opt again, X, move one to here. And let's have a look what's going on here. Now, I'm just going to double check. I'm going to grab this. And let's move this to this corner here. Now, these pieces, they don't really need to be on the grid. So we can just move this by hand. I'm just going to see how it looks when we have a column at the end here. Yeah, we'll have a column here and then we on this side. That's fine. I just wanted to check what it would look like with the steps so we can move this across and then shift all the way across here. Now, we don't need these steps, not steps, the curbs, I mean, I'm going to delete this one. And delete this one and bring some straight pieces in to fill in this gap. Cty, move it down. This one's a corner, so we want just to grab a piece Oct Y, like this. Okay. Did we have curbs on the edge of these? Yeah, so we don't need I'm going to hide these a s. And we don't need the curbs here, I'm going to delete these and then grab this straight piece and fill it in here. Now we can move these across, wait, delete that H. Yeah, we have them. Now we can go to the end here not to eat Y, not X, and then shift. Shift R. Hello. Now, we didn't do corner pieces with the railings because the corners, we're just going to have columns covering up, so there was no point in doing the corner pieces as well. But this, you pretty much know what to do. Jot D and just put it into place. White. And we can shift all the way up. Now we can grab all of these front pieces and then duplicate these and move them to this end here. Now we've got, I see. We're going to keep these just a bit further back for now because wait, wait, ignore me. We'll just move it I thought there was a curb here, and then it was going to be more space behind the grass, but now, this is the edge, never mind that. We can't select all of these side pieces. And then move them to the other side. Now, where else do we want error railings? We want them to go let's have a look at reference. How did I have them here? So I had one here going in front of the grass, one here, and then one going into the temple, and then some on this side. So let's go back to blend. So we want one here, grab this piece, and we'll duplicate it over here, and then we'll move this to here, and then we can grab this piece here, de one to here. Now we don't need the curbs and here, so we'll delete this corner piece, and this is a corner piece. So we'll delete that and add a straight piece from somewhere's grab this one, rotate it 90 and then GX to here, GY. Now we want to duplicate these two and I'll D x to here. And let's add some here. So let's delete this corner. We don't need this. We'll have a straight one here, I'll DY. Like so, and then I'm going to grab these two. I'll D Y, move it to here, and let's fill in this gap at the back. I'll de X. Like so. I think that's it for our railings. How much time do we have? We could do these as well, but let's model them make first and then we'll place them in our scene in the next lesson. Let's go into rendered view and have a look. Yeah, it's really starting to fill out there and look really nice. Very nice. I'm thinking what I could add down to here. So I might end up doing like a plane. That's like a base for the whole kind of thing, and then we can have a nice little turn table going around. So if I show you what I mean, I'll just add a plane, and I'm going to scale this up to S ten. That's not enough. I'm just going to go to the top view and just move it and scale it up like this, SX, scale it out like this and just kind of place it. So it's like something nice like this and I'm going to go solid view. I'm going to move. What we could do is I'm going to move these at the wayside, bring them over here, bring it to Y or something. GX, so these ads in the way. I'm keeping the column here because we're going to do that next. But I'm going to hide these two, so they're right the way. I'm going into the top view. I'm going to go into wire frame, and I'm going to select our whole scene and make sure we're on grid snapping. And hopefully, this doesn't mess anything up. It all seems to be okay. So I'm just going to move this out the way a bit more. And let's just double check everything still on the grid. So, if we were to grab our wallpieceOG, and let's just move this on the grid to like here. Yeah, it's still is it, though? I don't know if it is. Is that in line? It's hard to tell, right, I'm gonna turn off the grid so. It doesn't look like it is, is it? So we might have screwed that up a bit. So I'm going to undo that. Spring back hour. Yeah, so everything's back into place where it was. And I'm going to deselect. It's good to hide this plane. And we move everything. So all you might have to do is, like, select everything and then, like, shift select, like a piece that's on the grid somewhere. Just double check. Is the origin on the grid here? Yeah. So now, if we hold control in grid snapping, it was because our bottom plane was selected last, and that was off grid with the origin point. I moved everything else off grid as well. But because this is selected last, it's using this as the grid point, if that makes sense. So we just move this out the way. Just so it's not in the way when we're trying to model stuff. Then if we hit Old H, bring this back and we'll just move this we keep it on the grid, we won't have any issues then, then we can just move this over a bit more, maybe move this up. Maybe this can come in a bit and then GY then we can just move this to a new collection called I don't know, foundation or something. No idea. Then we can just rename this foundation. Then The walls are 2 meters, and we're not really using them a lot. So what if we were to bring this down on the Z, keep it, move it on the grid down. And we might actually end up building, like, another area here. And then have more steps going down even more. I'm going to do that in the next lesson. I'm going to build this front area just so we can right now, it's just a rectangle and it's a bit boring. We'll add some variation just adding something at the front a lot area here. I'll see you in the next lesson. 21. Expanding Modular Scenes with Walls, Steps, and Paths: Hello. Welcome back to stylized Blender F D environment, Greek temple and garden workshop. Okay, so let's start by adding more areas to our scene to make it a bit more of an interesting shape. So this is like the beauty of modular environments because we can just quickly make changes, you know, using this kind of linked object data, you know, nothing set in stone, and we can just shape, you know, we can just change it up whenever we want. So I'm going to grab a straight wall piece, and going to top view, duplicate it. And let's bring it out to about halfway. To here and O D X, move one on the other side. Now let's grab a corner piece and OD, bring it to here, we'll grab this corner piece and D, bring it to here. Now we want these steps. Let's bring them forward. And then we can go down by GZ minus one. Now we'll grab these as well and Alt D G minus one and bring them forward on the Y. So now, we could build some steps going this way as well, maybe. So if we grab these Alt DX along the grade, let's delete this railing. Now, this floor goes down half a meter. So this is technically off grid, and this is 1 meter. So if we want to kind of connect the floor here because these are different heights, we're going to probably have to create a new piece to fill in. Actually. Actually, no, we don't. What we could do is grab a wall piece here. Actually, let's grab one going this way. So we'll grab this and move it. Say two here, maybe, maybe GX GY, I mean, we'll move it like halfway here in the top view. Oct Y. I'll have one here, and then I'm going to grab these Oct X and move it here. And we want GZ minus one. And now this goes to the floor. Yeah, nice. So now we can grab. What should we do? I'm not going to use a corner piece because it'll end up going like 4 meters this way, and I want it to be a bit smaller. So I'm just going to What can we do? This is only 2 meters long. I'm going to just rotate this by 90 and I rotate this by 90 C -90. Now, it's cases like this where modeling smaller pieces can benefit you when you come into these problems because this is way too large. This is one of the downsides when it comes to modular, you're stuck to the pieces that you have, let's delete these let's just move this over by 2 meters and I'm going to delete this, and I'm going to grab a corner piece and Oct X, move this to here. Now we can go G. No, wait. Let's grab a straight piece. I'm going to move this to like here. Yeah, so we can delete these and just grab a corner. We'll grab this corner over here. DX, TY, I mean, and then bring it here GX. And here now, we want to bring these down by G Z minus one. Yeah. Okay, so now we have the floor here. We can move this edge GX, to here. Now over here, we can move this edge GY to here. Now, I'm going to I'm going to select these steps and Shift S cursor to selected. So three D cursors here and let's add a plane to top view. I'm just going to move these edges on the grid. So we fill in this gap. Do you white? And then we can in edit mode, we can duplicate this face and, like, move it. So it's like let's move it so the bottom right corner is on the wall here and then we can move this edge, move this edge up so that fills in this area. What we could do is select A path and join all of these together. Control J, and then we can go top view, a project from view, select their Islands, set TD, if you're going to render view. We need to delete this extra material here, and then we have the floor tiles on these pieces. Now, these walls can come down, so we'll go GZ minus one. Let's go back into solid view. And now we can add some railings across here, so we'll grab these railings. It bring it here, Alt Y, select them both. And then I'll D X to here, and we'll move those down GZ minus one, and we'll grab these two lt Y, GZ minus one. And we want these two OTG X. Bit over GZ minus one. It's looking good. And we can just duplicate this Z 90, move it into place. I'll D Y, move that into place. And it is the extra areas. I think it just adds a bit more of an interesting silhouette on the whole scene, you know, instead of just a rectangle. It adds some more height variation, makes it look a lot nicer. Cool, cool, cool. Next, we'll do the columns in the next lesson. I'll see you then. One little thing that I missed was because this floor is half a meter down, this wall needs to come down by half a meter, so GZ -0.5, then these steps can go GZ -0.5, and there we go. Then we can add some columns here. Could even add an archway here if you wanted to. I could look quite cool, I think. So you access and for building era columns. 22. Modeling Marble Columns with Bevels and Smart UV Mapping: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Alright, now, time to move on to the columns. Now, it will be the same kind of technique that we use for the cylinders on the railings where we have a cube, and then we're going to add edge loops and just scale them in and, like, kind of create the shape, you know? So I'm going to move this to my screener set so I can look at it while I model this set. And let's go to our column piece. Now, Let's go to front view. Moving to the side a bit. And I'm going to I'm going to move these to OptiY I'm then move it to the floor just so I can I have something to look at while I'm modeling like this piece so we see how it looks next to other pieces. And let's go to the front view. Now, first, let's add an edge loop. I'm going to move this down to where his shins are. And then I'm going to add an edge loop here. And then another edge loop just above the middle point here. Now, we can scale these two in. Let's go to individual origins and hit actually, let's just hit S here. We have this shape here. With this, we need to scale this one as well. What we might actually do is add an edge loop to about here, just weird like the middle of his faces, I think. Then what we could do is add an edge loop here. And I'm going to Shift select this face loop, and I'm going to face mode, right click and extrude faces along normals. It's good to hear. And what I'm going to do, I prefer to model with the bevel arm so I can see how thick I need to go. Let's go to 00.02. Let's try that. 0.002. Add a normals. I'm going to move this up by hand or sec. So 0.007. That should be okay. Now with this, I'm going to keep this selected, and I'm going to Alt Shift select this face and this face loop. And if we hit let's do S, shift Z, and we can bring it in like this to create this kind of shape. Now with this, we can add an edge loop here, bring it down a little. We're going to control B to bevel it, and then go to face mode like strewed faces along normals and extrude it a little bit. Now we can select this face and I'm going to inset it with I and then I'm going to move it up a tiny bit. So we get this kind of shape. And then I'm going to inset it again and then just extrude it up, so we have a little square on top. Now, I'm going to add an edge loop in here and I'm going to scale this edge lip in quite a bit, and then add a bevel and then let's add some segments to it. And then we could play with a profile shape to bring it in all eight. Actually, eight is quite nice. No, go do that. I just like a curve going inwards. So I'm going to play with a profile shape. And have the curve going inwards like this. And now we can shade smooth, smooth that. Or you can shade flat and have that kind of kind of crease in the middle. I'm going to shade smooth and have it like this. And I'm actually going to I'm going to delete these edges with Control X, and I'm going to do this again. Going to bring it in even more, bevel it. I'm going to add some segments so it's a bit smoother. It feels really sharp in the middle. Maybe because we scaled it in too much, so maybe if we bring it out a bit more and then scale it like this. Just adjust the shape until you're happy, then do it again. I'm going to have it like to here, and then scale it in. Control B. So it's nice and smooth. We'll go to like here. That should be okay. And what we could do is just adjust the shape a bit, maybe scale this up. We could have a little ridge here. I think that's quite nice. Now, this looks too thick compared to the rest of the bottom. So I'm going to shift select this loop. It's going to front view, go to wireframe, and I'm going to select everything up to this point. So make sure not to select this Face stoop here. We want this deselected. So now, we S ShiftZ, we can just add some thickness to this and keep an eye on the bevel because if you go too close to the edge, the bevel will break. So we'll go to like here. Maybe a bit thinner. And that's looking nice. I like that. Now we can going to edit mode A U smart UV project and wrap, A, and set TD. Now this, I might go for the marble white it'll have some contrast with the walls. So it's going to render view. And here we go. Here's our column. Now, we could start adding this around our scene. So let's go into top view, and let's move this to the side. Before we move anything, this is column already and we have a column collection. So we don't have to worry about that. Now we can have a look at these. So these are shaded smooth. And the reason being is that we haven't copied the pebble modifier over it. So select this column last, Control L, copy modifiers, and that fixes that. Now we can just start duplicating and move them over. The beauty with these pieces is a lot quicker. We can opt X, we don't have to hold control or we can just move them into place. Now, this is quite tall, so we're going to have to think here. It might be worth, actually. Changing these up a bit. So what I'm going to do is going into front view, going to Wireframe, going to Edit mode and select this top half, and I'm going to bring the bottom of this to this line. So this is 2 meters high, and then we have this on top. Now if we have a look at our columns over here, we have this height. Maybe that's maybe that's too high. Let's adjust it. I'm going to move this over and then move this down to the floor. Let's grab face snapping, move it to this floor. It's not snapping for some reason because we're on edge, not face. Then we want this to be above here, don't we? We can go into Edit mode and move this up like so. Now, I think it's worth having two columns. So I'm going to shift this piece and move it over. So this is its own piece, and we can bring this down. So I'm going to do Alt and move this over to FCN and bring it over to these shorter walls. Now here, we can snap it down to this face GY, and then move this into place here. Now, it's up to you if you want to keep them as tall, but I think if we want to edit mode and bring this down to here, we can have a little variation in the columns, and it'll make our lives a lot easier. So I'm going to rename this column and the score small, and we need to rename this one to column the score small. We're running at of time on this lesson, we'll begin the next lesson with just filling a Docen with these columns. If we just go into rendered view quickly, and we can have a look at how they're looking. I'm going to have smaller ones here. AttX. It's looking quite nice, I think. I'll see you in the next one where we fill a Docen with some columns. 23. Duplicating and Positioning Columns with Face Snapping: Hello. Welcome back to stylized Blender free D environment, Greek temple and garden workshop. Alright, this lesson would be nice and easy. No new techniques. You already know everything. We're just going to delete these and we'll move these forward. So opt y. Let's go back to if you go back to grid, will that make any difference? I don't think so. GZ one. How is that looking? Yeah, I'm just gonna do this by hand. So if you hold shift when you move stuff, you'll have more control over it. Now we can grab this, move it over here. Now we need small piece here, so OT top view. Them, so they're all kind of in the middle. Now we want these ones. So with this, we can just go Op D X minus four and then Shift R. Now with this, we can go T Y and then move it over here. Make sure that's nice in the center. Now with this, we can do tY, four, and then Shift R, then we can select all of these. And then Alt x, the top view. Move it. So it's in the middle here. Now with these, we can do lty Y minus four, shift that. Now with these, we can go from here, grab these. We don't need that last one. Okay, OcteX so here. And yes, we did need that last one. GX with that in the middle. These should all be lined up. And then Actix four. Now are we missing any yet on the inside? So let's grab our smaller columns. And then Oct, move this over here. Get it nice in the middle. And then oct Y four, and then Shift R. And let's grab this one and then Oct move it to here. This needs to go up by GZ one. And what we can do is just go to face snapping and snap it down to the floor here. No. Move this in the middle. And then Alt Y four. That's weird. GY four. There we go. And then Shift R. And then Alt X minus four. And then AltiX minus four. Now, it's up to you. Do you want even shorter pieces, shorter columns? So it's down to here. I think that's a worth doing. What we could do is I'll select this one and go into the object data and then just click this button, so it's like a new user. I'm going to Oct and then OG it's over here and just bring this here. Now we can go into Edit mode with this, bring this down here, and then we can shift select these and then shifts like this one last, Control L, copy Link object data. Now while we're here, we should rename this. This one is column small. This should be column small really shouldn't? I'm going to rename this column medium, there we want to select go to select and then select inked and then select linked object data, and then we hit every batch rename and then find we just want set name, new column underscore medium. Now if we check over here, these are all renamed correctly. Now the column small, we will select linked object data, every battery name, column small. Now, all of these are renamed. Nice. Now we can do Alt Y four on this one. And then we can select these two, and then Alt X, move this over, going to top view, get it nice in the middle. And I think that's it for our columns. Oh, we need some at the back as well. So let's select these ones No these middle ones because they're smaller. We want these. And then tY, go to the top view, and then move it down. And then we are R gaps. So AltiX minus four and then shift, and let's go into rendered view. And the RR columns. A nice and sold. Now, Okay, so we duplicate these from the floor here, so these ones need to come up. So I'm going to do GZ 0.5, and then we can do Alt D Y four to have one here. And now here, A, let's sort out this. So I'm going to select our Basie, and I'm going to select these faces. And we can just move this forward. So GY like so. So it's in front of this railing and it's in front of this curb and that'll be fine. Nice. So there are columns. On the next lesson, I'm not sure what we'll do, but yeah I'll see you in the next lesson. 24. Temple Base Modeling with Inset Detail and Shader Tweaks: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so before we start, we made some duplicate pieces, we made some variations with the columns. What I want to do is I'm not sure if we re unwrap them after we made some changes. Now, I don't think it makes much of a difference because a lot of this is, like, procedural. But just in case I'm going to select all of these and just A U Smart UV project, unwrap and just reset our textil density just so we know that the textures are all correct. Now, what should we do next? I think I'm going to go into solid mode and let's start on our base for the temple. So with this, I'm I'm going to go into Edit mode and add an edge loop, and I'm going to bring this up to around about, so it's It's just above this step here, I think. Now I'm going to select this face, and I'm going to control click all the way around. We don't want to do that. So we want to select this and select all of these faces. Do we want to go, so we want to start from the front face. So delete deselect this one, and we'll go from here all the way around to this face. And I'm going to make sure the scale is uniform. I need to apply my scale back into edit mode. Going to face mode, right click extrude faces along normals, like this and make sure offset even is selected. So now we have a little lip going around the base. Now what we could do is I'm going to add an edge loop here and move it up to about here, and I'm going to select this face, these faces, and this face. So now we can extrude faces along normals like this. And we want it. So it's the same as this lip, really. So we can adjust it by going. Make sure the offset even is selected after you extrude it. And I'm going to with alters, just adjust it like this and make sure offset even is selected again. So now we have this. Now, let's check with a bevel modifier, bevel, and we'll bring this down to range about 0.15 shade and hardened normals that's looking nice. Next, I'm going to select these two faces and I'm going to inset them with I. Make sure we're on individual origins and then hit I. Now, we're having some problems here with this edge loop in the middle of the face. So what we could do is just select these bottom faces and inset these instead. I'm going to go to about here and then make sure individual origins are still on and S X, just to bring it in a little bit. Now with this, I'm going to inset it again to round about here, and then I'm going to hit GY to bring it in. So we have this little shape going on here. Now, are we happy with this size? What I might do is Alt Shift select these face loops. And if we hit SX and then SC, we can kind of shape it. So it's more like more longer on the vertical rather than horizontal. And then we can adjust the deepness of this if this is too much. We could go GY and then bring it in a tiny bit. I think that's quite nice. I like that. Now we can go into Edit mode, A, U, SMAT UV project, wrap, select all our islands, and then set TD. Then with this, we're going to add. We're going to change this to marble wall damaged, and let's go into Render Vw. And this is the start of our temple. Now, we can't really see what's going on here. So it might need changing a little bit because it might be because of the brightness of the scene and the angle of the sun because it's pointing straight at it. If I rotate the sun around, does that help? Not really. We need to figure out how to make this look a bit nicer. If I select this and this face, we bring it in on the Y. And I think that looks a lot nicer. We have this contrast with the shadow now, so it's a lot more noticeable. What if we adjust the bell, we tighten it up a bit. We could make some adjustment to the shader maybe to have some edge highlights. Et's have a look. So we want to find our bevel nodes up here with bevel. We could maybe adjust this color. So if we lift up the value, if you lift up the value, you have more of an edgeway on the edge. So this is by default. I'm just going to bring it up to here. It's a lot more noticeable by here. I'll move to say it the way. There's like a white kind of highlight on the edge. So you can adjust that. If you want to a different kind of look, it will adjust the other meshes, as well. It's very subtle, but I think it does make a difference when you have the whole scene. We might need to adjust the exposure. So if we go into the render properties here, and then is it color management exposure if you bring the exposure down a tiny bit to -0.8. I think it's not so harsh then on the brightness. We just the gamma, bring the gamma down to 0.9. That's a lot nicer to look at. We can see what's going on a lot more there. See, there's a of error base. What we could do is grab the roof base. Let's go back to solid view. What I'm going to do with this is let's bring up the reference photo and let's have a look at the temple. You've got one piece here, and then it's another piece here. I'm going to do Okay. Is for now, we'll finish this in the next lesson, but let's just add an edge loop and bring this down a little bit. So it's about a quarter of the way. And let's isolate this. What we want to do is select this face and this face loop. So we have this top half and going to hit Y on the keyboard, and let's select everything with A, go to mesh, cleanup and fill holes. So what this did when we press Y, it split this half from this half, and we use the fill holes to fill in the faces on the inside. So now with this, we can add a bevel modifier. What we can do, so it's consistent is select this one and Control L. Copy modifiers, and then we have this kind of gap in between here. Now we might have to apply the scale if it's not uniform. Now, we could make this a bit thicker, but we'll see when we get to this roof and we can match it all up and adjust the bevel. So it looks really nice. In the next lesson, we could do something with the temple maybe and then the walls are a bit complicated. We'll do those later because we need to model them at the same time so they're consistent, it's a bit more complicated. But if we do the roof base, then the techniques you'll learn from this should help with this. I'll see in the next lesson. 25. Decorative Roof Geometry with Bevel and Array Modifiers: Hello. Welcome back to stylized Blender Fred Environment, Greek temple and garden Workshop. Okay, so our temple roof base, let's start with this. So I'm going to grab our temple roof. I'm just going to move it up a little bit. And I'm going to grab the top face of this, and I want a bit more room. So I'm going to grab this to go up. And how fixed we want this. It's pack in the grid. I want to bake this distance, eyeball it. I'll be okay and you can move this top piece back down to the face with face snapping. Now with this piece, I'm going to add another edge loop in here and we want to move it around about want it thicker than this bottom piece, but thinner than this piece, if that makes sense. So round about here. Now, let's isolate this and we'll click this face and then Alt click this face loop and then hit Y. Now this is separate. And now we can select everything, mesh cleanup and fill holes. So now we have faces inside. Now with this, what we could do is alt click this loop, and I'm going to hit S shift Z to bring it in a tiny bit. Like this. Now, let's have a look at a reference. So what we want to do is add an edge loop into the middle here. And I'm going to Alt click this face loop and extrude along normals outwards like this and make sure offset even is selected. Very nice. Now I'm going to add an edge loop in the middle here. Control B to bevel, just one segment. And then with this, we can hit S, 50 to bring it in like this. Now, is this the right shape? Let's have a look at the temple again. So if we have a look, it goes straight and then in straight out straight. So we need another edge loop in here and in here. We'll select both of these, press S shift Z so that it kind of strains up these edges. It's going to the front view and we can see. So this edge is straight, and then it goes in and then it's straight again. So we just adjust the scale. So this is straight here. It's looking really nice. I like that. Cool. Now we might we might need to bring I'm going to select this edge loop and this edge loop and press S. Should C, bring it out a bit more so we have a bit more room. Now what we could do is let's have a look at our reference. And we have these little smaller pieces going along, and we're going to do that with an array. So let's make. It's going to be a cube and then a bevel, and then we're going to change the profile shape. So I'm going to shift right click here and then add a cube. It's go the front view into edit mode. We'll scale it down and then scale it on the little bit. Now with this, I'm going to just move it forward in object mode. Go back to edit mode, and now I'm going to I'm going to put an edge loop in the middle here and just move it up a tiny bit and an edge loop here and move it back a tiny bit. Now with this, we can control B, and we'll bevel it like this, add some segments. Go to about five and then bring the profile shape in, so we get this kind of shape here. Now let's add. Let's add a bevel first off. We add the bel 0.00 0.01 first, and then shading harder normals. And then right click Shade Smooth. And let's go to side view. We'll bring this back on the Y. So it's like inside a bit bit, but like poking out here. Go to front view. And let's snap it up to this top face here and then bring it forward on the Y a bit more. Are we looking? Yeah, that's nice. Okay, I'm going to quickly look at our reference, see if we've done this right. Yeah. Okay. So we want it to go up a bit more. Let me double check. So this is the bottom of the roof base, and then it goes in. Okay. I know what we need to do. I'm going to take the roof base and I'm going to Edit mode, select everything. Scale it on the Y. We want this to be in front and we'll scale it on the X. So it's like slightly larger than these pieces. Might do it a bit more, SY tiny bit SX just like that. Then with this piece, we want to go up to the bottom of the roof base and then move it forward. It's like this. Then we can bring this face, both of these faces down a bit to isolate this and choose the back faces, and then we can move this back into the wall. We can snap it to this face. It's like this. C. Now we can go to the front view and I'm going to bring this to the side here and let's add an array. And let's go for constant offset. And let's make this a bit smaller. So I'll go with 0.45, and then let's add some counts all the way we want this to be even on both sides. I'm going to go 26 and move it on the a bit more. This is nice in the middle and it's even spaced. What we can do with this now is, we can opt AZ 90 and move it on the X. Now we want it to be we want it to snap it to this face here, and then let's move it back on the Y, GY. Let's go with the side view. We want it to be GY about here. Now with this, look at array side view. What we can do, we'll keep the array the same, but we'll just move it back so that it's even in the middle. With this, we can just add, let's bring it back on the X a bit more GX. It's underneath the roof base. There we go. Now with this, we can I was going to say use a mirror modifier, but I'm going to take no, I won't use a mirror, I'll just do it by hand. I'll just do Opt AZ 180. Let's go to front view, GX. Move it along here, and then we want to snap it on the X to this face and then go to Control free and then move it back and look, is this even GY? About here. Now with this front one, go Alt D Z 180, and let's move it to the back, so we want to snap it to this face on the Y. Now GX, and move it so it's in the middle. It's looking good. Okay, cool. Now, this face is way too far back. So I'm going to select these two places and go G Y and just bring it back here. I like it looking at the back? Is it too much? Feels off at. I'm not sure what it is. Maybe this needs to come back a bit further. Just want to side view. It's definitely different. It looks different. I mean, it's not too bad. It's the back. I mean, it still looks okay, I think. Maybe this needs to come a bit further back. I'll select these faces and bring it forward on the Y, it's here. Cool. Now what we can do is This is temple Roof base. I'm going to apply the array on all of these. Single user, we'll apply that. Now if we what we could do is we want these to be linked duplicates, don't we? So I'm just checking the position of these because it looks like these are too far, so we need to go Gx and bring these in. This one's fine. Yeah. Okay. So now, we've made this a single user. What happens if we select these? And we need to deselect, select all of these, make sure this is last. If we hit Control L and L link object data, what's going to happen? This, what's going on here? It's got a bell array. We need to remove the arrays on these. Remove the array. Okay. Now if we were to go into Edit mode and scale this, these are all linked. Keeps it more optimized. What could we do? In the next lesson, we will start to unwrap these and get some textures on them, and then we can start with the actual roof. I'll see you in the next lesson. 26. Creating Stylized Roof Tiles with Inset Faces and UV Mapping: Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden Workshop. Okay, so continuing with the roof base. Now, if we look underneath, we see this line is kind of straight. And if we look at the back, we can see here now, it's all kind of shifted, you know? So what we can do to fix this is I'm going to select these faces, and I'm going to go GY, move these and so we have a nice kind of straight line here. Now, with these faces, I'm going to keep this where it is. And maybe we can let's go to side view, let's have a look. Now, we have a lot we have this metoroom here. I quite like this. So we need to bring this back a bit further. So that looks even. So now with these faces, we'll bring it back so it aligns with the faces underneath like this. I hope this is making sense. Now with these two faces on the roof, we can move this back to about here. And now we can see here with these, we can move this back, so it's just underneath the roof. Here. That looks a bit more consistent. We can even go a bit further. So it's like inside this face here. Yeah, there we go. Now with this, we can what we could do is we want these to be joined with the rest of these pieces. So what we might need to do is just so we don't screw anything up with this, I'm going to make sure these are all single users just by clicking these numbers here. Now we can select these and select the temple roof base. We have this piece here and I'm going to hit Control J. And maybe we could fix the origin point. I'll just right click Set Origin, do geometry for this piece. Now, we can go into Edit mode and hit A U Smart UB project, unwrap. And for this, right, first, let's select the islands, set TD, and then we can have a look. Yeah. Now, let's add. Let's change gray box to marble wall damage, and we will also add marble white. What will be easier instead of trying to select? Let's go into material preview, instead of trying to avoid there. We're going to Edit mode, deselect everything, and marble white, select. So these are already marble white. But in case it's different for you, what we could do is just do this. So I'm going to set all of this to marble. I'm going to set it all to marble white now. So we have this kind of going on, and we will have going to face mode, and I'm going to hit L on this piece. And let's go with L on this piece. And we will choose this as marble wall damaged a sign, and we will have it like this. Now, we could try marble wall damaged on this piece as well. So let's see how this looks. I mean, it's up to you which material you want. Maybe we could go with the marble white on this one. That might look better. We'll have a trim here, so that might look nicer later on as well. We have some contrast with these pieces and this piece. So that's the temple roof base stunt. Now we can get to work on the actual temple roof. But first, let's check the name of this. Temple roof base. That's all fine. Okay. Temple Roof. Now first, let's select these two faces and make sure individual origins and hit I and then I again, and it'll inset them both separately. And we don't want to go too far in. We'll just go to about here. And I want to thicken the top up, so I'm going to select these two faces. And if we hit GG, what's going to happen? We can't do it like that. So I'm going to go SX. Let's go to medium points SX So it's like this. Let's go to front view, and we need to bring it down on the Z so it's flat again, like that. Now with these two faces, we can go into face mode, right click, extrude along normals, so we extrude it in just a tiny bit. And I'm going to scale them up individual origins and then just scale it up a little bit. Just a tiny bit and then maybe move it down a tiny bit. So we have this tiny, little edge. It's going inwards. So it's like over it, if that makes sense. Now with these, I'm going to hit P, separate selection. And then with these two faces, we're going to rename this temple underscore, roof tiles. These are going to be our roof tiles. So now with the roof tiles, we can we could just go into Edit mode, A, U, and what if we just do uniform? So we could do angle based. Let's look at our UVs for this. How does this look? Yeah, I think this is fine. So let's append. I'll append, male marble. Law tiles, wall tiles. Yeah, so I'm using the wall tiles for the roof. So let's assign this material. Marble wall tiles. Right? Now, where are our tiles. We might have to go into rendered view to see them. I know what we got to do. We've got to select everything, select the islands and set text or density. Now we can see our tiles. So I'm going to do with this is I'm going to I'm going to click this button here. So it's new material, and I'm going to rename this marble roof tiles. So we're using the wall tiles as a base. But we're going to just change it up a bit. So it's like a separate material. So let's bring this open a bit. And we want these tiles to be a bit bigger. So if we go to this mapping node on the left here, would it be this one or it might be the lower one because it's under this displacement map here. So the scale, we can adjust the scale so it's a bit bigger. So let's go to 0.8, so they're a tiny bit bigger, maybe 0.65. Yeah, that's nice. And then with this, we can change the color. So maybe this first mixed node here. We have a yellowish color. What if we change this to, like, a red and's bring down the value a bit. And what we could do is also change color here. So we will change this to like a very dark, kind of red. I think that looks nice. Yeah. So there's our roof tiles. Now, we could experiment with this a bit, like say we rotate this 90 degrees, not on here. We want to undo that and rotate our UVs. So if you go 90, you could have them like this. And what else we could do is maybe adjust the scale of the displacement. So in this mapping node, we could scale it on the a bit more. We scale it on the X. Yeah, I'll scale it on the X, so the X is a bit smaller and then select everything, and then we'll just rotate it again. So it's like long going down this way, and we'll have it like that. Now, we will rename renamed roof tiles. That's all good. Now, what's going on here. I think we're okay. If we bring this up a tiny bit, we can close that gap, have a little bit of shadow going over it. And with the roof, make sure it's a uniform scale. We have a bevel. Why we increase this bevel a bit? Now, our bevel is broken. So we need to figure out why it's broken. I'm going to isolate this. And let's find where it's like, really close to an edge. It might be this here. So what we could do is alt click this loop and Alt click this loop and delete those faces and see what's causing our it might be this edge here. So if I was to delete these faces, do I bubble come back? Now, where is that? It's because it's not enabled in the viewport. Okay. So we have our Bbble back. So let's undo that. Okay. So now if we re enable our bevel, yeah, it's fine. And we can put this to 0.02, 0.02. That's good. Now with this, we can just control A Smart UV project, and wrap, select their Olans, set TD, and then we'll choose marble wall damaged, let's look at rendered view. And there's the start of our temple roof. Now, this looks a bit thick here. So what we could do maybe is add something a bit more interesting. I'm not sure what we could do. We could sort this black face as well, maybe just insert it like this and then scale it in. And then we'll do A Smart UV project and wrap, set the TD of our islands. You could have something like this, maybe even select this face and this face and just bring it up a tiny bit, it's the same thickness as this middle piece here. Yeah, it looks a lot nicer. Now, I think next we could start with the stone sculpture at the front, we'll see you in the next lesson. 27. Blending Materials with Node Mixing and UV Unwrapping: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, now let's start with our stone carving at the front. So I'm going to go to Rendered view. And first, I'm going to hit File append and look for our stone carving material and append this. Now with this, we want to select the roof, add a new material, and choose stone carving. Now, with this, we need to go into edit mode, select these two faces and hit a sign. Now we can adjust UVs. So I'm going to go to front view and hit U Project From View, and we're just going to scale and move our UVs until it fits really nicely. So I have to scale it down on the exhibit, scale it up until we get a nice size. I'm going to go to, like, here, maybe scale it on the Y a bit like this. And I quite like that. Okay. Now, this stone is obviously I'm going to scale it on the I'm going to choose these faces, scale it on the X a bit more to widen it a little bit. There we go. Now, this stone is very different to this stone, and it's very obvious. So I'm going to do is going into marble wall damage. I'm going to copy these notes, not this last notes, but everything else. I'm going to select this control C to copy, go into stone carving. I'm going to go up here and Control V to paste it. Now, what we want is we want to get the color from this mostly. So yeah. What we can do is we can delete these. We can delete these and delete these two. This one and this one. We only have the base color delete this. This is a bit more simple. This is just like the color information. Now we need a mixed color node, mixed color. And I'm going to plug this one into the top, change this to add, and we want the color from this one here. So I'm going to move this down to here, plug this one into the bottom, plug this one into the base color here. Now over this, we can put the factor to maybe like point we keep it at 0.5 for now. Now, Now, our normals are backwards, so we need to go into solid view for now. Move this out of the way. And in our overlay settings, we're going to go to facial orientation and check that on. Now, anything that's red, it means your normals flip the wrong way. So I'm going to select every red piece, going to Edit mode, A, Alt N and flip. So this will fix the normals. I need to Okay with this piece, we're going to just recalculate outside instead. There we go. Back to pnded view. And there is our stone carving. Now, I want to adjust the color on this. I want it to be a bit brighter and more white. Like, it's been worn down by the sun a bit more. So let's open our stone carving material. And I'm going to zoom, go all the way to the top and top left, you will see a little node called ambient occlusion. You got the color amp here. And then this little arrow, I'm going to click it, choose this color, and just drag this down a little bit. And the further down, the more white it'll be. So I'm going to go to the top and just slowly scroll down until we get a nice contrast between this area and this area. So the value here, value of, like, let's go 0.5. And I think that looks a lot nicer. Another thing we could do is, if this is looking too smooth, we could scroll out, and then I'm going to scroll in to the bottom. And oh, we did this in the last lesson, didn't we adjusted the normal strength, I think. No, we didn't. No. I'm going to choose this to 0.8 and it just adds a bit of shadow to the stone carving, makes it pop out a bit more. And there we go. There's our stone carving for the temple roof. In the next lesson, we can get to work on this main part and add a door and add some decoration going around the sides. I'll see you in the next lesson. 28. Modeling and Texturing an Arched Marble Doorway: M Hello. Welcome back to stylized Blender F D environment, Greek Temple and garden workshop. Alright, now let's start on this main piece. So let's focus in on it a bit. And let's go to solid view first. And where is our human reference? Let's bring him over here and bring him up and snap him to the floor, and we'll zoom in on him. Now, I'm going to just hide these pillars at the waiter sec. Now, let's go to front view and select this piece, and let's add an edge loop. And I'm going to bring this down maybe to where his neck is, maybe. Yeah, we'll go to here. Now, with this piece, we want put an edge loop in the middle. And first off, I'm going to bring our guy in the middle here. And with this edge loop selected, I'm going to hit Control B to bevel, and we want a nice big door. So let's go to here. Maybe we can bring back the pillars. And scale it on the X. So it's like to here. Do you think that's a good size? I think that's a good size. Now we want to go one, two, three, four. Let's go to 4 meters up. Let's add an edge loop, we'll just bring this up a little bit. I'm going to let's isolate this piece and let's delete these faces. Now, we could also just delete these so they don't cause us any problems. Next, we can select this edge loop, and I'm going to look at my references. So yeah, so we want edge loop here and edge loop here. So let's go back to a Blender. I'm going to add an edge loop here and just bring it down. Now we want to bevel this edge loop. So it's the same thickness as this here. Let's control B and get a similar kind of width. Now I'm going to select this face loop and this face loop. I'm going to hit Shift D and then P separate selection. Going to go back into object mode and try and select maybe we can hide this and select this. Now let's go into Edit mode, select everything to face mode, right click, extrude along normals, and we don't want to go too far, just a little bit like this. Now we can add, first off, I'm going to select these inside faces. Select all of these, and we can delete these so let's get rid of these faces. Now we can add an edge loop here and an edge loop here and select these edge loops. And let's control B and add some segments. Let's go to about four. Yeah, let's go to maybe five. I'll go with four for now. And then we want to deselect everything. Let's maybe select this edge loop. Yeah, I think we need one, two, I'm going to undo that. We want an odd number, I think. Right now we have four. I'm going to go to five edges and just bring it to here. I'm going to select this edge loop and this edge loop, and this edge loop and this edge loop. We have like the second one down and the second one up, second one down, the second one up. That makes sense. Now with this, we can hit S shift Z to bring it in and create this curved shape. We want to scale it in like this and then we're going to Alt Shift click this edge loop, and Alt Shift click this edge loop. What we could do now is control beta bevel bring the segments down so we just have the minimum amount to just create a nice curved shape like this. Now let's shade smooth and let's add our bevel. Add the beble shade into harder normals and let's put this 2.01. You might need to go a bit smaller. Let's just drag this down. We also need to apply the scale. Now we can adjust the bevel. I'm going to go to 0.012, that'll be good. Now let's go to the front view sec and we could straighten these out. I'm going to select these faces and these faces. I'm going to hit SX zero, and I will straighten it out like this and do the same for these faces. SX zero. I'll straighten these out. Then we can bring back our main piece. And we can add I need to apply the scale on this piece as well, and I'm going to add a bevel to this. So bevel, and let's put it to let's first shade smooth and then shading to harden normals and adjust the bevel to round about 0.02. B. Now, let's go into Edit mode, A, Smart UV project wrap, and select there were islands set TD. Now with this, we can change Greybox two, wall tiles. I need to append them again. Append search marble wall tiles and choose wall tiles. Go rendered view. Now we need to select everything and 90 on our UVs to rotate them around the right way. Now I'm going to just check our reference. So these are quite bigger. So what we could do is instead of 512, let's try 256. You know, 256 is nice. Now, what did I have on the bottom here? So I had marble wall damaged here. So let's go back to Blender and let's isolate this. And I'm going to select this edge like this face loop, this face loop, and this face loop, and go to the materials, add a new material, choose the marble wall damaged and hit a sign. Now, for these faces, we need to set our TD back to 512. And let's go back to our scene view and have a look. Now, it's looking very dark, and that's that's because of our origin point. The marble wall damage has a little gradient on it. If I scroll out and bring this up. Now, if we look at the looking for a gradient. This gradient texture is just at the top here, and it uses the object coordinate, which is based on your object's origin point. So what we could do with this is if we click Options up here and choose origins, this will only move the origin point when we move objects. If we hit G and then Z, it will move the origin point up and down and you can control your gradient. So I'm just going to bring this a bit lower to about here. And I'll fix the gradient issue. Now, with these pieces, we can go into Edit mode, AU SMAUVPject and then we will set our texel density to 512, and maybe we could choose marble white for these pieces. And how is this looking? Maybe we could adjust the bevel just to 0.01, just so it tightens it up a bit. There we go. We need to add the door next, so we will do that in the next lesson. 29. Solidifying, Lighting, and Animating a Temple Door: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and Garden Workshop. Okay, now let's start by adding the Temple door. I'm just going to look inside here a sec. Now, if you want to have an interior, now, because the normals are flipped on the inside, it won't render in a game engine. So what you could do if you wanted, like an interior is if we take's going to solid view. If we take this piece, it's like, one sided. So what you could do is add a Solidify. I'm going to move this above the bevel and give it some thickness. And you could go to whatever thick you want, make sure even thickness is checked. Now we have a look at this in rendered view. Now, you would have to you would have to apply Solidify and re unwrap it. So maybe this is a bit too thick. Maybe, no, this should be fine. So if we apply the Solidify, and what we can do is we will just do A U Smart UV project again and we will deselect everything, select the marble wall tiles and set TD 256 and rotate them by 90 degrees and then deselect everything, select marble wall damage, select, and then 512. We need to select the islands 512, and then you have an interior for your temple. Nice and easy. Now, you can just like if you wanted to, you could add a light. So a light, a point, bring this up. You could increase the power, I guess, increase the power, you have a nice little light inside, so you can do whatever you like. Now it becomes a lot more complicated. If you want doors to open and stuff, you have to set the origin point to, like, to where the hinge would be, so it rotates around the origin. But I guess I could show you that because I know a lot of people in air discord have been asking about interiors, and it isn't really, like, complicated. You just need something that's double sided like this. Okay, so let's get the start on our door. So back in solid view, and let's hide these pillars out the way. Now we want to add a cube. Let's put have a cursor here with shift and right click. Let's add a cube. I'm going to bring this up, or we need to go into options and de check origins. Bring this up, Control Z, snap to this phase. Now I'm going to select this phase and snap to this pace here, then this phase we can snap to this phase then this phase can snap to this phase. So now with this, we want to bring this forward, and let's scale it on the Y. And with this, we want it to be just a bit thinner than the actual like wall here. So check both sides and S Y. I'm not the scalar inside out, right? I'll go to, like, here. So it's like a nice, like, it goes inwards, you know, on both sides. So it look quite nice. Now, let's just bring this forward for now. I have a look at our reference. Okay, so we have these like square shapes. So I'm going to but now what we will do is actually delete delete all these faces, so we just have a plane. It's a lot easier to work with. And I'm going to add an edge loop in the middle and an edge loop in the middle here. And what we can do here is select this edge loop and this edge loop and hit Control B and create a bevel like this. Now with this piece and this piece, we can hit I to Inset, and then GY to bring it in a bit. Now, do we like the shape or do we not like the shape? Let's have a look at our reference image. We do not like the shape, so I'm going to Control Z and insert it again. And then I'll bring these pieces forward. And then with these faces, we can we're going to hit Y to separate them, and I'm going to just move them forward a bit, and then I'm going to I'm going to hit A to select everything and just move it forward in edit mode, so it moves it forward from the origin point. Now let's add a mirror modifier, and we want this on the Y. So now with this, we can alt click this edge loop and this edge loop and this one and this one. And I'm going to make sure clipping is enabled and E Y and bring it until it snaps to this edge here, and we can select the outside edges of this middle piecea. So select all these edges going around. One more. And then E Y until it snaps in the middle. Now, I'm going to select everything and hit GY to bring it all in like this. Do I want to go too far because it will, like, merge the faces in the middle together, so we can double check. Yeah, that's all fine. So now with this, we can move this back. And check how it looks. We can bring it back a bit further, see how it looks on this side. I think that's okay. Now, if you wanted this to open, you would let's isolate it. You would need to select this edge, shifts wait before we do that, we want to apply modifier, and then we can do shifts cursor to selected and set origin to Fred cursor. Now, if we were to go to where is it? Transform pivot point, free decursor, not free Dcursor. We want individual origins. It will rotate around here. So even if I put the freed cursor over here, it'll rotate like this. I don't know this temple door would open like this, it would probably be split in the middle. So if we were to go an edge loop here, and then I'm going to go into the front view, go into Y frame, go into face mode and select this half. I'm going to hit Y to separate it like this. And I'm going to back into solid view, and I'm going to hide this face, and I'm going to fill in this face here. I'm going to go this vertice, this vertice and hit F. And then I'm going to try and keep the topology clean. So I'm going to choose these and click what N. Okay, so I'm going to delete this edge, actually, with Control X or actually let's undo until that edge goes away. I'm going to alter click this whole loop and click F. And now just so we can keep our quads, I'm going to choose this, this verse and click J and then J on these two and J on these two. So we keep our quads here. Now lt H and then Shift it'll isolate this side and we can do the same. So we have an edge here. So if I were to, I don't know where this edge came from, so I'm going to delete these vertices. I delete these vertices and then fill in this whole face here and then J J on these and then J and then J on these so now, if you wanted them to open how they probably would in real life, we would need to make these separate objects. So I'm going to alter H to bring everything back. And in face mode, I'm going to press L over these pieces and hit P separate selection. Now with this piece, now these are separate, you can choose this edge, shift S, cursor to selected, and then right clicks origin to really cursor. Now this one can open this way and now this one can open this way. Let's go back. And now if you really want it, you could just rotate one door, so it's slightly open, maybe. Have it like this. I'm going to undo that for now and in the next lesson, we will start with the door frame going around. 30. Modeling Detailed Temple Doors with Mirror and Bevel Tools: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so back in solid view, let's select the door, and let's isolate it. Now, this side is fine, but this side there's a face missing. So I'm going to isolate this one door and just fill in this face and then connect the vertices. Now we can select both of our doors, and let's unwrap them. Smart project, unwrap. And let's also add the bevel. So 0.0 let's go 0.015, and then shading to harder normals and then Control L copy Modifiers. Now we need to select all of our islands and set it to 512. Now, in the original, I had wood, where I was playing around with the different materials, and I think I prefer the look of the clay material. So let's select this. Let's go into rendered view, and let's select clay. And I'm going to create new material with this and rename this clay underscoll door, and we'll select it on the other one as well. And we can play around with the color. So I'm going to go into scene view so we can see everything. This is looking quite nice already, but if we zoom out, we zoom to the textures here. We can find the color information here. So if we bump up this factor, it becomes more colorful and we can change this to a reddish hue so that it matches the roof a bit better. This is still very orange looking, so we could play around with, have a look. Maybe this color here. What if we change this? Yeah, so make it a bit red. If we make it darker, now, we want it nice and bright. Now with this, we can play around with the factor. We don't want it to be like too saturated, so we can bring saturation down a bit. Looking with the roof. Now, the roof is being affected by the light of the sky a bit. So it's more like a blue issue. Or if you were to remove Scene world scene lights uses the other Skybox. So yeah, this one is going to be a bit tricky to match with the different lighting. We, we added more of a bluish tint to the door. No. I'm just going to go here and just have this color going on. Now, what we could do here is add another material and then choose Clay door and then I'm going to make a new material out of this, it's Dor 001 and I'm going to go into Edit mode and select, not that one. We want this middle piece here. Then maybe this face as well and then we'll hit a sign on the clay door 001. Go back into object mode. With this material, the 001, we can just bring the saturation down to zero on both of these. Add some color variation. Now we need to do it the same for the other door, add material door or one or select these faces and this middle part and then hit a sign then we want this face here that we missed, t sine. Now, I keep forgetting there's another side to this, so we'll assign these and the other door as well we need to go behind it, select these faces and hit a sign. Now, I don't like how this is transitioning here. So what we could do is I'm going to isolate these and go back into solid view for now. And I'm going to select I'm going to go into Si view and I'm going to delete the back half of this. So I'm going to delete vertices here. I'm going to undo that. We don't want to select the middle edges. So si view. Let's move this down. So we want to go to here, avoid that middle edge, and then delete vertices. So now we have this. Now with this, we can let's move everything forward away from the origin point and add our mirror modifier. At Mirror axis Y, move this above the bevel. And we need to do the same for the other one copy Modifiers. There we go back into edit mode. I'm going to select these middle faces and then hit Y to separate them off, and then extrude inwards. We need clipping on the modifier, clipping on this one and clipping on the other door slep them both and then with these faces G Y to the middle and X delete faces. Now we can hit A, Al ten, recalculate outside, fixes that. Now let's hit L on these middle faces to select them and then H. Now we can I'lt click these edges, like these faces, I mean, and then hit Y, and then E, to through them in all the way to the middle, delete faces. Now we'll hit L on these. And hide the make the way. Now with these inner edges, we can select them all and then E, bring them in on the Y, X, delete faces. Now we can hit Alt H to bring everything back, select everything, Alen, recalculate outside, and then G Y, bring it all in until it clips like this. Now we can apply our mirror, make sure the thickness is correct. Yeah, we'll apply the mirror. Now with this, we can A, smart UV project and wrap, set the TD It's going to Render View, see what's going on. Now we have this. Now, I think that's fine for outdoor. I'll go with this, yeah. We can add some decals in the middle later on to make it a bit more interesting. So let's go back to solid view, and let's select this top face here on the temple and then shift S, curse it to selected and let's add a plane then. Let's go into Edit mode, actually, select X 90. Now in object mode, let's hide the store right the way. Let's bring it down to this face. And then in edit mode, I'm going to snap the edges to the sides so we get the nice size here. And let's bring this forward from now. And with this, I'm going to make it a bit wider. So we want it to go to here, and then with the top face, we'll bring it up a bit. And then with this face, we can add an edge loop in the middle, Control B to bring it out to here, and let's add an edge loop and bring it up to about here. And then we can delete this middle face. We don't need this. Now, with this, I'm going to hit well, what if we added the mirror modifier now? Add the mirror on the y axis. We need to bring this forward on the origin point. Okay, so now we have this. We can hit A, E, before we do that, let's apply clipping. Then A E Y, bring to the middle delete faces, and then A A ten recalculate outside. Now we have this. Now we can bring these faces in a bit. I don't need to make this much. That's first moving object mode, so it's in the middle of the door frame, so we know how thick it is. So here. We could hit Alt G. No, not Alt G. You'll hit OTs and then select it to cursor and then bring it down to snap it to the facia. Now with this, we can bring it forward. GY like that. Now, what I want to do is we'll extrude these faces along normals, just a little bit like this. Then I'm going to add an edge loop and I'm going to scale these along normals. All of these faces, right click, scale along normals and then we want offset even. Like that. Now we can hit Alt S to adjust the thickness of this and then make sure to offset even so. Now with this, I might bring these top faces up a bit, going to wireframe, vertice, select all these vertices and just bring out a tiny bit. Now with this, we can select these edges. I'm going to Control B to bevel like this and then I'm going to bring the segments up. Four should be fine. Now we can Alt click this edge and I'm going to add a bevel here. And it's up to you what kind of shape you want. I might keep it like this as well, so it's nice and curved. Then I'm going to select these two faces, bring them up here. Now what you could do as well is maybe we can delete all of these edges with Control X to dissolve them. We need that one there. So this outside edge here, we need to keep that edge there. But this one all the way to this one Control X, so we have more room to play with. And we could maybe add bevels on these corners, and I'll just bring it down to one bevel, so it's like this. Maybe if you wanted to, you could insert this face and bring it in like this. If you wanted something in the middle like that, we could have some Greek texts going along. Let's add there a bevel, see how this is. Is it bevel? Do we need to apply scale? No, we're fine. Amount 0.0. Let's go 15 on this then shading harder normals. And then I might bring this face forward a bit so it's not so deep. With this, actually, we could hit Y and then bring it forward. It's a tighter edge here. Then right click Shade Smooth. That should look nice for our doorframe. If you wanted to, you could add maybe Edge Loops in here. Control two edge loops. And then it might be getting too small of detail if you did this, but you could maybe control B, these edges and then extrude them like upwards. You have this kind of shape going on. I'm not sure if I like it or not though Maybe if I undo that and actually undo the whole edges. Could maybe just insert the face once like this, bring it out like that maybe. So it's like that kind of shape or undo it and extrude it out. So you have that kind of shape going on. What might be better actually is to duplicate this face. So it's like separate and then bring it forward a bit. And then these bottom edges will snap to the floor. So G, Z, snap to the face, and then these edges to go into front view and just bring it out so it's going into this top piece. And then with these faces, we can extrude them in. So they go inside like this. Now let's hit recalculate outside. Now I don't like this transition here. We could bring these faces in. So we go GY, bring them into about here. Gives it some more interesting look on the sides there. And what I might actually do here is increase this face so it's a bit thicker on the top. Look nice. Okay, maybe a bit more. So okay. Now let's bring back our door so we can see. And let's hide these pillows out the way it say. Let's going to a render view. And with this one, you'll A U, smart UV project, wrap, and then set our TD to 512, and then we'll add the marble white to this one. Then later, I might actually find some Greek text to use as a trim, hopefully, or we just add a pattern that we got already. There is our door and door frame and door materials all sod. I'll see you in the next lesson. 31. Designing Decorative Marble Pillars with Bevels and Materials: Hello. Welcome back to stylized Blender Free D Environment, Greek Temple and garden workshop. Okay, so with the door and the door frame, I've renamed them. So this is door left. We got door right and then door frame, and then I put them into a door collection. Now I'm going to start with the pillars on the corner here. So I'm going to chef right click here. And let's add a cube. Now with this cube, I'm going to put it all to 1 meter. And then trollle apply scale. Let's bring this onto the floor. I'm going to bring this face down to around about. Let's get our human reference. Just above his foot to where his ankle would be. And there with this, I'm going to put a edge loop. And I'm going to extrude these along the normals a bit and then offset even. Now I want this outer face loop to be like 1 meter wide. So we're going to have to change the X and Y back to 1 meter. Then we can make this, just range it off to 0.15 or something, put it back onto the floor, control a apply scale. Now I want to add a cylinder. I'll add a cylinder. I'm going to change the vertices to 20, then let's bring this up and snap it to this face. Now in edit mode, I'm going to go S, shift Z. Scale it in. Let's go nice and thin actually to arrange it here. Now let's add an edge loop here and bring it down a bit. Let's add another one. Now let's add. Well, let's move this face up. So what we want to do first is I'm going to duplicate this piece with Shift D and then hit RX 180 to flip it over, and then I'm going to snap it upwards to this face. Now with this face on the cylinder, we can snap it to here. Okay, so now I'm going to select this face loop, and I'm going to extrude along normals until we get to towards where the edges. Now with this piece, we can move this edge up and then we'll move this edge up. And what could we do with this edge? So if we select all of these and then extrude the long normals, we'll get this. Now we can press A and then S shifts to bring it all in a bit. Now with this edge, we can bring this up, so it's more more like an angle. Now let's do the top. So let's add an edge loop in here at the top. Now, what can we do? Let's have a look at the reference. We got this kind of shape here, so we'll do something similar. Let's go back to Blender. And I'm going to select this face loop, extrude the long normals like this, and we can select this edge loop here, bring it down. Now, with this piece here, I might just go into front view, going into Edit mode, select everything S, shift C, and bring it closer in. Now we need to get the right kind of thickness for everything, so it all looks nice. So I'm going to select this edge loop and bring it a bit further up. Maybe we can bring these in with Alter S. Let's check the underneath faces a sec. So I'm going to select these edges and Control X. So we just have a flat face here, and we'll do the same with the top. Control X. Now, let's select these face loops and S shiftZ, we'll bring those in a bit. This one, we can maybe bring it down to here. We'll bring this one a bit further down. Maybe we should have it all a bit smaller. So we'll select all these edges and bring them down like this. With the top, we could maybe bring this fervor down, and then I'll add an edge here, control B, and then I will extrude these along normals, bring them in. Now maybe we could have some curves on these edges, so we'll bevel these to about here and then increase the segments. Three or four should do. Now, I'm going to bring this edge down a bit further so it's a bit thicker. And I might bring it all down. So I'm going to go into wireframe and select all of these vertices except the top one and just bring those down a bit. He's just looking. It still looks a bit too thin. So what we could do is just select everything. S, shift C, make it a bit thicker. Let's bring it to the edge of this piece. So nice and thick. And we will have to delete this and just duplicate this again. Should we make this a bit bigger? I feel like it's a bit too thin, maybe. Yeah, so let's select it S Shift C. And what I might do is I'll select this face loop here and bring this down, so it's a bit thicker like this. Right now, let's duplicate X 180, and then we'll bring it up to the top face here. Now I'm going to select everything, Control J to join it. Right click, Shade Smooth, and then let's add our bevel modifier. Let's put it to 0.015 and then shading to harden normals. Now we can see here we need to bring this one down a bit, so the bevel snaps into place. Let's have a look at the top here. I'm going to play around with this bevel amount. Okay, so what I will do here is I'm going to select all of these edge loops and Control X. So we have this, and I'm going to bring one back, scale it up a bit until we have a nice kind of looking bevel. Might have to bring this up, maybe bring this face loop up a bit to make it a bit thicker. I think just like this looks a lot nicer. Yeah, we'll go with that maybe we bring the stain a bit. That still snaps. So Am I happy with this shape? It looks a bit bigger on the top than it is down here. So I'm going to select in WY frame mode all of these verses. We don't want the top piece. So what we could do is I'm going to hit L on this top piece and just hide it at the way sec. And then I'll select these and then S C to bring it in a tiny bit. So the top is thinner than the bottom. Now, how does this look? I'm going to select everything bring everything back. Select everything. S shift C will make it a bit thicker. Like so. Now with this, we can select all of this, S shift C and bring it in. Maybe a bit bigger than that to here. How is this looking? Can we bring this edge down a bit further with Snapping? What if we mark it sharp? How does that look? We could get away with that, yeah. Now what we could do also is bring this edge down. Yeah, actually, we can remove this sharp clear sharp here. And if we bring this edge down on the Z, it should snap. There we go. Now, I want to bring this face loop down a bit further, just so it looks a bit more even. And I'm going to select all of these face loops on the bevel we did and bring those down a bit. So we have a matching thickness on either side of this piece here. And then, Hey fire, can we bring this down? No, we'll keep it there till where it snaps. Then you can experiment with this piece. And now with this, we can go into Edit mode, U smart UV project and wrap, select all the islands and set TD to 512. Now with this, I'm going to add the marble white. Let's ad marble white. Let's go into rendered view. See how it is. Okay, so we'll let it render a bit and see how these edges are looking. Now, what I'm going to do is add an edge loop here, and I'm going to go to around about just above where this piece is here and I'm going to control be at bevel, just one segment like this. I'm going to put it just above this piece and then extrud on long normals, a little bit and offset even. And then I'm going to re unwrap it and then set TD. Now we have this piece. What I might do is add another material, and we'll choose the marble white, and then we'll click this button to make it a new material. I'm going to assign it to this face loop here. Click Assign. Now, I might actually bring this face loop down a bit, so it's a bit thinner. Now I'm going to re unwrap it, set TD. And with the marble white one, we'll rename this to marble red. And let's make this like a red color. So where is E Color information. So we want to go to here. Now, let's try this one here. So if we choose red here. We don't see anything happening. I wonder why. Is there any different story? Let's go to material preview. There is a bit of a difference. It's just not a lot. You bring this down a tiny bit. I'm going to preview this a sec. So it's adding red, but something else is happening here. So what's over here? This is the gradient texture. So this might be what we need to adjust. I'm going to bring back the material and then what we adjust these colors here? So what if we put a red here? Yeah, okay. Let's go back to render view. Let's choose some red colors. So go like a pinkish color here and then more of a saturated red at the bottom. Now, I'm not sure about this transition between the two materials. So what we could do here add an edge loop here maybe and then select this. What I'll do with this because it's quite close to the corner is I'll shift D and then extrude these along normals, so they're separate from the pillar. And then I can hit Control plus on the number pad to expand your selection. Then we can just hit Smart UV project unwrap and then set TD. That's looking quite nice. Okay, maybe we should have it's a marble white does that look. Yeah, we'll have marble white on it. And maybe we could also bring this face loop up so it matches this piece a bit more. So it's like this. There we go. Now what's going on. Is this the ambient collusion probably? So if we move it over here, it's like, yeah, the ambient clusion making it a bit darker, closer to the roof. Anyway, I'm going to let's go back to solid views. And we can just delete these. We don't need these now. Are we happy with this thickness of this? We could. Are these all joined? Yeah, I'm going to just select these S shifts a tiny bit. Then I think I'm happy with this thickness. I'm going to bring it over on the X. And let's go to the front view. I'm going to bring it so this line edges, lines up with the edge here, so to about here, I think. Now we can bring this forward. And let's have a look. I want this to be in the middle here. And let's double check on the inside. We have this poking through, but we can get to that later if you're doing like an interior. And how far do we want it to go in. We go to about here. It's a bit too wide on the base. So I'll just bring it to here. I think that will be okay. Now we can op D Y, bring one to this edge, and make sure it's close to the edges. So GY over here. I'm going to select both of these. Op D X, bring it to this edge. Bring it to the edge here. Now, let's have a look in rendered mode. How does this look on the top? So these are overlapping here, so let's move them back, so it's lined up with this. I think they'll look a lot cleaner like that. It's a rendered view. Now we have this. Now, we need to rename these. So I'm going to select all these and select this one last because this was our main one. And then every batchyname typed a set name new I'm going to call this Temple underscore Hill I'm going to do underscore A because we'll have two types of pillars. Is that okay? Then M, and we'll just move this into our pillars collection. Yeah, there's our first set of pillars. The next pillars, we'll do a lot later on because it'll have a more complicated shape. But I think next we can get to work on our walls here. I will see you in the next lesson. 32. Adding Wall Profiles and Fixing Geometry with Bevel Modifiers: Hello. Welcome back to stylized Blender Free D Environment, Greek Temple and garden Workshop. All right. So before we get to the walls, I'm just going to zoom in on the doors sec. And where we create the door frame. The sides of the doors are now like inside the door frame. So I'm going to select both of these and just make sure we're on median point and just scale it in on the X. And then we could scale it down on the Z as well. So I'm going to shift right click from my cursor here, and choose really cursor and then scale it on the Z. Then if you're going to rendered view, I'm going to make a little change to this front design here, so selected them both. I'm going to select these faces, and let's inset them. Then I'm going to bring them forward on the Y a bit. And then I'm going to Inset again, and then just bring it back on the Y. Just until we get this little shape in the middle. This little square kind of ridge going along, I think it makes it look a little bit nicer. Okay, back in the solid op. Let's start on these walls. So I'm going to move these out of the way a bit, and let's choose our walls and hit Alt G. I'm going to move these out the way a bit more. Just move these out, spread them out. This a little bit of a gap in between so we can get at them. So we're going to select them all and go into edit mode, and we're going to put in some edge loops. So it's in the middle. Now we have to double check. Now, the loop isn't going all the way around on this, which means there's a face that we have to get rid of. And I believe it's in the middle for me. So I'm going to hide these out the way. And there's a face here. I'm going to delete this. And there we can put edge loop in the middle. It's probably the same with these ones as well. So you're going to hide these there's a face here. Yep. You can get rid of this edge loop and put a new one in. Put this one, are these faces, right? There's one there. Might be another one. Yeah, there's one there as well. Now, I'm going to select all of these edge loops on the front view, let's bring it up a little bit like this. I'm going to go into X ray view up here, and I'm going to select all of these bottom faces and hit Y and then hit H. So now we need to fill in these faces. So I'm going to select the short edges here and just hit F on them and then fill in this middle face here, and the same with these ones. Now, I'm going to select the edges, but we don't want to select these side edges where they connect. We just want the ones that are that we can see. Mostly these long edges here. All of these on this one. Okay. Now we're going to bevel them. Hit Control B. We'll bring in a bevel. And then let's check out scale. Yeah, 111, yeah, we're good. Okay, so I'm going to undo that. I want that little menu down here. So let's add some segments, maybe about four. And then we want it super lip still. I'm going to just change the profile weight so it's like curves inwards like this. Now we can hit Alt deselect everything. Got to front view. Now we want to hide the top faces. So let's select all of these. Hits then we'll bevel these edges again. So grab these long edges here. Now, with these ones, we want to fill in those faces, actually, first. My bad. So we want to fill them in. Now, we bevel all the edges. So grab all of these. The reason we're doing all of these at the same time is so they actually match with the same bevel when they're next to each other. So I'm going to hit Control B, bring this in a bit. And I'm just going to change the segments to one on the bottom one. So segment to one, play with the whip a little bit. We can hit Alt H and see how that looks. Do we need bevels on these? I think we do. So let's add the bevel modifier. Amount to 0.015 should do shading harder nulls, and then we want to select all of our walls up here. So let's close these elections that we don't need. Lick walls, select objects. Now we can Control L, copy that modifier across. So now they all have bevels. Last thing we need to do is select them all, go into Edit mode, U, smart UV project and wrap. Select the islands, and then set TD to 512. And then we will add our wall damaged material. So marble wall damaged, and then we can hit Control L and Link materials. And let's go into rendered view. There we go. There's our walls. It's getting nice and close. Now, if you wanted, you could maybe have separate materials for the top and bottom. Do kind of want to keep the wall damage on the top, though. So what I might do instead is with the railings. Let's go to with our main railing. It's over here, so we'll select this one. And let's just get rid of the wall damage and just have marble white all over. I think that looks a lot nicer in contrast to the wall. Nice and easy walls. In the next lesson, we could probably make some benches. We need to make some benches and then the flower vases at the front here. Then we need to do the pillars that go round on the grass, so we'll get to those soon as well. I soon in the next lesson. 33. Building and Placing Stylized Marble Benches with Mirror Modifiers: Hello. Welcome back to stylized Blender Fred environment, Greek Temple and garden workshop. Alright, so let's make a bench. So I'm going to move these walls out of our way, Shift S cursor to world origin. I'm going to grab our human reference, hit Al G, move him over a bit. Now let's add a cube. Now with this, 2 meters on the X is fine. So I'm going to scale it down on the Z and on the Y, Now, with this, let's get it up here, where his knees are. Now, I'm going to add an edge loop here. And let's select this face loop and extrude along normals a little bit and offset even. Now I'm going to select this edge loop here. Hit Control B to bevel, and let's add some segments. Let's say, four segments, I'm going to have the pl shape 2.5 now with this, we can select this face and extrude it upwards. Now I might bring this vase up a tiny bit and this one maybe down a little bit. I'll just leave it with it. Now I will add another cube and scale this in and I'm going to snap it up to the bottom face. With snap it up. So the front view. Might bring this down a little bit lower. Now with this, we want to get it down to the ground, and then we want to bring this vase up here. Now let's bring him over to the side. And this might need to let's go on to medium point. Scale it on the exit a little bit, make it a bit thin up. I'm going to add an edge loop around about by here, and then another one in the middle here. I'm going to select both of these face loops strewed along normals and then select this face loop strewed along normals. Now I'm going to add an edge loop here and then scale it in. Like this, and then we can bevel this edge to get a nice curve in the middle there. Now I'm going to add a mirror modifier to this. So Mirror X, and then for the object, I'm going to choose this bench here, and then we can apply that mirror. Now we can join all of these together, Control J. Now, I'm going to hit Control A or transforms, so the origin is like the floor. Now we can right click Shade Smooth and add the bevel modifier, amount to 0.01, shading harder normals. And here is our bench. So let's U SmitUBPject and wrap, set the TD to 512, with this, we can add the marble white. There we go, rendered view. There's a bench. Nice and easy. Now, I might actually I might inset this top face a bit and then just bring it up on the Z. And maybe if we mark it sharp as well. Mark sharp? How does this look? I might bring it up a bit more. And then I I might bring this face loop out, so I'm going to hit SX, bring it this way and then SY. Bring it this way. And then we can bring this face down a bit. Might have to scale it up a bit. So we just have a little bit of a more interesting shape on the top. Scale it on the X a little bit more. Scale it on the Y till we get, kind of sharp edge here. And how does that look? Yeah, cool. Now we can hit F two, rename this to bench. And hit M and New collection, we'll call this props. Now we can this aside, we'll hit Alt D to duplicate an instance, and then Alt G. We'll go to grid Snapping. Actually, we don't really need grid Snapping for the bench. We can just place these in wherever we want. So I'm going to go to face Snapping and just snap it to this face here. Go to the top view. We'll have a bench here. And this is where you can just kind of do what you want now. Just put it wherever you want, put one maybe like here. I'll D Y. Maybe if we go up here like this, and then I'll DY, I'll have one here. I'll DX, have them over here. Bring this to the middle a bit more. It's like in the middle of the temple. You could have maybe just have one by here. And then I'll D Z 90. We'll have some I think I do. Okay. Here is our benches. And the next lesson, we'll do our little flower pots that could go at the front of the temple. I'll see you in the next lesson. 34. Modeling and Texturing Realistic Flower Pots: Hello. Welcome back to stylized Blender Fred environment, Greek Temple and garden workshop. All right, so let's start our flower pots. So we shall add as I'm going to start with a cube. We'll start with the base first. Now, let's bring this to 1 meter, and we will apply the scale. And I'm going to bring this up to the floor. Let's grab this face. We'll bring it down a bit. Now we want to add an edge loop in the middle or Control B to bevel this just with one segment like this, and we will extrude the long normals, bring it inwards. And then I will insert this top vase and just bring it up a tiny bit. Okay. Now, let's add a cylinder. So either a cylinder, let's go four at 24. Now with this, let's scale it in. Let's bring it up. Let's snap it to this vase here. And we want to have it a bit wider. And then we'll bring this up to round about this 1 meter mark, I think. On the reference, it goes all the way up to his head. It might be a bit too big, thinking back, but yeah, we'll just go to, like, his neck area, and have a big flower pot. Now we want to add some edge loops. So we'll have one in the middle here, and then we want one here as well. Now, let's first scale this bottom one in to range about here. And I'm going to add an edge loop here. I'm going to hit GG to slide it down and, like, straighten this bottom out a bit. Now, with this, let's bring it nice and thin, actually, and we can bevel this to get, like, a rounder shape. We might even have to scale it even more, really small and then bevel it or widen it out. Yeah. So I'll go to, like, this size, and we can add, like, another Edge loop in here and, like, bring it down on the Z and go to this kind of shape. I'm trying to get the same shape I made before, but I find it so hard to get the exact same shape. So I might bring this down a bit. A you know, I'll leave that where it is. Now we want to make this a bit wider. And we can bevel this edge to get a nice around middle like this. Now I'm also going to have an edge loop in here at the top. I'm going to bring this face up a bit. I'm going to bring this up like this and then bring this edge loop up a bit as well. I'm going to, let's extrude normals on this face loop. And let's bevel these edges here. So these edges we'll add a bevel it nice and round like that. Now, we could also I'm going to bring this up a bit more and like, add an edge loop here because I don't want it to be, like, connected to this bottom piece here. So I want to extrude these along normals and I'll bring it down on the Z. I'm just going to add a quick bevel to this so we can check. So add a bevel. Yeah, this looks a bit tight. So we shade that smoothes. So I'm going I'm going to delete these faces that we extruded. And we can fix this by clicking these edges and just going in bridge edge loops. And I'm going to hit Shift D to separate them, and then we'll extrude these faces along normals, bring it down. Just having it separate, it prevents the beble from, like, going all weird. Maybe we could build these edges a little bit, bring it down on the S. So we have this kind of shape going on. With this, we can, inset it and then just like extrude it down. And then we can hit Y on this face here and then bring it up, and this will be like with dirt for the flowers to go onto. Now let's play around with whatever's going on down here. So I'm going to add, like, a small edge loop here, and we can extrude this along normals like this and then bevel these edges. Like that. Cool. Now I'm also going to let's extrude these two. Should we go with these? Yeah, right. Extrude along normals. And then we will select this edge loop and scale it out a bit like this. And then we can bevel probably all three of them, here. So we got that kind of range shape? No. For these edges here, I have a kind of interesting kind of shape. So what we want to do is we want to select every other one like this. So just keep on going around and selecting these And then one more. Okay, now, I'm going to hit Alt S to extrude to scale along the normals and see what kind of effects we get. Okay, this is looking a bit sharp. I'm not sure if I like this. So I might actually, like, separate. So let's undo that for now. I'm going to, like, select all of these faces and then hit Y to, like, separate them off, like this. And then what we can do here is what we I'm just going to test the seg if we like, scale these in, and then we were to bevel these edges. We get this kind of curve shape going on. Now, we might have to play around with the angle on the bevel, maybe. No. Oh, I know what we could do. We could say we had one, we'll have one edge in the middle here, and then just, like, bevel these outward edges like this. So they're all smooth. I don't like how the bevels looking at the moment, so let's have our flat faces back. Alright. So let's select every other one, and we'll try and get that shape again. We might have to go into the limit method, weight for this object if I can't get it right with this bevel. Okay, so we want this kind of shape, and now we want it to be we want these like outer edges to be smooth. So select all of these and, like, add a bevel. And let's bring the segments down to just three like this and get it like this. Okay. So I'm going to select this edge loop. Let's hit S Z zero to straighten it. No, don't do that. Let's scale it out a bit and then scale this one out a bit. So it's like a smoother transition going down, if that makes sense. Let's set this out like this bottom edge. We'll move this down on the Z. So it's like inside. Now, we might have to select this edge loop here, and we can press ES and scale it inwards like this. And then with this top edge as well. So we'll select the edge loop up here, move it up. Actually, what we could do move it up a tiny bit, and we'll select this inner edge here, ES, scale it inwards. So it's like inside. Close any caps. Okay, this is a bit too tall. So why if we just scale it on the Z a bit? Like this? Yeah, cool. Now, I don't like how sharp this edge. So maybe if we just dissolve this edge and dissolve this edge, what do we get? Okay, we can put an edge here, S zero, straighten it. While we scale it in. Scale it in and then bevel it like this. So it's like, nice and smooth. All right, let's play with this angle. Yeah, let's bring the angle. Okay. So let's change the angle method to weight. And now we need to choose we want our bevels. So we want this edge loop. We'll change this to one. Now we can have Mm. We'll choose this like inner corner edge here. Change this to one. Here we start looking. Change back to zero. Yeah, we'll we'll mark sharp on this. We'll mark that one sharp. What else? What if we were to grab this edge here and hit Control X, we could have a little crevice in the middle there. And we'll put the bevel weight on this edge then. So just one. How does that look? Maybe if we just control X, move this down a bit. I think that'll do. We don't have to overcomplicate things with this, really. All right? I will add I'll mark this one sharp. I mark sharp here. Now we could mark these sharp, so mark sharp. Yeah, I think that looks nicer. So we'll select all of these edges, and we'll mark all of these sharp in the middle. It's always a bit complicated when you're messing with, like, trying to get the normals to look right on, like bent faces. Okay, how many more? A couple of more. Okay, right. Right click Mac Sharp. Yeah, it's looking nicer. Now let's play around with the shape over here. We could try making the sharp, see what we get. Yeah, co mark the sharp. Now, we could have an edge loop in here maybe, and we can extrude this face loop along normals, bring it in like this. And I will select these edges and put the bevel weight to one. How is this looking? Right now, we need to select these edges on the inside and mark these sharp. Now, the shading by here is horrible. So what's going on here? This is bevel weight one. Where have you put this to zero? Mmm. I'm gonna hit GG and just slide it up like this and play with the bevel weight, see Oh, we can, just slide it and have more control over the bevel. So I have it like 0.25 there. Okay. Now here we want this bevel weight to be one. Or you can just play around and have it like tighter if you want. And we could put an edge loop in here, bevel this. Come on. Here we go and then extrude the long normals. Like this. And then we will select these inner edges and make sharp. And then these edges, we will splay the bubble weight. Like so. Okay. So there is our vase. Let's add bevel to this. So I'll just use the modifier Bevel 0.01, shading harder normals. Now, this can be, so we need to apply the scale on the vase here. So apply scale. Everything looks okay. Okay, cool. So we'll have to rename this to flour part. Flow apart, underscore base. And then this one could be flow apart. And what we could do is if I was going to appear into it, but I won't bother. But we can select both of these AU, SmiUPject and wrap. Select their islands. We'll go with 512. Okay, so what material do we want? The bottom one, I'm going to go with the marble white material. And then the flower pot can be our original clay material. So where is it? I might have to append it. So I'll go to file, append, find the resource file material and search clay. Oh, there it is. Clay. Okay, and apply it to our flower pot. Okay, going to RenderView. And there is our clay. Now we can also add Did we bring in our dirt? I don't think we did. Okay, so file, append. Let's find our dirt material and add it to here dirt. We'll select this vase and a sign. Yeah, cool. There we go. There is our flower pot. Now, we can let's go back to solid view. We'll select both of these. Act's the top view, and we'll move it over here. So I'll go GY, GX. And then I'll DX. I'll have one over here. Awesome. Now, these might be a bit too small, so we could just scale it up. Let's go to medium point nope individual origins. Okay, let's just do these ones. We'll delete these. We'll select both of these and then go to medium point and we'll just scale this up. It doesn't really matter too much. There we go. And Olde X. There we go. There is our flower pots. Let's have a look and rendered view. Okay, so in the next lesson, I suppose we should start on the pillars that goes around the back of the temple. I'll see you in the next lesson. 35. Modeling and Texturing Realistic Flower Pots: Part 2 : Hello. Welcome back to stylized Blender Fred environment, Greek temple and garden workshop. Alright, so let's get to work on the background pillars. So to save ourselves some work, I'm going to select one of these pillars and shifty and OG we'll just use this and change what we have. Now, we need to select our flower pot and the base. And I'm going to add all of these to the props collection. So that's all sorted. These can go over here now. Now with this, I'm going to first, let's bring this up to the floor and then control a ball transforms. Now, in wireframe, I'm going to select these faces here and just bring them up to, like, the top then I'm going to select all of these faces, and I'm going to hit Y. Now I'm going to I'm going to select one and then miss two and then select one. So miss two, select one, just all the way around. Actually, we don't have the right number. So instead, what I will do is I will select I'll select the front two. No way, yeah. So I'll select I'll select these two. And then I'll select these two. Then we can select these two. And then we'll select these two. Yeah, so it goes like, two, one, two, one, two, like deselected sense. So it's like even all the way around. Now with this, I'm going to hit S shift C, and let's bring them in to about here. We can select all these, like, sharp edges here. And this belves give us some segments to make it nice and smooth. So now we have this kind of shape going on. No, this isn't this is looking a bit sharp here. So let's undo that, like I said. We might need even more segments. Yeah, there we go. Okay, this is still looking a bit I want this to be a bit smoother. What I might be the bevel angle. Let's bring the angle. No, we won't mess with that. Okay. I'm going to undo it and just add a bigger bevel, so it's, like, wider. Add some more segments. So it's nice and round. There we go. Now with this, we can select all of these faces and hit S shift Z. Let's add some thickness to it. Okay, now we can I'll select these edges, like these faces here, and I'm actually going to delete these faces. I don't know why they're there. And I'm going to select this edge loop and just scale it in like so. And the same with this edge loop here, scale it in. And we might need to bring this up into here. Okay, so now we need to add a cube. And we're going to keep this at 2 meters, and we're going to bring it all the way up and snap it to this top face. Now we can select these two edges, and I'm going to let's move this stain a bit. I'm going to bevel these edges. And I'm going to choose custom on the profile type and a preset. I'm going to choose cornice molding. And I'm going to increase the segments to the minimum amount we need to get the shape that we want. So it's like, nice and smooth. I think it's 19. Yeah, I'm going to go with 19 on this and then just increase the width. To about here, maybe a little bit more we could get away with. Actually, I want it to make sense. I don't want it to be, like, top heavy, you know, so we might go to, like, let's go to like here. Yeah, that will do. And I'm going to bring this vase down. And then I'm going to join this object to the pillar. George, yeah. Court. Now we might need to shade smooth on this, yeah. So sorted. Now we can add an array modifier. And so it should match up perfectly, if this is 2 meters across, and by default, it's perfectly modular. So now we can just add more to the array. Now, what we can do is first, let's rename this to pillar, underscore array, I guess, we'll do. Now we can add it to our scene. So I'm going to this first Alt D. Yeah, we OCD and rotate this by -90. And let's move it over here a bit. Now, let's add a simple t four modifier. Now with this, we can add some bend to it. So I'm going to choose bend, and then axis is Z. Yep. Now with this, we can play arranged. So I'm going to place it over here. I'm going to increase the count to maybe like ten, maybe a bit more to 13. Yeah. And I might actually lower this to 40 degrees. I'm just going to place it nice and close to the wall here with the top view, and I'll just get this centered on the Y. And then I want one at the back here, but we're going to need more room on the grass. So what we will do is select we want all of these pieces. So we want to move all of these walls forward by 2 meters. So let's select all of these. We want this one, this one. And is that everything? Nope. Okay. Yeah, so we want all of these G four, I believe, GY four. Then we want to grab this one lty four, Aldi y four. And then the same with the columns. And over this side, we'll fix these. So Aldey four, and then the railings What happened there, GY, four. Yeah, okay. D y four. Now, with the grass, we want to select these edges and then go GY four. Now, we're missing. Are we missing something? No, I think that's fine. Okay, I'm going to reunrap this, so top view, you project from view. And then what was our textil density? Was it one, two, eight? I believe so. Yeah, one, two, eight, right. So now that we have room, I'm going to op D on these pillars, and let's clear the rotation. Z 180. Yeah, we want to go this way. I'm going to change the angle back to 45, but then increase the count. So it goes all the way along here. Now we want to place this somewhere where it looks nice and pleasing to the eye. Going to go nice and close to the wall. Come back, right? GY. There we go. Here's this looking. It's going to top view. I want this rotation to be nice. We go here and then GX. Have it nice and centered. Was throwing me off here. Okay, so there's more space on this side of the temple with the grass. So it's like messing up the symmetry a bit, but we'll just kind of eyeball. Yeah. Okay, cool. That's fine. Now, we need to add a material, so we can select this piece and smart UV project it and then set the TD to 512. And going too the materials, we'll need to remove all of these and just keep the marble white. And we can add all of these to our pillars collection. So pillars, this check it out in rendered view. Beautiful. Okay. The next lesson, we will start the temple pillars. I'll see you then. 36. Creating Spiral Temple Pillars with Curve Objects: Hello. Welcome back to stylized Blender Free D environment, Greek Temple and garden workshop. Okay, so now let's start with the temple pillars. So let's move all of these out the way. And we're going to use our extra curve objects add on. So if we shift A under curve, you should see spirals, and we want logarithmic. Now, with this, we want the turns to be three, and I'm going to put the steps to 12. I'm going to put the radius to 0.0 0.03, maybe 0.003, and the expansion to 0.1 or 1.1. Yeah, no, 0.1. Now let's zoom in on this. Yeah, this is what we want. Yeah. So turns free steps 12, radius point I add 0.003, but it only shows 0.00 there, and expansion to 0.1. We want direction to be clockwise, and we want the rotation on the Z to be 90. Yeah, there we go. Now we can under the curve properties, we can go under geometry and we can extrude this a bit. Now, we need to rotate this. So go into Edit mode and X 90. It's going to front view. Now we can adjust extrusion. So we have something like this. Now I'm going to convert this to a mesh, but I might make it a little bit thicker first. So where is our curve extrude. Make it a bit thicker like this. Now let's convert to object. Convert to mesh and then we want to flip these normals. So the steps was 12. So we want to add a circle. So let's add the mesh circle and choose the vertices to 12. And then Rx 90. Now, where is our circle, right? Let's scale this down. And we want to match the vertic. So this top one is much into this corner, so I'm going to rotate this and scale it until those vertices are touching. Now in Edit mode, I'm going to select everything, press E, and then S, scale it in until it reaches this edge here. So now let's going into Xray. Now we have this. So we have this kind of curve shape going on here, and we need to join the vertices up. So in object mode, I'm going to join these with Control J back into Edit mode, and we can start merging vertices. So I'm going to merge these, so at last. We're going to just merge them, so we just keep this outwards curve. So we want to do these No, I might undo this and let's double check. I might merge this one to I'm going to add an edge loop into this face here. I'm going to move this up to around about here and I'm going to merge this one to this one. So merge at last. I'll have this like this. Okay. Now, I might actually put an edge loop in here as well and then move this over here a bit with GG. So we have this triangle here. Now this can get a bit confusing. So now we want to merge this inside circle to the disease going around here. I'm going to merge this to this and then these to the middle circle. It's going to look very messy at first, but hopefully it doesn't get too confusing. We want this one to this one, merge at last. Now here we want to C we dissolve this edge? No, we can't. We need that. So I'm going to delete this edge, and now we can fill in this phase So now let's run an edge loop through here, right? So what's going on here? So we have some overlapping faces. So I'm going to hide this face. Yeah. So let's just delete these faces. And let's double check. Okay, that should be okay. So now we can fill in this face here. So if we put an edge loop, we have this going on. So, if you have an edge loop going all the way around, then it should be fine. That was a bit complicated. Right. Okay. So I'm going to select everything and go SY zero. Now we can in edit mode, I'm going to move this. Well, we need let's make it bigger. So round about this size should be okay. And I'm going to move it on the X in edit mode. So rain at here. And I'm going to move this edge up a bit. So that it's straight. And now let's add a mirror modifier. Now we need to control A all transforms. Now let's let's enable clipping on the mirror. And with this edge, I'm going to just bring it across on the X, like so, and I'm going to extrude this edge on the X. Now we can start by we can fill in this pace here, and then I'm going to select this edge and then just hit F all the way around. Until we get to this point. Now, from here, we're going to need an edge loop, bring it across, and then we can hit F, add another edge loop, bring it across, and then we can hit F and one more to here. Let's give it some space to about here, and then we can hit F and then F. Now we can select these faces and this triangle here, and we can extrude this in on the Y. Then we can select this outer edge and extrude this on the Y. Let's turn off X ray. So now we have this kind of shape going on. We can fill in the circle here. Now, we could add a subdivision surface modifier. That gives us a nice smooth shape. Now, what's going on with the shading here? You might have to Shade Smooth? Yeah, okay, shade smooth. Now we need to add in some edge loops to kind of, like, tighten up these, like, corners and stuff. So we can add an edge loop here, maybe go to two, and just place that in by there. I'm going to add an edge loop here and like, drag it towards the edge, and it'll kind of tighten it up, and then we can put one along here and move it towards the edge. It creates like a tighter edge here. You're basically controlling the curvature with some edge loops. Now where else do we need? We could put one up here move this up, so we could have one here. Place one here by there. Now we can put some edge loops in by here and tighten this up a bit. And how is that looking? Yeah, that's looking nice. Cool. Now we can well, what should we do? What if we were to select this edge here and I'll just select this bottom edge, and I'm going to go into proportional editing. And let's try moving this up. Let's adjust our radius. Like, I'm just going to move this up for now, and then I'm going to apply our mirror. So let's apply the mirror. Now, let's select this edge loop in the middle and give this a bevel and some segments, nice and wide. So we have this kind of shape. Nice. Now, we could select this edge loop at the back, and then lt Alt S, turn off proportional edge alts, bring it in a tiny bit. I don't like how this edge is moving. So we undo that and scale it on the S, scale it on the Z, just to bring it in a bit. M I know what we need to do. We'll undo that. And we'll just ES scale it in a bit, and then we will scale it a little bit on the Z. S. I want to bring it so it's not like poking out at the bottom. Then we will just E Y and then bring this out. Now we can add an edge loop here and bring this towards the corner. Tighten that up. Nice. Now, in Edit mode, I'm going to bring this forward on the Y and let's add another mirror. We might need to put this above the subdivision surface, and then we want this on the Y. Now with this, we can just move it forward. Let's turn on clipping. Bring it forward so it connects left click and then we can adjust our width. That should be all right. We'll sort of size out when we get the rest of the pillar, but we'll continue this in the next lesson. 37. Designing Greek Inspired Pillar Scroll Details: Hello. Welcome back to stylized Blender Free D environment, Greek Temple and garden Workshop. Alright, so I'm going to grab one of the older pillars again, and I'm going to hit Shift D and then Alt G. Now, let's bring this up to around about here. Now, I'm just going to hide this at the way. And I'm going to select I'm going to select this as loop and then Control plus on number P to, like, expand selection until we get these vases and let's just delete them so we don't need these. We want this. I want to grab that circle face there, move right in my way. Okay, let's bring back the Greek pillar piece, and let's just scale this up until it's like a nice kind of size. Maybe scale it on the Y. If I skip it on the Z, I don't want to do it too much, I'll distort it. But yeah, that should be okay. Now, let's grab this edge and just bring it up a bit. And this whole piece, I'll select with L. And I'm actually going to rotate this, I think. So I'll flip it over, and I'll bring it down. And I'm going to select this face, I mean, and this face and scale it on the Y. So it's like behind this little dip here. And I might bring this face down, so it's like inside. And I think that's looking okay. Now, let's change the design here. So, let's select this face loop, Control plus, and then we can move it up. So let's move this up to just underneath here like this. Now, let's select these faces, and let's hit Y, and we will do some kind of design here. So what should we do? How about if we if we select everything, and then we go to select and then check deselect. Now we will need to get this even. So that's looking okay. What if we S Shift Z? We need to turn off proportional ds in S Shift Z brings in. Yeah. So what I might do is I want this to be like 11. What if we select every other edge do we have the correct number or it's not an odd to eight? Yeah, select every other edge and then S shifty and we'll bring this in like this. Then we'll select the outside edges. And we will bevel these to make them nice and smooth like this. Now we can hit Control plus and then S, shift Z, make it a bit thicker all the way to the edge here. Now we can close in the gaps here, so I'll just scale them in. We can bring this face down a bit. Maybe we can make this even thicker round about here. Yeah, cool. And we'll scale this edge in this whole face edge, like a full face loop inside here. I need to delete that. Let me let me get inside here, right? Select this face loop. That can be deleted. We don't need those, and now we can just select this edge and scale it in. Okay. Now, I'm going to add two edge loops into here and I'm going to select these face loops and hit Y, and then I'm going to hit H. So now we can select these edges and hit F to fill these in. I'm going to hit AltH then with L, I'll select these two and then ShiftH and then we can fill in these faces. So if we bring everything back, we have a nice little groove in the middle here. Now with this, we'll have to apply the subdivision modifier. So let's do the mirror first, apply the mirror. And with this, we could actually select this edge loop and scale it in a tiny bit and then give it like a bevel. Just to add some more interesting shape to it. Kind of looks like a scroll, you know. And then maybe scale this up a tiny bit more, move it down. Not too far. Around about here. And we'll bring this ace down inside. And maybe just bring it up a tiny bit. Tiny details. They don't really matter that much. Right. Now we can join, apply the subdivision here. Now we can join this to This has a bevel modifier. This might screw us up a bit. So we might actually have to apply our bevel because I don't want to go in and do all the weights manually. So let's just apply the bevel. Yeah, we'll be fine. Now we can join this together. And now we can A U Smart UV project, and wrap, set the TD to 512. Now let's take off all of these materials except for marble white. And we bought F two, Temple, underscore pillar, underscore B, we called the other ones A, right? Now we can also hit M. Move this to the pillars collection. Let's have a looking rendered view. It's looking beautiful. Now we will Alt D, and we will move these into place. So I can just use face Snapping with this and move it into place here, we'll move it to the edge. Let's get a closer view, right? This isn't even big enough, so let's go to edit mode, and let's scale this up so we get the right size here. Okay. What I might do with this bottom piece is selected with L X 180, and we can scale this up a bit more and bring it up. Now, let's bring this and snap it down to this face. Now let's check the top here. So we can shift right click the floor here and then use the freed cursor. And let's going into Edit mode A. And if we scale from the freed cursor, we can go up. It's good to front view. We get the right height then. There we go. Now we can delete these placeholder ones. And this on the Y. And let's just duplicate this across, so we'll go shifty, not shifty. We want Aldi Altex. By the OdiX and then dix. And we finally have our pillars done. Nice. Hopefully, the spiral was okay for you. I mean, I got a bit confused, even after watching, like, the tutorial twice. So hopefully you guys managed to do it. Let's have a look in rendered view. Yeah, it's really coming together now. Next, we can start with the little archery here and add our ivy. I'll see you in the next lesson. 38. Building an Archway with Ivy Using Geometry Nodes: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so let's start with the archway next. This one's very easy. I'm going to move this light out of our wait a sec. And let's put a freed cursor around here, and good to add mesh, and we'll choose a cylinder. And for the vertices, I'm going to choose 18 and then hit Y 90, and we will bring this up. Now, let's grab our human reference, and we'll bring him over. And let's turn him around, put him in the middle here. With this, we can bring this up a bit. And I'm going to delete these faces. And then we want to delete the bottom half faces. So we're left with this kind of shape. And now we can select these edges and extrude them down to the floor. And let's scale this on the X, just a little bit. Maybe a little bit more. I'll go to, like, this kind of size. And with this, I'm going to duplicate it and then just hide it out the way for now. So with this piece, I'm going to add an edge loop and then Control B to bevel, and we'll go to around about this thickness. Let's delete those faces. Now let's bring the other piece back. And I'm going to hide the first piece. So we just have this. With these faces, I'm going to add three edge loops here and free edge loops here. And then I'm going to bell these edges so that they're the same kind of width as the other faces going around on the top here. So now with this, we could delete every other face. And we will delete them. And let's bring both pieces back. So with the archway piece, I'm going to let's add a Solidify. For the thickness, we'll go 0.08. We want minus No, we'll go 0.08 on this one. And then on this one, we'll add a Solidify again, and we'll go -0.08, so it goes the other way. Okay, and there we can add error bevels to these. So we'll add a bevel with the bevel, we'll go to 0.02. And then shading hardened normals. And with this piece, we'll do the same. So Bel 0.02, and then harden normals. Co. Now, I might make these pieces a bit thicker, so I'll go into edit mode and select these inside edge loops and hit SY SX and bring it into about this thickness. Now we can apply the solidifier on both pieces, and we can select them both. We could join them together at this point and then go into Edit mode, AU Smart UV Project, and then hit Unwrap. And let's open up our UV editor. Now let's go into rendered view. And we might have to, let's go to File append and bring in the wood material. So that's a material, wood append, and let's supply this wood material. Okay, so at the moment, it's looking pretty nice. Wood grain seems to be all going the right way. I want the grains to be following the longest edge. Let's go into edit mode, and let's play with this texel density. Let's try 512, see how that looks. His might be a bit too small. It's tiling already look. So maybe 256 with this 128. I think 128 might be the best looking one. It avoids any repeating patterns on the one face here. So we compare that with 256. Yeah, it still repeats. So we'll go with 128 for this and have nice big details. And then we can hit F two, rename this to Archway. And then we'll move this. I guess this could go into our props collection because it's just a single piece really. Then let's just make sure we'll control all transforms, right click Set origin to geometry. Now let's go into grid Snapping, and then we can just move this on the grid so that it's perfectly in the middle here. And there is our archway. Now, let's quickly add some IV to this. We could go to File pend we want to go into the object folder. Where is the object folder here. And we're looking for iv. Let's search ivy and we want this ivy node here. So we hit a pend. It's going to solid view. And we'll have ivy here, and it will import the leaf as well, because the leaf is dependent on the geometry node. So if we click the iv and go into the Modifiers tab, you'll see this IV geometry nodes, and you can change the seeds of the leaves. You can change the scale, the scale randomness, the scale fall off, and the density. And well as the resolution of the stem, you don't want to go too high with this because it'll just increase your polycunt. But if you want more detail, you can increase that and increase the radius if you wanted to. But for this scene, the settingce that you get as you employ it should be fine for this. So you don't have to really play around too much with it. But the way this works is basically, you want to add you want to add a curve object. So if we go over here and we'll shift a curve and let's add a Bezier curve. Actually, what we could do actually is if we select our archway, it'll just be easier doing it this way to get the exact shape. We can select this edge all the way to this edge, and then shift D. So we have this shape edge here, and we can hit P separate selection. And then with this curve, we can right click and convert to curve here. Now with this curve, we can add Geometry Nodes. Add modifier geometry node, and we click this, we should find IV node. Now we are the leaves. So under collection on leaves, we'd have to click this and click leaves, and that brings our leaves here. We might have to play with the radius. So I don't think the settings are the same. Let's check with this IV node over here. Yeah, so I'm going to select this object over here and then select the original IV node and then hit Control L and copy Modifiers. And then that should have copied over the settings. But it seems to be a lot different in comparison. What is the scale on this object? See, this is 0.2, this isn't uniform. So maybe if we just change this to 0.2 0.2 0.2, we get this strange shape here. We might have to go into edit mode and scale it up like this. But let's just undo that. We'll go back to our uniform scale, and we'll just play with the setens, I guess. So we could bring the scale down to about as good as 0.15. And then this radius, we want to bring this down as well to about 0.01. And we might have to change the density maybe Keep it at ten for now. Let's keep the tensity at ten, and we can adjust this curve in edit mode. So we'll just bring this down a bit. And now let's place this into our scene here and just like move these points to, like, shape the ivy so it's nice and close to the actual. You might have to, like, hit Control X on some vertices so we get a smoother transition, and then you can select two vertices and right click subdivide to bring one back. And then it's just about playing with these points until we get it nice and close to the mesh. Make sure none of it's, like, sticking through so it's nice and above these faces. It's hard to see the vertices sometimes. There we go. Okay. Now let's go into rendered view of this and see how it's looking. Yeah, we're going to have to bump this density up. What if we were to go to 50? Then let's change the scale randomness. Bring the scale down. Let's turn off face orientation on the overlay. Okay. Not bad. We're getting there. What we could do now is go into Edit mode on this and hit A and then shift D and then move it back. And we could, just move some points, so it's a bit different. Might need to subdivide these vertices here. So we have a point in the middle here and play around with this and just move them around, so it looks a bit more natural. And then hit A, shifty X. Then just keep bringing it in like this and just cover up the whole piece. Now we can hit A again, shifty X, and just cover up the whole archer here. Maybe shift X again. Now we can just play around with these individual pieces to get some more randomness in the shape. Might need to move these forward a bit like this. Okay. Self looking rended for you. Now, we still have a lot of gaps here, so I'm going to hit A on everything, shifty X again, and we'll just duplicate that one more time, move it back, and that should be enough. Yeah, cool. And now we can go to File append. And let's go to the collection folder, we want to import the grapes collection. So over here, we should have some grapes. And with these, you can just, you know, bring them over place them in. We'll have to scale these down a bit. And you can just place these in your ivy like this. Just bring them all over. So I'll just shift select, bring them all over here, scale them down and place these along the ivy, like so. It's going to the top view. And we'll just place them in line with the archway. And then we can adjust the Z like this. And then we can select all of these. We can hit Alt D. Move this back in a bit. Yeah, there we go. Hit Alt D to, like, duplicate an instance of them. So Oc D Y, bring over to this side, and then just a little tweaks to move them in. You might want to move it on the X as well, so they're not like symmetrical with the other side. Like here, you could go in here, move this down, and then just check. They're all nice and organized in a way that looks kind of natural, you know, can rotate them as well, get some variation on the grapes. Cool, cool, cool. Now, let's check in render view. Could add some more on the top, if you wanted to. I'm going to keep them on the side. I think that makes most sense. Yeah, cool. There is our archery. You could play around with set ins to get much nicer looking ivy, increase the randomness of the scale. Change the scale here. We bring this, we want it nice and thick. Yeah, cool. And if you wanted to make the stems look a bit more natural, you could, like, go into edit modes and just, like, subdivide. It becomes a lot harder to see, but you can select these and then, like, subdivide so there's a vertice here and just add some bend to it, you know, maybe have one coming off, like, to the side a bit. I give that time to render. And here is our Ivy hatway. I'll see you in the next lesson. 39. Modeling a Classic Fountain Base with Bevels and Materials: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Alright, so now let's start with the fountain. So before we do that, let's select our Ivy over here. And I'm going to rename this to Archway Underscore Ivy. And then we could put this into we could make a new collection and put this into Ivy. And then I'm going to hide this collection just so it's a bit more performance friendly. So we'll disable it with a check mag. And then with the grapes, as well, we can turn these off. Where is the grapes? So like this, hit the puro key. It's here. So grapes here. These collections are both in the walls collection. So we can click these and drag them to scene collection. And this ivy node, as well, we will choose and move this to ivy. Now, this should be all organized. We can turn off leaves and turn off grapes. Now, let's add a cylinder over here, so choose cylinder. And for the vertices, we want this a bit more. So let's go to I think 24 should be okay. Now, let's bring out a guy over and get the right size for this. So it's going to edit mode, and we'll scale this up to about this size. And let's scale it on the Z, and we'll snap it down to the face. And let's get the right height. So scrub this face and bring it down to around about where his shins are. Now, to make our lives easier, I'm going to delete this bottom face. Now, with this face, we can inset it and then extrude it down a bit. Then I'm going to hit Y on this face to separate it out, and this can be our water. So we could actually separate this by selection, rename this to water, and we'll just hide it out the way. Now we're left with a shape like this. Okay let's add an edge loop in the middle here and Let's move it up a bit. Now let's select this face loop and actually, before we do that, I'm going to dissolve this edge. What we want to do is select these faces here and then do the same for the other sides. So we will extrude these out along faces, Extrude along normals, like this. That should be fine like that. I'm going to select these faces and then hit sx zero. To straighten them out. And then we can hit SY to straighten them out this way as well. And we'll do the same for these. These will be SY zero, and then SX strain it out like this. And then these will be SY, no, SX Zero, and then SY. And then SY zero SX. So now we have this shape going on. Okay, now I might increase the thickness of this with S Shift Z. Now we can add an edge loop in here. We'll move it up a tiny bit. We'll select this face loop and extrude long normals, just a little bit, and then offset even. Now, with this face loop, we could extrude it up. So we also want to select these faces as well. So we'll select these and then E, bring it up. Now with this edge loop, we'll give it a bevel. And with this bottom edge loop, we'll give it a bevel. And then maybe we could add some segments to this to get it, like, nice and curved. And then we could also add a bevel on this edge. So now we have this kind of shape. Now we could also add something more interesting on the top. So what if we add an edge loop here and bring it in like this, and then I'll select this face loop and these faces. Actually, what if we just keep the circle and then we extrude this up. So now we have this kind of shape. Now, let's right click, Shade Smooth and add the bevel modifier. Shading harder normals, we'll put this to 0.015. Now, what I might do is select these faces and then hip Control plus. So we select it all the way, and we might need to shift select these faces. And then we can go into the front view and kind of adjust the height of this to how we want it to be It's looking nice. And I might actually delete these faces. So we'll delete these on these ones. Now we can select this outer edge loop, and I'm going to just make it a bit taller like this. Now let's bring this back. I'll bring it up and then snap it down to the face like here. And let's compare the size here. That looks like a good size, yeah. So here is the start of our base of the fountain. We hit Altage to bring the water back. We can bring this up a bit further. So there's our water. And with this, we can AU Smart UV project and wrap. Let's go into rendered view. We'll choose the marble white. Marble white. Then we will set TD to 512. And let's have a look at this. Let's compare it to the reference. Now, the shape is a bit different to what I did before and it's a lot thinner as well. So we were to go to Should we adjust this shape a bit? I think this is fine, how it is. You know, what we could experiment with is going into front view. Let's isolate it, go into wireframe, make sure X ray is turned on. And I need to go to box select here and then choose these bottom faces with this, we could add the wall damaged material. Marble wall damaged and hit the sign, and we can check now. It looks a lot nicer with two different materials on it. There is the start of our fountain base. Next, we'll do the middle piece that goes in the middle and then after that we'll do the top piece. I'll see you in the next lesson. 40. Detailed Fountain Base with Bevel, Snapping, and Materials: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden workshop. Okay, so with this base, we can see at the bottom, there's, like, a horrible little gap. So to make this a bit nicer. I'm going to isolate this. Let's go back to solid view. And I'm going to select this inner edge around the circle and go to Edge Snapping. And I'm going to bring this down on the Z and snap it to this edge on the outside, so they're the same level. Now, hopefully, if we shift select this loop and we could try bridge edge loops, see what happens. That seems good enough. Okay, cool. Now, we don't really need to unwrap it because it's going to be on the bottom, so you won't really see this, so we could just ignore this. But it gives a nice little better transition if we're going to propaganda. Like, it looks a lot nicer with the curve here on the bevel. Now, there's a seam here. I'm just going to ignore that. That won't be noticeable. But we might have to adjust the. It's going to solid view. Yeah, it's smooth here, but there's an obvious seam here. That's okay. Now, let's add another cylinder. So cylinder, and I'm going to choose let's go for eight. I have a nice little lock to go on in the middle. I'm going to hide the water right away so we can see the ground. I'm going to snap it down to here. We'll bring this face down. Let's have a look at the reference. Okay, so I'm going to scale it all on the Z, like on a shift Z, so it locks it. Make it a bit thinner, make this a bit higher. I'm going to bring this guy closer. If I bring the water back, we get a better idea of how tall it will be good to, like, here. Now I will add an edge loop here and then extrude these faces along normals. Actually, I might bring this face up a bit. It is a bit thicker here, add another one to about here, and then extrude. Where do I want this extrusion? I'm going to delete that, and I'm going to bring these faces down a bit, actually. And then, hit S, shift Z on these faces to make it a bit thicker here. I'll add an edge loop in here. Now this is going to mess up with the corner here if I extrude these faces. So I'm going to shift D here, and then extrude it upwards. So that I can bevel this edge here and just give it a nice curve here. We could also just add something at the bottom, maybe extrude these faces along normals. Now we will add an edge loop up here. And I will extrude these long normals and then make sure we have offset even, and we might need to scale these in a bit, so I'll hit S Shift C, make it a bit thinner actually, like that. I'm going to select all of these faces. Then I'm going to hit I and then I again, and then I'm going to spring it up a bit. Now with this, we can hit Alt S to bring it in like this. Now let's check with the bevel because this edge here might give us problems, but we'll see. Add the bevel modifier. Yeah, it's okay. So we can bring this down a bit all the way to about 0.0 0.01, shading hard and normals, right click, shade smooth. Now we need to W these faces, we'll mark sharp. And we could also mark sharp on these edges. Yeah, that looks nicer, so we'll select these and mark sharp on these. Right click Mac Sharp. Cool. So what materials do we want on this? So I know for the middle part, we will have wall damaged. Let's check the reference. So these two are the clay material. So let's go to Bender and SAU SMATUVPject RAP. And let's set our TD to 512. Now let's add it'll be easier to add the clay material first. It's going to rendered view. So there's our clay material. Now in edit mode, we want to if we isolate this and go the front view, we'll turn on X ray, so we can select these faces and these faces here. Yeah, C. Now we can add the marble wall damaged and then hit the sign. We didn't get these faces up here, so I'm going to select these to solve for s. I'll select these faces and then hit a sign, and now let's have a look. Cool. There is the middle part of our fountain. It's coming along nicely. Next, we'll start with the top piece. I'll see you in the next lesson. 41. Curved Fountain Top with Precision Beveling and UV Mapping: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so let's do the top of the fountain. So let's add a let's add a cylinder. And we'll set the vertices to Let's go with 18 on the vertices. And I'll move this up. And I'm going to bring this face down a bit. Now let's first, let's duplicate this face. We'll bring this up. We'll press P selection, and we can just hide the sake of the wave for now. Now, we want to get this curve kind of shape going on. So what if we bevel this face like this? And now we could just a profile shape. I'll just leave this at the default. And what we could do is we'll delete this bottom face here. Now I want a few more edge loops. I'm going to put edge loops in the middle of each of these faces. And we're going to scale these in like we did with the pillars. So add edge loops all the way around. Now we want to select them all the ones we added. We might have to delete that pace, but we'll see what happens. So let's hit Alt S, and we'll scale it in like this nice and tight. Now let's just delete this top face. Okay, so now with this, let's check what's going on. So we can Alt click this top face here, and then just delete. So now we have this shape going on. Now we want to select all these outside edges, and we'll give these a bevel and curve it off a bit. Takes a while to select them all. Almost Control B, lava bevel. Let's add lots of segments, so it's nice and curved go as tight as we can before we get any vertice overlap. Let's check the middle here. Th should be fine as it is. Now, we want to select these inner ones here and we're going to mark sharp on these edges. Select all of these. Okay. Almost there a few more. Okay, right click and Mark Sharp. Now, let's shade this smooth. Now, do we like this shape? We could add a subdivision surface if we wanted to be a bit smoother. Now we need to kind of close up this middle. So what if we select this edge loop and scaled it in and maybe we could bring it down a bit. We could also add like an edge loop in here and bring this down. Cool. I like the look of that. It's looking nice. Now, let's AU Smart UV project unwrap, and we'll set the TD to 512. And let's try some different materials on this. So maybe we'll go with the wall damage, see how that looks like. Yeah, court. And we got that little highlight in the middle. That's looking very nice. Now we could also bring back the other face we made. Let's go back to the solid view, and we'll bring this down just so it's like inside covering this face here. Now we can go into edit mode, extrude it up a bit. Now we want to inset this face. So I'm going to inset it and then extrude it downwards. And then scale this face in a bit like this. Now we want to have edge Snapping on. I'm going to put an edge loop here, and then on the Z, I'm going to snap it to this inside edge. So this edge is the same height as this edge. Now what we can do is I will select this edge loop and this edge loop, and I'm going to hit Control B to bevel. Just give it a single bevel like this. That will do. Now we want geode loop here, and we will bevel these to be similar width. Now let's delete this face, this face, and this face. And you want to select these vertices and then hit F to fill, make sure you get all four of them like this. They'll select these vertices here, F to fill, and then we want these bottom four vertices here to F to fill. So now we have, like, a shape that will allow the water to flow out. And we basically want to do this for the other faces. So we delete these three and then just fill in the faces like this. So we have the bottom piece, and then we have the two side faces here. Like this, and then we'll do the same here. You could speed this up by doing a mirror modifier if you wanted to. But I'm just going to do this manually. And then one more, fill in the bottom face here. And then this one. Cool. Now, let's right click Shade Smooth, and we will add our Bevel modifier. So add the Bblezo 0.01 should do for this shading harder normals. No less grab this face and let's inset it, bring it down a bit. Now, is there a face? Yeah, there's a face underneath. So let's isolate it. And let's I'm going to just inset this face a little bit. And then we could dilute this face. Yeah, that'll be okay. Now with the top face, we have room to bring this down, and then I'll inset it again, bring it down even more. I want to be careful as we inset this, these vertices are going to overlap. So we'll just go to like here. And then how does this look? What's going on in the middle here? Right, so let's undo that. So we go to the here and let's inset it. We don't want these vertices to overlap, and now we can bring this down. So now it's a bit more curved. We could go further, really add some exaggeration to this depthness here. Now, we could What if we were to mark sharp on these how does that look? I'm not sure if I like it or not. What if we were to make this, scale it up, just kind of adjust the curve of this shape. That should be okay. Now we want this to be a bit tighter up here. So what if we select this edge going all the way? We don't want these middle edges. So we'll select these edges like here. So these all the way up to the gap. So those, cool. So let's mark sharp on these. No, I'm going to undo that. Maybe if we scale it in a bit, we move it down a bit. There we go. We have that snapping from the bevel. That's looking nice. I might actually clear sharp on this one so it's smoother and just have sharpness on the inner circle. Now, let's have a look. We need to select this edge loop and scale it in. And now we can AU Smart UV project and wrap set TD to 512, and then we will add the clay material. It's going to render view. Now with this, I'm going to edit mode, scale it on the Z, and then we can bring it up inside the other mesh. So it's a bit thinner. There is the top of our faintin. We can adjust the size later on once we add the middle piece. Where is everything? Why is it only curbs? That's weird. I'll see you in the next lesson. 42. Layering Fountain Shapes with Edge Loops and Detail Extrusions: Hello. Welcome back to stylized Blender Fred environment, Greek Temple and garden workshop. Okay, so let's do the smaller pieces. So let's add a cylinder. And where is it? It's all the way. What did I add? I added the circle, right, Mesh cylinder. We'll stick with 18 for this and let's scale it in. Let's move it into place. Let's snap it to this face here. And let's bring this face down. And let's As shifts. We'll make it a bit thinner. Now we will let's add an edge loop in the middle, Control B, and we'll move it to like here, and then add another one in the middle, and let's bring this in nice and tight. Let's actually scale these faces in. So S shifts, we'll make it nice and thinner, and then we'll extrude outwards later on. So let's bevel this, make it nice and smooth. Let's go to like here. Let's extrude these faces along normals. And then we could bevel these edges. Add some segments, make it nice and curved. Now we could add some edge loops in here and in here. I'll move this one up a bit to the top, and I'll bevel this twice. So we have two here, and now I'll select all of these and then bevel these and extrude along normals. Now these are going at a weird shape, so the undo that. And then I'll just hit E and then S and then shift, and then I'll extrude it straightwods then. Now we could bevel these edges. So let's select all of these. And we'll keep it nice and simple. We'll just make these curved. So add some segments like this. We'll do this kind of shape. Now, let's right click, Shade Smooth. Let's add the Bevel modifier. So search Bevel and it's looking nice. Okay, so let's go to 0.015. I don't think it's going to change much, but shading harder normals, there we go. Now with this top face, let's isolate. I'm going to just select all of these, and we could just move this upwards into the face here. There we go. Now, to save us some time, I'm just going to duplicate this face and bring it up and snap it down to this face here. We want to make this. Okay, so let's go into wireframe, Xray mode and make sure on face select. Let's scale these top faces in like this. Yeah, C. And let's go to solid view. Now with this middle face, let's select these faces, and we'll scale these in on the Z. S shift C to bring it in. Let's delete this edge here. We don't need this. Yeah, it should be okay. Now, let's select these faces, and we'll scale these in and let's scale this face in, and we can just extrude this downwards on the Z. And yeah, we'll just have it like this, and then that'll be where the water shoots out. Now, this shading is looking a bit gross, so I'm just going to add an edge loop and bring it like this, even the topology a bit and it helps with the stretching a little bit. Now we can select Well, we might need this to be a bit thicker. So I'm going to As shift C and make the base a bit thicker because it doesn't look like it's strong enough. That should be okay. Maybe scale these two down a bit. Let's go into edit mode, scale it down like this. Not too small. We'll go to, like, there, and then we'll bring it down into this face here and make sure this is snapped down to this face. And how is that looking? Now, let's bring back everything. Everything disappeared. We we hit I'll t H. No. Where is all of our collections? We need to unhide all of these, so the eyes are back on. Okay, how is this looking? I think that's okay. Yeah, now we just need some material, so we'll select both of these. A, U, Smart UV project, unwrap. Select daything, set TD to 512, and we will select the clay material. Going to rendered view. And we need to hit Control L and Link materials. Now, do we want the clay on this? What if we actually tried the marble wide on this one? How would that look? Okay. And we could add something a bit more interesting on this face here. So what if we scaled this face in and extrude it down? And we'll just have something little like this, and then we could just A, smart U project, wrap, and then set the TD back to 512, and then snap this one down to the face, bring this one down a bit. We need to bring this down. Like so. And then we'll snap this down to the face. And then that should be our fountain all good and ready to go. Nice and easy. Next we will do the water shader. Then maybe we could do the water, do some particles coming out and then we'll have it flowing down as well. It's going to be a very simple particle system. I'm not going to go into doing the ripples on the water because that's a bit more complicated, but we'll have something to show some water flowing it at the fountain. I'll see you in the next lesson. 43. Creating Realistic Fountain Water with Shaders and Bump Maps: Hello. Welcome back to stylized Blender Fred environment, Greek Temple and garden workshop. Alright, so let's do our water shader. So with this object selected, this little plane here, let's add a new material. We'll call this water. I'm going to move this up and zoom in to here. So with this principle BSCF, we can set the roughness to, like, 0.15. This IOR value I put to 1.333. Now with transmission, we're going to want this to be one so that it's like transparent. Now let's go into rendered view. Now we can see it's coming together. We just need for the color, what I'm going to add is a layer weight node, and I'm going to add a color ramp. And I'll plug the facing into the factor and then the color into the color. And for this black arrow, we'll choose like a dark blue. We'll go to, like, maybe this kind of color here. And then with the white arrow, it'll change to, like, a light, this blue, like this. And what I'll basically do is, like, when you're looking at it, it'll add depth color. Like, from this angle, it's like a dark blue. But then, as you look at it from more of a shallow angle, it'll turn to the lighter color. It's very subtle, but it just adds a bit more of an interesting look to the water. It's a bit flat, so I'm going to add. It's a wave texture and a color ramp. And we'll plug these in and we'll preview this node by Control Shift and left click and we can see what the wave texture is doing. We'll keep bands. I'll choose X to Z, and we can pull in this black, pull in this wide. We can't see anything here. We increase the scale let's go back to X. While we try rings. We'll pull this back to default. Now we can change the distortion. So let's go to maybe ten. Now, what if we chose the Z? Yeah, I think this is what I wanted. Okay, so detail roughness, we'll put that to Max. We'll increase the scale to about ten. And what have we tried? Now, we'll keep sine on this. Play with a distortion a bit more to get more like a ripple effect. We can play with a detail. I'll have the detail down to one and then detail scale we can play with I'll just leave that as one. So with this, I'm going to add a bump note, and we'll plug this into here and we'll plug the normal into the normal. Now we preview this, we could slightly see we pull this up, we can see the effect it has. Now, I'm going to go into my render sentence and turn on denoising so we can see a bit better. We might have to go into the material preview. With this distance, let's bump this up. What if we just scroll up and see how high we need to go. Seeing any change. What if we drag this black arrow up? The problem here was this is going into normal. We want this to go into height. We can disconnect this from normal. Now we see the effect happening, so we can drag this back down. Now, it's looking a bit too sharp. What if we bring the scale back up? Now, if we go back into rendered view, this should look a bit nicer. We can bring the distance down. We don't need it to be so high. Just a tiny amount. We'll go with 0.1, and now it's coming together. I'm going to put the scale back up to ten here. And with this black color, we can lift it up so the effect isn't so strong. If we go to white, it's completely flat and we can just drag it down a little bit just so we like a slight effect on the ribbles. And this is looking a bit too unnatural. I'm not sure if I like this. So what if we bring the distortion down? We can play with different settings, like bands, and then we can choose Z. This is looking a bit better. Now let's reduce the scale to, like, something like 7.5. And I think I like the look at that. I will check the value on this white. So this value is 0.79. We could lift it up to, like, 0.85 Now, with this face, we can go into edit mode and duplicate it and bring it up and we can fill this top piece, and we'll scale it in. Now we want it to be just over these gaps here where the water will flow out. So just a tiny bit. And then with this outer edge, I'll click it and then extrude it downwards, so we have, it's not like floating above, you know. Now it's created a face underneath, I think. So we're going to have to delete this bottom face if there's one there. I don't think there is. It's hard to tell. Yeah, I think there's a face there. We'll delete faces. There we go. And with this middle piece, I might actually bring it up a bit more. Yeah, I'm going to bring it up just so we see more of the shape above the water. And what we can do is select these faces here. Well, we could extrude this downwards, actually. And if we hide the water rate the way for now, the select this face and just snap it down to this face here and just a smart UV project wrap, and then we'll set the TD to 512 again. So that's soiled. Now we can bring the water back. And this is what it looks like so far. You can play around with the wave texture to get, like, a different kind of look if you prefer, try and get it to be a bit more subtle because we will have, like, water flowing, we'll be creating kind of like the water moving around. So I think this looks okay. Now, I also want to add going to mesh, add an icospe. And with this, let's delete that sin, and I'll do it again so we have the menu. So icophe with this menu, I'm going to put the subdivisions to one. And let's add the water shader that we made. And we can shape this to make it look more like a bit more rounded. But we also want it to keep it low poly because we're going to be doing a particle system where we're going to have like, you know, like a few hundred to maybe 1,000 coming out of the fountain. So we want to keep it as low detail as possible. Now with this wave texture, I'm going to hit Control T and then just move this into object so that we get a consistent size. And we can play around with the scale on the mapping here and bring the scale down to around about 0.25 and I'll fix the scale issue with the texture. So we can shape this move, and this will be used in our particle system later on. You can go into proportional editing and like a circle is scroll out and just give more of a water drop kind of shape. So it's a bit irregular. It's going to be moving so it's going to be affected by gravity and stuff, you know, that we'll do for the water. Now, we'll rename this F two, it's called water. We call this fountain, underscore water just so we know. Now, these fountain pieces, they have bevel Modifiers except for this piece, which has a subdivision service modifier. So if we join them, we'd have to apply modifier, so we could just keep them separate. And I'll just do every battery name type, set name, new method fountain. Let's just click Okay, and we'll have fountain 01 oh two. Should be fine. Do we select this piece as well? Where is this? This is in the curbs collection for some reason. We'll call this fainting, top fan whatever. And then we can select all of these. This one isn't renamed Diva, so let's just be proper and organize. We'll select them all manually and then batname and then set fainting. And then we'll go. Do we have a fainting collection? No, so nucleection fainting we can move the water into the fainting, as well. Where is it? There it is. Then this kosphere we will move into a new collection called water particles. If you wanted, you could create some variations, scale on the Z, scale on the X or something. P, separate selection so it's separate and then we can do it again, and then this one we could have really tall like that. That will be our water particles. In the next lesson, we'll get to adding these particles to a particle system and have some flowing water. I'll see you in the next lesson. 44. Animating Water Streams with Particles and Shaders: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden workshop. Okay, so name for the water particle effect. So I'm going to select this and then do shifts selected to bring the freed cursor to this point here. And let's add a plane. And in Edit mode I'm gonna scale it down all the way. So it's like inside this here, maybe bring it up a tiny bit. And I'm going to rotate it on the X, just a tiny bit, maybe by ten degrees or something, just so it's not going straight up, it's going to the side. Now we can add, if we choose this particle properties over here and click the plus icon, we have a particle system. Now we can hit Space bar to preview. Okay, so with the frame start, I'm going to choose -50 so that it's already starting when we hit play. And for the end frame, I'm going to put to it'll be like 300. Now, for lifetime, we'll come back to this. Everything else should be want random order. Yeah, so velocity. So let's choose velocity to be 3.5. Maybe maybe three. Okay. Now with the rotation, we will want randomized to be one. What else do we need? We need render, so we will render as collection, and then we will choose the water particles collection. This is too big. So for the scale at the top, you will find, where is it? No, it would be under render and then scale we choose 0.015, that should be fine. We could choose scale randomness if you wanted. I'll just put 0.1 or maybe drag it up. Actually, we could put it to one and then increase this to 0.02. Yeah, I like that. Now, what else do we need? The lifetime. So it's going underneath the fountain. So with lifetime, we could try maybe ten. Now we need a bit more. So let's go with 2020 is just a bit too much, so we're going to go with 19. Yeah, 19 is perfect. Now in edit mode with this face, I'm going to duplicate it three times. But each time I'm going to rotate it by 90 degrees. So it'll be shifty S 90, shifty AZ 90, and then AZ 90. So now we have four streams of water, which means we also need to change the number. So what if we went to three phase ands? That's 300. We want 3,000. Yeah, I quite like that. Okay, so I'm going to pause this. You can bring this here by, you know, just choosing timeline and to here. Okay, so let's go back to the start. And I'm going to Edit mode. Actually, we're completely new object, so I'm going to shift and right click by here and let's add another plane. And we will rotate this. We're going to Edit mode X 90, and we can scale it down. And we don't need it to be this tall, so we'll just go down to here, and then we can widen it, bring it down. So it's like matching the water. Now with this, we can go into particles, press plus, and then we can choose the old particle system that we use for this. We could rename this like water top. So this will have water top here. Now with this, we can use the same settings, but then I'm going to click the two. Now we can rename this to water sides. And we obviously need to change the velocity on this, don't we? So we'll go to velocity normal and choose this to one. Now in edit mode on this face, we can do shifty, make sure we're rotating around freed cursor. So AZ 90 or the freed cursor is over here, so we're going to have to and do that and then choose this piece shifts Shift S, cursor is selected. Now, on this face here, we can shift D, but before we do that, maybe we should move it back a little bit. So it's inside the water a bit more. Now we can shift the Az 90, shifty AZ 90, and then shifty AZ 90. So now we have water coming out of all sides with this, we're going to have to increase the number again. So what we went to 6,000? And that's looking good to me. Now, do we want to increase the scale a bit on these? We could go into these, go into Edit mode and scale these up. Maybe we choose medium point again, scale them up. And is this going to affect the water shader at all? Yeah, it does a lot bit. I just a scale here, doing both at the same time. Do we want more? You could have more to make it a bit more crazy, go ten phasins. Ten phasins on there. We could go like six phasings on this one. Now, if we go into Render view, it's not going to look very nice it's trying to update every frame, you know, it's just going to stay like this. Even if we turn on, even the noising, it's not gonna do much. But we can pause it and then have a look at it and, like, still. And then this is what your water will look like. It's looking a bit dark, if I'm honest. Maybe we could go into the water shader a bit. Where is our shader window. And this dark blue, maybe we could lift this up a bit. We could go all the way actually on the value. Yeah, I quite like that. Okay, so if you're going into part preview, it should look a lot easier to preview it. Yeah. It's looking nice. And we can double check on the timeline. It goes all the way to 250 and then repeats and it doesn't look like it skips, yeah. So it looks like it's repeating, you know. So they were water particles. Hopefully it wasn't too complicated. Now with this big floating water particles over here, it's stop error animation and went to object mode. Now with these, we can just move them out of the way. And if you wanted to, I think we can just like disable this collection, and it will still render over here on the fainting. Okay, so if you wanted to have the water moving, what we could do is adjust the phase offset on the wave texture. So if we scroll this up, we can see it kind of ripples and moves. So we can animate this value. So we went to the timeline, and if you're going into edit and preferences and under animation, make sure your default interpllation is set to linear. Now with this phase offset, I'm going to go on to frame zero, and we'll type zero on the phase offset, and I'll hit I while having over it to insert the keyframe. Now we want to go to frame two, 51, so it's just after the end. And let's choose something like we could try 15. And then we can hit I, so it turns yellow, and we'll have a keyframe on the last frame. So now if we play this, you'll see the water is moving. Now, as it gets to the end and repeats, you're going to see the frame skip where it's not like there. See, I wasn't, like, fully loop But for something like this, we'll have a turntable going around, so we won't really notice it, hopefully. So we'll just keep it like this. There is a way to get it looped. You'd have to match the scale and the phase offset, do some math so that it loops perfectly. But I've been tinkering and I can't really seem to do it myself. But that's just one way of getting the water to move. I will see you in the next lesson. 45. Detailing Temple Surfaces with Trim Sheets and UV Masks: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Alright, so let's start by adding some trim sheets to our models. So let's go to File and append. And in the collection folder, we want to bring in the trimsheets. Now, I'll bring over these planes here. Now, all we really want is the Alpha mask of this. So let's choose our temple piece first. And let's go to UV Maps. And I'm going to add a second UV map to control the position of these trim sheets. So let's rename this map to Trim. And let's open up our Shader editor. We can close this timeline for now and bring this up. Make sure the marble wall damage is selected. And make sure your UV map is selected. With this, we're going to we can just a UV Smart UV project just so it brings it in smaller like this. Now we can close this menu here and we can open up the Trim one Alpha so that we can see. And I'm going to scale all of these down and bring them into the corner the way here. And then I'm going to select this face loop here and then go U follow active quads, and we'll choose length and then hit a Now, with these UVs, we can scale these up. So we're only scaling the ones that we selected here, and we can just move this so it's like over the pattern like this. Now, let's add it to our Shader so we can see what's going on. So let's add a UV map. And we will choose Trim. Now we're going to use this to control our mapping. So we'll plug this up to vector, and then we want an image texture. So image texture, we'll plug this in, and then we will choose the Trim Trim one Alpha. Now, the pattern is black, so this will be zero. So we want this to be inverted, so we'll add a invert color node. And then we can plug this into a mixed color, and we will plug it into the factor, so this is controlling the mask. Now, with this screen node going into the base color, we can plug this into A, and then we will plug the result into paste color. And then we can move these over here a bit. So now we have this gun. Now, this white color will control the color of the pattern. So let's go with, like, a dark, reddish color like this. And I quite like the look of a soft light. I thought this was quite nice. Now we can play with a value to get, like, a different kind of effect going on. Maybe play with a saturation. So I quite like this color. Now we can go into Edit mode and select these face loops and adjust these UVs to make it a bit bigger. Move it on the Y a bit, like so, and now we can go into our scene view and have a look. So there is the basics of trims nice and easy. Now with this, we could also add to our maybe we could add something to the bottom here. So if we adds add a UV map again, we will call this Trim. And then with Trim selected, we'll go to A, smart UV project, just so we have everything here, and we can scale this down into the corner just like the way. Now we will select this face loop, and we'll go, follow active quads, choose length. Okay, and we'll scale these UVs up, rotate it, maybe -90, and we can choose whatever pattern we want here. Maybe we could go with this top one. I think this looks quite nice. We could have it by here, let's have a better look, maybe scale it up a bit and then move it up. So now we have this going on. Cool. Now you can change the different blen modes if you prefer. We could tricolor Burn. I'll give us an interesting look might want to bring the saturation down on this though, if you now. That's a bit too intense. You could try multiply, Multiplies is always nice and bring the saturation down a bit and have it like this. Yeah, I think maybe multiply is the way to go. We can always make adjustments later if you prefer Maybe we'd go back to softight and see how it looks. Could try linear light maybe. Of light definitely gives a kind of worn kind of look, so it's not so intense, you know, I might try that. Now, we will also be using a trim on this piece, but it's the marble white material. So what we could do is just we could hit Control C on these five nodes here, and then we can go to this piece here and choose the marble white material. We will bring these nodes out a bit. We can just hit Control V to copy these in and then plug this up to A and then this into base color. So that should add it to the marble white, yeah, cool. Now with this, we need to add a UV up and call it trim. Now this will update here. Now we can just go to AU, make sure that UV map selected. We'll just go with Smart UV project unwrap and scale it down. Now we will select this face loop in the middle here, go to U, follow active quads. You can hit Okay, and we'll scale these up and -90, and then we can scale this up onto this pattern. And have this going around the top, like so. Maybe move it on the wire a little bit. So it's in the middle, nice and perfect. Yeah, so this is looking a bit too faint with the marble white, so we might want to go with multiply on this one. Let's see how that looks. Yeah, and then maybe bring the saturation down. So it's not too strong and we'll have it like this. We can play with a value, make it a bit brighter, make it a bit darker. Trying to get it to match the door at the bottom. So we'll go to something like sing round about here would do. And there's the basics of our trims. Now, we could also quickly copy this again. Actually, for the clay, I'll do it in the next lesson because I'm going to show you how to mix the metallic value as well. So in the next lesson, we will do our flower pots. 46. Adding Metallic Trim Sheets Using UV Maps and Bump Nodes: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, now let's add our trim sheets to our flower pots. So let's add a UV map on this, and we will call this Trim. And let's open up our UV editor. We'll go to Emo, selected, select all the islands, and we move them into the wide. Now, for this piece, I'm going to select these three faces, and I'm going to right click and mark a seam here. So now we can select these face loops and going to hit U and then unwrap. We'll go with, let's try formal. So now we get this kind of shape. Now we want to select one of these faces. Let's go with, like, this one here. One that looks mostly like squarish, you know, and then we can hit A, and then follow active quads. We'll go with length average and then hit Okay. Now we can add 90. So I'm going to undo this. Let's undo this. Actually, we can select these again, and we'll go with you and then unwrap conformal again. Now we want to have try minimum stretch Angle based. Maybe angle base is the way to go. And then let's rotate it on 90 degrees. And let's find the middle one, it should be straight. So with this face, so I'm going to select these two faces. And with these vertices here, I'm going to go S Y zero, and then these three, I'm going to hit SY zero. And then on knees, I'm going to hit SX zero. And SX zero, probably on these as well, SX zero. So these are perfectly straight now, hopefully. So if I were to select one of these faces and then hit A and now go to U follow active quads, this should be license straight on all the faces. Okay, so before we can test, let's choose the clay material. And we want nodes. So let's go to the marble, and we will copy these notes again, Control C. Go to err clay, control V. We want this into A and then this into color. And then we can play with error islands. So let's scale these up. I'm going to go on to this top pattern here. And let's have a look at error Sam and see let's get it as big as we can. And now we kind of just want to adjust it so that it looks like it's seamless. And there we go, that should be good to go. Let's have a look all the way around. Yeah, the pattern goes all the way around. Okay, cool. Now, I'm going to choose for this. I'm going to go with maybe if we go with overlay or screen. Let's go with overlay. Let's see how this looks. Now with this color, I'm going to go a metal goldish color, bring the value all the way up. Now overly I'm not sure if I like that. Maybe if we try if we were to go with screen screen could work, maybe bring down the value, something like this, give it some more saturation, change the hue. I want it to be a nice goldish color. Right, we'll start with this. Maybe bring the value up. Okay, so now from the invert color, we could just plug this into the metallic here. So now we have the metal going on. Now I'm going to add a bump note so that it looks like it's on top of the clay. So we can add we can add a bump note here. And then from this invert color, we can plug this into the height and then plug this up into the normal. And now it should look like it's rising above the clay. Now we can increase this distance to like 0.1 to really exaggerate that, and now it's like a slight little normal detail over the top of the clay. Now, you could also do the same for this here. So we're going to wall damage and add the bump node. Bump. And then we will plug. Instead of going from the invert color, I'm going to go from the image texture into height. So we'll be using the black color. And now if we plug this up into normal and change distance to 0.1, it should look like it's engraving inside the stone, and this should update this piece here. Now I'm going to just copy this bump node, and we could add it to the marble white, as well. So we'll add control V here, plug that up to normal, and go from the image texture into height. And this should update here. We're getting nice and close, we can see it's engraved into the stone, just adds a bit more detail, which is quite nice. Na for the decals, we will do in the next lesson, we'll add them to the faint in here and we could add them to the doors. I'll see you in the next lesson. 47. Enhancing Props with Decals, Mirror Modifiers, and Arrays: Hello. Welcome back to stylized Blender Fred environment, Greek Temple and garden workshop. Okay, for the decals, it's pretty much the same as the trimsheets. So let's start with a fountain, and we will choose our marble wall damaged. And let's add another UV map, and we will rename this decal. Now let's go into the Shader Editor. And we want to copy these nodes here. So we'll shift bring them over here. We will choose decal on the UV map. And for the image, we will choose trimsheet two Alpha. Now we can plug this one into A and then the result into base color. Now we have this going on. So we have our decals. So we can change this maybe maybe bring the saturation down and we all change this to multiply and maybe a bit more saturation. Make it a bit redder, like a brownish color. I'm trying to get it to match the clay on the fountain. So maybe less saturation, maybe bring the value down a bit. Does it get like a brownish color so much as this? Okay, so now we can go into Edit mode and select all the islands and bring it down. Now we can change the image up here to trimsheet two. So this is all the way. Now, these faces, I'm going to unwrap them separately. So just unwrap angle based. And the reason I'm doing it separately is so that they're all the same size in the same location when they get unwrapped. So now that, these are all unwrapped. I'm going to select every other face like this. So every other one is selected, and then we can hit A over the UV islands, scale them in, and maybe we could choose this leaf here. You can scale it on the Y if you want it to be a bit taller. Not too much because it will stretch, but we could go get it as big as we can get it, and that should add it to the other faces as well. We can select these faces. And then we can move these. Maybe we could have the helmet like this. I think that looks pretty cool. Now we can add the bump node again. So we're going to have to mix it with this bump node maybe, however, I'm going to test quickly, right? We go from the image texture, and we're going to have to mix it with this image texture. So we want it to go inwards, so we don't need the invert color. I'm going to add a mixed node here. And what do we want? We want to move this from height into A. And then if we go from this into B and then plug this into height, what do we get? I think this has worked. Let's double check all of our objects. That seems to be okay. Let's double check this. Yeah, this should all be fine. So we have the bump detail on our marble decals now. Cool. Now we can go to our door and just do the same as we did for the fountain. So we add we add our UV map. We will go with decals to edit mode, select everything, scale the UVs down. Into the corner here. Now we want to select the right material. So ClaydeO is the red, I believe, and then Claydor is the grayish one. So we will add the decals to this. So let's copy the nodes over. So let's go to wall damaged here, and we will copy these nodes for our decals. Control C, we'll go to Clade and then Control V, and then we can move these over, this into A here, and then this into base color. Now, let's unwrap these faces. Go to you. We want to do them separately, don't we? So unwrap unwrap. Now, do we want the same or do we want them different? If we do them the same and choose something that looks nice. Now, we have a problem here where if we try and fit this guy in, it's going to overlap with the other ones. So we're just going to have to choose something like tall that we can fit, like something tall and thin like this. Now, maybe we could do them different. So what if we were to have maybe this face could be maybe this guy could work, we scale this up. Could have him like this. Now I'm going to just delete this door. And then with this door, I'm going to select I'm going to select this edge for now and then shift S cursor to selected. Now with this, we can add a mirror modifier. We'll add a mirror. Now, if we right click Set origin to free Dcursor and now we can apply the mirror and let's undo that because it merged. So we want to untick merge and then apply it. So now we can press L on all the pieces on this side of the door. Make sure we select everything. Yeah. Now we can go to P separate selection. And we can put the origin point onto these edges again. So cursor is selected. Go into Object mode, right click, set origin to freed cursor. So the origins on this side, and for this one, we will bring it back to this edge. So shifts cursor selected, right click, origin to freed cursor. And there is with those, nice. You're going to have different ones on this if you wanted to. But also, because we mirrored it, the decals are mirrored, as well, which is quite nice. If you want it, you could add more trims going around like these edges here on the faces if you wanted to. I'm going to keep it like this. I don't want it to be too detailed. And before we finish off this lesson, because I keep forgetting to do it is I'm going to go into solid views, and I'm going to choose this object. And I'm going to just select one of these. We'll go shifty, move it up here or something. P, separates selection. And with this esco set origin to geometry. And let's add an array and we will up the count a bit. Maybe move this on the factor X, so we get, similar to what we had before. And let's rotate this and move this in so it lines up with this edge here. I'll go to like here. I want it to be so it's not intersected with this bottom edge. So we put it here, that should be good. We can play with the X. Let's put the X to two. Yeah, and then we can increase the count. I'm going to leave a little gap here, so I'll go to 16. Now with this, let's check where the origin point is on this here. Okay, so it's down here. So I'm going to right click Set origin to Geometry on this. So with this, we can move this backwards a bit, so it's inside, like at here. Yeah, that's perfect. Just inside like that, core. And now let's add the mirror. And under mirror for object, we will choose this object here, and it should mirror to the other side. It's going to rendered view and have a look at that. Now, we could bring these in a bit, actually, like this. So we don't want it to go too far inside. We could actually scale these down. No. Yeah, I'll leave it at the same scale, but just adjust it until it looks nice. We have some details going up here as well now on the roof and our trimsheets are all done. Now, I think that's pretty much all the hard stuff out the way. From now, we just add our foliage and the flowers, and really all we got to do now it's just placing objects in the scene. So we're almost there, yeah. I'll see you in the next lesson. 48. Creating Realistic Hedges with Geometry Nodes and Manual Layout: Hello. Welcome back to stylized Blender Fride Environment, Greek Temple and garden Workshop. So the past couple of lessons, my screen caskes over here, like, crashed, so they weren't in the videos. But I don't think I introduced any new keybnds or anything, so hopefully obviously it wasn't too confusing, but they're back now. So I'll keep an eye on that. Next, we're going to append some objects from the resource folder. So let's go to append and go to the Object folder. And we want flower Pack 01. And we also want to select Bush, as well. So I'll control click to select Bush and Flower Pack, and we'll bring these two in. So let's move these just like the way. And let's start with this flower here. So these are the flowers that go into our flower pot. So with this, we can just hit Alt to duplicate instance, and we can bring these over. I'm going to go to solid view sec and snap them to this face here and move them in. These are massive, so scale them down. And just place them inside your flower pot like this. Now we could rotate it a bit and scale them up. Maybe scale it down on the Z a bit as well, so they're more like rounded. And what we could do is let's go to material preview mode. Because I have so much OCD about these kind of things, I'm going to select these faces that are going inside the pot, and we can just move them a bit. If you want to go into this kind of level of detail and make everything look perfect. I might have to hit L on these petals. Can we do that? I'm hitting, but it doesn't seem There we go. And just move it, so it's not like intersecting with the vase underneath. Don't have to worry about the back ones because you won't see them. Yeah, that'll be fine. Now with this, we can press Alt D, but I might actually rotate these around, so like these flowers are facing the front a bit more. So Alt D X. I'm going to move these to this face over here. Let just check. It's all good. Maybe you rotate them a bit more. Like so and then just rotate it. Come on. I press some wrong buttons again, right? A Z. And then we'll rotate it around just so it's different from the other one. Maybe rotate it this way. And there we go have a looking rendered view. So there is our flowers. Here, maybe we could scale these up a bit more. So we'll go to individual origins, make them a bit thicker. I'll move this one up to the side a bit. Yeah, okay, that's looking nice. Now, let's have a look at this bush geometry note, so I'll zoom in a bit. Now, as you can see, there's gaps in this, and that's because the Viewport density is only 100. It's just to make it a bit less laggy. If I put this to 300, This is how it'll look like in the render as well. Now, we could adjust the scale on these leaves a bit to, like, close those gaps. So if we go to, like, just a little bit like this, we'll have no more gaps in the middle then, and that should look nice. Now, the way this works, if I go into Edit mode, it's basically just a cube and let's say I move this face forward. I will just add more leaves like this. It just generates more. So what we can do with this object is, let's go to material preview so it's a bit smoother. And we'll select this and we'll go with Alt D and then move this over here. Let's go to top view, and let's place it just in here. I'm going to choose the Viewport density back down to 100. Because we don't need it in the Viewport. Now, we can go to edit mode, and let's try Let's go into Y frame. Now, we could probably dissolve these edges here just to make our lives a bit easier. I don't think we need them there. So control X. And let's double check in rendered view. We need to bring this up. Yeah, so it should be okay. Now, might have to go to Xray and then go into Edit mode and then choose that face. And let's bring it so it matches to here. We'll bring this face over this side. And obviously, we need to bring it down to the ground like this. Just adjust it. That will do, I think. Now if we go back to Edit mode, I hope you can see this wireframe on your screen. But if I go to solid view, that might be a bit easier to see. Now, we could try extruding this out here and then extruding this face like this. Now, we just have to make sure it's like the right thickness. So move these faces on the X. Like so now we can put an edge loop in here and go down to this distance and then extrude the face this way to this corner. And then we put an edge loop here, and then we can extrude this face all the way to this corner. And it's just about going around, putting in edge loops, sliding it to the end like this, and then extruding the face out to build out your hedges. I want to see this bows my mind how easy it is just to get all these bushes in with John if you know it is crazy. And then we extrude the stamwards here. Okay, so now we need to get it to this side. So we could hit Shift D and then X to bring a face over here and then extrude this to the corner like this. And then we could hit Control, slide it up, then we all extrude this way. Then an edge loop in here, slide this over. Then we might have to bring this face back a bit and then bring this edge back a bit. Then we'll go from here all the way. Now we have to adjust this a little bit. So let's try and grab the side face here and move this on the X, so it's behind the curb that should be okay to go. Now, instead of going, yeah, we could just go around like we've been normally doing like this. And then extrude a face here. Now, if it's getting a bit too laggy for you, what you can do is turn down the density on the leaves, the render density, and then increase your scale to close the gaps. You'll end up with, like, bigger leaves, but, you know, the smaller and the more leaves you have. Obviously, the more performance it will take up. So you could also, like, do it by making these thinner as well. So if I pull this in, it's technically less leaves as well, you know. So it's all on what you can handle with your PC. I'm going to move this edge back so it's a bit straighter and then extrude this face out to this corner down here. Now, this isn't straight, so I'm going to hit Y. There we go. Now, I might bring this face, come back, right this face, move it in on the X. It's a bit thinner. Now, let's bring back our stuff here I hit the wrong button. We weren't fainting yet C. Now, we add an edge loop in here, bring it all the way to the end and extrude this face all the way to the corner. So E, all the way down here. Now we add an edge loop in here, slide it across. Like soap and then grab that face to this corner. I might move this face in a bit more GX. I might move these faces in a bit more as well. And then finally, we can add an edge loop here, bring it out this direction, and just much it up to the corner to here. Now I also want one behind the bench here, so we'll go to the end and then extrude the face out this way and go all the way up to the wall. So now we can double check maybe if I go to material preview for this. And these are looking a bit thick, and it's even starting to lag a bit for me as well. So maybe we bring this down to ten on the Viewport. And what I might do is disable some other stuff as well. So I'll disable fountain. That might help, hopefully. Now, this water particle is still there as well. So I'll select this. These are in. These keep going into the curb collection by looks of it. Okay, so we'll move this to fountain as well because I'll take the way. Maybe if we actually put the Viewport density to one, how are we? I'm still getting a bit of lack here. Doesn't help. I'm recording as well, so I'm going to hide these flowers like the way. We'll just have to keep on pushing through, okay. So I'm going to have to turn this up so I can see what I'm doing with this. So I'm going to go to 100. Now I'm going to try go back to solid view. I'm okay in solid view, so I'm going to move this face and just kind of adjust the thickness of these hedges, make them a bit thinner, we'll cut down on performance a tiny bit. Okay, probably should have used my human reference at this point, so I could see how tall they actually were in comparison to him, you know, just moving these faces in to make it a bit easier on my computer. Now, this face loop I might have to select and then move the whole face loop towards the fence a bit. There is our hedges. We need some over here as well, so we could select a face here, shift D, move it on the Y to this corner and then E. And then at an edge loop, we could bevel these edges to the ends here and then extrude these faces out. So E Y. Then I'll just add one here, and then extrude this face out. So EX then I'm going to adjust these faces to make them a bit thinner. Git, then this one can go in as well. G. Yeah, these bushes, you definitely want to be careful when it comes to performance because it will get very heavy, very quickly if you do too much. But this is a part where it's all going to start slowing down once we add foliage and the trees and stuff. It's one of the dan signs with Blender. It doesn't like lots of objects. But it's looking nice. Very nice. Next, we can add some grass. I'll see you in the next lesson. 49. Grass Meadow Setup with Geometry Nodes and Collections: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so now that we have our Bushes in, I'm going to select this and we can rename this to F two. Yeah, we can keep this as Bush one. That's fine. And let's move this to a new collection called Bushes and Create. And let's disable this Bushes collection for now. I'll turn this off. There we go. And now we can move around again. Now, let's find our flowers. And let's move these into the bushes, as well. That gets rid of that. Now, what we could do is under the overlay settings here, we can choose on statistics, and we have an idea of how many polygons in I have seen, keep an eye on everything. Now, my flaws are not present today, so we need to bring them back. Where are they? Path? We can turn that on. You can turn on collection, bring a reference back. Okay, and we're good to go. Okay, so next, we want to add the grass, I think we should go with next. So let's go to file, append, and let's find grass. So it might be this object here. Let's just double check. I know it might be called meadow, as well. No, so let's go with grass. Is it this one? Append. Now, let's have a look. This is our grass material, so it wasn't this. I'll double check a sec. Okay, so where we duplicate an instance from the Bush, it obviously linked to this and updated this as well. So we're just going to delete this here. We've got it over N scene anyway, we don't need it. Now, it's a weird name in the What we're looking for to append is cube 033 very organized, yes. Right. So now this brings in our grass meadow geode. Now let's go to render view on this and we can have a look. So this is our grass. So we go to the modifiers. We can adjust everything here, we can adjust the scale scale randomness. The Viewport density sound 500 on the render, so we can have a look 500. This is how thick it will be. So I'm going to choose 30 again. Now there's other stuff you can have like okay, so stems. So this is for the stems of our flowers. Now, I'm not going to have any flowers in the grass on the scene, but if you want it to, you could just increase this density. So if I put like 100 here, you can see you have 100 flowers, we put to one. We just get like a few. So it's up to you if you want that on your grass, I'm going to have it to zero. And what I'm basically going to do is copy this geode to this grass object. So I'm going to select this and then select this. Control L, and then copy Modifiers. And now we have grass in air sea, nice and easy, just one click, and it should be the same settings. So we're getting nice and close. I'm going to turn on the bushes again. Let's find bushes. Let's turn this on. And then I'll increase the density up to 500 so you can have a look at what it will look like. It's going to take a while and turn off the overlays. There is a grass. So, have a play around with that. Add some flowers if you want. Next, we can add. Let's have a look at the reference. What do we need? We need to add some of these trees. These trees here, they're much higher poly we'll do those last. These ones are a bit lower poly, so we'll start with these cypress trees first and get these placed in. I'll see you in the next lesson. 50. Placing Cypress Trees and Structuring a Natural Scene Layout: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so now with this grass, I should probably turn this back down to now, it's on FTE, so I might just disable this in the Viewport like this. So I turns off, and then we can disable the Busch's collection. So now we're back with this. Okay, so now let's go to File and append. Now, let's type in Cyprus. We can select all of these cypress trees and then hit append. So now we have these. And now, this is pretty simple, we just hit Alt D to duplicate an instance, and then with face Snapping, we can put one here. My as well go to solid view for this. We'll put one in the middle here. Now, let's have a look at the reference. We've got one here and then two here. Let's go back to Blender and ltd Y, move one to here, and then we will Alt D move these OTX. Now these are looking a bit too big. So let's select all of these and make sure we're on individual origins and let's scale them down. I'm going to quickly bring back my hedges a sec, so we can see. Yeah, that's a good height. I'm going to turn this back off. Now let's grab the let's grab the big tree. So Opti and move this over here somewhere. I have one by here. We could have the X move one over here. Now I might just adjust them a little bit, it's like this. Maybe we could have another one here. It's really up to you what you want to do at this point. Could move these benches in the middle a bit more. Now we could add these smaller trees. So I'll Opt I'm going to put one probably in the middle here, and then OptiY, I'll have one on the corner around here. Now let's quickly turn on the bushes, make sure that none of it's intersecting, and we can just adjust where we want these trees to be. Maybe have this in the middle. No, I'll have it in line with these trees. And then we could maybe have one of these big ones. I'll put it by here for now. Well maybe I'll delete that. I won't have one there. But I will have one of these medium ones. I'll put it here in line with this grass here. Like so. So there is our cypress trees now. Let's add. Got a file. Actually, let's add all of these cypress trees to a collection. And the small ones, we need to adjust these a bit as well. So let's go new collection. We'll call this cypress and before we hide them, we can just adjust these a bit. So it's like this. And that should be okay. It's looking a bit cramped. That should be fine. Cool. Now, for now, let's just hide this collection. We can hide the bush. And we'll go to file, append, and let's try tree, bring in the tree object. Now here we have O tree. Now let's Alt D, and we can bring this over somewhere. Now, I'm going to undo that I duplicated everything. But the way this works is you have, you know, your Goode here. Now, if I let's isolate this, and I'll go into rendered view so you can see it. Now, the resolution here is like how detailed you want the trunk to be. I'm going to keep it at two because we look at the poly count. If I do it to three, it bumps all the way up to two K, like 200 K. So I'm going to keep it at two. You could try one. One gives us an interesting look, but two, it's a bit fuller with the leaves. And what are we going to do with this, if you change the levels, it changes the amount of branches. So you can change the length of the branches, the length randomness. You can get any kind of shape you want, really, just by messing around with values. The roots, the levels is how many roots you want. We won't see the roots, so we can just keep that as one. And yeah, you can adjust the displacement of the noise on the leaves and stuff. You can choose the density of the leaves. I'm going to keep these settings. And the only thing I'm going to change is like the seed on each tree so we get different looks. This one's quite nice. So let's go back to scene View, and let's hit Alt D X, and we'll bring this over. Now, let's bring back our cypress trees so we can see where they are. I'm going to go to object view. Going to top view, and we can move one by here. Now, what have I selected here? There's two here. So I have selected a cypress tree somehow. I'm going to undo that quickly. Right, yeah. So selected there. So just select this tree and move this in. I could have one maybe here, could move this over a bit. And then we can hit Alt D and then Y, move it to here and then change the seed. So it's a different tree. Now we could have one here, maybe, change the seed. We could try changing the levels down to five, maybe or four. Now, we'll keep it at six, then we could change the split count. And then what's Max split count. We just play around with settings, you know, change the length of the branches. So we're going have really long branches for this one next to the temple and rotate this around a bit. Have something like by there. Now we want to make sure these are all actually down into the grass. So I'm going to select these and bring them down a bit, just so the roots are inside. We could scale this up, have a really big tree. Now we could select one of these. I'm going to make both of these a bit bigger. And it's just a bake plate, like moving them around, getting your whole scene to look nice and tidy. Because I imagine these like temple gardens, everything was, like, planted in, like, a nice kind of organized way, you know. I might actually delete this tall one here and move in a tree on the X here. Give it a random seed. Let's try 33. Just to change it up a bit. GY, move it, like in the middle of these benches look quite nice. Maybe we could scale this one up. Have a big tree over here. Like so and then maybe grab like one of these medium cypress trees and move it over to here. And then we turn on our bushes, as well, we can have a look at how it all looks like. It's looking very cool. Now, if you've got a rendered view, we can see how it looks. It's coming along very nicely. Now let's also add our grass we can have look at it. It all like appears. Where is our grass? Grass. A well, we can just select this plane here and then turn on the modifier. And now the Viewport density is a bit lower, but we get an idea of what it will look like. Now in the reference, I had these trees here by playing around with the settings, and I'm not sure what settings they were, but hopefully we can play around with the settings and try and get something that looks similar to it. I'm not sure what I would need to change to get it, though. Maybe if we lower trunk height. And then we increase the length on these branches, maybe change the angle. What's actually happening over here. This is quite a cool shape. So we could bring something over to here maybe. Maybe if we just have like a medium cypress tree instead, and just have this here. It's good to solid view. Move this back in the middle a bit like this or maybe on the corner, have it on the corner, maybe scale it on the Z, so it's like thin and scale it down like this. And then we have a looking rendered view. Now, I don't like how it looks with this tree over here, so I'm going to delete this and instead grab one of these trees, maybe this tree, and then pde move it maybe maybe just to the middle behind these benches will look good. And then we can move these benches to the side, so it's a bit more in the middle, you know. And if we zoom out, we can have a better look how it all looks. Now what we could do to fill in the empty space in the grass, we could add some of these red flowers in there maybe. If I go to Solivu and I'm just going to turn off this meadow and let's duplicate with should we Alt D? Yeah, let's just D it and then scale in object mode. Scale them up in object mode, and then we can place these around as well to add some color into our grass. So maybe one by here, and then Alt D, we can have one in this corner maybe and then rotate it. Maybe Alt D and then have one over here. And then I'm going to do is I put one here. And I'm going to have some hedges going across here, so I'll duplicate it again, rotate it, maybe, scale it down like this, and then duplicate one on the other side, rotate it on the Z, like that. Move it on the expit and then I'll move these forward like this. So we have a little bush at the bottom, like that. It's up to you how detailed you want to go with this. Maybe we could have one here as well. I'll D Y on this and move on the X, so it's here. Just add some randomness. We could have something here, maybe some more of these small cypress trees on the back. We could have one here, and then I'll X one by here could be good we'll have a look in rendered view. Looking very cool. Now, what else do we need to add? Let's have a look. Is that it? Well, we just got the mountains, really. But before we'll do the mountains, we'll do the turntable render. So we don't want the mountains to be in the way. So we're going to do a turntable render, and then I'll show you how to do a render like this, which could be like your main image. And we have, like, multiple renders that we could use then. So yeah, there is our trees. Now we should probably put all of these into a collection. So before we finish up this lesson, let's select all of these trees. And this one, we'll hit M New collection. We'll go to trees. And then we could we could click on this, find out trees collection, disable it. We could disable the cypress. We could disable bushes, and we've got a nice clean scene. Now, everything's been going into our curbs collection here. So I'll select leaves, drag this up the seen collection. I'll grab meadow, drag that up. Flower can go leaf summer summer. Okay, Trim sheets can go. Now, is it just curbs? And then tree can go into tree here. Now, let's double check these. So leaves, grass, flower. Now, by moving these collections, did we screw anything up? So let's click on grass. Grass meadow node. So these need to be flower and leaf, I think, need to go into grass. Let's double check. It's going to render view. We need to bring back bushes, I say. Okay, so this is fine. If I add if I add flowers to this, let me just double check it's using flour. Okay, yeah, we should be fine. Yeah, we're good. So we could disable leaves one. Let's bring back trees a sec. Yeah, I'm just double checking the collections are all linking to the Geometry node. So everything seems to be okay after moving the collections around. We can disable everything now and disable all of these foliage collections. We don't need those, and we'll disable this grass in the Viewport here. Next, we'll set up our scene for doing a turntable render. 51. Scene Cleanup and Layout Polish Before Turntable Rendering: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden workshop. Okay, so let's set up our scene ready for a turntable or render. So with this bottom floor here, I'm going to shape it so we get a little outline going around the scene. So to do this, I'm going to go into edit mode, and I'll put an edge loop here and then hit Control B. So we'll bevel this edge. Let's go to top view for this, and maybe we want to turn on X ray as well. And we'll go like 2 meters from the edge with this, so I'll scale it on the X. So it's like 2 meters away from the wall. And then we can put an edge loop this side, and we have it like 2 meters away from the wall here. Now we can grab this edge here, and we need to grab this one, and I'll move this so it's 2 meters here. Now, with these bottom edges, I'm going to go like 2 meters away from these steps. So I'll move this GY here, and then the same with this edge here. So we'll go Gx and move it across like this. Now we want some edge loops up here. So I'll hit Control here and then move it to here. So we got 2 meters away from here, and then we can put an edge by here as well. And then these back edges, we could grab all of these and then move them forwards on the Y about 2 meters. Now, with these faces, we can delete these lead faces. Now I'm going to select every face and then I'm going to hit I to inset it so we can create a little edge that we can use for a curb for this. Then we want offset even what we try offset relative. Yeah, we want offset even. Now, I'm going to hit Control I then with these faces, I'm going to hit Shift D and then P separate selection. So now with this curb here, we could turn off X ray and we can extrude it up just a tiny bit like this. And then we can hit A U Smart UV project wrap. We will set the TD to 512, and then we can give this the marble white material. Then with the floor here. I'm going to select it, and then we can re enwrap this piece as well, so we just want angle based. Then we will set the TD to one, 28. Then we can give this the floor tiles. I'll give this marble floor tiles. With the path object, I'm going to select these islands and I'm going to set the TD to 256 on these. Now if we go into rendered view, we can have a look at how that looks and I'll move this down. Now let's check out face orientation, we'll check this. That seems okay. We've got the marble floor tiles. It looks a bit weird, doesn't it? Maybe we need to control it and apply the scale. And I think that fixed it. Yeah. So we want to do the same with the curb as well. We'll apply the scale on this. My we go fix the shader here, and we could also add a bevel to the curb. So we'll add a bevel 0.015, and then shading to harden normals to give it a little bit of a curve on the edges. So there is like EA base done. So now I seen is like sat on top of something. Now, what else could we do to improve the look of the scene? I might actually move around these trees. So what I'm going to do is turn off face orientation. But before that, if we look here on our fountain, I need to flip the normal on this top face here. So I'll do alten and flip with this face. So that fixes that. Now, these trees they're all going to be red as well because they're just flat planes and they're all twisted in different directions. So there's nothing we can do about those, but it should be okay. So we can turn of face orientation now. And the first thing I'm going to do here is I'm going to move these flower pots. So I'll select all of these. Let's go to object, solid view, and then we can duplicate these move Alt then we can move it to here. I'm going to top view. I'll have one by here. We can rotate it on the Z by 90, and then we'll do Alt D Y. And then we'll rotate this on the Z by 90. So we have some color over here. Now, we're missing some columns here. So I'll select both of these Alt D Y four. So we have them here. And I might also duplicate this with Alt D and bring it up to here. And we can have one like in the middle here and then duplicate it to the other side as well. So now we have just something in this area to fill it up. For here, I might grab some benches. So I'll grab this bench Al DX. Let's go the top view. And we'll have one round about by here. We'll bring it down to the face and then Al DX bring it this side here. Okay, we'll get in there. Do we want this bench here? Yeah, we'll keep that there may as well. Right. Next thing I want to do is the grass. So if I zoom into this grass here and we turn it on, now, I want to change the scale of this grass. I want to go to the scale of 0.1. But then I want to boost up the randomness to 0.7, so we'll have a really crazy randomness going on. Now, if I turn off this, we've got much taller grass now, and it's all a bit more random as well. It looks a bit more exaggerated because I really want to show off this grass because it's so it's so detailed. But we have a problem here where it's filling out. And if I turn up the render density to 500, it's going to poke out out of the hedge here. So what we can do is I will bring this back down to Ferdi. And we're going to duplicate this grass plane here. So I need to turn on my overlay. We'll duplicate this. And then with this duplicate, we're going to remove the grass modifier, and then we'll press H to hide it out the way. So now we have a grass layer underneath grass if that makes sense. So with this, we could let's turn off the modifier for now. So this piece, which is there a grass piece, with the Geo Node on it. I'm going to select it and select the bushes, and then we can isolate these now. So now if we go into Edit mode on this, we can move the edges back behind these bushes. So the grass is like, inside the hedges. So you want to select all of these and just move them inside. It would be nice if this geometry node had an option to, like, hide the surface of the object, like this plane, you know. So we wouldn't have to, like, duplicate it and then have like two planes sat on top of each other. But the reason we duplicated it is because if we move these edges back, there's obviously going to be a gap underneath this, so we'll have a second plane underneath just covering up that gap. So I'm just going to go around the scene and fix these edges and just keep moving them inside like this. Now we need to with this one, we can just go S shiftZ. It'd be a lot quicker to just do it that way. And then we need to grab these edges as well. So GX and then GY here. And then we need to grab this one, this one. And then this one on this side, and then the back ones. So this edge is fine, these edges. So GY. And then I think this vertice, yeah, this needs to go to the side a bit, so GX to here. So now, if we go back to our scene view, and we can press AltH to just bring everything back. And let's turn on I'm gonna hide this at the way and then grab our grass, turn this back on. And I'm just going to bring this up on the Z, just a tiny bit so we don't get clipping with the plane underneath. Now we can tag. And now you can see we need to bring these hedges forward. So where is the so it's underneath, isn't it? I'm going to select this ace loop on the bushes and bring this closer to the fence a bit. And then we can grab this grass here and move this edge a bit further forward, as well. So that will fix our grass from, like, spilling over. Now, what else do we need to do we fix the fountain, we've fixed the grass. With the cypress trees, I did a little test render earlier, and, like, they just became a little bit too dark for my liking. So I'm going to choose the cypress leaf material. And where we have subsurface scattering here, I'm just going to bring this value all the way it looked a little better when it was a bit brighter. Another one was these background pillars. So we have marble white all over it. And with the white on these big pieces, it stands out so much compared to the rest of the scene. It's a bit too bright, and it kind of looks too much like the default material. So I'm just going to add a new material and choose the wall damaged material. Then we can go into edit mode and just hit L on this top piece here, and then we'll hit a sign. So that we'll have the marble wall damage material. Now, another thing I wanted to do was just move these pillars inwards a bit so they're not like going into the hedges so much, you know. So this one needs to come forward. So we'll move this like this just forward a little bit. So that fixes that. Now, another one was right, we've done the flower pots, the benches. I'm just looking at my notes of what I wanted to change. So more particles on the fainting. So in the render that I did, this looks like it's just not enough, and it's hard to see, really. So you could either scale up you can either, increase the scale under render, maybe to, like, 0.04. Maybe that's too much so like 0.03, maybe. And then we can increase the density. So we got 10,000. Let's just go to 20,000. And then we'll have to press space and just let it kind of drip a bit. And then that should look a bit nicer. Now we can do the same here. So we'll go to let's go to 10,000 on this one. And then increase the scale to 0.03 0.03. And then we'll just get error animation going a bit. There we go. This might make it a bit more noticeable. Another one was the the layout of the trees I wanted to change. Now, yours might be different to mine, but I'm just going to go through and change make some changes. So I'm going to turn off this grass to speed up. So just disable and Viewport here. Now, I'm going to delete, I don't want this tree here as too much. I'm going to duplicate these, like, red flowers here with ltd. I bring them on the X. It's going to the top view. And I'll have these on this side as well. And then I'll Alt D again. Rotate on Z by 90. We want medium point up here, Azi 90. And we'll have some in the back as well, like this. Now this is fine here, but I'm going to duplicate it with Aldi and bring one to this corner of the temple as well. Now, with these bushes here, these are the small cypress trees. I'm going to move these up the way. And we'll grab one of these flowers here and I can go in there. And then we'll do Old Y. We'll move on this side and just rotate it a bit. Now we want this to be like by here. I'm going to move this one a bit up round a bit by here. Now we could duplicate these and fill in, like, this little space here. So that's that side done this side. I'm just going to have one of these by here, these small cypress trees. I'll just have one in the middle. Maybe we can move this bench over a bit as well. So that's that side sorted. Now I'm going to just delete these flowers out the way. I'll keep this cypress tree around about here so it's like in line with the path. So now we have one by here as well. And we're trying to make it a bit more tidier. Now, this one this could be deleted. Let's have a look. So now we have just the tree. I'm going to move this forward, so it's like on the end here, and let's double check the trunk. So let's make this bigger, much bigger. We want it taller than these pillars. Bit smaller. Just a tiny bit smaller than the temple. And I'm going to bring it up. So we have some more of those roots showing. Yeah, it's looking good. Now, we want more of these small cypress trees, so I'm going to duplicate like these middle two here, and then do OcteX then we'll bring these over. We can fill in this space in the middle here and then we can have a look. Maybe we could go like three. So we'll do another one, cDY. We'll have three by here like this. Now let's grab these flowers again. These red flowers, and I'll move one by here and then OcteX. I'll have one by here as well, and just rotate it a bit. We have a flower here. We could keep that there. Maybe we could, like duplicate it and have a big bush of flowers in the corner. And then we can grab these and then duplicate and then move them to this side, and then we'll give them a bit of a rotation like this. And now instead of these trees here, I'm going to keep this one here, that'd be fine. Then this big tree, I'm just going to delete this one, and then I'm going to delete this one, and I'm going to copy this tree because I want something close to this size. And this one can go at the bottom here. And let's just change the seed, so it's a bit different. We'll move this cypress tree forward. Now we can go into top view. I'm just going to make sure this is in the middle a bit more. Now we can go to the top view. I'll have a cypress tree here. Yeah, that's a tall one. That's a tall one. These are medium ones, okay? So with this medium one, I'll have one by here like this, then this one by here, something like something like this, we'll do. Now we can duplicate these two smaller cypress trees and then move them over to fill this gap up. And I much prefer the look at this setup. I think it's a lot cleaner. It looks a bit more organized. It's up to you what you want to do with yours. But I'm going to go with this for the trees. Now, what else? I think we are good to go. So Yeah, I think that's everything, so I can go into rendered view quickly, and then we can just have a quick look. So everything set up now, what we need to do now is like, add a camera and then we'll set up the turntable animation, and then we can start rendering out some images, and then we can get to Compositing and all that fun stuff. Now with the Compositing, I would recommend, like, taking a while on it, you know, like, do one first, and then maybe, like, do, another one like an hour later or something. And it's like when you give yourself like a break from looking at the same image and come back, you can always see like, this looks off, I'm going to change this. I always like to take at least a whole day really of doing compositor. So when we get to that, just like just play around with it. We'll see how it is with the compositor. It's quite fun. I will see you in the next lesson. 52. Animating a Turntable with Path and Track To Constraints: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. So in this lesson, I'm going to play a short video on the basics of using a camera, how to bring them in, how to, like, render from different kinds of cameras. And we'll show you how to bring in, like, a turntable and set up your camera on a circle. So yeah, stick rains for this short video. Welcome everyone to our camera setup, Complete guide. And as you can see here, we've got a fairly, fairly large scene, and we actually need to bring a camera in to actually render it. So what I'm first of all, going to do to bring a camera in, I'm going to press Shift A, and within our primitives menu, you will see one that says camera. Now, normally, the camera will always come in. Whereabouts you've actually got your cursor. So if I delete that camera out the way now, shift right click and put my cursor over here, press Shift A, bring in my camera, and you'll see there it is. Now rather than go into my camera, so to go to our camera, we're going to press zero on the number pad. That then is going to zoom into our camera, and from there, then we're able to actually come over and open this little panel here. To do that, we just press the end button to open it. And then what we can do is we can click this camera to view, and you'll notice that it goes fairly red around the outside of the camera. And from there, then we're able to scroll our mouse wheel out and put our camera where we actually want it. We can also hold Control shift middle mouse, and what you can actually do then is really, really get a nice, smooth zoom in and zoom out of our actual camera, as well. So all of the basic functions of moving around the actual Viewport work exactly the same way with the camera as long as we've got camera to view turned on. Now, what if I told you, though, there's an easier way of actually doing this, as well. So all I'm going to do is I'm just going to delete my camera out the way. And then what I'm going to do is I'm going to press Shift A, and I'm going to bring in another camera. I'm going to position myself in the Viewport of where I want my camera roughly to be. And instead of zoom in to the camera with zero, what I'm going to do is I'm going to press Control Alt and zero. And then what it's going to do is it's going to put the camera in the middle of the Viewport for me. And from there, I normally zoom in two, three times. And then why there is, I click camera to view on. And now I'm able to position my camera where I actually want it, which is a little bit easier than actually going to the camera and moving it into plate. Now from here, I want to discuss a few of the camera options that you can actually do with the camera, as well. So what we need to do with the camera selected, so just make sure that your actual camera is selected, so you can see mine is selected there. Pre there on the number pad to zoom back into your camera and get the view that you're looking for. Let's press camera to view, although you don't need to take this on to do these options. And if we come down to the right hand side now, we have one that is the actual camera. Now if you're going over to the right hand side here, we'll see we have a type called perspective. And if I click this little down, you'll see that I also have orthographic on here as well and panoramic. Now, we're not really going to discuss panoramic because that is really taking it up a notch when it comes to actually rendering. So we're going to keep this pretty simple for now. So we do have perspective and orthographic. And basically, perspective is basically as though you're viewing this yourself. Orthographic to keep it simple, basically means it has no depth to the actual scene that you're actually trying to render. Now, as well as that, we can actually at the moment, zoom in and zoom out with our actual mouse. But I recommend instead of doing that, just change the focal lens slightly, and then that will be able to zoom you in and zoom you out and get probably a better perspective on what you're actually rendering. We also want to talk about the shift X and Y. If you want to move your camera left and right, that what you can do is you can come up to item instead of moving this around left and right with your actual mouse, what we can actually do now is move the location of our camera like so, and I find this sometimes a little bit easier to use, especially when we're going on the z axis rather than moving my mouse with shift and middle mouse. I find it a little bit easier because it will be more exact. In other words, if I actually take off camera to view, you will see if I come to my camera now and I go to the item and I'm moving this up, you'll see it moves out perfectly. Alright, so going back now, let's go back to the camera. And let's now discuss our clip Store and the clip end. Basically, if you want to have a lot of things outside of the scene and you don't want to actually have those rendered, what you can do is you can actually change the clip end. This is the most important one, and let's put it to something like 20. And what you'll see is everything disappears. Now, if I start turning that up, you will see that the camera clipping actually starts to increase, which then shows you the actual buildings of our scene. And if I turn it up, so far, what I can do is I can actually start rendering the entire scene. But anything in the background here won't be actually rendered. So it's extremely handy when you've got a load of assets over here. You've got a scene, and you don't actually want to render those parts. Okay, so the next thing we want to discuss is actually coming in and naming our cameras because if we have multiple cameras in a scene, and we want to take different renders of them. Let's say we're doing shots and we want one shot to be coming out of this corridor somewhere, want another shot going around the roof or something like that. It's important to know how to actually change the view to render these pots. So what I'm first of all, going to do is I'm going to come to my camera, make sure it's selected, go over to the right hand side, where all my collections are, press the little dot button, which is on your number pad, and that then will take me to my camera. Now, let's add in another camera after this. But the first thing I want to do is just rename this camera to camera long shot. And then what we're going to do now is bring in another camera. So I'm going to press Shift A, bring in a camera. It's gonna come over there. And let's say I want the shot to be down here, so going down through this alleyway like so. I want to press Control Alt and zero to bring my camera there. And then going to Ja Zoom in a little bit, go to view and we a camera to view. And then what I'm going to do is just set my camera up where I actually want it. Next of all, I'm going to put it close up, so camera close up shots. Like so. And now I'm going to turn this off. So now we have two cameras in the scene, one short range and one long range. And at the moment you can see the local camera over here, it set, if I click on this, too long range. The moment I click on this and press zero, you will see it takes me to my long range camera. Now, if I click on it again and click to short range, it will take me to my short range camera or any other cameras, you can have as many cameras as you want in the scene. Now, what about render so if I set this to camera short range, and I've got my camera here, the moment I go to Render Out Image, you will see that it won't be rendering out the camera short range image. What it will be doing is rendering out the camera long range image. Why is that? That's because we also need to change the camera in the actual scene. So you can see here we have camera at long range. And if we click this, we also have camera short range. And now, basically, I can render out this actual short range like so I've come up to render render image. Let it start up, and there we go. Now it starts rendering out this actual part of the scene. Now, the thing is, you've got to remember that when you've got loads of cameras in your scene, this part here controls the Viewport. So where you're looking in the Viewport, which camera you're actually looking through, and this part here controls the actual render. So just be sure to switch them over and just be sure also to rename your cameras when you've got lots of cameras in your scene. Now, finally, the next thing we want to discuss is how to actually make a quick turntable. And the reason we're doing that is because many, many times people want a turntable of where they're actually going to be going around their scene or their actual assets. So the way we're going to do that is, first of all, make sure your asset or your scene is in the center of the Viewport, so you can see where these crossing lines are. And then all you want to do is press Shift desk and you want to put cursor to world origin. That then we'll say cursor to the center. And what I'm going to do from there is I'm going to press Shift Day and I'm going to bring in an actual curve, and the one I'm going to bring in is a circle. From there, then I'm going to press the Sp and just pull the circle out where I actually want it. And now what I want to do is I want to tie my camera to my actual circle because I'm going to use my circle to actually animate the camera. So the way I'm going to do that is I'm going to grab my camera, grab my circle, Cross Control P, and then I'm going to go down to where it says, follow path. And you will notice now you've got a little bit of a line where the actual camera is to the actual circle. Now, it's important wherever you want your camera to start, so you can see at the moment this is on actual zero. So we want our camera probably to start somewhere around here. So the first thing I'm going to is grab my circle and rotate it round, so's rotate it round, and then my camera is going to start roughly over here. But what I need to do, first of all, is move the camera to this point here rather than it rotating away from the actual circle. So the way I'm going to do that is just press tab on my circle to go into Edit mode. And then I'm going to grab this little point here because this is where the camera is attached to. It will always be attached to a point on here, and then I'm going to press shifts and then cursor to selected. Next one I'm going to do is press tab, and then we're going to go to my camera. And what I'm going to do is press shifts and selection cursor keep offset. That then is going to put my camera there. Now, you will see if I press the space booard now because it is following this path, my camera actually shoots around there like so before it begins again at frame 200 or 800 or whatever you set it to. Let's now set this back at zero, and the camera should be exactly where they'll put it. And now what we need to do is we need to if we press zero, you can see, it's not actually looking at the building or anything like that. So the next thing we need to do is make sure this camera is looking at our actual scene. So the way we're going to do that is pressf day, and you're going to bring in an empty and plain axis. And at the moment, you can see, I've put this in the wrong place because it came where my cursor was. So what I want to do is delete that. And then what I want to do is press Shift Ds and cursor to world origin. Shift A, bring in an empty plain axis like so. And the reason we're using a plain axis is because it won't be rendered out at all within the render, but it is something which our camera can actually follow. So now I've got my plain axis in there. I recommend that you pull it out, so keep pulling out till it's pretty big, like so. And then what we're going to do is we're going to come to our camera come down to where it says constraints just above the camera image. Add constraint, and the one you want is Track two. And then all you want to do is click this little pipette here, click on your actual empty, and now you'll see that your camera is pointing at the actual empty. Now, still, this isn't very good because we have a problem in the cameras looking completely in the wrong direction. But if you zoom out enough, what you can actually do is you can select your empty and you can pull it up like so. You can set your circle then, and you can also lift it up like so. So you can actually really start to mess around with this and get that perfect viewpoint what you're looking for. So something like this. And then all I'm going to do is I'm just going to press the S board to expand the circle, pull it out, and now you'll see we've got the perfect place where we need it, just need to pull it up a little bit more, maybe. Let's pull up the empty a little bit. And there we go. And now if we press space bar, you can see that we've got a term table. So one more thing before we actually finish this, we obviously need to control how fast the actual how fast the actual camera is going around the circle. So all we need to do to do that is we will select our circle. So if I come out and select my circle, over then to the right hand side where you've got your circle options. And then what you want to do is come down to where it says path animation, and then you can turn this down or up to whatever you like. So let's put this on 800. Let's put the evaluation time on 800. And then if I go to my camera now, press the zero button, press Spacebar. You can see now that we have a render, which is going to last 0-800 frames. Or we can change this to 600, so let's say 600, 600, like so. There we go. Now it's gone to 600 frames. Then when it gets to 600 here, it'll just carry on over the 800 because we obviously have 800 frames here. So last of all, just change the amount of frames to match the amount of frames in your path animation. And what will happen is it will get 600, and that then should restart the camera. So you can see there's no break in it. It just actually carries on in a circle or a turntable around your scene or asset. All every one, so I hope that's a lot of information for you. I hope it made sense, and I hope it gave you a good rundown of how cameras actually work. Thanks a lot. See you on the next one. Cheers 53. Smooth Camera Rotation with Refined Lighting and Denoising: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. All right, so let's start by adding some cameras to have scene. So let's go back to solid View. And I'm going to select something in the middle. So we probably want to rotate around probably this, like, roof piece here. So we will select we will select this so the origin point is up here, and then we can do shifts cursor to select. And now with this, we can add our circle. So we'll go to curve and then circle and then we'll just scale this up like this. And then we also want to add a curve, not a curve. We want an empty plain axis, and we'll scale this up. And then for these side pieces, we don't want these to be like in the way, you know, so we'll put a wireframe. We can select everything, and we can just move this all the way up here. So it's like in the sky where we won't see. Okay, so now we could add a camera. So we'll add a camera here. Now, that's coming in the middle here. So let's just move this up for now. Now, I'm going to select a camera and then select the circle and then we'll go Control P, follow path. Now we want to select a vertice on our circle so we can snap it. So we'll select this vertice, shifts cursor to selected, and then we can select our camera and then shifts selection to cursor. Now we can hit zero on number pad to go into the camera view. And if we Zoom At, we can click our circle and we can scale up the circle at. Now we also want to do something with the camera, so we want to select the camera, click into the Constraints tab. We want to choose Track two, and we will pick our plain axis here. Cool. Now if we press zero, we can have a look. Now we can bring the empty down. We could increase the focal length of the camera, so I'll select the camera. Maybe we could try 30 millimeters and then we can scale up the circle. So assuming we can have a look. Now, let's move the circle up so that we're looking down at the scene. And then we want to bring our empty down until it's in the middle. Now, let's bring in our timeline. So I'll drag this up. Go to timeline. Now, I was playing around with a speed. 600 is, like, nice and smooth, but a if we go to the circle and then we go into path animation and then choose 600 here. This is this is how slow it will be. Now, we're having frame drops here so we can actually tell if this is the speed it's going. So if you choose playback and here, and where it says sync, we want to change this to frame dropping. So it will drop frames in order to keep the right speed. So this is how fast it will turn. Now, this is nice, but for hundred well, for 600 frames, it's up to you if you want to go that many. It's just going to take much longer to render. So you can do that if you want. I'm going to just go for 300, so I don't have to wait so long with cycles, it does take a while to be fair. Not as much as it used to. Like before it used to take me like an hour to render a frame on my like 1050. But it's a lot nicer these days with denoising. So yeah, this speed is alright. Now, we need to change I need to change this to 300 here. So for me, it will go like this speed, which is just not too bad. Now, what I'm checking here is, I'm watching the animation go around and looking for parts where it goes off camera a bit. So we can now just adjust the circle by, like, scaling it up a bit. We can move it up a tiny bit and then, like, adjust the empty to bring it down and just go all the way around and check if it stays in the middle as much as it can, you know. And I think this is looking quite nice, actually. So, yeah, there is our turntable setup. Now we want to set up the compositor. Now what I noticed with the compositor here is that if we hit setup compositor and then okay, we might get it says successful. If we go to Mist, we have no miss settings here. And the reason for that is because it's looking for it's looking for the world's properties with the name world, but we've got stylized Skybox. So if we rename this to world with a capital W, hit Enter, and there we have these settings here, sla should fixed name. Now we just need to render out an image. So we'll render an image from our turntable, and then we will do the compositor. And then once the compositor is all set up, then you can render the animation and they'll they'll look nice. I'm just going to go into my render properties here, and we can close Viewport. So under render, I'm going to go with 100 samples. You might be able to get away with 50 if you want to lower it and speed things up. We can have denoising. I don't think this matters because the compositor will override it. Nay, for look, I'm going to keep this as base contrast. Now, let's have a look of a lighting before we start. So this is already looking quite nice. Everything is quite visible already. We can always adjust it by rotating the sun a bit. So maybe if we go into this kind of view and rotate it. So it's like pointing towards these pillars a bit more. We can have a look at the shadow. We can rotate it up and down as well. And I kind of want the shadow here to be just touching the roof of like the top of the door. I think that looks quite nice. Maybe bring it down in a tiny bit. And then we can always, rotate it on the Z so we get more of the shadow of the pillars, like covering the door as well. And you can always play around with the angle in the sun settings. So I think free as a srenth is fine for this. For the angle, we could try ten if you want softer shadows or like 1.5 for some, like, harder shadows. Now I'm going to go with, let's go with. I'm just going to stick to five. I think five is a nice number. I quite like it. Now we can go into a double check render properties. What else do we need? You can play around with the exposure. Can maybe bring the exposure down, so we have more of like a medium value, and that'll give us more room to play with the compositor. A Gamma should be okay. I don't even know what Gamma is, to be honest, compared to exposure. I don't know, it just gets brighter and darker to me, but I'm sure somebody could educate me on that. But all I know is to have some nice medium values of the lighting, and then we can have more flexibility with the compositing then. So now, I'm going to double check in the output properties. Now this is 1080. So 1920 by 1080. And then we want PNG. And now we can just hit render. So I'll hit render Image up here. And then we'll see how fast this takes. It says here, the amount of time it takes. There's the samples here. We've got one sample and you can tell how fast it's going to take with how fast the samples go up. I'm just going to pause it until it's rendered and then I'll see you in about 2 seconds. 54. Advanced Compositing and Color Grading for Turntable Renders: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. And this is what I've got. So now, now that we have this, we could go to our Compositing tab, and there we can start to play around with this. Now, I need to remember how to zoom in on the compositor. Okay, so it's Alt and V to zoom in and then just V to Zoom out in the compositor. It's very weird. Now, we can start having a look at this compositor here. So we have presets. So you can load the default, like the default settings. You can press a plus icon and then press Save to save a preset. For output, this is like your resolution, your file path of where you save it. If you have a Bloom pass, you can save that separately as well. Now for background, you can choose to have a transparent background if you wanted. You could have an image and choose any image that's inside your blend file. I'm going to go with none so that we have the Skybox. For mist, I'm going to use mist on the other render. But for the turntable, I don't think I'm going to add mist. We just want it to be, clear so we can see everything. So I'm going to keep that checked. For color, this is like your base color pass, so you can, lift up this curve to, like, increase the brightness of the color textures. And you can change the saturation. You could maybe bump this up. You could try 1.3. That's a bit too strong. So I'm going to go with 1.1 maybe. Now, we could adjust the value, so this will be the brightness as well. So maybe like 1.2 on the value. Nay for gloss, anything shiny in your scene. So this should be like the water, maybe the metal on the flower pots. So we could, like, try bringing this up, and it just brightens the water here a bit. You can play with the brightness values here. So I'll keep this at zero. Nay for metal glint, if I choose wine on here, now, we're quite zoomed fire. So for the turntable, I might zoom us in a bit more, but this will give us a little glint on the metal and any reflections from shiny surfaces. So I'm going to just put 0.1 on the metal glint. Then we can close these ones. Now, for transmission, this would be anything transparent. So we can adjust the color of the water here if you want to brighten it. And then we have the lift, gamma, and gain. You can always adjust that. You could try the gamma, see what happens. Yeah, it affects the hedges, as well, if you look. So we could have this up like this. And then you can always, add some color to it as well and see how the effect is. So this makes the water really blue. It's quite nice. So I'm going to keep it like round about by here. Now, let's close. Well, if you choose light level, it gives, like, a more light to it as well by the looks of it. So we can, really bump this up and have like plasma water or something. Right. So I'll keep this at zero and close transmission. Now, for volume, we didn't add any volume, but this will allow us to affect the density of it and stuff. Light and bloom. I think this is like emission textures. So we haven't used any emission, so we can ignore this. For the environment, this will affect the Skybox. So we can adjust the brightness here. You might have to exaggerate it because there's not much going on. But, if we lift this up or lift it down, if we bring the lift all the way down, we get this cool kind of background going on, which I quite like. If we bring the gamma down, you can have something like this. Now I might go for, like, quite a dark kind of blue, something easy on the eyes, you know, and then we can adjust the gain. So this will make it even darker. This could be cool, like a core background. We can always, double check how it looks from the other angles later on as well. Ambient occlusion, let's turn this on. And let's check color. This will be the color of it. So I'm going to give it, like, a slight darkish blue color, like, just by here, just a tiny bit to adjust the kind of shadows, give some blue to the shadows, you know, and then we can bring we can either bring this arrow in to, like, increase the contrast of it. So maybe like to hear would be good. But then we could also click this and bring this up. So it's not so intense. So this would be like default. And then we can just slide this down until we get a nice, like, contrast in our scene. Something like this. Now, what if we bring this white down as well? What happens? If we go all the way, we can see how it affects, I might just keep this. I might bring this down a little bit and then maybe tighten this up a bit as well. I quite like look of this. Now we can adjust the value of this one, make it darker or make it brighter. I'll go to here. Name usar control. If we move this, if we bring this down, it will be darker. So it's up to you what kind of look you like. I'm going to just bring it down a tiny bit. So we have ambient occlusion in the crevices here. Now we can close ambient occlusion, but do we want to add more saturation to this color? Don't want to go too far. Maybe like to here would be nice. So we can close environment. Now we have effects. Now we have diamond Shabn I'm not going to use that one. We have box haben. So you can increase the factor in this menu to strengthen the effect. So I'm going to keep it nice and low. And then I'm going to add soften on top of that and just increase the soften a little bit. We can have anti aliasin, so we'll fix up any, jagged diagonal lines in the scene. And then we have color balance, so we can adjust the whole lift of the whole scene. So I don't see much changing here with the lift. But with the gamma, we could try with this. I don't see much going on that's weird. Oh, we need to check this box. That's why, right. So we can bring the gamma let's bring the gamma up and then bring it back to white and just a tiny bit of blue gives it a nice cool effect, and then we can adjust the gain a bit. Now, I think this lift is too high. I go to hear maybe adjust the brightness on this gamma. Something that looks nice to you. It's going to look slightly different on different monitors as well. I'm looking to my other monitor and it looks completely different. Now we have ARGB curves. I think this is just like a basic color curve. You can add a lot less curve here to increase the contrast or maybe bring the shadows up by bringing this one up here. You can see the effect. Just play around with it until you get a look that you quite like, you know. You can always see the difference, and I think it looks better with it off, to be honest. I might keep this color balance off, keep this off. Now we have hue correction. Now we have this, if we drag up this red point, it will increase it will boost all the reds in the scene, which is quite cool. So I'm going to move this to like here somewhere. And then we have the yellows. So this will affect our, our walls. We can choose how saturated they become. So if I move this to arrange bat here, and then with the greens, we could push this green up to make it more saturated and bring up some of these light blues as well. And then I don't see many of these colors, but we could try playing around, see what changes. Okay, so we'll keep that like that. Then brights and contrast, this will be like everything. So we can do, like, a final adjustment here with the contrast. And then hue saturation of value is pretty much what it says. So I'm going to bring this down to one. We can always, like, try with different saturation values. And then you can change the hue if you want to go crazy. But I'm going to turn this off. I'm not going to use this. And then denoise. We just click that on, and suddenly it's all just magically smoother. And then I'm just going to keep this as accurate and use HDR. You can see the difference here. We won that on. So now, is there anything else I want to change to this? Maybe the color I'm going to bring this color down a bit because it seems a bit blown out, you know, it was a bit too bright. I think this looks a bit better. Now, what else do I want to do? Maybe I will turn on color balance, so we have this like bluish kind of tint to the gamma here. I don't want to go too crazy, so I'll bring the saturation down to like 0.2, maybe even like 0.14 or something, and we can see the difference here. Adds a nice blue, dreamy effect. I don't know. It's quite cool. Now, if you're happy with the look from this angle, we could press the plus icon here. We can rename this to Turntable. And then we will hit Save. And now, if you press load defaults, this is how it looked, and now if you hit load on this, this is how it looks with compositor, and it completely changes the look, you know, your seene. So just try different combinations of stuff, see what you come out with. Now I'm going to do a couple more test renders. I can see it from other angles. We got one from this angle. We can do another one from this angle or something, do a quick render, do one from this angle, and just check each angle and then you can adjust the compositing as you go along and stuff, if there's anything that points out. In the next lesson, we will set up the render settings for an actual video animation. I will see you in the next lesson. 55. Optimizing Blender Performance for Smooth Scene Rendering: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. So if your scene is getting a bit heavy at this point with all this foliage, there are some things we can do to help, you know, help get around this, you know, and help keep an eye on, like, how heavy the scene is getting and stuff. So I'm going to play you a short video on performance and optimization in Blender. Welcome everyone to our performance and optimization guide. And a lot of times when you're dealing with really, really complex scenes or even simple scenes, if you've got a low end machine, you will come across things like da out of memory or Blender actually crashing. And there is lots and lots of ways we can actually deal with that, and I think it's important for all of you guys to actually know what things we can actually do to stop this happening. We probably won't be able to get rid of it altogether. There'll still be times when Blender crashes, but we can do a lot to actually increase that performance to get our scenes where we want them to be and more importantly, render out beautiful images. So the first thing we're going to discuss is RAM. And now, if you look down at the bottom right hand side here, you will see one that says memory, and you will see one that says RAM. Now, the most important thing is that, first of all, you understand now to bring these on. So what we're going to do is we're going to go up to preferences. We're going to go down then to interface, and under interface, you'll have a status par and you can actually click all of these on. So we've got system memory and video memory. And these are some of the most important things. So let's just close that down a minute and let's actually go through these. So basically, you can see here that down the we've got how many triangles we've got in the scene and how many objects. These directly correlate most of the time to how much performance your computer will need to actually run this Blender scene. So the more faces, which are polygons you have in your scene, the more performance you're going to need. Same thing goes for the amount of objects. If you've got a ton of objects in your scene, then it's going to come at the cost of actual performance. Now let's move on to the actual RAM, which is how much RAM your actual computer actually has. And I recommend a minimum bare minimum, you need 8 gigabytes of RAM to run Blender, and it comes down to the more, the better the performance from your machine. So I would say aim for 16 gigabytes. Now, also, we have something that's also very important, which is called V RAM. And this is normally the RAM that comes with your actual graphics card. And basically, the higher this is on the graphics card, the much smoother time you're going to have. So I tend to see problems myself is with the actual memory on your computer. If it's too low, you have problems in the Viewport, and where I see the problems arise with the VRAM is normally when you actually come to render out complex scenes. The next thing we can do to actually limit the amount of performance needed is actually put everything in a nice neat order in collections and make sure everything's just named correctly. What we can do from there, then we can close certain parts of our scene down. Which means that we can either render them out a little bit at a time and then lay them on top of each other or especially in the Viewport, what we can actually do is close parts that we're not working on at the time, especially in large scenes. And then this then again, will limit the actual performance. Also, it comes down to your CPU as well. You CPU, the better it is you know, the better time you're going to have with all of this. But let's now say we've got all of that sorted and we're still having some problems. Let's now go into a few of the options that we can actually mess around with. So what we're going to do is we're going to go up to edit, go down to preferences. And the first thing I want you to look at is system and on the system, make sure that you've got this set to whichever you can. So it can be QDa, optics X, or one of these. Just make sure it's not unknown. And then once you've got the one selected which you want to use, just make sure both of these are ticked on and Blender of them will take advantage of those. Also make sure that you haven't got undue steps set at 250 or something. This has a huge actual impact on performance. So if you're really, really struggling, I recommend turning these undo steps down to five or ten. But the problem, obviously, is that you're not going to be able to press Control sad and go back very far if it's set too low. So I recommend all of these things. I'm actually showing you. Try and play Miranda a bit till you've got, you know, that kind of perfect setup, and then you shouldn't have or you should have less problems in the future. All of these other things we can mess around with as well. I don't recommend these unless you're absolutely really struggling. I think you should keep these what they're set to. This is the only one, and this Tikton is the only one, as far as I would go on here, messing around with those. Alright, so let's close that down and let's now come over to the right hand side. And you can see here at the moment, if I scroll up, I'm on Blender render engine cycles. And it's important to know that to have an easier time, it's much, much easier to put this onto EV, which is basically a real time render engine like unreal or unity or something like that then makes it much easier if I come to render this or click on my Render view to actually move around the scene while it's actually being rendered. So the thing is, if you're on IV as well, there also are some things that you can actually turn off to increase performance again. But normally with IV, unless you've got a very low end machine, you shouldn't have any problems. If you are having problems, however, just make sure that Viewport Denoising is actually turned off. This is one of the heaviest things, actually, Denoising both on Blender and cycles that actually really increase that performance needed. So you can turn the Viewport Denoising off. You can also turn the ambient occlusion and you can also turn the bloom off and especially screen space reflections. Make sure that is also turned off. Now, pretty much everything in EV you shouldn't need to mess around with anything else. Once you've turned these off, you should have a much easier time. Now, let's move on over then to cycles, which is a little bit different. So if we come over to cycles, you will see even my machine, it's quite a high end machine, or it was maybe two years ago or something, sometimes struggle, especially with large scenes like this with a lot of textures and a lot of sand and things like that. So if you look over here at the moment, I actually have, in my view port Denois on. The first thing I recommend doing is turning this off. This then will increase performance no end. So once you've turned that off, it's going to take a little bit of time to actually apply that, as you can see here. And then you can also turn the denoise off in the rendezvous, but I don't recommend that because then you're going to end up with a very grainy render, and that's maybe something that you don't want. Now, you can see already that I'm really, really struggling here, even with the denoise turned off, because this is quite a large scene. It's got a lot of displacement on there. So I'm just showing you just how pixelated that is and just how long we need to wait. I'm going to do now while I actually fix a few things. I'm just going to put this onto material mode, and that leads me on to my next point. So when you're working in Blender, it's important, even though it looks really, really nice to be working in Blender cycles, it actually comes at a huge cost. You can see already working in material mode over here is actually really, really helping me navigate around my scene. Now, if you're struggling even more, what you can do is you can come and put this just on object mode, and then you shouldn't actually have any problems whatsoever. It's also important to know before you click this render Bn, so the render image boon, make sure that you're on wireframe. And the reason is because you don't want to be rendering out the scene, you know, in cycles on Viewport shaded and then render it out again, that is more than likely going to lead to a crash. So what I always do before I actually hit that render bone is put it on wireframe. This is the lowest amount that Blender needs to use in the actual Viewport. It's also important to remember that everything comes at a cost that you put into blender. This could be things like geometry nodes, porticle systems, simulations. Some of them have larger costs than others, but everything down to the smallest object has some kind of cost. So when you've got a scene that's just crashing all the time, it's generally down to something that's quite a large cost on performance. Now, the other thing to note is when you're actually bringing in textures to your scene, it's important to know. So if we go to this one, for instance, and we go to our shading panel, this is quite a complex shader. The more complex the shaders are, the much higher performance it's going to need. The other thing is, when you're actually bringing in textures, be very careful that you're not bringing in really, really large textures. So I recommend four K be the maximum. But honestly, if you can stick to two K textures or one K textures or much better, it's going to make a much easier time for you making large scenes. This is why a lot of game companies, especially mobile, use only 512 or one K texture so they can handle the performance and keep that optimization pretty high. The other thing is about textures, if you're using seamless textures, that is better than using something that you've gone out and you've painted in substance painter. So it's just much easier to use seamless textures because they can be used over and over again and limit that performance. Also make sure on the right hand side here if you come up to this ear arrow, you can see that light and our scene lights and scene world, make sure they are turned off as well, because they will also cost you performance. And last of all, before we move on to the cycles part of it, if you come over to your actual world, if you're using a HDRI within, we're not on this one, we're using a sky texture. If you're using a HDRI, that's also going to come at a cost of performance, and it's quite a large cost in comparison to something like the sky texture. So if you can make sure that you're using something like the sky texture. As you can see, it's just one node here, and I know it's very nice to use HGRI. But if you need to control optimization, try and learn how to use the sky texture instead. Alright, so, finally, then moving over then to our cycles, we can see, first of all, that device I'm using is my GPU. It's always better to use your GPU over your CPU. It will make it much, much faster because it's relying on a lot of VRAM from your actual graphics card. And as we discussed moving down, we can also turn off the denise. This is one of the best things you can do to actually increase performance. Next thing you can do is you can come down to where it says light paths, and all of these come at a cost as well. The lower you set these, the better it's going to be. I recommend messing around with these last. So last of all, after you've done everything else, this is what I would be clicking off or turning down, especially caustics. They're also quite high on the performance. Last of all, let me show you one of the best things you can also do, which is if we've got it on rendered mode, we're on actually cycles. We've turned on denise again. You can see how nice this actual sand looks, but it comes a huge cost. So just remember this comes a huge cost. Now, if I come over and down and just scroll down here, we have one that says simplify click that on, and then what you'll have access to is all of these options here. Now, one of the main things we can do here is the texture limit and the maximum subdivisions. The maximum subdivisions, if you go over that subdivisions in your modifiers, you can actually reduce that or override that over here and simplify and turn them down to one or something. That then will reduce the polygon count right across you seen wherever it's over six or five or whatever you set this to increase in performance. And one of the last things we can do is we can turn down this text limit. If I turn down the text limit to something like 256, you'll see after a while, what it'll do is it'll turn down all of those textures right across you scene down to 256. So even if they're four K or eight K, if you turn this on, you can turn them all down and then you'll see, look how grainy now this actual sand looks, look how blurry these looks. And the reason is because we've turned down our text limits all the way down to 256. The other thing is, if you're having problems renting out your seam, you can also come in and turn them down in the actual render as well, which really significantly helps with crashes cuda out of memory and things like that. Alright, the last thing then we can do is, especially when we come to actually rendering now, is you can see here that if you hover over here, it says, use compact VH structures. It uses less RAM, but renders slower. So if you are having problems with crashing, I recommend turning this one on. And if you go to the next one, you'll see a hover over this, it says, use special type VH optimized for curve uses more RAM but renders faster. Turn that one off. Also, turn persistent data off if you need to, as well, because what it means is that Blender is caching all of that data of the scene to save on basically having to redo it all. So if you turn this off, what it's going to do is a fresh start every time, and it's not saving so much in the memory. I don't actually know whether this one is bet to turn on and off. Again, I would have a play around with it. Something that is a little bit more sophisticated, so we're not going to go into it here, but you do have the option that you might want to look into of baking out your scene. So, in other words, you can actually bake all of your scene out onto a UV map for all the lighting and all the textures and things like that, but mainly for lighting, to make sure when you come to render it, everything is already rendered out, and then all it's going to do is render out the objects, or the textures and without the lighting. So that then makes it much, much easier on your machine to have a fast render without crash. So last of all, what I want to say is, if you're building large scenes within Blender, try and use the shader panel more than actually bringing in actual textures. That also is going to save you a lot of performance and optimize things really nicely. The only problem you're going to have, obviously, is if you're sending things into Unreal or Unity or another game engine, you obviously won't be able to use those materials, so you will need textures for those. This primarily is based on rendering and building large scenes within Blender. All right, everyone, so I hope you found that handy. I know if I was just starting out, I'd really want to know this stuff because it would have made my life so much easier in the beginning. All right, everyone. Thanks a lot, cheers. 56. Creating a Polished Turntable Animation in Blender: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so now we have our Compositing setup. We can have a quick zoom in, and obviously, we need to bring our IV in and our grapes, so we can fix that. And I was thinking we could maybe put a tree in by here. I'm not really sure, but we can quickly do that before we do anything. So we want our IV, so let's turn this on and make sure the eyeball icon is turned on, as well. And our grapes. We will select this and open the grapes collection, and we want to turn on all these cameras. So these were off by default, but it looks. So we'll grab these grapes and have a quick zoom in on these grapes. Now, we might actually have to scale these up a bit, so I'm going to select them all and just go to individual origins and just make them a tiny bit bigger, so they're a bit noticeable. That should be okay. Maybe we could duplicate one of these red ones and just bring it up on the Z like this, so it's sort of mix it a bit better, you know? And was there anything else? Should we have a treat w here? Maybe like one of these small trees or something, I'll go O D Y and maybe bring this up to here. Yeah, we'll go there with that tree. So give something next to this temple to fill in this gap here. I'll be cool. So now let's go back to camera view. And let's go to frame one. Now we can increase the focal length on our camera to zoom in. So I'm just going to slide this forward. Maybe we should go back to solid view for this. And let's increase the focal length a tiny bit. Till I here. So we want to fill in all this empty space. We don't want to waste it, and I have the ivy up here. I needs to go into heaven up here. So let's go back to our camera and I'll do a quick turnaround. And everything seems to be within frame. Yeah, this should be fine for a turntable. Yeah, perfect. Look at that. Doesn't go outside the edges at all. Nice. So we'll go back to frame one. Now, we'll go into render properties. For the turntable, uh I'm going to just start at 50. I'll go to 50 samples. We should be okay with the denoising with 50 samples. But if it's still a bit blurry at the end, then maybe you want to increase it, but we'll go to 50, so it doesn't take forever to render, you know. And we will keep everything else the same except for the output. So under file format under here, we want to choose FFPEG video. And for the encoding, I'm going to choose MPEG four, so it'll be an MP four. And then output quality, I'm just going to put high quality. I'm not going to bother going any higher, and that should be good to go. Now, for output, you want to choose this and choose where to save it. So I go to a folder here. I have a renders folder I can put in. We can name this turntable. And then hit Accept. So it will save as like turntable.p4. And there we can just go to Render Animation here. So I'll see you when it's rendered. Okay, so here is my render. As you can see, it's turning around, just as we expect it to, and it should loop around when it gets to the end here as it repeats. Now, everything's looking good. Now we have these leaves falling from the tree, which is a cool effect, but I will show you how to disable this with the geometry node settings if you don't want that because it looks a bit out of place because it just kind of disappears and restarts, so we'll probably get rid of the animation. Unless you want that, you can have some, like, scattered leaves around on the floor to, like, make it look like it blends in a lot better. I've left my human reference inside the fountain, so I'd have to remove him, as well. Another thing I might change is, like, I'll go into, like, the shader for the grass and the cypress trees and just make them a bit brighter. I think it's all looking a bit dark in these shadowy areas, you know, this tree I might scale up a bit. Just like little adjustments. So, I might go into the compositing and just play with the shadows and just make them a bit brighter and maybe increase the saturation on the marble and the stone roof here. And that's pretty much it. Yeah. In the next lesson, we will set up our camera for our still render in front of the temple here. I will see you in the next lesson. 57. Still Camera Setup and Foreground Design Composition: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so for the falling leaves animation, just click your tree here, and at the bottom, you'll find particles, and just put the density to zero and do it for the other trees as well. And that will just get rid of the animation so it's not there. Nay, for the still render, we're just going to add a camera. And then we want to go to scene properties here, and we want to choose under camera, we'll choose camera 01. So this will be the active scene camera. And you can tell by this icon here. If we look at the other camera, so it'll be under Bezier Circle. If we want this to be an active camera, we just click this green icon here. So now with this, we can put our Viewport where we want it. So like roughly around here to match the composition of a reference image. Then we can hit Control lot zero on number pad to bring the camera to our Viewport. Now if we go to view here, we have camera to view. Now when we move around the Viewport, it will stick to our Viewport camera. Okay, so I'm going to put the focal length to 30, and then we can move our Viewport a bit. I'm going to turn off this grass so we can move a bit smoother. Now, where do we want it? Now, what you could do is click your camera here and then go down to Viewport Display composition Guides, and then you have different overlays. So you can see here, if I hide this circle, the way on this plane axis here, we have this grid. This is like FDs. We have some other ones as well. So you have like center and then diagonal, core one, you got golden ratio, quite nice. And then triangle A, triangle B, it's all very useful. So I'm just going to click on maybe foods or I'll go with golden ratio, I think, and just use it. It could be used as a guide to just fit everything in nicely. So like, we want, like, the top of these pillars to be, like, flowing with these lines, you know. So maybe we could go I also want it to be quite high enough to actually see the grass. So if we go too low, it'll just be covered by the hedges, so I'm just going to adjust things until we get to a nice composition. I could look quite co. Now, we can adjust the focal length a bit, maybe go down to 28. We can fit more of the n in like this. I think I'll go to here. So now we have the fountain is in line with this line here. This temple is in line with this. We have some empty space here. Like, these are flowing with the middle lines. We have the space here with the archway, and then the space here it's quite nice. Now, I don't know about this tree. I might for this shot, I might replace this tree or, like, make it a bit smaller. I don't know. Because it's looking a bit too out of place for this composition, so I'll move it on the Y a bit, maybe just bring it down to here or something. So then we get this end of the marble here is in shot. Now all we have to do is go to File, append, and we want to find our resource file. We'll go to Object and search Mountain, and we can bring in both of these mountains. Now, if we make sure to go to view and we'll turn off camera to view, I'm quite happy with this setup. And before I forget, I'm going to move the human reference out of the shot, maybe bring him down so he doesn't cast any shadows. Now, if we zoom out, we'll have these mountains, and what we can do is go to top view, and we can bring them quite far back, and then we can scale these up. And then I'll bring this one around here somewhere and then this one by here. We'll go back to camera view and have a look. Now, let's check on front view. So this is in line with we want it to be in line with the ground, really, don't we? So if we bring it down to here and now we can see now we have this empty space at the bottom. We could fill this in with, like, a plane and then add some mountains on top as well. But let's get these mountains in where we want them first. I'm going to move this on the Y. And I'll have it just coming off the edge of the screen here, and then you can fill up this empty space here. And with this one, I might scale up a bit and bring it forward on the Y. So this one could be just poking through like here, maybe. And then I'm going to duplicate this with Alt D. I'll bring it in on the X, and this is obviously too close. Both of these look a bit too close, actually. So let's push this back. Let's push this back and let's rotate this guy around. And let's have a look. I'll move this one until I get shape in shot that I like. Then this I might scale up a bit more and have it go in somewhere where I like it. Now, I might duplicate this guy and rotate him around. We can scale him on the Z a bit and then put him somewhere maybe by here would look nice. And then we have this here. Now we think about this empty space here. So let's scale this up a bit. And we'll bring this down to here. So let's just add Let's do Shift S and then cursor to world origin, and I'm just going to add a plane. I'll go mesh plane. And we kind of want to fill in this space here just so we have something at the moment. And then we can see how it looks. So I might bring it down a bit more. Just something like this for now. It's got a camera view. So it's looking a bit flat, but we can use this as a reference. So if we grab maybe this maintain, I'll scale it on the Z a bit more and scale it down. And we could just fill in the space here, maybe scale on the Z a bit more. We'll add some layers to this. So I'll do Old, scale it down, scale it on the Z, so it's not so intense. While we don't have to do it all the way, we can just bring one. Maybe if I go, I'll have this one behind. I'll do GX here and then bring this one forward. I'll do then GY here, and then this one can come to the front, maybe make it a bit smaller. Then we have something here. Now, we do have some flat area at the back as well. So what we could do is Alt D, rotate this around this way, place one by here. You'll have to come over a bit. This one will come over a bit as well. I think, I think that's okay. That should be fine then. This side. That should be okay. We're not seeing any flat surfaces, I believe. Yeah, just a little bit. We need to bring this mountain down, but then I'll scale it on the Z. Yeah, so that'll be right. Now we can just do some test renders. Okay, so this is the result we got. So obviously it's using the same compositor of settings from the turntable, and it's not what we want, so we will do a different preset for this shot. We also want to make sure we're not rendering on frame one up here, because obviously we need the animation to be, like, in the middle of it with the fountain. Some other things I might change, we obviously need to add the mist in, so we'll adjust the depth of the mist and I will also move some trees around for the shot just so it looks nicer for this image, we will do all that in the next lesson. 58. Balancing Camera Composition with Mist and Lighting: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Alright, so where are we? So these trees, I'm going to move this on the Y. So we have one. Maybe maybe we could get one here somewhere. I don't want it to be blocking this here. What if we scaled this up a bit? We'd have to scale both of these up, wouldn't we? So we could try scaling these up just for now. And I'm just going to double check over here. Going to move this to the side a bit. This tree here, we want this back tree. I'll grab this and move this on the Y so it's more in frame. And then I'll duplicate both of these and go D Y, and they can go on the side of this tiny tree here. Now I just want to adjust the spacing of these trees, really. Maybe this could come towards the edge a bit more. I'm going to turn off overlay a sec and have a look. Did I duplicate this tree? No, do we need this tree here for this shot? I don't think we do. It might look better if we deleted it, and then I'll move this on the Y a bit. So now this is next to the temple. Now, maybe we could add, let's go into rendered view and have a look. I'm just having to look at the balance of the red with the green, you know. This should look quite nice, actually. What I might do instead is move these. So these trees I will have on the left of this archway, so then I can move this tree forward a bit more. So I move these on the Y and we'll pack these in quite close to each other, like this. And then maybe bring one more of these small cypress trees to here. And then maybe we could bring this tree forward, and I'll make it just a tiny bit bigger, not too much. And then I'll just move this mountain maybe towards the right a little bit more. And this tree here, should we have another tree at the back? No, I'll keep this space empty here and just keep this tree here. Maybe bring these bushes back a bit more like this and grab this one. We'll move that to there. And these benches, we'll move into shot as well. So we'll go GX, move them this side. Cool. Yeah, so maybe we could grab one more cypress tree and move it to the side of this. We want this to be like I'll move this on the X, so it's like in line and its should look a lot nicer when they're closer together now. Let's want GGY here. Yeah, that should be cool. Have a quick check in rendered view. Now, we could play with the lighting if you wanted to. Maybe we click the sun here and put the exposure maybe to let's try 015. Maybe you put it to one. How bright does it go? Okay. We went 1.3 on the exposure just to exaggerate the sun a bit more. And now, I'll just quickly go to Solid view, and where is our camera it's here. So let's just click camera here. Right, and then we can zoom in on it. So if we go to show Mist. Yeah, so we click Show Miss here, and then we can see with this line how deep the mist goes. So if we increase, would it be under scene settings? Or world settings, mist pass, depth. Let's put this to, like, one, two, five and see how far that line goes. Should we push it past the mountains, like 130 just to be safe? Yeah, just so we can see that, white dot at the other end. And now I will hit Render Image. Okay, so here is our new render. Now we can just hit load defaults to get our default settings back and we can start doing the compositing for this render. We will do that in the next lesson. 59. Mastering Scene Atmosphere with Mist and Color Grading: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden Workshop. Okay, so now let's start by compositing our final scene. So let's turn on mist and we'll expand this down. And I'm going to drag this black arrow backwards a little bit. So we can choose how far the mist is from the beginning of the camera. So I want it to, like, just touch the just touch the back of the wall here. I go to about there. And with this mist here, we can adjust it. Let's give it a slight yellow tint. Then with this white arrow here, we can bring this down to adjust the transparency of the mist. So just a little bit, something around by here, maybe a bit more. Something like this. So next, we will open our gloss. No, before glass is color. So let's have a look at color. So for saturation, I might go 1.05. And then for value, let's try 1.2. So it really brightens up the colors. So we'll close color, now for gloss. Let's just bump this up a tiny bit. And that should be fine. Maybe contrast to one. We could try that. That closed gloss. Now, for transmission, transmission, I'm going to bring this curve a tiny bit. And for the lift, we could try like a bluish color. For the gamma, we could try a slightly less bluer color, something like this. And then for gain, we could try maybe bringing the color to here, but then bringing the darkness down. So we'll go to, like, something maybe a bit brighter than that. We'll go to like here. That should be cool. Now, for volume, we can just check that off. Light bloom, we don't have to worry about. Now for environment. Let's open this up, and let's bring this curve out. Something a raindebt like this. Y for the lift, I'm going to give it like a bluish tint. And then for the gamma. Let's give it like a yellowish tint, something like this. And then for the gain, we could probably leave this as it is. Could add some more brightness. Actually, if we lift it up, it makes the sky a bit bluer, which is quite nice. We bring it down. Yeah, we want it to be bright, quite bright because the sun is quite bright. So you want it to kind of make sense, really. What if we adjust this gamma a bit more? What if we were to bring it up so it blends in with the mist a bit nicer. Okay, so that should be fine for environment. Now, ambient occlusion. Let's turn this on, and let's bring this black arrow in. And then we'll check color. And then for the color, maybe we could try a value over here somewhere. Something like this maybe and then for master control, we can adjust this curve. So if we bring it out here, that could look quite nice. What if we were to bring this black in more and really exaggerate it or bring it back. I'll leave it to around about 0.2 ish. That should be okay. Maybe even bring this curve up a bit tighter. Right? So that should be okay for ambient eclusion. Now we can compare it by turning it on and off. I don't see much here going on. Right. What if we bring this value down a tiny bit, we could try bringing it up. I think I prefer the brighter look. That should be a lot nicer. Now, for effects, I'm going to go with box sharp and then soften. And these values should be fine. Maybe 0.2 on the soften. We will have color balance. For color balance, we could play with a gamma here. So let's give the gamma like a bluish tint, something like this. For the lift, let's try. So maybe we could lift it a bit. Yeah, we will lift it a bit. Something like this. And then for gain, maybe we could try a yellowish color for the gain. But not too much. We want it to be subtle. Right here is perfect, I think. You could see these values here. Now, that is color balance done. How do you be curves? Should we play with this? Maybe we could just boost out a tiny bit. Something like this would be okay. I for hue and contrast, maybe we could just bump up these greens a bit. We could bring these yellows down, a tiny bit, very subtle changes. Maybe bring this blue down, and then this blue up a tiny bit maybe. And that should be okay for the AgiB curves and the hue correct. Now, brightness and contrast. We don't have to do much here. I think just 0.1 on the brightness and then 0.2 on the contrast, just to give it a tiny little bump and then hue saturation and value. The saturation, maybe we could try something like 1.025 or something, just a little bit. Then for value, you get adjust this value to something nice. I will go to 0.8 on the value here. Then we'll check on denoise. And then accurate UeHDR. Now, to finish off this final render after Compositing here, I'm going to go to here and change the resolution. So I'll put star and then two. So it'll go to 3840 by 21 60. So this will be a four K image. And then I'm going to go to render properties, and I'm going to bump up these samples this will be Mac samples. It might not even use all the samples. I'll keep going until Blender decides it has enough information to denoise it. I'm going to go with 300, nice and high. It might take a bit while, but we'll have a nice render of this. So, I will see you in the next lesson. 60. Polishing Your 4K Render and Final Environment Adjustments: Hello. Welcome back to stylized Blender Fred Environment, Greek Temple and garden workshop. So yeah, we made it. We finally got there. Here's our four K render and with this, we can, like, really zoom in and analyze some tiny details. Now, there's always changes that could be made to make it look better. Like maybe the ambient occlusion on this white marble material could be toned down a bit. It could be, you know, a bit too strong. Maybe these, like, water particles. You could, scale them down, increase the density. Kind of remove the saturation a bit so it's not such a dark blue. It's never going to be perfect, but you can always go back, make changes. You know, I've added, like, a row of walls here at the back to, like, separate it from the mountains behind. And I did, like, move the sun around a bit as well, and just did the lighting. You can always go back and just make little changes until you're happy with it. So yeah, hopefully you've come out of this with a better understanding of how to approach larger environments like this and build it in a way where all these pieces kind of fit together and you can always make changes really quickly and trying to keep it nice and optimized. Ho hopefully your scenes didn't get too heavy once we added all this grass and all the trees and stuff. But been a lot of fun. I'd like to know your feedback on the course, you know, how well my teaching was, and, you know, any criticism I'm always looking to improve. From here on, you could, if you wanted to join the Fred Tudor discord. Now, I will leave an invite link in the course files for you. Yeah, so you can just join. You can show me your work, if you have any questions about the course, if you're stuck on anything, you can ask the questions. I can do my best to help you through that. So yeah, if you've made it all this way, congratulations, and I hope you enjoyed it. Take care, everyone, and happy modeling.