The Blender 4 Modelling and Environments Guide

1. The Blender 4 Ultimate Guide Introduction: To this beginner modeling guide designed to get you from learning the very basics of blender up to a professional finish model. All of this in one course in around 20 hours. The course has been specifically designed to take you through the entire pipeline of three D modeling, right from the idea with referencing to gray boxing, to modeling and texturing and finally rendering and compositing. My name is Neil and I'm the driving force behind three D tutor, A front runner in the industry for courses spanning from blender to honorary engine At three D tutor, we pride ourselves on offering an extensive curriculum with over 30 specialized courses. Our range is broad and deep, perfect for those passionate about animation, eager to craft stunning three D models, or looking to dive into interactive game development. What sets us apart is not just the breadth of our course offerings, but also the meticulous attention to how they're structured with hundreds of hours of content. We've designed each course to be easy to navigate and maximize your learning potential. Our expert guidance stems from industry professionals who bring years of hands on experience to the table. Their insights and techniques are woven into our courses, ensuring you receive an education that's both top notch and practical at the same time. Joining three D Tudor means more than just accessing content. It means becoming part of a thriving community of learners. You'll benefit from peer interactions, share your progress, and have your queries promptly answered by our supportive team, whether you're aiming to kick, start a new career, enhance your existing skills, or pursue a personal project. Three D Tudor is here to guide you every step of the way. Welcome to the Blender Four Ultimate Guide. Our first step is an explanation of blender's asset manager armed with a download pack rich in materials, plants, and geometry nodes. This tool kit is your launch pad, equipping you with everything necessary to begin crafting your three D visions. Understanding the art of referencing is our next focus. You'll learn why meticulous planning and detailed references are crucial to bringing an idea to life. I'll guide you through finding and utilizing references. Employing tools like pure rev and Mid Journey to elevate your designs. We then dive into gray boxing and a radian theme. Building a key industry technique for establishing composition and understanding structure before detailed modeling. This process isn't just about building models, it's about crafting stories and worlds. As you gain confidence, we'll transition into the basics of modeling and shade a set up here you'll start applying textures to your first models, seeing your creations evolve in real time. This hands on approach keeps you engaged and demonstrates the Y behind each step. Blend the cycles X and the new EV options are up next, offering you the power to render your scenes at any stage. Witnessing your progress in real time is not just rewarding, it's a testament to how far you've come. Our journey then elevates you to more advanced modeling and texturing techniques. Along with diverse methods for von wrapping. These skills are crucial for adding depth and realism to your creations. An Arabian themed building isn't complete without exquisite cloth simulations and you'll discover the game changing new cloth generator in blender. This section is dedicated to bringing fluidity and life to your designs. The rain creation in blender reveals a world of possibilities. You'll learn to craft terrains with vertex painting. Blend textures seamlessly and create transparent edges for a stunning professional finish. Our exploration extends to geometry nodes where you'll create palm trees, wooden planks, chains, and grape vines. These skills aren't just for the course, they're for your future projects. Building a library of assets to speed up your own workflow. We culminate with not just rendering, but also lighting and compositing. This final phase is pivotal. Transforming your work into a masterpiece that looks years in the making. This course isn't just about learning blender, It's about revolutionizing the way you model, turning your creative visions into breathtaking realities. Join us at three D tutor and let's reshape the world of three D modeling together. Don't just dream of being good at three D modeling. Take this course and by the end, you will have laid the foundation to becoming a professional. All you need now is time to refine the skills you learn here. Happy modeling, everyone. Cheers. 2. Blender Basics Overview: Welcome everyone to the Blender Four Ultimate Guide. And in this course, our aim is to take any beginner and have them finish a project to the professional finish. You see on the screen now. I'll be honest with you guys, this will be tough, especially for beginners. But please stick with the course even if you have to rewatch a lesson a few times. I promise you by the end you'll have a complete understanding of the full scope of how to create this model and any other project like it in the future. We've picked a model here and a scene that covers blender from A to B with perhaps only the animation and particle system missing. Now before we begin even building our model, it's important to spend a few lessons going over things like the basics of blender. Such as moving around the viewport and things like the resource pack and referencing with these parts. If you already know the stuff, then just move on to the next lesson. But I highly recommend though, working through them as there's always something you can learn. But enough of all that. Let's get started. And the first thing we'll be doing before doing anything else is going over the blender basics. This will be covering things like getting around the viewport of blender. And lastly, before we do that, I'm using a Blender four version. Now, you don't need to use Blender Four. In fact, you can use anything pretty much from Blender three onwards to follow along in this course. And you shouldn't have any problems at all for those of you who are using anything below Blender three. So Blender 2.8 onwards, be aware the Asset Manager wasn't available to Blender three. Okay, everyone. So let's get started on the basics of blender moving around and of course, the viewport. And I'll see you on the next lesson. Thanks a lot. Bye bye. Hello everyone, and welcome to the basics of blender part of the course. I recommend grabbing a pen and paper or a Word document and joining down these keyboard shortcuts. He will be going through the very basics of blender and the keyboard shortcuts you will need. With all that said, let's get started. On the left hand side your kit. See I have key casting on. This will show you the keys I'm pressing in real time. And this will be on pretty much, if not all, of the entire course. The next thing I'd like to show you is any new keys we use. There will be a small animation that will appear down at the bottom right hand corner. This will only appear the first time we use that particular new key. And I think it really helps keep the flow of the lessons to a decent rate, both for beginners and those more familiar with blender, because they only appear once, they won't plow up the screen. And there's always screen casting to rely on. Also down the bottom right hand side, you'll see a detailed animation of anything that needs more context. This is useful if you're new to three D model in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then if you need more information, jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now when we mention blender viewport, this is actually viewpoint. You can see it. All of this gray area here is actually viewport. Now if we go to the UV editing bar up here, you'll see that on the left hand side, it's now in two screens. And if I say the UV editing viewport, all that means is just this gray box over here. So now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is that the middle mouse port, actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to zoom, it's just scrolling in and scrolling back. Now you can also press control shift and the middle mouse, hold it down and then just push it forward or push it back. And you can scroll in very slowly. Now to pan, all you need to do is you need to hold shift one and the middle mouse and then you can pan from left to right to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the dot on the actual number pad and that will zoom you right in to the object you want to zoom to. For instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across the sen collection. Click on your light, press the dot on the number pad, and that will zoom you right in. Now the next thing we need to discuss is just deleting objects. So to click on an object is just let click. And then what you can press is you can press the delete key, and that will just delete it out of the way. So I've just lead to my light there and now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube and we press shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click button, it will drop that back in place. Now you can't see there's actually two cubes in at the moment, but there actually is. So we need to bring in the gizmo. And the gizmo is basically something that we can move things left and right, up and down, things like that. So if I press shift space bar, come down and you'll see we've got one that says And now we actually have our gizmo. And if I pull this to the right hand side, you can see now we can pull this away. And now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you got it selected. Now you can move it basically anywhere around the viewport. You can drop it back with the right click, or you can put it wherever you want it. And then it click left click, and it will put it wherever I wanted it. Now also why the door, the zoom tube born is important. If I press the dot born. Now you will see that if I just zoom Mou and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual cue. Now if I click on the other cue and I press the dot born, you can see now that I'm actually rotating around the origin of this cue. The next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with this cube except move it round. Now if I press the tab on, we will then go into edit mode. And in edit mode we can actually do a lot more things with this cube. Up on the top left hand side here, you will see that we've got three different icons. One of them, this one here is vertices, the next one across is edges, and the next one across is face. Now if we're on vertices and we come over to this vertices for instance I, then if I press shift space part to bring in my gizmo again, I then can move this around. Now if I come into edge select, I can grab the whole edge and move this around like so finally, if I come into face select, I can now grab a whole phase and move it around like so. Now the other thing is if we come to our verte select, I can select a vertices, you can also select another vertex or another object or something else like that just by holding the Shift button and actually clicking on the other verte or the other object. Or if we come to face select for instance, we can grab this phase, shift, select the second phase. This is how we can select multiple objects. Now the next thing we need to discuss is the axis. So we can see here we have a red axis and a green axis. Now just to show you what this actually relates to, if we come up on the top right hand side here, where you've got these two interlocking balls, and you click this little down arrow, you will see that we can turn on the z axis. Now we're just going to turn this on, just to show you what I mean, we turn that on. Now you'll see another axis appears here. Now the green axis is representation of the Y. If I want to scale this out on the y, all I would have to press is and Y. And now you can see I can scale it out along that axis. Now if I want to scale out on the X, so that's the red axis, I'll press S and X, and I can scale out along the axis again, the same thing. And Z, the up and down axis is, and it's S and Z. And then you can scale it up and down. Finally as well. This is also important if we actually want to rotate it, because we'll rotate it on an actual axis. What I'm going to do is I'm going to grab the whole of this by pressing the button. And then I'm going to rotate it around. So I want to rotate it on the Y axis, so it's Y. And then you can see it will only rotate on the Y axis. And no matter where put on the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is and Y again. And then let's give you a degrees. All we're going to do is we're going to press 90 on the actual number pad. 90 to button. And now you'll see it's rotated by 90 degrees. So just to summarize that is scale. And R is rotate normally when we scale something or we rotate something, it's followed by the actual axis and then it's followed by a number. Specifically, when we rotate something, normally when we scale something, we just hit scale, pull them outside and we'll scale it up. When we rotate something, it's normally followed by the axis, followed by a number on the number part. So now the last thing I want to discuss is if we go to object mode. Now we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the number pad to actually view this. So if I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the number pad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite. To get to the opposite, all you need to do is you need to hold control. On this occasion we'll press control and seven, and that will bring us to the bottom of this object in the view pot. Control one is the rear of the object and control three is the opposite side of the object. Now before we finish this section of the course, I need to show you something that's also very important. If we come up to the top left hand side, you'll see you've got a button here that says Edit. And if we come down to Preferences, one thing that you should always do, that when you first download a blender, you should always put on the Status Bar, which is this button here. And if I click all of these on, you will see now if I click them all on, and I close that down down at the bottom right hand side here, you have all the details that you need. For instance, we've got how many faces and how many triangles are actually in the scene and the objects are in the scene. And the memory and V Ram that's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles you'll learn more about as we progress through the course. That pretty much covers the basic of blender. And hope you'll found that both helpful and informative, but more importantly, easy to understand now as they say on with the show. 3. Setting Up New Projects in Blender: Welcome back if you want to the blender for Ultimate Guide, and this is where we left off. Again, absolutely nowhere because we haven't done anything yet. But you will be greeted with a viewport like this and now you know how to get around. What we're gonna do is we're just going to left click our little point light here and press delete. Key, left click our cube. Press delete and left click our actual camera and press Delete. So we've got a clean viewport now. As you can see. Now I've reset my blender two factory settings. And if you want to learn how to do that, just come over to file, go down to default and load factory settings. And as soon as you click that, you will be greeted by the screen again. I'm just going to drag across them and delete them all again. So I've got nothing in my viewport again. Now the next thing you want to know is how to actually save a file out. So what you're going to do is you're going to come to file, and you can see it at the top here. Or you might not be able to see it where it says unsaved. Let's go down then to File. And let's go where it says save As. So click save As, and then we're just going to save out our file. I'm going to save it here. And I'm going to call it to the Blender for ultimate guide course like so. And then click Save As. Now whenever I need to save this out, I just go to File And Save now. And it will save it out over there. Now the next thing you need to know is what happens if you lose your work? So what you want to do is you want to come over to file and you want to go down to where it says recover and then auto save. Once you click auto save, you'll see that you've got all of these save from all of the files that you actually have been working on. And the one normally you want to pick is the one which is normally closest to the time when you actually lost your work. In other words, when Blender crashed or something like that. So this is how you can recover a save file. Now at the moment, if we go over to Edit and Preferences, you will see if I come down to save load, that it saves one version of the file. So in other words, it saves one save and then one other version of the save file. It also saves recent files to up to 20 different blender files. So you can increase this, but of course it will put more stress on your machine depending on how many of these you've actually got saved. And finally, the auto save is set at 2 minutes, which I find is actually really adequate for, you know, in case you lose work and things like that. In other words, you might lose a minute or two of work. But honestly, most of the time, and I say most of the time, that should be absolutely fine. Now, before we begin with anything else, the other thing that you need to know is if you come over to the interface here, you will see that if we come down, we've got something where it says Status part. Now this status part is where we can actually see everything down at the bottom right hand side. So in other words, we've got blender version ticked on at the moment, which is Blender 4.0 0.1 As you can see, we can also turn some of these on, so this doesn't really cost a lot when you're running blender. So you might as well turn them on, especially things like scene statistics. We're is going to tell you how many polygons or vertices or faces you have in the scene, how many objects you have in the scene. And the other one you want to put on is the system memory, which is going to tell you how much memory you're actually using within this blend file. Because some of you might be working on lower machines. And that then might cause an issue, especially when we get into some of the more difficult things. And then you can see that, hey, this is running too much memory. And then you can actually separate them out and pull them in a different blend file if needed. The other thing is the video memory, this has more to do with how much Ram it's going to cost to actually render things out. So using new graphics cards and stuff like that. Finally, then before moving on, the last thing I want to talk about is going to be under system, and you can see that on our system we have actually undo steps of 32. Now be aware if your blender is running extremely slow, you can turn this down to something like five. But just be aware that obviously you won't be able to undo the steps if you make a mistake. But this is normally one thing you can actually do that will really speed up the blender viewport, especially getting around. So you might want to turn that down. And if you have got a really, really high machine and you're apt to make a lot of mistakes, then by all means turn this up. And if it's capable of doing, then it should make it a little bit easier for you. Now, the other options within here, we're going to be going through a little bit later on in the course, but here is a few things just to get you started. All right. I'm going to close that down. I'm going to save out my work and I'll see on the next on everyone. Thanks a lot. Bye bye. 4. Mastering Blender Asset Manager Setup: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we left it off. Now before going any further, I think it's a good idea to first of all show you how to use the asset manager because it's such an integral part of what we're going to be doing. And not only that, we have the resource pack that is also based on the asset manager. Now unfortunately, if you don't have blender and above, then you will have to use other ways which I will show you how to use the resource pack. But for those of you blender three and above, especially on blender four, the asset manager makes it extremely easy. And actually it makes it really, really easy to build anything going forward. So first of all, let's come over and you will notice I'm on layout at the moment. So these tabs up here, I'm actually on layout. And we don't really need to be on layout, because layout basically gives you a dope sheet or a timeline here, which is basically there for animation. So what I'm going to do is I'm going to come to modeling first. This is the one that we're mostly going to be working in when we're actually building things. It's a very, very nice clean viewport as you can see, and you can basically get to everything from here. Now we want to though, use the asset manager. You don't see an asset manager across here, and that's because there isn't one. So basically what we're going to do is we want to create a new tab just for asset manager, because we're going to be popping in and out of that all of the time. So when it comes to plus, and you'll notice that I can add in a workspace when it come over. Then to the right hand side here where it says General, you will see that it says Asset Manager there. Now the thing is on Blender below Blender Ft. I don't actually think this is available there. I think you'll have the other ones but not that one. Basically just pick any of these, but if you can pick the animation, because I'll show you actually how to set it up just in case this asset manager isn't there. So what I'm going to do is I'm going to click animation. And you will end up with something like this. So it's created a new tab and here are then the three kind of viewports of, you know, the four animation. So a dope sheet, a timeline, and a viewport. All right, but we don't need these two and we basically want this one changing into the asset manager. So let's do that now. So if I come up to the top left hand side here, you'll see that you've got a little cursor there. If I left click and just drag, you'll see that you've got a left arrow there and the screen kind of goes gray. Just let go. And then what it'll do is you'll get rid of that screen. If you want a screen coming in, you can just left click and drag it out and then you can have a screen coming in. Now let's just left click and drag this way to drop that back. Now we have, at the moment, got in our timeline. We don't really want that. What we want this to be is the asset manager. So always on all of these screens, you will have a little icon on the left hand side here. Just click the down arrow and then pick whichever one you want. Now for us, the one we want is asset browser, which is this one over here. So once I click that on here is our asset browser, and this basically is the asset manager. Now one other thing on the top here, you will see that I've got animation 001, because they already have an animation tab. I need to change that. So what I'm going to do is I'm just going to double click it. I'm going to backspace and then put Asset manager smell that wrong Manager manager like. So press the end to button and there we go. Now I don't want the asset manager actually being over here. I want it more over here. So what I'm going to do is I'm going to re order two front. So click it and then it'll be over the front there. And really nice and easy for you to grab this one or grab your modeling one. You can also grab this one and re order to the back now. So then you've got your asset manager and you've got your modeling next to each other. So we've got modeling and we've got our asset manager. All right, so now we've done that, what we want to look at is the actual asset manager. And you can see at the moment we have all of these kind of things in here now. Don't pay too much attention to these, most of it is just hair, and we certainly won't be using that in this course. So what we want to do is just close that up and what we want to do is create our own now. So what I'm going to do is I'm going to come down to all I'm going to put it on current file and all that then will disappear because that's basically just there as a template. Now what I want to do is I want to bring in a couple of objects and put them in our asset manager to show you how it actually works. So what I'm going to do is I'm going to press Shift A to bring in a primitive. I'm going to click Mesh in a cube. I'm going to then press Shift and Spacebar to bring in my move tool. Move that over to the left hand side. Then what I'm gonna do is I'm gonna pres shift A and bring in a plane. So now we've got a cube and a plane. And bearing in mind this has nothing to do with the actual project we're going to build. We're just learning this so we know how to use the asset manager. All right? Not only with the asset manager, can you add in there things like objects, but you can also add in there jumptodes materials, pretty much anything that you can think of. There are a few limitations on animations and things like that, but apart from that, even Sky, even HDRIs you can also add in there. But let's keep it simple. And let's keep to our cube plane and a couple of materials. So the first thing I'm going to do is I'm going to come over. To the right hand side up here. And you'll see that we have four options here. One of them is the viewport shading, which is wire frame. If I click on that, you will see now that you can see all of basically it's a wireframe. It's like an x ray but not quite the x ray. It's just a wire frame where you can see through everything. The next one here is the one you're on, this I'll be referring to as object mode. And basically all this is, is just showing you the basic objects that you've got. You see. Then the next one over here is material mode. And you will see at the moment they're both white. And the reason they're both white is we haven't actually poured material on these. So what I'm going to do is I'm going to click on my cube. Come over then to the right hand side where it says Material, and let's add in a new material. Let's make them where it says base color. We'll just give this a very, very basic color, so we're going to click red on there like so. And then what I'll do is I'll click on my actual plane, New, and we'll put this as a green. So now we have two objects and we have two materials. And now all that's left to do is we really want to put these into our asset manager. So all I'm going to do is I'm going to shift select both of them because you can do them all together, it doesn't matter how many you've got selected. And then what you can do is you can right click and markers asset. And you'll see now they actually start to populate the actual scene. Now you can also right click and you can come up and clear asset as well. Now the thing is I'm still unsure if I'm going to front view with the three My number pad and then I right click and a markers asset. You'll see that sometimes let's say you've got a door and you want it to be a front view view, so you're looking at the front of the door. Sometimes when you do asset management, your right click and market asset, you need to be in front view or you need to change the orientation. Now we will come a little bit more into that as we move on. But just be aware in case it doesn't look right in your viewport when you mark assets that we will be covering that a bit later on in the course. Now the next thing we want to do is we also want our materials in here. So if I click on my Cube, come over to the right hand side, right click mark as asset. You'll see now that we now have a material in there as well. And we can do the same thing on the material for the plane as well. All right, that's all good. We've actually got two objects now and two materials in our asset manager. Next of all, what we want to do is we want to actually put these in some sort of order because we don't want everything down here. So I'm going to come over, click the Little Plus button, where it says All, and let's call this one Materials. And then what we'll do is we'll click the little plus one again, and we'll call this one Objects. Just to keep it simple. Normally you would have things like doors, windows, roofs, walls. And you would split them all up so you can actually build a vast asset manager to actually bring things into your other projects. So that's the reason why we're doing this. All right, so then what we'll do is we'll come to unassigned. We'll left click our cube and control. Left click our plane and drag those into object like so. Now what we'll do is we'll do the same thing for our materials now. So we have these two materials, shift, select them both, drag and put into materials. And there we go. Now we've got materials and we've got objects. Now let's come up and save out our scenes. So we're going to go to save like so. And then what happens after a little bit of time, you'll see those little stars disappear. Now what happens if we actually open up a new asset manager or a new blend file? These won't be available. Now what I'm going to do is I'm going to show you how you can actually make these available. So here is the file where we actually saved out the blend file. You can see we've got blender for the ultimate course. This is what we saved it out as. And you can see that we have one white version of it here. This is that other save that I'm talking about. You can delete this if you want to. It just gets updated every time we do a save. You can see here, this one is saved out 1034, this 11044. And as this one gets saved out, this one will be updated. Now, you will also see that we have a text file. This text file is actually very important. This actually is when you open up Blender, what will create this material and these objects or ever another many categories you're actually have in there. So it's very important if you're saving out your blend file that you actually save this with it. Now I'm going to put these, you can see here, I've got one that says Asset Manager and there's nothing in there. What I'm going to do is I'm going to drag all of these and drop them in Asset Manager, just so you can see how this actually works. Now if we double click that, you can see those are all in there. Now let's drop that down again. And what we're going to do now is just look at the file system. So if I come to file, you can see if I come down to external data, we've got one here that says automatically pack resources. Now when we're dealing with the asset manager, it's important that we do automatically pack all the resources. Because if not, the textures and things like that will not be actually saved out anywhere else. In other words, if you want to then send this to someone else, the textures will just appear pink. And that's because we haven't packed them in. So always, always, when you're dealing with your own asset manager automatically pack them. Then what you want to do is you want to go to file and save it out. Now because you might have a ton of textures in there, the file size will go up exponentially. Of course, you might end up with a gig in an asset manager file because there's so many textures and things like that. Alright then. So we're going to leave it here and we're going to pick up on this on the next lesson. I hope you enjoyed it and I hope you're able to follow along so far. And it gets a little bit complicated on the next one. All right everyone. Thanks a lot and I'll see on the next one. Bye bye. 5. Efficiently Storing Files in Blender's Asset Manager: Welcome back everyone to the Blend Four Ultimate Guide, and this is where we left it out. All right, so now what I want to do is I want to open up a new file to show you how this actually works. So what we're going to do is I'm going to open up a new blend file. And you'll notice the first thing is I've got a splash screen here telling me what a version of blender is. And when I click it off, you'll see that we've got no cube, no camera, and no point light because we reset the factory setting. So what we did was we had default safe start up file. Now you'll also notice that we do have an asset managing now because we saved it out as if I click on this, you will see nothing in it. How come there's nothing in it? Well, we can't select anything either. We've only got the user library, nothing in it, or the hole, which is just what we had before. So how do we actually get to those assets now that we saved out? We go to Edit Preferences and then we're going to go to File Paths. And you'll notice here that we actually have a file path over here where the assets should be. So you can see user library is here. What we want is a file path here of all of our actual asset manager files. So what I'm going to do is I'm going to click this bot. And then what I'm going to do is I'm going to find the asset manager where we actually saved it out. Now it's a good idea to actually come in and left click, press control C on your file. And then what you're going to do is you're going to control V, press the end to button, and there you go. Here is my actual file. So now what I can do is I can store all of my blend files with objects in that I want in my Asset Manager. Within this file itself, you can see it's called Asset Manager once I click Accept like so. And then what I'm going to do is I'm going to close that down. And now what I can do is I can come to where it says all and I will have one that says user library. And now you can see that under user library we have got all of these assets again in there. Now what we can do is we can actually pull these out into place. And you'll see that this comes out if put on material with the color add on it. But not only that, it actually gets better than that because we can actually bring out now and just drop our materials on objects. So you can see now that is how we actually use it. You can see that this is how you really want to save out your U, your blend files, especially when you want to use them within the asset manager, you can see how you actually add them to the asset manager, including materials. And you can now see just how easy it is to use. So I'm really hoping that covers it. I know some people find it, you know, a little bit complex to actually use the asset manager. But that's really as simple as I can actually make this part of the course. Now what we're going to do on the next lesson is we're going to actually be using the resource pack. And the resource pack, I will be going through it, but that is where, that is what we're going to be putting in this asset manager, not these cubes and you know, all of this stuff. We're going to actually delete this file out of the way and then save that resource pack into there. Now bear in mind when you actually get the resource pack, it may be zipped up. Make sure you're zip it because if you don't unzip it, you'll be looking for the assets and there won't be anything there. All right, for now then let's just close that down. Let's click Don't Save. And then we should be back to this screen here. Now what we're going to do is we're going to, instead of using what we've got here, we're just going to go to File. And we're going to open up a new file. So I'm just going to click General. And there we go. We've opened up our new file, and now what we can do is we can save this out. So file, save Os. I'm going to save it as the name that I had before, so the blend for automate course. Double click it and now it's actually saved out as that. All right everyone. So I'll see on the next one. Lots to look forward to. I hope you've learned a lot about the asset manager. Cheers. Bye bye. 6. Resource Pack Configuration for Blender Courses: Welcome back to everyone. To the blend of four ultimate guide and this is where we left the art. So now what we're going to do is we're going to actually take a look at our resource pack. Now when you download your resource pack, make sure it's actually unzipped. Once you've unzipped it, you will have this actual resource pack. You will have the text, well, two text files. That's normally how it comes in. So all need to do then is just double click this and open it up. And then once it's opened, you will be greeted with something like this. You can see at the moment it's compiling shades. That's because we have a lot of shaders in here which you're going to be using. All right, So now we can also see if we come out to file, you should have make sure that this is a automatically ticked on which it should be. And then what that means is whenever you save this resource pack out or send it somewhere else, it will be available with all of the textures and things like that. So now let's just wait until these actual shaders update the first time When shade is update, it might take 5 minutes, something like that. That's just the way that it works. It even works like that with my machine. And my machine is 2070 super on the graphics card, so quite, you know, high end. All right, so now everything's updated. Now what we can actually do is we can quickly now go through these which we'll be using so we can see everything is named, everything is really nicely laid out. And everything over on the right hand side is also put into a nice group. Actually, we're going to go through the collections as well, but you can see everything is grouped up here very, very nicely. All right, so the first one then is we've got geometry notes. We will be using these within our scene. And what this will do is it'll make it much, much easier to create certain things like palm trees. If we had to go through and create, you know, palm trees from scratch, it's going to be a course within itself, to be honest with you. Now, these geometry nodes are all made in house. We made them here at Three D Tudor, which means that you're free to use them in any of your projects. As long as they're not commercial use, you can get a commercial use license from any of our stores. Now the geometry nodes as well is we've made them as easy to use as possible. And we will be going through how the geometry nodes actually work. And we're basically just going to be dropping these into our scene to create things like palm trees. And I'm going to show you how to use them. Same as they're not ivy, they're actually vines for the grapes and things like that. We've also got one here which is planks of wood. And finally we have one for chain. Although the chains looking a bit weird at the moment, don't worry about that. It's gonna all come together as we move on in the course. All right, so the next one we've got then is the displacement reference. And the reason we have this in when we come to actually do our floor, sometimes you can get a bit muddled up with the actual displacement options. So we've just kept that in there to make sure that we're going to get it really nice and you have a really nice looking scene. In other words, you could actually take this and copy the modifier onto your own floor, but let's not worry about that too much. That's what it's there for. Next of all, we have our plants and foliage again, plants there. Sometimes it can be a little bit tricky to make, so that's why we've supplied those in there. Now you can go out, of course, and buy many, many plants and foliage packs out there. There's lots of them, there's lots of free ones. So all you need to know is how to use them within this course. So how to bring them in, how to put them good ways of placing them, and good things like that. I will show you though as we go further on how these are actually structured, how we actually, which shade we've actually got in these and things like that. All right, then we've got our good old human reference, which you'll see in many, many of our courses. I don't know why he's turned that way round. But he's back. He backs to us, but never mind. Here's 1.8 meters, which means he's a great reference to bring into your scene, especially when you're building out your gray box. Because you're going to find him really useful to actually create things to a realistic size. Even if you're dealing with stylized projects, generally you want to be keeping to realism when it comes to sizing. You don't want ten foot doors or 50 foot windows or anything like that. Also important if you're actually taking it out on real engine or if, you know, you send it through a pipeline. You do want models that are, you know, accurate in terms of scale. And finally, then we're moving on to all of our materials. Again, with these materials, we've got them all named. As you can see, if we come over to the right hand side floor and brownstone and things like that. And basically they're all named, they're all set up, ready to be used. We will be going through them and showing you the set up. A lot of them are very simple and we'll show you actually how to bring in your own textures and things and then you'll be able to see from this how to set them up yourself. Basically, this resource pack is going to save us a lot of time within a big course. And all of these things you can either create yourself, we'll show you the fundamentals of them, or you can get them from somewhere else. So leading you to focus on creating your model. All right, so now that's done, let's go over to the asset manager. And you'll see on the left hand side here, everything is set out really, really nicely. So we have things like geometry node. You can see we've got our human reference, we've got all of our materials. We've got plants and foliage in there, and we've got our sand and displacement flooring in there. So everything's in there that you're going to need. Now the next thing that you need to do is you need to save this out in a place where you can actually find it and actually use it, because we're going to need this in our scene. So you can see here, it's called an Arabian building. It's a course pack and it's in my resource pack. So what I can actually do now is I can actually close this down. Then what I'm going to do is I'm not going to save it because mine's already saved out and I haven't done anything to it. I can close this down now. And now I can finally do is come up to Edit and preferences. And what I'm going to do is go to file paths. And now I want to change this file path. So I want it to go to where this is over here. So if I come on and left click all this press control set to copy it. Come back then to this blend control press center and there is my Arabian Resource Pack. If I click accept now and close this down, come over to asset manager and now you'll see if I go to use a library here is all of my packs in here. Now the thing is with the asset manager, we will be creating our own assets within our C. So this project that we're doing now, we will be creating our own assets. So all you need to do, you've got user library and you'll have current files. So the current files, you can see nothing in here apart from these two things that we actually created. Let's actually delete those because we don't need these catalogs, so I'm just right clicking and deleting catalog. And then I'll go back to my user library. And now you can see that these are in here. More than that though, you can see we'll bring out our human that can just bring him out and drop into our scene. And basically this is coming from another blend file which you're actually using here, which is really, really nice. All right, so all of that is set up now. Now the next thing I want to go through is just on the collections. So we're just going to go quickly through now the collections to keep your, you know, you viewport tidy so we know what things are named. If ever I'm not naming something. You might want to go and make sure everything's tidy. So let's discuss that now. So what I'm going to do is just pull that down a little bit like so I'm going to go back then to modeling and there's my human. And then what I'm going to do is I'm going to come to him and to rename him, all you've got to do is press F two. So you can press F two and you can rename something like human reference. It's two, human reference like so. And then you'll see now it changes over here. Now the other thing you can do is you can name it over here as well. You can double click it and name it over here. But trust me, when you've got a hundreds of objects in here, it's a real pain to do it that way, as well as putting them in collections. Gone are the days where you're going to be dragging them up and putting them into collections. What I can do now is I'm going to get my human and then I'm going to put him up onto the next one. So in here hopefully like so. And then what I'm going to do is I'm going to delete this collection. So I'm just going to come to this collection, I'm going to delete the collection out of the way. And then we should end up with something like that. Now I'm going to do is I'm going to grab my human once more and I'm going to press the button. And now you'll see I can either point in Steam collection or make a new collection. So I'm going to left click on the collection. I'm going to call a Human Reference or press Okay, Click okay. And there we go. Now we have a collection called Human Reference. If I then bring in just a cube, quickly, shift day, let's bring in a cube. Let's move the cube just a little bit over here. Now you will see that, first of all, if I press F two, let's name this cube cube. You will see over the right hand side, now it's changed. And to pull down its own collection, press the Born New Collection, let's call it cube, like, so click okay and now we have two collections. So you can see really, really easy to actually make collections to rename things. And that's basically it as far as collections go. So let's now come over to the right hand side and what we'll do is we'll just delete this out the way you'll see now what it does is it doesn't delete the cube out, which is great because we don't want that. But now we can come over and delete our cube over here as well. So we'll just delete that out the way. Now there are some other things that we will be going through about our collections, especially to do with these little icons here, but we'll be doing that a little bit later on. What we're going to be doing on the next lesson is we're going to actually be starting our grade box. No, we're not. What we're going to be doing on the next lesson is we're going to be going through referencing because that is the most important thing before actually starting anything. It doesn't matter if you're making a piece of rope. It doesn't matter if you're making a whole city. We need references. So I'm going to show you how I do references. Some of the options will be paid for, some of them will be free, and some of them will just be via Google. But I'll show you the process of doing it. All right, every one. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 7. Efficient Reference Setup for 3D Environment Design: Welcome back everyone to the Blend for ultimate guide, and this is where we left it off. All right, so let's talk about references. So whenever I first begin, the first thing I will do is I will go onto Google. So let's put this up. I will go onto Google and I'll put in whatever it is I'm thinking of creating. So this could be a medieval castle, it could be an Arabian building, it could be anything, even if it's a prop just put in wheelbarrow or whatever it is you're thinking of creating. And from there, I will then decide whether I want to make something realistic, whether I want to make it stylized, or you might actually have something in mind or a genre in mind. Even so, it could be an Arabian building which is haunted, for instance. For that, then what I'll do is first of all get an idea of how it is I want to build something. So you can see here many, many styles of everything. You can see here, this is a modern building. You can see here, this is very ancient. And you can see this is modern, but still in the architecture of not ancient times, but going back perhaps two or 300 years. So there's many, many different ways of building things, many different styles of building things. So this is the first thing that I'm going to go for to get an idea of what I'm doing. Now, I usually use Google when I'm actually doing this. And then from there, once I have an idea what I actually want to create, then I kind of move on to something like Pinterest. And I kind of nail down my idea even more so. In other words, I will get images then from Arabian building, let's put in stylized and see if we can get anything up so it's stylized Arabian building. Since we are doing some stylization, and this then is where I'll be getting tons of images off of Pinterest. Now once you've actually done that, what you want to do is you want to go and download something called Pureref. So this is Pureref. And then what you want to do is you can see here Pureref.com You can say get Pureref. And you'll see that if you scroll down at the moment it's $15 But we can get this for free. If we go to custom amount, put this to zero and then you will be able to get this for free. And it's such a lifesaver, this thing, it's amazing to use. And I'll quickly be going through that as well. But get your hands on this or you can use some other software as well. There's plenty out there. But working in the industry so long, I can say that pure for me at least is the best software to use for what I do. All right, so let's open up pref. So once you've downloaded, you will be greeted with an empty screen. Now what I've done is I've populated this with the things that I'm going to need. Generally, I break down my scene into parts that I'm going to need. And the way that I do that, first of all, I get building references. So the main building reference, you can see this is the style I'm going for. These are loads and loads of different styles which I'm going to show you. You know, you can get those of Pinterest. You can generate them in AI software like Mid Journey or Dolly or any of the others out there. There's so many out there now. Some of them are free, some of them are paid for. In everything we do here, there is obviously a free version, or there's a paid version. It's completely up to you what you actually want to do. So you can see my main building is there. You can see then I've got my doors, so you can see all of these doors, you can see. Then I've got plants and foliage. I've got windows, I've got lighting, and I've got lights, and finally props. So what I tend to do is get my main building, then I'll move on to doors and windows, then I'll move on to props. Then I'll move on to lights, and then finally plants and foliage. How I'm going to put the plants and foliage out and right at the end then I'll be looking at lighting. So let's go through some of these now. So we can see that these are all the buildings that I actually generated. I did this using mid journey, but as I said, you can actually put your own in there from Pinterest, from Google. And what I tend to do is then I'll grab a main building. So this was my main building that I really liked and I want to take a lot of inspiration from. And you'll see as we're building this out, how much inspiration came from this. You don't want to take a building and just copy it. You really want to get away from that. But what you want to do is take probably one building, which is going to be your inspiration. And then what you do is you take all these ideas from all these other buildings and kind of add those into your own work. Now, it takes time to learn to do that. So in the beginning, just try and focus on two or three of them. So you can see here, we could pick this one and we could have, instead of this part being on here, so this roof being on here, we could take this and put it on here instead. So just mix and match them a little bit in the beginning before you get good at taking many, many images, keeping them in your head, and then using those little parts of all of these parts within the building. Next of all, go on to doors and windows you should move onto because you can see within buildings you've got a lot of different doors and windows. And you definitely want to have references for these because it's going to make it much, much easier when you come to build. You don't want to be in a situation basically where you've got your building and then you're just copying the windows off of here because they're very, very hard to see. Anyway, normally when they're generated like this, there's not a lot of put into the windows and doors anywhere you can see. I don't know what this is. This window is a little bit weird if we're really zoom into it. I mean, trying to make that blender anyway is going to be difficult. So the thing is, generate some more doors and windows, or find them on Pinterest or Google. And you can see, now I've got my windows here, and I'm going to show you now how we can actually do this. So let's say we've got all of these, let's just take these out. So I'm going to show you a little bit how to use PRreF. So what I'm going to do is I'm just going to move them around. So you're going to be dropping in windows, left, writing center or props in this case. And then what I'm going to do is I'm just going to drag and select them all like so. Right click and go to images arrange optimal. And then it's just going to arrange them in an optimal place for me and then I can put them all together. What I'm saying is grab all your images, put them all together, and then just drop them and arrange them all. Now to bring in a name of something, all you need to do is just hover. Wherever your mouse is, that's where it's going to appear. Press control then, And then you'll see a note appears. And then you can simply type in something like Windows. Press the Enter Born, and there you go. Now you can drag this around as well. Extremely easy to use. Next of all, then we've got our Windows, we can do the same thing with those. Again, sometimes I tend to get a lot of references. This is basically, you know, I usually have a lot more than this. When I'm actually building something, I might have 30 different windows. Just remember though, they have a lot of pure rep files, we already have a lot of windows in. So this is just to show you how I actually do it. So we've got windows and doors, and then we need foliage. When you're creating a scene, especially when you wanted to look professional and you need to fill out the scene, you need to make sure you've got lots of props in there, and especially you've got plant life. In most scenes you're going to need some sort of plant life. And it really, really brings out the scene. So in the scene we're going to create, we're going to have palm trees. We're gona have some ferns down at the bottom. We haven't put any cactus in, but you could really put those in if you want to. But you can see this really gives you a good idea of how you can actually fill out your scene and all these ideas of not just plants and foliage, but cactus and you know, plant pots and just a really good feeling of how you can fill it out. You can see here, I've got an idea from this of having some vines and some grapes, and you're just really, really building on ideas. All right, so over here then is the props. And obviously that's the other thing. What you want to do is, as we're building now, you break your building, whatever you're doing into chunks. And on those chunks you make sure that there's some life in there. You always want to do that, and this is what really brings an image to light. So you don't want just blank walls with nothing there. You want to steer away from that, especially when the focus is on a building. If you're dealing with a whole town, of course you're going to have walls where you know not a lot is happening. But generally when you're building out a project like this one where it's a building and you're going to be doing a turntable and it's going to look really professional, really nice building. You want to make sure that you broke your building down into chunks, and there's life in every bit. You can see here, I took a lot of inspiration from the things like the cloths, the barrels. You can see this arch here. Lots and lots of props in here. Now, the next one I do is lights. I probably went a little bit overboard on this, creating all of these different lights, but it did give me a lot of inspiration, not only how to create a light, but how the lights are actually lit. A lot of these, you can see we have kind of oil lights, we have some candle lights in here. And sometimes it's not obvious what's actually in them, but you can see the actual overall style gives you a lot of variations to what we need. All right, and finally, then moving on to the lighting. Now the lighting normally, I always leave till near the last. And that's because I want to decide whether I'm going to light my lights. In other words, you can't light your lights in something like this. So there's no point in having a building like this and focusing on the lights now. Although this looks really nice, it's probably not going to teach you as much about lighting as if you have something like this. Because in something like this, as you can see, we have a lot of lights here. I think this is a sunset actually. We have a lot of lights on the water, so you can see, you're probably going to learn more from that one then. Just this way is just a daytime scene. So that's why we've picked the kind of lighting that we've gone for now. We could have gone for something like moonlight, but again, that comes with other problems. That's probably making it a little bit too difficult because moonlight is pretty hard to get Right. Actually, we've steered away from that and what we've gone with is a dusk basically. So the sun's going down, we've got some lights that are coming on, or it could be early morning. You can use it either way. And I think that is going to, one, teach you the most, and two, not be so overcomplicated. So when you're actually building your own scene, really, really think about what lighting you're going to want in there. Is it what time of day it's basically going to be in there and I think that is really important. All right, so on the next list, and then what we'll do is I'll show you how to generate some of these images and how I do it in mid journey. But of course you can use your own AI system if you want to, or you can generate them through, as I said, Pinterest or Google. All right everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 8. Generating Creative References with ChatGPT AI: Welcome back everyone to the blender for Ultimate guide, and this is where we left it up. All right, so now let's pull over our actual mid journey. So here is our mid journey here. Let's open that up a little bit. And we can see here that we've generated some images for some other things we were doing. It's use mid journey. All I'm going to do is I'm going to left click down here. Imagine let's put in something like stylized Three D model building, Arabian themed. Arabian themed. Now of course this could be spooky themed, it could be medieval themed, could be Roman theme, could be anything based there. But we're just going to put that in. We're going to wait then for mid journey to think about it and let's see what it generates. And from there then we're going to take some of these ideas that it's actually generating. So you can see now we're already getting some nice ideas. We're getting some nice ideas for lighting as well on top of there. And here we are. If I click this now we can see this is what we end up with, some really nice ideas already. Now from there, what I'll do is I'll pick the ones that I like. So up here we've got an upscale, or we can make a variation. Now when we're generating ideas, generally I don't want to waste time with making variants. So all I'll do is I'll upscale each of these. Don't let me just turn it off. Upscale. Upscale, and upscale. And then we'll see that it's upscaling all of these images now ready to use. What that means is then it's going to be putting them into our actually mid journey where we can actually download them. Now once you've got the idea and you're actually happy with the images that it's generating, What you can actually do is you can actually copy that. Come to imagine again, so imagine control V to put that in. And then what you can do is you can press two dots, repeat. And then let's put something like three repeat, three, Press the B. And then it'll ask you, are you sure you want to repeat it? Click Yes, and now what's going to happen is, as you can see, it's going to start repeating them three times, three times repeat. As you can see, now here is 12 and you can generate the ideas really fast. As you can see, now they're already done. Now I've got some really nice ideas to actually work with. Then simply what I'll do is I'll actually go in and upscale these. You don't have to, by the way, you don't need to upscale them. You can actually use the ones that you've got here. So basically I can now copy this copy image. Go back to my pre press control V, hey, presto here, my image that I generated from there. Then I can go and grab all of those images and basically put them in here. We can also do the same thing as well for Windows. So if you want to generate Windows, you're just going to put in something like three D, stylized window, Arabian themed just to match the theme that we've got. And that is the way that you can do it using AI, like mid journey From there as well. What you can do is you can have all of your ideas here. And then what you can do is you can click download all this, then will download all of these from that particular day, and then you can actually download them all the separate images and then drag the images into your Pureref. Once you drag them in, then they will put them all nice next to each other, so they'll be all nice next to each other like this. And then it's really, really easy to wit with. So you can see just how easy it is now to actually generate images, you know. Gone are the days of needing, you know, a full time concept artist, you know, you know, with whatever you're doing. Gone are the days of being, struggling to find, you know, the actual reference that you actually need. And I think this is the best way now of generating ideas for sure. All right everyone. So what we're going to do then on the next lesson, is we're going to actually start with our gray box. And we'll start building that out and actually start in blender. So yeah, a bit of a long intro into all of this, but I feel like these are really fundamentals of actually creating professional looking buildings and assets. Alright, everyone, hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 9. Techniques for Blocking Out 3D Scenes Using Primitives: Welcome back everyone to the Blender Four Ultimate Guide. And that's where we left off. All right, so we've got our little guy in here. What I'm going to do is I'm just going to left click on him and move him over to the side. So again, when you're doing your own, you will be looking at your own references and then you will be building something off of that. What we're going to do is we're going to create a great box. We're going to have a look at the lighting, make sure it looks right before we start any sort of building at all. This is the way that you want to work building anything, whether it be, you know, something like a wagon, whether it be a castle, whether it's big, whether it's small. You always want to build a gray box. You want to check your light in then before doing anything. So what I'm going to do is I'm going to bring in a cube. So let's press shift a mesh. Bring in a cube. And at the moment, I don't know what size this cube is. So what I'm going to do is I'm just going to open this up on the right hand side. You can either click this button or you can press the end button to open it up like so. And then what I'm going to do is I'm going to come down to where it says dimensions. Now we can see at the moment it says x, y, and z. Now the x axis is always going to be in red and the green axis is, the y axis is always going to be in green. And then the Z axis, which is what you can't see, it's normally going to be in blue. Now, if you want to put on your X axis, you can just come up to these two interlocking links and put your X axis on like that. Generally though, I find that you're not going to need that. Now let's actually come in and make this the right size to start with. So what I'm going to do is I'm going to come in to where it says X and put this on 2.5 meters, press the tab, 2.5 press the tabor, and let's put this on three. And I think that generally gives me a really, really nice building block to start with, especially when we're dealing with something like this. If I then press one on the number pad, I just want to bring it up and I want it to be above this actual ground plane. I'm going to call this the ground plane. And basically it's the line that goes across this x axis. Or if I press three, the Y axis, we want to make sure that this block is placed on top of there. And this is because this is where we want our floor. Anything below here is basically going to be underground and anything sat on here will be sat on our floor. So there is that just to take into account from there. Then I can see that my guy, if I look here and I put a door in, let's say I put a door in here where he can actually walk through. You can see that 3 meters is going to be about the right height. You can see this guy over on the dimensions is 1.85 meters, which is about the average height for a human being, depending on where you're from. So that is the block that I want to start with. All right, from there then I want to actually bring this block up a little bit to the next story. So what I'm going to do is I'm going to press Shift D. I'm going to grab it. So I've duplicated it with shift, and then what I'm going to do is just place that on there. So now we've duplicated it, put it on there. And this is then our main part of our actual building. Now as you work through this and you're putting more parts on here and things like that, then you might want to actually, you know, lower these down or bring them back up. It just all depends. Okay. So I'm happy with that and now we want to move across to the next part. So what I'm going to do is I'm going to grab this block again. And then on going to do is I'm going to press shift again to duplicate it. I'm going to bring it over to this side this time. Then I want to probably make this twice as long. So what I'm going to do is I can see the x axis is here. So I can put this on 5 meters instead, not far on the x axis, 5 meters. And then I'm going to drag it across like so. And we can also see that I'm going to need some stairs down here, because I need this guy to be able to, I'm going to put a door here and then some stairs coming down here. So first of all though, what I'll do is I'll drag this up to be around the halfway point of here. So I'm going to press Tab to go into Edit mode. And then what I'm going to do is I'm going to come over to the left hand side here. So once you press Tab, basically you're allowed then to move the geometry with inside the object itself. So what I'm gonna do now is on the left hand side here we have three options. We have the, if you hover over it, I'll tell you it's called the vertex. So we have the vertex, we have the edges and the faces, Now this one's vertex edges. And click the vertex, I can click on these and I can move them around with the board. And if want to right click to drop them back in place. If I come to the edges, I can grab the edge again. Right click to drop in place. And if I come to the face, I can grab the top face again. Right click to drop it back in place. That's what each of these do. You can also press 12.3 on your number pad to actually do the same thing. Now what I'm going to do is I'm going to come in, I'm going to grab my face, and at the moment you'll see that I've got no gizmo. Now you can come in and click this over the left hand side where it says move. Or you can press shift space bar. Click the move tool, and then you've grow it there Now now I'm going to do is I'm going to drag this up to be round about the halfway point. And then what I'm going to do is I'm going to press Tab to go back into object mode. And now I'm going to press Shift D and bring it back up so to make it a little bit higher than what this building is here. And then what I'm going to do now is I'm going to probably come in and drop this down just a little bit, so. All right, so that's looking good so far. Now the thing is though, if I come round here, this at the moment isn't very square looking, as you can see. If I come out, we can see that this is nearly 4 meters. So let's put it actually on 4 meters. So I'm going to put it on four, and I'm going to put this one on. This one's at 4.5 so that's fine. Now what I want to do is I want to drag these out to be kind of square at the moment. We can see that this way going across here is going to be 5 meters. And this way going across here is 2.5 I want to change this on the y to 5 meters like so. And also want to change it on the Y to 5 meters like so just then so I can move it out and put it more into place now. From there I can actually bring it back now to get it more in line with what I actually want it. Because the thing is, I don't really want it going out all of that distance. So although this is square, what I want to do is I want to make them more in line. So in other words, I want them to be roundabout here, but I also want to make sure it's square because I want to put a top on here as well. So how do we actually do that? Well, what we want to do is we want to bring them back to the place that I want them. So what I'm going to do is I'm going to come in and you can see now I can drag this all this way. So you can see before I actually do that, I'm going to show you, you can actually grab them both. So I've grabbed the first one, grab the second one, press the taboon, and now I can actually go in and move them all at the same time. So I can shift select this face, shift select this face, and then I can move them back like so. Now, how big is that exactly? Because you can see now it's 4 meters at the moment. So if I put this on four, and I put this on four, now you can see that that now is more square. So I've put this one on four as well, and I put this one on four. And there we go. And now we can see four by four by four. And now we should be able to grab them both and pull them into place. And I think that kind of gap there is looking fine. And now going up here is going to be a square cube, which is easier to, with, to put a top on there. And then we've got this part down here where we've got our steps leading up to, again, we're just building out the very basics of it for now. And once we've done that, then we can actually start building out, you know, all of the other parts that are going on here. All right? So this is probably probably the hardest bit because once you've got this bill, everything kind of follows along. It makes it much easier. So what I'm going to do now is I'm going to come, I'm going to grab this part here. And what I'm going to do is I'm going to press shifty and I'm going to bring it over. And what I want to do is I want to put some stairs going up here. So what I want to do is I want to make sure my guy is able to fit in there and walk up some stairs like you can see. Now, how much gap do you want between each of these? For the stairs, I don't think we need quite so much. So I'm going to create something like that and imagine he's got plenty of room then to walk up there for these actual stairs. All right, so that's that bit. Now what I want to do is obviously I want to pull this out, so I not only want to have this go into the back, so the back level more or less with this building here, but I actually want to pull it out along here. So what I'm going to do is I'm going to grab the object, press the tab button to go into object mode, or press Tab, grab this face. And then what I'm going to do is I'm going to pull this out. Now the way that I'm pulling it out is I want some stairs to go up here, and I want some stairs to come down here. So again, I want to make sure that the stairs coming down here are again level with this guy. In other words, you don't want two huge stairs going up there. Okay, So now we've got this in place. The best thing now to do is actually bringing the stairs, because then it's going to make it much easier to visualize what we're doing. So down at the bottom here, you can see on the thumbnail we actually have some rounded stairs and then some stairs going up here, and then finally some stairs going up here to the top probably level with this building. So that's what we're going to do on the next lesson. All right everyone. So I hope you enjoyed the start of this. It does seem fairly complicated when you're breaking it down like this, but trust me, it's worth the effort. And you'll see it is, you know, when you come to actually start putting parts. And you'll see all that effort is really, really well rewarded. All right everyone, thanks a lot. Say the next one, bye, bye. 10. Mastering Greyboxing for 3D Environmental Design: Welcome back everyone to the Blender for ultimate guide, and this is where we left off. Now I think the first thing we should do before doing anything is we should come up and always save out our work. So make sure it's always saved out. After every lesson, I will try and do that. Next of all, what we're going to do is we're going to start bringing in a door. This then will enable us to decide where we want our stairs and how high each of these actual parts should be. So we need to create a basic door and a basic window, and then that'll give us a good idea. So what I'm going to do is I'm going to come to my guy, I'm going to move him to the side like so I'm going to press the little dot button on the number pad. And that then will zoom me in to my guy, making it able to orientate around him. You'll notice if I try and come to this building and orientate, it's still orientating around my guy. If I press dot though, on this part of the gray box, you can see now I'm orientating around my actual cube that I've got here. So grab your guy, press the dot button. And then what you're going to do is you're going to press Shift cursor to Selected. And then what you're going to do now is you're going to bring in a door. So I'm going to press shift, I'm going to bring in a cube. And all I'm going to do then is make my cube a little bit thinner. First of all on the Y axis. So if I press and Y, you can see then I can actually scale that in along that Y axis, like, so I'm going to pull it back then a little bit. And then what I'm going to do now, I'm going to come to a front view. So if I press one on the number pad, I'm going to lift it up so it's actually on the actual ground plane. And then what I'm going to do is I'm going to press and X and bring it in and make it the right size of a door. Now you can see that pretty much this is going to be the right size for the door. No one walks around with their arms spread out like that. Everybody keeps their arms at the side. We don't walk like we're in T pose or anything. So a door should be round about this size with a little bit of head room at the top to actually actually walk in the door. 'cause what you've got to remember is this is just a cube. It's going to have something on the sides. You know, to put the door in the wall, it's going to have something on the top as well. So generally, I would say I would make this door perhaps a little bit taller, so maybe 2.1 and then press one, and let's have a look. Maybe something like that, I think should be absolutely fine. Now what we're going to do is we're just going to bring our door over now. And what I'm going to do is I'm just going to lift my door up just to something like this. And now I've got a good idea of where I actually want this to start. So if I put my door into here and now I have a good idea of the first part. So the first door is going to have a round part coming across here. And then what it's going to do is it's going to lead up to some more stairs going up there. Now, the other thing is at the moment, we don't have anything kind of giving us any visual on how rounded this should be or where it should come to. So what I would say is the next thing I will do is I will bring in another, I'll actually take a part of this and bring that over. So what I'm going to do is I'm going to press Tab on this. I'm going to grab just the front of it, so Face Select. I'm going to press Shift D. And then what I'm going to do is I'm going to drag this over to here. Now of course, I don't want this, first of all, to be part of this, so I don't want it to be part of this bar and I also don't want it so tall. So the first thing I'm going to do is I'm going to press the bottom. And what that'll enable you to do is separate it out from this actual object. So if I collect selection, now you can see that we have two objects here. Now I'm going to grab this one, I'm going to press control A. And what I'm going to do is I'm going to reset all the transforms. And the reason I'm going to reset all the transform is at the moment Blender knows this pretty much is a cube even though we've messed around with it a little bit. But on this we'll still think this is also a cube. When you come into doing anything like even you've unwrapping it or adding modifiers, anything at all, really blender still considers it's a cube, which means things don't work properly. If there's anything not working properly within your own builds, you can pretty much guarantee it'll be down to one of two things. And the first one is the transformations. We'll discuss the second one a little bit later on. So let's press control A, all transformed right click, set origin to geometry and then it's going to set it back to the geometry there. All right, now what I want to do is I want to lower this down. If I come in, I'm going to go to edge select. I'm going to bring this down, then something like that. And then what I'm going to do is I'm going to pull this out a little bit. So I'm going to press L, hovering over it. Press L, will select everything. And then what you're going to do is you're going to extrude it out. Extrusion basically means you're creating a new piece of mesh from the old ones. So if I press now, you can see I can pull this out. Like so. And now we've got, instead of a two D object, we've now got a three D object, which makes it much easier to use. Now I want to do is I want to drag this over to somewhere where it should be. So I'm thinking somewhere around here. So let's come in face, select, grab this face, and let's just pull it out to somewhere like this. And now we can see that we should have enough room for him to walk up some steps. So he's going to walk up some steps to this door. And then some steps are going to go up to round about here. And then finally some steps are going to go up to there. And also we want another door in here which is going to go under the stairs. Because the more you actually build these buildings, the more you'll see that, the more intricacy add to the actual gray box, the better it's going to turn out. So just bear that in mind. All right, so now let's come in and make our actual stairs. So what we're going to do is just make a very, very rudimentary stairs along here. So what I'm going to do, I'm going to make sure my cursor is in the right place. In other words, if I shift right click, you can see I can put my cursor wherever I want. You can also press shift S and put the cursor to the world origin. Now it's important where the cursor is, because wherever the cursor is, whenever you bring in a new cube or a, whichever primitive you want to bring in, it's always going to come in where the actual cursor is. So I'm going to come over, go to cylinder. And now you can see the cylinder has appeared where my actual cursory is. Now the other thing to bear in mind when you're bringing in something like a cylinder or a curve is you nearly always at the bottom left hand side get an option down here. So you can see this menu down here. If I open it up, we can see we have a lot of options on here now, depending on what you set these at every time, then you bring in a cylinder or a cube. It will actually come in with these options. In other words, if I put this down to three, you can see now this has changed to three sided instead of 32 sides. Now I'm going to set this to something like 20, like so. And then basically every time now if I move this over, the moment I move this, this will disappear. So just bear that in mind. You don't really want things disappearing, so make sure you've got this right before moving it. Once I've moved this, move it over, press shift A, bring in another cylinder. And you'll notice now it comes in 20 vertices, not 32. All right, so now we've got that. We're going to delete this one out of the way because we don't need it. And what we're going to do then is we're going to put this into place here to make a start on our steps. So what I'm going to do is I'm going to press and Ed and it's important we get these steps in. And the reason being is that from these steps we can decide how big we want, everything else, that's why we're actually doing this. Now, once I've got this like this, you can see that I need to make it a little bit bigger. Because I really want my steps to come round here to here. The bottom step that is. So what I'm going to do is I'm going to press and pull it out where I actually want it. So I wanted something a bit bigger, maybe something like this. And then what I'm going to do is just pull it back into place. We can see that one of our steps is going to end around here, and one of them is going to end here. And that's exactly what I want. Now I'm going to do is I'm going to press one on the number pad to go in front of you. I'm going to lift it up just so it's on our actual ground plane. Doesn't need to be right on top. It's okay if it's a tiny, tiny bit under that absolute fan. Now the next thing we need to look at, if we grab our man and bring him over, you will see this step is massive right now. We really don't want this step to be this big from here. We don't actually want that. What we want to do is we want to make it smaller. Because although this is a gray box, we still need to figure out how everything's going to come together. So having huge steps in your gray box makes no sense. So what I'll do is I'll grab my actual cylinder and I'm going to press Tab to go into edit mode. Make sure I'm in face select and grab this bomb face and then pull this down to where I actually want my steps. Generally speaking, when you've got steps, you want them to be around where the shin is, so it's going to be walking up one, step two, step three step. So just bear in mind that is where it wants to be around. You might want it a little bit lower, depending on what kind of look you're going for or a little bit higher. But generally keep it around there. So I think I'll pull mine down just a tiny bit, so more or less between his shin and his ankles, somewhere around that. And I think that's going to look good like this. All right. The next thing then I want to do is because it's a gray box, I don't really want to mess around. So all I'm going to do is I'm just going to press shift and I'm going to bring up the next one. Place it on the top of this one. And then all I'm going to do is I'm just going to pull it back. And trying to keep the same distance between each of these pressing one and just making sure then that I put it on top of this one. So now I'm going to do is I'm just going to do the same thing again. Shift D, bring it up, press one just to make sure it's on top of there. You can see it's a mile off at the moment. So then all I'm going to do is just bring it back and then pull it back into. So then the final one, I'm just going to press shift D. Bring it up, let's take that off. Bring it up that they actually press shift D? I don't think so. Let's bring it up, Press one, make sure it sat on top of there, pull it back, and then pull it this way as well. And there we go. Now you can see pretty much our door is near enough, sat on top of there. That tells us that now we can pull our door down a little bit like so, and have it sat on top of there. And that's going to look pretty nice. You can see the steps are already looking nice. Now, the one thing I did forget to say is that the steps, you should always leave a gap, which will be the length of his foot. In other words, if I spin this guy round, so if I press R D -90 and spinning around, you can see at the moment these are not actually wide enough. So you can see he's going to be tiptoeing to actually get up the steps, which is not going to be great. So what we'll do on the next lesson then is we'll pull these out a little bit just to make sure that he's able to walk on them properly. You can see over here, they've got much, much thinner over here. We don't really want that, but again, we're going to rebuild this anyway. So we're just having it there for a gray box. We just need to know to make sure everything is fitting in place. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Let's save that, our file as well before I forget. Cheers. 11. Elevation Techniques for Greybox 3D Scenes: Welcome back everyone to the blend of four ultimate guide in this where we left off. All right, so now let's come in and what I'm going to do is I'm going to grab all three of these stairs and I'm going to pull them back then altogether, just to make sure that his feet actually fit on this. You can see now his feet are fitting on there a little bit better than what they were. And then what I'm going to do is also pull it this way, like so. And you can see now I'm going to move up to the next one. I'm going to pull them back a little bit. You can see that his feet on the next one, near enough fitting. Let's put him down, so he's actually fitting on there maybe a little bit more. So I'm just going to grab both of these. Pull them back a little bit, pull this back a little bit, pull this back a little bit like, So now I'll come to the fourth step. And then what do is I'll pull him up again on top of here, put his foot in, then do is, I'll pull this back and pull it back. So now we can see that we've got the steps, they're in the right place. The door though, needs obviously moving, so I'm going to move the door now to be more like this. And then also we can see that probably this needs moving a little bit because this is going to be hiding the stairs going up, someone just going to pull it back to something like that. Now if I put my guide in here, we can see now we have a good idea of how wide this is going to be, and I actually think that this is going to be wide enough. The one thing I'm not so sure about is the actual height of this part here. And I think actually it, yeah, it might be, might want to bring it down just a touch. I'm just going to go into edit mode. I'm going to pull it down like so. Just a little bit and then we'll see if that actually works. Once I've got those steps in there, then what we can do is we can put another staircase going that way, and then we can see about getting some lighting and really seeing how this looks. The other thing, before moving on as well, we'll tell you there's another real handy tip to actually see how your actual scene is going to be coming along. And what that is is if you're in the object mode and you come over and you click this little arrow, this little arrow button down, just put cavity on. And you'll see now it actually makes everything a lot more visually appealing. The other thing you can do is as well, when you check in gray boxes, you can actually click off these two interlocking links. It'll hide everything out of the way, and now you have an even better view of what you're actually looking at. All right, let's click that on. I want to leave the cavities on, of course, because that is the main thing that's going to help me visualize this. And the other thing is, at the moment, I've still got my resource pack open. Just make sure it's saved out. You're not actually going to need that open like this, because that's what we're using the asset manager for. So if you have still got yours open, don't use the resources, Just close that down and then we can actually carry on working with this. All right, so what I want to do now is the other thing is I want to make sure that this pulled far enough out because I want this to you see where these are turning. This first one, I actually want that to be in the wall. So what I'm going to do is I'm going to come in, I'm going to grab the end up here. I'm going to pull it out like so. And then what I'm going to do is I'm going to grab this end now and I'm going to pull that out like so just so it ends really, really nicely as you can see. The other one then is I'm going to pull this out along here, just so the top of the step ends also really nicely. And I think now that is going to be enough room to put some stairs up there and we shut out, have everything laid out really nicely. Okay, so now let's actually bring in our stairs. So we'll bring in our stairs to make sure it all kind of lines up really nicely going up there. And then from there, what we'll do is we'll decide if we need to pull out our steps, you know, these steps here a little bit more, which I think we will. So what I'm going to do is I've got my cursor here. I'm just going to leave it there for now. I'm going to press shift. I'm going to bring in a cube. I'm going to make the cube smaller. And what I'm going to do now is bring my guy over, put him back on the ground plane. So I'm going to pull him down. And then what I'm going to do is I'm going to bring this up and I want to make this the stairs. So the first thing I want to do is I want to make sure his feet are going to fit on each stair. So you can see here, his feet are fitting on the stairs very nicely. So we know it's okay that way, but it's certainly too high at the moment. So what I'm going to do is I'm going to bring this over like so. And then we're going to press the tabborn. Make sure I'm in face select. Grab the top face, press one on the number pad. And then I'm going to bring it down so it's level with the shins as we've spoke about. So we know now that everything's fine that way. We know it's fine the height wise. So now we need to do is make these long enough. So I'm going to press L to grab them all, and then we're going to press and Y and pull them out. Now, it doesn't really matter on this point how wide they actually are, because they're going to be going into here anyway, and up. So once you've actually got a certain width, then what I'm going to do is I'm just going to have one more check and make sure that I'm happy with it. I've got those stairs a little bit. Too wide. I think I have, actually. So what I'm going to do is I'm just going to come in, pull them back to where his heel is, and I think that's looking much much better for a flight of stairs. All right. Once you've got it, let's move it over and bring it up. And we're going to bring it up, so we don't obviously want to have our door there. We want it starting just before our door, something like this. Put it on the bottom one. I'm maybe going to have a pillow in the door. Maybe I want to move it a little bit over. Then what I'm going to do now is I'm going to press Control all transforms, right? Clip set origin to geometry. Now I want to actually make a few steps. I'm thinking, let's try nine steps To start with all I'm going to do, I'm going to come over adding a modifier. So I'll be a first modifier. And the first modifier we want to bring in is going to be an array, because we want to array it up here. The other thing is because it's bringing in a modifier, I'm just going to say if I'm gonna work, just to make sure I don't crash your anything add modifier come over and on the new blender you actually have to find it. Generally you can go through each of these and find it. Generate is the one that you're going to be using the most, so just hop over, Generate, and then go to a ray. Alright, let's set this then now to minus one, then we'll put it on the other side. And then what we'll do is we'll set the Z to one. And then you'll see now that you've got these one after the other, We no gap in between. Now what we can do is we can increase these to nine, something like that. As you can see from there. Then I think I can actually build in another door on here. Now, as I said, this now will give you a good idea of how wide you want everything. Is this in the right place? For instance, do I want these a little bit wider? So what I'm going to do is I'm going to bring my guy over, I'm going to pull him up like so I certainly think that these are not quite wide enough. What I'm going to do is instead of doing that, I'm thinking that I will pull this, I'm going to pull this and these parts. So I'm going to shift, select all of them, just out a little bit and make it perhaps a little bit wider like that. All right, So I'm happy with how that's looking. I think my stairs are going to be fine like that now. And all I want to do now is make sure that I'm happy with the height of this. So basically I want a door, which is going to be in this part here going under my stairs. So I need to make sure that this part on here is actually wide enough. So what I'm going to do is I'm going to come to this part, grab the top of it, and just pull it down very slightly. Now we've got our stairs. Let's actually duplicate our stairs and bring them round the other side. And then we'll have a really good idea of how tall to make everything. So I've grabbed my stairs, I'm going to press shift deep, I'm going to pull them over. And what I'm going to do is I'm going to set it to be right at the top of this step. Right at the top. Let's bring it over. The top step is there. You can see now the near enough level with each other. It doesn't have a little bit out. And then what I'm going to do is I'm going to press Z -90 Z -90 Spin that around. And now I can put my stairs, the other stairs right into this corner here. If I pull them over, I can put them right into that corner there like So now we need another door. So we're going to have another door on this part. This is where we can see. Now, do I need to pull these all out? So I'm going to grab my door that I made shift, bring it over. And then what I'm going to do is I'm going to pull it up now to here. And I'm going to pull it over a little bit to where it's going to sit. So something like that. And I can see that I never want to door right on the corner. So what I want to do is I want to pull these out a little bit. So I'm going to grab this one and this one and I'm going to pull them out a little bit. Now bearing in mind if you look at these, let's go to this one first. You can see that the x axis is at 4 meters. Let's put the x axis before we do anything on 4.1 So let's pull it out now into place. Let's pull it just into place now We've got a little bit, maybe 4.2 Let's try 4.2 Pull it out a little bit. Let's come to this one. We'll put this one also on 4.2 and pull it out. Now we've got a problem of that, it's not quite square anymore. We might need to make it a little bit wider on the y. I'm going to do is 4.2 then 4.2 then what I'm going to do is grab them both, shift, select them both and just pull them back a little bit. So this is what we should be left with. Now, I'm not 100% sure if this is out far enough, but we'll see as we work a little bit more or if this actually needs to be a little bit bigger. I'm thinking this at the moment is 2.5 and this is also 2.5 So what I'm going to do is I'll delete this one. I'm going to put this on 2.7 by 2.7 so make it just a tiny bit bigger. Now the other thing is you can also left click and drag. And put this, let's say on three. And it'll do them both at the same time, so I'm just going to drag them 2.7 So then what I'm going to do is I'm going to pull this out a little bit. So this gap here is the one I'm looking for to make sure I get that in place. Now I'm going to do it because I deleted the other one. I'm just going to press shift D and bring it up and just put it on place like so. Now finally, before we actually bring the enlightening, it would be a good idea on the next lesson if we brought in our floor. And then we can really see how this is all going to come together. We can also see that this over here needs moving in. So I'm going to pull that back in like so. And then I'm going to have a good idea then what it's going to be like walking up those stairs as well. All right everyone. Once we've got this gray box in, it's going to be really easy then just to put all the parts in. But as I said, the gray box should take a fair amount of time to make sure that you're happy with how the building is going to look. Alright everyone. So I'll speak you on the next one. Thanks a lot. Bye bye. 12. Designing 3D Greybox Staircases: Welcome back everyone to the Blender Full Ultimate Guide, and this is where we left off. All right, so now what you can do, because you've got so many cubes in here, it's very easy just now to grab a cube. So grab this one, press Shift, and then all you can do is now you can just press the S button and you can really get away with actually pulling it into place. And really, really like not taking so much, you know, time green, the right size and things like that. Because as I said, it is a great box. So all I'm going to do is now is press tab, grab this face and pull that out into my floor light. So, and then what I'm going to do is I'm going to grab it, drop it down a little bit, and then just make sure the stairs also fits in place. So now you can see this is looking pretty nice. You can see our stairs are actually peeking through there. And we don't really want that. So what I'm going to do is just pull them back. I'm going to pull my, my actual door a little bit this way. And there we go. Now we've got a really, really good idea of how this is actually going to look. And I think this is pretty nice so far. Now what we'll do is, before bringing in the lighting, is we'll actually make another door. So I'm going to select this door, press it deep, and what I'm going to do is drag it out, press one, bring it down to where is the ground plane like so. And then what I'm going to do is drag it over. And now I basically want this to be a little bit of a bigger door, so in other words, a double door if I can't. So all I'm going to do is press and X and pull it out a little bit like so. Now if you're unsure, always grab your guy and make sure that he's going to be looking like a double door. So you can see that looks like a double door. And then the next thing we need to know is we need to know how big this double door, how far back it's going to be. Because within our actual scene on this part especially, we need to make sure that it's realistic. In other words, if you have a double door there, you don't want to lead in just to the stairs. So he needs to make sure that this is going to fit in there. So what I'm going to do is I'm going to actually pull this out now on the y axis. So I'm going to press S and Y. Pull it all the way out, make it really long. And now I can see where I need to put this, so there's no way it's going to fit just there. So it has to actually come back a little bit. So you can see here, it's probably going to have to be somewhere somewhere like over here. Which means I'm not very happy with it because I want it to be more or less somewhere like here. So what it means is I need to make these stairs a little bit steeper. So I'm going to do that now. Do I need to make them? Yeah. I think I need to make them a little bit steeper or I need to make the door not quite so high. Let's see how high this door is. You couldn't get away with making the door a little bit less as high. I'm going to put that there. I'm going to come to my stairs then, and we've still got our modifier on there. What that means is then I can bring these stairs back and make them a little bit taller. But that means then it's going to come all the way back to kind of this point in here, which I'm not so sure about. So I think what I'm going to do is I'm going to pull these back a little bit to get them to fit in place, a little bit bare. So something like that. And then I'm going to pull this door a little bit this way to get it to fit a bit more. And then what I'm going to do finally, is pull these stairs just to start a little bit lower down. Now finally I want to make them a little bit steeper. So to make them a little bit steeper, all we need to do is move this X so you can see if I want them really steep, I can actually make them really steep. So something like that. But I don't actually think I'm happy with that. What I need to do is make them less steep. Just so you can see now the jaw is starting to creep along there. Something like that I think is going to look much better. That then enables me then to figure out how tall I want my door. So if I come back to my door now, and I grab the top of it and pull it down a little bit, you can see now it's near enough. Near enough fitting into place. I just need to pull it back a little bit that way like so and now that doors going to fit into somewhere like that. Now the other thing is, do I want, you know, this corner to be so thick? I don't think so. I think what I'm going to do instead is I'm going to grab the front up here, pull it back a little bit like so. And then what I'm going to do now is I'm going to create another one. And this will be the front to this door here. So I'm going to grab all of this here, press Shift to duplicate it. And then what I'm going to do is I'm going to pull it out now. So I'm going to grab the front of here, so this front here, I'm going to pull it back a little bit. And then on I'm going to do is I'm going to grab this part over here and I'm going to pull this all the way back like so. And then finally I'm going to pull this down, pull this down like so I think that then is going to leave us with a nice door that'll lead into there. So now I'm going to do is press and y and squish my door back. Put it on the front and there we go. You remember we're going to have an arch around here. As long as the actual door fits in there, that's absolutely fine. So now you can see what I need to do is I need to pull this back now a little bit, or pull everything over a little bit to make sure everything fits in. And that's the problem with dealing with these. You just got to make sure everything fits in. So I've probably made this a little bit too long. So what I'm going to do is I'm going to pull this back. Like so. And then I'm going to pull this back. So grab this, pull it back to my stairs. And now finally then I'm going to come onto this bit. Now again, as we pull these back, we need to make sure that they all fit in place. So what I'm going to do with this time is I'm going to press and X, pull them back, pull them back into place, making sure they fit. That's looking there, and now I can see that it's on 3.68 Let's put them on 3.7 It will only alter once you have to come to the next 13.7 And now we can come to our Y, 3.7 and then we can come to our Y on this 13.7 like so. Now finally, let's pull these back. And everything should be fitting in place, much, much nicer than it was. This back here is looking better as well. I'm happy with that, and now I can simply pull this out a little bit like so now these stairs are not going to be any good because we want them to be the same steepness as these stairs. So what I'm going to do is I'm going to delete these stairs out of the way. Grab these stairs. Shift D, let's pull them over R -90 and let's pull them up to where we want them. Let's pull them into place. And this should call a very nice place now if I just put them jaws before they come into the floor. And then bring them out to there. Perfect. That is perfect. Because then we can actually put an arch coming through here. And that's going to work very nicely. All right, now let's bring in this back to my stairs like so. And then finally we can also bring back this here, this part here. Do here like so. Now finally we can come in and pull this out a little bit. This part here, let's pull it out so it's more in line with this one here. So I'm going to press tab, pull it out, double tap. And there we go. Now we're actually at the point where we can actually bring in some lighting again. I'm going to save our my work file and save. Now at the moment, if we come over on the right hand side, we will have on V Render engine and we've got one which is cycles. Now V is really good to work with because it's real time. In other words, if I put on our V, which is this born here, you'll see when I click it on, it's dark. Nothing. You're not able to really see anything but the moment I bring in a light. So let's press shift day, Bring in a Sun. Now we can actually see what we're doing. If I bring this sun up, rotate it on the X, our X now, we can actually see what this is actually looking like. So all right, so now you can see this has give you a good idea of what it's going to look like when it's actually built. This is the way that you should be visualizing it. I don't actually like visualizing it like this though. I do like using EV, but I don't like it when I'm working with my grade box. But if you want to work like this to visualize it, you can simply bring in a light, click the EV on over here on the shader, and then visualize it that way. What I'm going to show you on the next lesson is though, is how I like to visualize it, which is using Blender cycles. Now we are going to go through a lot more of the EV options like the ambient occlusion and things like that, but that's a little bit further on into the course. On the next lesson, I'm going to show you how we use the cycles render engine. And we're actually going to set up some decent lighting so we can actually get a good visual on what we're doing. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 13. Implementing Lighting Skyboxes for Greybox Environments: Welcome back everyone to the Blender Four Ultimate Guide, And this is where we left it off. All right, for now, let's just put this back on shader. Let's actually delete this light out of the way. And then what we're going to do is we're going to come to our world options here. So you can see on the right hand side here is our world options and this is the one that we want to be on. You don't actually have to have this clicked on. You can simply go into your shader option and then you just put it on the world. But I'm just showing you where it is based if you need to alter it over the right hand side. So now all materials are going to be based in the shading panel. So this panel here is going to have all the materials. So whenever you click on, let's actually just give this a material. So I'm just going to come in and give this a new material. And as soon as I give you a new material, you'll see that this pops up. So this is basically the shaded panel. This is why it's called shading because it is the shaded panel. But within here, not only can you add materials or mess around with materials, but we can also mess around with the world view. Now, before we start that, let's actually get this set up properly because I don't like the way that this is set out. I'm going to move these over to the left hand side. And then what I'm going to do is I'm going to grab the top of the UV. So this is the UV map. We'll go more into UV's as we move along in the course, but for now just come over, get your little course of the left click and pull it up and you end up like this. This is basically what I want you to have the viewport, the shader, and the UV. Let's come over then and hit the Sam. And now what I want to do is show you that within here you can also alter your world settings. First of all though, let's put it onto our shader. Let's come over then to the right hand side. And what we'll do is we'll put it onto cycles. So we're going to put this onto cycles. And now we'll see that it's looking a little bit more defined, which is exactly what we want. Then what we're going to do is we're going to come over now and instead of it being our object mode, let's put it onto world. And now we'll see that this is this over here, so our world is this. If I delete this now, you'll see at the moment this is gray. If I turn this up, you'll see it actually affects our whole world. You can also change the strength to make it much, much brighter. We're not going to both with that. What we're going to do is we're just going to delete the background out of the way. And what we're going to do is we're going to press Shift and bring in a sky texture one search for it. So shift like you do for primitives, click the search and the first one there's going to be sky texture. If it's not there, type in sky. And there we go. All right, so now we've got sky texture. Let's plug this in now. You can see, wow, that's looking great already. This is the thing about the sky texture within blender. It is one of the best nodes in there. It's so good at what it does. You can bring in HDRIs and bring in lots of light in, but honestly the sky texture can get you most of the work done there. All right, so now we'll do is we'll actually set a few of these things up. These basically are the sun size, so when you look out, you will see, let's look, If I set the sun size, let's say something like 6.5 And I'm still looking for my son. I can't see at the moment. I think my son's down here. So once I've put these in, we'll have a good look round of what we're looking at. Let's set the sun intensity to 3.450 Let's set the sun elevation to 172. Based on what that's doing is it's based on lifting up the sun, so whether you want it to be a night sky, whether you want it to dusk, something like that. The sun intensity is obviously how bright you actually want your sun being, as this is a deserty theme, we want some brightness in there. Next of all, we want our sun rotation set this to 190. And now you can see that this is moving where the shadows are actually going to look. And you can see already that we've got some really, really nice idea of how this gray box is actually turning out. All right. The next one is the air, the dust, and the ozone. But before that, the altitude is basically as you go up. So as you climb up a mountain, the sun is going to be less, more intense, but it's not going to be as yellow. So if I put this, let's say at 20,000 you can see now it's more blue because actually we're much higher up in the atmosphere. We've got rid of, you know, a lot of that ozone has started to disappear further down, and this is why it's gone a blue. So I'm going to set this at zero because we're near enough at sea level. Anyway, with this, I mean it is the desert, so you're not going to find it up in the mountains. And then what we're going to do now is mess around with the air. So let's put the air on 20. And you'll see that air makes that ozone much, much thicker. So what I'm going to do is, well, you can see you've got ozone here, So you can see the air thicker, the ozone thicker, and the dust is thicker. That's basically what these do. So let's put the air to 2.972 0.97 let's put the dust to No, 0.545 and let's put the ozone to 3.794 like. So now we'll see that we've got a beautiful sky there is our sun there. Now we can finally show you sun size, You make it bigger or smaller. All right, so now we can see, we've already got some really nice lighting. We can see that we do have a problem in that whenever we turn this around it goes all greeny and we don't really want this gradiness on there. So all we're going to do is just come over to the right hand side and within the cycles in the viewport you will have one that says Noise. And once you click that on, you'll see now it smooths out everything. So now we've got some really, really nice idea of how this gray box is going to look. And we can really now start to define the shapes that we're going to work with. All right, so we can now anytime click on that and have a look at what that's actually going to look like. All we need to do is just come back to modeling. And then what we can do is press Tab. When we come up, put our shader on, double tap the just to make sure nothing selected, so a twice. And there we go. That is what it's going to look like. Okay, let's actually now carry on. So I'm just going to come to my object mode again. And then what I'm going to do now you just carry on with the actual bill. I think now I've got that set up will be a good time to save out our work. And then what I'm thinking now is I'll bring in my first balcony. So what I'll do is I'll grab this door that I've got here. I'm going to press shift D. I'm going to drag it up then to where I actually want it. I'm going to figure out I'll want to balcony around here somewhere. So what I'm going to do is I'm just going to create a gray box balcony for now. So what I'm going to do is I'm just going to duplicate this. So I'm going to press Shift, bring it out a little bit, and then we're going to squish it right in. And squish it right in. Like bring it down then to the bottom of the door. And then what I want to do is I want to pull this out now. So I'm going to press and X, pull it out. And then I'm going to press and Y pull it out and then just pull it out to there. This is going to be a very rudimentary balcony as you can see, but it does give us an idea of where it's actually going to go. I'm thinking that that's probably a little bit too wide, so I'm going to pull it back on the X. So S and X. And I'm also thinking if I bring my Guyopia, let's get it round about the size that it's going to be if I put him on here. Turn him round so as 90, pull him back. Has he got enough room to stand on there? Maybe he wants to be a little bit a little bit wider and it's pull out a little bit more. All right. So we've got our balcony and now we've got where it's roughly going to go under there. So now we can actually decide how much above here is going to be the top and things like that. So what I'm going to do first of all though, is join these two together. So shift, select both of them. And to join things together, or you press is control and J. And then that will join them together. Normally when I've joined something together, I'll press control all transforms rightly so, origin geometry. All right, so there we go. Now let's think about the top of here. So let's put in our top. I think also as well. I might as well pull this more into the middle, so, so now it's more in the middle. And now let's think about our top. So to get on top, all I'm going to do is I'm just going to grab this because I know this is the right size. So 3.73 0.7, it's already squared. And that's the main thing that I'm looking for. So what we're doing is we're going to press Tab. Make sure you're on face select. Grab this face shift D, Pull it up a tiny bit. Press P again to separate. And then what we're going to do is press Tab, grab the top of it. Press control A, all transforms right clicks, origin to geometry just to get that right back in the middle. And then what we're going to do is we're going to press to pull this out like so, making it so it's just overlapping our actual top of our roof. And then what we're going to do is just pull it up so it's level then. And then press tab A to grab it all of it and then extrude it up to where we actually want it. So something like that I think is good to wear with. So again, we're actually defining now what our actual gray box is going to look like. So let's now put a top on here as well. Now at the moment our cursor is over here. We have our cube over here. We're not a cube but the top of the roof over here. So what we can do is being as our origin is right here, we can press Shift S cursor to selected. What it'll do is it'll put the cursor wherever the origin is of the one you've got selected. Now basically when I bring in another primitive, it will come exactly where my cursor is. This time we're going to bring in a UV sphere. And then what we're going to do is we're going to drag that UV sphere up. Then I'm going to go over the top. So I'm going to press seven to go over the top. I'm going to press the S bond to bring it out. And now you can see what we're actually doing here. Now I'm going to squish this down a little bit. So I'm going to press En's head, pull it down a little bit. And then what I'm going to do is finally get rid of the bottom half of here. The easiest way to do that, the easiest way is just to come in, have face select on. What you're going to do is you're just going to select one face where you actually want to cut it. We're going at this halfway point, if you imagine it's coming down to here where it's straight and then it starts tapering in. So I'm going to do is I'm going to press Olton shift. Ol shift out shift again. And then what it is, it'll select going all the way around there. Now, depending on where you are on the face, if I do Olt shift here, you'll see it'll select. And going that way, the closer you are to whichever direction you want to go in, that is the one that's going to be selected. So now I've got all of these selected. What I can actually do now is just press delete. Delete. Come down and delete the faces. And there we go. We're left with that. Now, of course, we've got another part of this already in there. So all I'm going to do is I'm going to come up turn on this button here, which is toggle x ray. And now I can actually see inside my mesh. So now I can come to any of these faces here, press the L button, and then that will select all of the island. Press Delete. And instead of faces, make sure when you're deleting these things, always select vertices and that is to make sure that nothing is left behind. I remember when I first started out creating models, they had loads and loads of little points, just empty points all over the place because it didn't delete them properly. And they're called empties and they don't, all they do is just add. You can't see them when you rendering or anything like that, but it just adds more complexity to the scene, which means it takes a lot more Ram to actually, you know, render it out and things like that. So just make sure you've got no empties, make sure it's nice and clean when you've got a part. If you can always delete the reason why we didn't delete vertices on the first page. If I click delete Tes, you'll see what happens if we just turn this off. Delete, you'll see it deletes the next one up. We don't really want to do that, so what we want to do is want to delete faces, then go in L to select them all. Delete Ts, and there you go. Now it's nice and clean. Let's turn off x ray and what we'll do is we'll put that on the top of there. All right everyone. I'm going to save out my work now. So file and save, and then we'll carry on with this gray box on the next one. Alright everyone, I hope you're enjoying it. See on the next one. Thanks a lot. Bye bye. 14. Planning Windows and Balconies in 3D Models: Welcome back everyone to the Blenderful Ultimate Guide, and this is where we left it off. Now one of the things you might see on here is that this is really blocky. Even when we put it on shady mode, it's still really, really blocky. As you can see, we don't want that. And the reason why that's there is because you need to actually sometimes, so let's put it on object mode. Well, most of the time you want to smooth things off. So how do we do that? We see so many renders on Facebook and things like that where it's really blocky and the person has not smoothed it off. So just learn to write click and shade auto smooth. Now those of you who are using blender below three, you can just come in and click Shade Smooth. So I'll just show you. Shade auto smooth. Then come over to the right hand side and you'll see down here we've got normals. And this is where you can increase or decrease how smooth it actually is. So make sure that you have it on smooth. This is useful as well if you're dealing with things with change. And you want to smooth it off a little bit more than that 30 degree angle. All right, let's close that up. That's that dumb. Now what we need is we need another part. So we need another part coming up here, probably halfway level to this part here. Once we've got this part in as well, we'll bring in a window and then we'll use that as a reference guide to where we want our windows. All right, so what we'll do is we'll come to this part. I'm going to press Tab. Come to the top and face let press one and then I'm going to press and make it halfway level to this door here. I think something like that should be absolutely fine. Okay, now let's think about our windows. So what I'm going to do is I'm going to, I'll grab this door because it will make it easier. I'm going to press shift D, and then what I'm going to do is I've duplicated it. I'm going to pull it up. Pull it in front of my guy. So pull in front of here. So then what I'm going to do is now I'm going to make it smaller. So I'm going to make it smaller so the size roughly of a window. And then what I'm going to do is I'm going to press control A all transforms right clicks at origin to geometry. And then I'm going to come in now and just bevel off the top of it. So I'm going to grab this edge. So I'm in edge select now as you can see over here. So I'm grabbing this corner and I'm shift selecting this corner. And then to bevel it off, what I'm going to do is I'm going to press control. And now if I pull that out, we can see now we can make a rudimentary window. Now we can see as well. We've got a lot of options on here. We're not going to go into those right now, because all we need is a very, very simple window. So we'll discuss these options in a little bit, but yours, if you've done it properly, should end up like that. Now the one thing about this window is, is it long enough? Probably needs to be a bit longer. So essence, let's make it a little bit longer. It is, you know, a deserty themed, a Arabian theme to build after all. All right, so now we've got that. Let's once again reset all or transforms, but let's just reset the rotation and scale so that then will keep the little origin there. If you press control a reset transforms, it does move the orientation to the center of the world. We don't want that, so instead of doing that, just press control A, and then you can reset rotation and scale because we're not moving it anywhere. All right, now let's spin it around. So our Ed at 90. And then what we're going to do is going to press three on the number pad. And we're going to bring it in to the top of here, so jaws above this door. We're going to put it in somewhere somewhere like this. As he's walking up, there'll be a little window leading to there. That's looking pretty nice. Now what we'll do is we'll bring this window round to this side as well. So I'm going to press Shift D, Bring it around Z -90 I'm going to press one on the number pad and bring it into here. Now we do need some variations in windows, so I want to have this window in particular to be a different variation. So what I'm going to do is I'm going to press S and Z just to make it a little bit taller. I'm going to level it up then with over here, so you can see it's nice and level over there. And then what' going to do now is I'm going to bring in another window. But I'm just going to duplicate it. So I'm going to press Shift, Bring it to the side, so press En's ed, squish it down. And then just drop it down near enough, the level of this one. And then shift D, then just drop it all over the other side. This doesn't need to be accurate. Remember it's a gray box. So all you want is just something like that. Shift, select the mole and then all we're going to do is join the moll together with control J. And now we can press control and rotation and scale. In fact, we need to do a moll actually because the orientation wasn't in the right place. Control all transforms right clicks, origin to geometry. And now we can actually put those into place in here so we can see already. Now we're starting to really, really get somewhere with how we're actually building this out. Okay, so now let's think about this part on top of here, it's going to need to be much, much taller than the rest of it. We've also as well got to think about this bag bit on here now. I'm also thinking that this part, this part here, mainly needs to be pulled back a little bit. So what I'm going to do is I'm going to come into here, I'm going to grab this face and this face and what I'm going to do is just pull them back. So it makes it a little bit more intricate from this to this as you can see. So I'm going to carry on pulling them back a little bit so that this starts near enough, just as we get to the top of the stairs like so. And I think that's going to be looking pretty nice. Okay. Now, let's come to the back of this one. So what I want to do is I want to pull this up. I'm thinking whether to split this off. I think it's easier to split this off. So what I'm going to do is I'm going to press 50. I'm going to then press Selection. To split that off, press the Tab button, and you'll see now we've got two, So you can see top and bottom. This is the one that I want to play with. Control all transforms, right? Click the origin geometry, the grab the top of it. And then what we're going to do now is we're going to Ext. So I'm going to press to Ext. Like the reason why I actually wanted to do it that way is because now I want to bring my guy over and I want to put him over the top of here. And I want to make sure that if he's looking over this balcony, for instance, he's going to be in the floor perhaps like that. If he puts his hands, imagine this to be a balcony. Is then going to be just up to nearly as waist as you can see. Which is about what I actually wanted. Then what I'm going to do is now I'm going to come into here and what I'm going to do is I'm going to actually press control. So I'm going to come in, I'm going to press control hovering over this way. You can go this way or this way. What that's going to do is it's actually going to bring me in an edge loop. I'm just going to press Control left click. And now you can actually move this edge loop wherever you want. Now if you want to put it in the center, you can just right click and that'll drop it right in the center. Don't really want that at the moment. So what I want to do is I want to press control Z, just to get that off. We can also press control R, and you can actually press five on the number pad to bring in five edge loops. Or you can actually move your mouse burn up or down to bring in more edge loops as well. So that's another thing you can do. What I'm going to do though is I don't want to run in the sense I'm just going to press the left button and I'm just going to pull it back to something like that. And then what I'm going to do now is I'm going to come in and make this balcony that he's going to have. So what I'm going to do is I'm just going to press the eye button. And what that's going to do is just going to give me an insert to pull in to something like this. And now what I can do is I can extrude it, not out but down. Down to where is that shut feet are. So if I press now, I can pull it down, pull it down, and then I can let this little arrow now do the rest of it. And pull it down to his feet. And there we go. Now we've got a really, really nice balcony. Okay? The next thing is now I want to pull this out. If I've come in and I come to this part here, what I can actually do now is extrude this out. Now I want to extrude this out so it's the same length as here. How do I do that? What I want to do is I want to come over to this little down arrow here I want to look at. Let me just I'm just wondering if it is this one. Nope, it's this one here. These little squares here. If you come down, you'll see one that says edge length. Now we can see that this one going across here is 4 meters. And these coming in along here is 1.9 meters. We need to pull this, this part here out to 4 meters. If I bring this out now, you can see it's not pulling this part out. That's not what we want. What we want to do is I want to come in and grab this one. And this one, pull them out. And now you can see this number here going up. So you want to pull it out to near enough. If we can 4 meters, can we get it up to 4 meters? Because this here is 4 meters. Actually, let me just have a look. That is four, 4 meters, 3.52 Let's see how far out, because it might end up where I'm pulling this way too far out. I'm going to pull this out to the four meter mark like so. Because I want to put a top on there. Now the one problem I have got is of course this is going to be part of the balcony, so I'm going to have to now squish it all in and have these the same length. In other words, it doesn't matter. It just needs to be square. That is the point that I'm trying to say. It needs to be more or less square. And I think this is way, way too big at the moment. Let me just show you what it means if I come in and I grab this part here. So this is what we're going to use. We're going to press Shifty. We want to put a top onto here. And you'll see that if I go over the top and put it right in the center there, and press the button, I need to make sure that this top is going to fit on there. You can see that I can probably get away with pulling it back a little bit this way, and then pulling this bag so it's nice and square. I'm going to pull this up, something like that. Then what I'm going to do is I'm going to come in now and I'm going to grab this part and this part. And then I'm going to press and pull that up like so now we can see we've got a bared visual on the length of this. Now I can come in and I can pull these back where they actually need to be. Now you can see that's being on there really nice and beautifully. And you can see there's a difference in the height on each of these, I think. Yeah, that's looking pretty nice now. All right, so now we can turn off our lens. Let's come in then and turn these off edge lens off. Then what we can do now is this is where our grapes and things like that are going to come down. So that's why we want to build this out over here. The first thing though, we'll do before finishing is we'll just come in to our semi, what is the sphere? And then what we'll do is we'll just grab the top of here. Now there is a way we want to grab each one of these and pull them up, but there's a very, very nice way of doing that. In fact, we're running out of time because it's around 12 minutes. So we will do this on the next lesson. I'm going to save out my work and I'll see you on the next. And everyone, thanks a lot. Bye bye. 15. Roof Shape Planning in Blender: Welcome back everyone to the Blender Full Ultimate Guide. And this way we left off. All right, so rather than coming in and pressing Alt, Shift Select to select all these, you can see it's not really working that well. So we don't really want to do that. What we want to do is we want to come in, press the button. And then what you can do is you can move the mouse backwards and forwards to make it larger. So you can actually come in left click to select the Or middle mouse to deselect the right click to take it off. So I'm going to press C. I'm going to zoom it in. I'm going to select them. All right click to take them off, and now it's all selected. Now if I pull this up, you'll see that it looks a bit of a mess. So we don't really want to do that. What we want to do instead is use something called proportional editing, which is this born up here. If I come in and I select this now you can see that I've got all of these options. So on all of these, we're not really going to worry about any of those right now. All we're going to do is have it on smooth, and then all I'm going to do is pull it up. Now the other thing is same as the actual C select. You can move your mouse in to have more effect. Or you can move it out, sorry to have less effect. Or move it out to have more effect. So we can move it out like so. And just pull this up a little bit, making it a little bit different from this one over here. Now I'm thinking how small do want this or how big a want this? I'm thinking actually that's probably around the right size. But again, with things like that, I'm not going to worry too much about it at the moment. Now, one thing I do want to do though is I want to make sure that this is around the right side. Because at the moment, I'm still thinking it's a little bit too big. And in the gray box is a place where you want to fix as many things as you possibly can. So what I'm going to do is I'm going to bring in a floor. First of all, I'm going to come into my steps. I'm going to pre shift S just to bring the accursor in the middle of it. And then what I'm going to do is I'm going to pre shift and I'm going to put to mesh plane, pull it out and then let's pull it up like so it's going to be right at the top of there. Now I'm going to do is I'm going to bring my guy down again. I'm going to put him on top of this plane. So I'm going to figure out if these steps are going to be tall enough. Because straight away I think I don't think these steps are going to be quite tall enough. I'm just looking if they are going to be Yeah, actually that's going to come across there, that's going to have a window in there. And then we're going to go yeah, actually it might just be because I think we should have it coming down to there. All right. Let's give it a try. So what I'll do is I'll come into my plane now, come to edgelect. What I'm going to do is I'm going to pull this out without proportional editing on. So pull this out like so. And then what we're going to do now, I'm going to pull it out this way. So I've grabbed this edge, I'm going to pull this out to something like that. And then what we're going to do is I'm going to pull this out to the other side. Now all the way to the end of here like so now this is going to be a balcony that comes out there. So what I want to make sure is if I have a door in here, how big is this? Because this now looks a little bit, a little bit too big. I think this is a little bit too wide on this way. So I'm going to actually fix that. First of all, though, I'm going to bring in a door. So we've got another door shift. Duplicate it, bring it out. We don't have to spin it around or anything because it's the same always. And then what I'm going to do is I'm going to put my door into place where I want it. And I can see that this, if I put my door there, is going to be, I think this is a little bit too much this way. So what I'm going to do is I'm going to come now, I'm going to grab both of these. So this one and this one. And then what I'm going to do is I'm going to come in now, facet, grab this face, this face, this face, this, and this face. Now, if I pull these in now, we're going to have a problem because it'll actually just make this thinner as you can see. We don't really want that. So what we want to do is we want to grab this face and this face as well. And hopefully now, yeah, when I pull it in, we still end up with that. So let's grab the inside one as well. And now when I pull it in, we should be able to get away with pulling it in all the way like so. Now of course we have got a problem if we press Tab, now we need to line this back up. The problem we might have is, is there going to be enough room now on top of there? And yes, actually that's worked out pretty nice. Now I'm going to put my windows back into the middle. I can also probably get away with pulling these back a little bit as well because I feel like that's a little bit too far out. And then all I can do now is come to this top it, make it a little bit smaller, and put it back in place. And there we go. Now there's a real distinction between this one and this one. There's enough room on there to put my guy back up there. He's got enough room there to actually, you know, water his plants and things like that. So that's all looking good. Finally, then let's pull this balcony a bit back a little bit. So I think now I'm pretty happy with that. All right, now then we need a top for this door. Let's come into this door, press shift Ursa selected. Let's press Shift, and what we'll do is we'll bring in a cube. Then we're going to press S and's Ed to make it smaller on the z axis, I'm going to pull it up and I want my top of this to be over here, probably coming out this distance like there. And then what we can have is we can have a, a couple of pillars coming down each side of here. I'll press S and X and pull it out a little bit more, and then we can have a couple of pillars coming down there. Okay, now while I've got this, I might as well put this into the top of there, as well as the door. So what I'm going to do is I'm going to grab this, I'm going to grab this, I want to press shift D. I'm going to drag it up. And what I'm going to do is I'm going to put this into the top of here, so the door just under there like so. And then this bit here. Now I can actually put where I actually want it. This is basically going to tell me is this part on top of here. So this part on top of here, Is it high enough? I don't think it is. So what I'm going to do is now I'm going to make another top here. Remember, this is not going to actually bend in like this. This is just because it's a gray box. So what I'm going to do is I'm going to grab this part here. I'm going to press and I'm going to put it somewhere over there. And then what I'm going to do now is just line this up. So I'm going to press S to make it a little bit smaller, press seven to go over the top press. And let's just line this up. It's going to be in the right place. Now you can see roughly in the right place. I'm going to make it thinner then and make it thinner. And then we're going to press to pull it out. And then we're going to put this back on top of the roof like so there we go. That is what I'm actually looking for, something like that. What that means is now I can pull this out and put it at the top of this roof. Let's pull it out this way. And this is going to be my little groves of wooden thing, vines and some grapes. Now what I'll do is I'll pull it out a little bit as well. So x and x, pull it out a little bit, and then we go a thing that's going to look pretty nice like so. All right, so let's come up and save out our work. What we'll actually look at now is this part here. We need some actual thickness to this part because he's going to be walking around here. So this, as you can imagine, is going to be a balcony here. So let's put him on it properly. And he needs to have enough room to walk around here and walk into the door, or walk to the end of the balconies and you look at his empire or whatever he's doing. The other thing is as well, we need to have some nice arches coming around here, so we don't want this bit too thick. So what I'm going to do is I'm going to see now is this a little bit too low? So you can see here, these steps that we've discussed, are they too low? If I bring this out, if I come to this plane here, grab it, also, grab the center of it, press and pull it down like so. Now what I can do is I can say, okay, that seems to be the right thickness. If I bring him down though now and press three, you can see now that we can have some arches going up here. Basically we want the arches to really start around this level here. This, this should be the high. I think probably our door wants to be a little bit higher. So what we're going to do is we're going to move the door up. Something like that. And then what I'm going to do is I'm going to come to this now just this bit here, grab the top of it. I'm going to move it up there. And I think now that's going to be much better on the actual thickness. Now we need to make our steps fit. So what I'm going to do is I'm going to come to our steps. We've still got the muddy fire on. What we should be able to do now is bring them up. We've said if we move this, you can see that they get taller. What I'm going to do is I'm going to press shift and move it along because that then will make it so that I'm going to actually be able to get them into the right place. Now we can see that we do have another problem, in that these steps, they're not quite wide enough. Now, what we want to do is want to make them a bit thicker. Now luckily for us, because we've got on a modifier, it means it's non destructive. In other words, you can actually come in and still make these steps change the way the mesh works. In other words, if I bring this, if press G, pull it out, you can see it's altering all the other steps. So that's really good. So what we want to do is we want to pull this up a little bit and then we want to bring them down now. So what I want to do is I want to come back to this press shift and bring them into place now on top of each other, making sure they fit on the stairs like so. And the reason we've done it that way is because if I bring my guy up now, so press G and pull him up there, we can see that now these steps we're just going to make sure that he actually fits on them still. Before we do anything else, we just want to make sure that he's going to be able to walk on those steps. You can see they're a little bit steep. Maybe they need to be pulled out a tiny, tiny bit. So what I'm going to do is I'm going to come to my steps, I'm going to grab this one and I'm going to pull it out a little bit, like making them a little bit wider. Somehow I can pull my guy on. I can see now that they are about right. So they're looking much, much better now. And he can climb up those steps. You can see those steps are a little bit different from those ones. And you can see now that we have enough room to create our balcony, we can see that we've got a door here and an arch that's going to go over the top of it. And it's just all fitting in much, much nicer. So now what we need to do is we need to bring in some models. And we need obviously, to have a wall under here. So in other words, a wall coming from here to fill up this area going over there, which we'll do on the next lesson. Before we do that though, let's actually save this out. Let's double tap the A and then we'll just put on our lighting and actually have a look, turn off the interlocking links and actually have a look at what that looks like. It's a little bit too hard to see at the moment. And the reason is because we have a lot in here now. This is really, really bright sunlight now. We could go over and we could rotate the sun round. So we could change the rotation of the sun and have it there to actually have a look at what it looks like. But rather than do that, probably better off giving these a materials just giving all of these a grayish material. I think that then is going to give us a better idea of what this is going to look like. We'll do that on the next lesson. All right everyone, hope you enjoyed that and I'll see on the next one. Thanks. Bye bye. 16. Structural Support Considerations in Blender Scenes: Welcome back to the blender for Ultimate Guide, and this is where we left it off. All right, so what we'll do is, as we said, we will first of all put this on Material mode this time. Let's click these two interlocking links. Back on so we can see what we're doing. And then what I'm going to do is I'm just going to bring in a material. So I'm going to come in to my material. I think we already have one in here. So we've got Greystone and all of these. I don't know why wall and things like that are on there. But anyway, we'll just use the default and what I'll do is I'll just call it gray box. And this is a really good idea when you're working with gray box to actually bring in just a material you can actually see. So what I'm going to do is I'm going to put this on a gray material like so I'm going to put then my lighting back on. And now you can see already, if I come around to here, just how easy that is to see. The other thing is you can also turn down your roughness value. So turn it all the way up. And now what you'll end up with is you will end up with a lot of light bouncing off. Because if we turn this down, you'll end up with it like a mirror as you can see. And we don't really want that. So let's turn it all the way up now. The easiest thing is let's go back to material. We can just grab all of this apart from our guy. You can see our guy at the moment. He's actually, in fact, we'll leave him great. We'll leave him great. We won't do anything else. We'll keep him there. So what I'm going to do is I'm going to press B Box select, and then he's going to select everything. Now just make sure you've got everything selected by pressing and then right click and dropping it back in place. Then what you want to do is you want to shift select whatever you want to copy something off. In other words, we want to copy this shift click. And now you'll see this is yellow, everything else is this dark orange color. And now all we can do is we can press Control and L. So control and L. And what we want to do is we want to link materials like so double tap the and there we go. Now all of these have this gray box material, making it really easy than having to go in and add this material to everything. All right, now let's look at our lighting. Now we have a really, really good idea of what it's going to look like. So we can see already if we turn off these two interlocking links, this is what it's going to look like. If we come around to the back, we can see exactly now, or imagine in our head how everything's going to work. All right, so I'm happy with that. Now let's come in back to our object mode. Let's put these interlocking links on. And let's actually come in and fix this part here first. So we can see this part definitely needs to be a wall going under here coming all the way up to this part here. The easiest way, actually, is to come into my gray box here, Press tab, press control seven, to go over the top. And what I want to do is I want to line it up with this here. You can see this wall here. I'm going to press control left click. And just drag it down to line it up with this one here like so. Now we should be able to grab this and pull it over. Now we will have another problem in the min, come over level as you can see here with our I'm wondering actually we should be able to get away with that. It's just like it goes all the way up to here and we don't really want that. I'm going to do is bring another edge loop. We'll put on X ray first press control, and then just bring it up into the center of here. Now you can see it's actually inside here, which is good for turnoff x ray. Now now what I should be able to do is select just this space. And I'm just going to extrude it out. So I'm going to press and extrude it out level. Pretty much with this over here. Now you can see we've got a nice level place because we want to put a couple of doors in there. Now what we need to do now is we need to figure out, this is going to be our balcony, so we need to now bring in something that's going to represent that. The other thing is we haven't got a floor on here at all. And what that means is we can't really get a good visualization of how the actual building is going to fit. So what I'm going to do is I'm going to bring in a floor. I'm going to press Shift cursor to selected. And then what I'm going to do is I'm going to press shift. I'm going to bring in a plane. You can see a plane there. I'm going to then press and just pull it out like so. And then we're going to level it with the ground plane. So I'm going to press so one, and I'm going to pull it down. We're going to put it on just on the ground plane like so now you can see, if I pull that over, you can see exactly what we're looking at. Now if I put this on now, you can see that's how our building is going to sit and now we really do have a good visualization of how it's going to look. All right, now let's think about our actual pillars. I'm going to come in to object mode again. I'm going to make a quick pillow. The pillars pillow a pillar. The pillars want to be coming up to roughly around here. This point here, we can see we've already got a nice height for them. So what I'm going to do is I'm going to grab my guy, I'm going to press shift a selected shift. Then what I'm going to do is just bring in a cube. Then I'm just going to make it smaller, pull it down to the floor just it sits on there three. Just making sure that on that ground plane and then all I'm going to do is that's the right thickness for a pillow tab. I don't know why I keep saying pillow pillar. And then let's pull it up to the height of here. If I press one, I can pull it up to the height off here like so. All right, so that's an easy pillow to me. Let's now press control. Or transforms, right? Clicks, origin geometry, and there we go. Now let's put these into place. So I'm going to have one around here. I'm going to need four, I think. So I'm just going to press shift D. I'm going to bring this over all the way over here. I'm going to press shift D again. I'm going to bring it over to somewhere like that, shift D again, let's bring it over to there. All right, that's looking good. Now that gives me a good idea of what I'm actually going to do. The one thing I can see is that the pillars probably need to be a bit bigger. So I'm just going to grab all four of them. I'm going to press S because I want them to be slightly bigger and then put them underneath like, so. All right, now we need a couple of doors in here, so I'm thinking one door here. One door here. So let's come round. We want the double doors, so I'm going to use those, so I'm going to press shift D, I'm going to drag it out. I'm going to put one door. Then maybe in here, if we're putting it there, let's put it a bit that way. If I press one, you'll see her go round to the front. If I press control one though, you'll see her come round to the back of it. And then what I can do is I can press D, duplicate it, and put another door in. Then what I can do is I can work out where I actually want my door. I'm going to want them not quite in the center where you can see these pillows are a little bit over it. So I'm just going to put my pillows there and I think I'm going to want my doors like that. That's looking pretty nice. All right, now let's think about the last part. The last part, I want another cube in here. I want it coming up to somewhere around here, and I want some stairs leading from the back of it. The stairs are pretty easy because I can just grab these stairs. So I'm just going to press shift on the stairs, spin them around -90 and then I'll put my stairs into the wall, like bring them down to that ground plane, holding the shift bone, slow everything down and then just pull them in something like that. I'm thinking that these stairs on this bit probably a little bit too wide. So I'm just going to press S and X, leave them a little bit thinner. So then what I'm going to do is I need, then, it's going to be a door at the top of there. Let's grab this door, Sid. So let's pull it, Jaws to top of here. So now let's think about bringing in our cube. From here I'm going to do is I'm going to press Shift S selected. What I'm going to do is I think will basically we want this one to be under the window here. I'm just wondering where to put this cube. Probably the height here, around here. All right, I've got it, Let's grab this cube then I'm going to press shift D and just move it over there. And then what I'm going to do is I'm going to press Shift and I'm going to put selection to curse that. Then it's going to move the cube right where I want it. I'm just doing that because it's going to be easier rather than making some new piece of mesh. I'm going to pull the cube down into the ground plane. Then what I'm going to do is I'm going to pull it out. Then finally I'm going to pull it back tab. Let's pull it all the way back to here like so there's going to be a pillar on there, of course. And then what I'm going to do now is I'm going to pull this to the halfway point of here, making sure that door is actually going to be in there. Now I can see at the moment, we can't see where the door is. So what I'm going to do is I'm just going to pull it back there. Then what I'm going to do is I'm going to put an edge loop down this bottom here. So I'm going to press control our edge loop. Just move it a little bit sideways from the door and then we're going to come in and grab this. And then I'm going to press and pull that out to where I actually want it, which will be something like that's just so we can still see our door. Now if we put a lighting on, you can see now that is what it's going to look like. You can still see that even when we've got this top over there. Now I'm going to do is I need a top going over the top of here, covering that, maybe a little bit higher up. What I'll do is I'll use this part that I've got here. So I'm going to grab each one of these, that's go into object mode once more. Each one of these, let's save our work so we don't actually don't lose anything. What we'll do is we'll just pull these up now. And I'm thinking, I want to pull these up to be slightly higher than this. Maybe I'm going to press, just let me grab them again. I'm going to press and pull them up to be slightly higher like so. Now the only thing I'm not sure about which I'll decide on the next lesson, is where do I want this? Where do I want this part to come down to? Because I think I want it quite high up here also. How wide is this walk? Because at the moment it looks a bit, it doesn't look wide enough, this part here. But we'll do that on the next lesson. All right everyone. So I hope you're enjoying it, I hope you're having a great time and actually learning loads about building gray boxes. And the best thing is, I hope you're really seeing your gray box and your building actually coming together now. And you can imagine where everything's going to go. And that's the whole idea of building a gray box in the first place. Alright everyone, So I hope you enjoyed that. See her next one. Thanks a lot. Bye bye. 17. Arcway Design Techniques for Greyboxing: Welcome back everyone to the blender for ultimate guide, and this is where we left it off. All right, so now let's actually come to this part. So first of all, I think this is going to have to be wider. So we're going to grab all of these and we're going to pull it out and make it a little bit wider so we're not going to put a window or anything like that in there. I think this is coming up to about the right height actually. And I think we just need to put a top on this part here. Now, putting tops here is going to be a little bit harder to put it on exactly. I don't really want to mess around putting this on exactly at the moment. So what I'm going to do is I'm just going to come in, grab the edge of this seven to go over the top. And then what I'm going to do is I'm going to extrude it. And I want to extrude it along the y axis, just to the end of there. So because this is a gray box. Now what we want to do is we want to come in, grab this face, and then I want to press and pull it down then to where I want it, which will be somewhere like that. Now, bearing in mind, sometimes when you extrude things down, you will lose the top of it. In other words, it just takes it and pulls it out. We don't really want that. So what we want to do is we just want to come in and grab this one. And this one press and put a top on it like, so. All right, let's double tap the A, And let's look at what that looks like. And we're just going to have a look round it now. We can see that's looking pretty nice. Now think with the doors actually, because it is a gray box. And I want to see, I have a real good visual of what it looks like. I'm going to change the material on the doors. What I'm going to do is I'm going to come in and minus this one off click New. And then I'll just make it a different color, like an orangey color, turn up the roughness. And then what I'm going to do now is I'm going to grab this. Where is it? That one then these two doors and then this door. And then what I'm going to do is I'm going to grab this door last. Because that's the one I put my material on, press control and L and I'm going to copy or link materials, double tap the and there we go. Now we have a good idea. Hopefully put this some material of what our actual doors look like. And you can see because they're orange, it really, really did bleed that out as you can see. But at least we have a visual. Let's actually put the post then as well as the gray box. I'm going to grab the gray box and control L link materials that will tap the A. And there we go. Now we have a nice visual. Now the next one I want to do is the windows. So we'll come to this window here minus this off, and then new. And then just make it a bluey color like so. And then let's also turn up the roughness. And then finally what we can do now is we can grab this window. I don't think I've actually put many windows on the ear anyway, so that's fine. I'm just going to grab that window. And this window, I'm going to press control L and link materials. Double tap the. And there we go. Now we have a really, really nice visual of what we're actually looking at. What we'll do now is we miss door there. Let's grab this one con cholel link materials. So what we'll do now is we'll actually come in and think about where we're going to put all our windows and this is what I recommend that you do next. So you really want to look at where are things going to go, so where are windows going to go and you want to place them in realistic places. You don't just Mr. over door there. You don't just want windows and doors, just placed willy nilly. We don't want that all we want to placed in some kind of area that's going to, you know, kind of make sense. The other thing is just making sure I'm happy with how this is all built. Of course, generally I want to make this bit as well, a little bit uneven. So I tend to put in now some cubes that are just going to make this a little bit uneven. Just so we can put some nice things on here. That's what I do to cut along such stories short. What I'll do is first we'll sort the windows out, sort out the balconies, and then we'll actually make just a little bit of a few more changes on these actual blocks that we've actually created. And then from there we can actually start building this out, which actually once we start get going, it's going to be much easier. All right, so let's go to object mode. Let's first of all bring a door. So I'm going to grab this door here, shift. And what we're going to do is we're going to put a door right at the end of here, so right at the end of the. In here so they can come out of here and then go through to here. Because you've also got to think about how are they going to get anywhere around this building. So we need plenty of doors and we need plenty of windows. Ours, 90. Let's put it back then into place. So let's press the dot B to zoom in. And then we'll do is we'll just put that in place like so. So that's that one. We need a couple of windows. I'm going to go around here, steal this window, shift D, drag this window out here. And then what I'm going to do is I'm going to press And 90 I'm going to press control one to go to the rear. And then what I'm going to do is I'm going to pull a window perhaps, just like so. And then shift D, another one here. Grab them both with shift select and then let's pull them back into place. So, all right, now we want to balcony. I'm going to grab my balcony here and I'm going to press shift, I'm going to pull this over here and then 180, spin it around. Let's put this balcony into place. We want it something like that and then just make sure that it's in. Then I want another balcony, then this side here, round here, shift D 90. Let's pull this balcony over here. I think on this part here we'll actually have it in the middle. Maybe there a little bit, tiny bit lower than this one. Then what we'll do is we'll pull it out just a little bit. Then I'm going to grab this window. I'm going to press shift then 90. And I'm going to press control three. And I'm going to put this window over here and put it into the wall. All right now we're want to grab a pillow. So I'm going to grab one of these pillars. I'm going to press shift to bring it up. I'm going to, of course, make it a little bit smaller so I'm going to press S, make it a little bit smaller. What I'm going to do is I'm going to put it under there because that I want this on a couple of pillows, shift pillows, pillars. There we go, like so. And then this one we've got obviously a balcony that's going to come over here, which I don't actually think we should model. I don't think we should do that. I think we know something's going to go there, so we're okay. I think what we should do though is we've finished these now. We've got doors here leading through to there. We've got a couple of windows here here. We need a well down here, which we're going to point in a little bit later. What I need to do now is I need my windows and my balcony in here. So let's grab this part first. I'm going to press Shift, bring it over. My other balcony is going to be over here. So let's make sure that'll fit on there, which it will, that should be nice there. Then what we'll do is on a window here and a window here. I'm going to grab my window. This big window, shift D, let's pull it out. Let's press control one. And then let's press, and then we can put that one in place. Let's pull it back into place. Then I'll have one more thing here. Control one again. Shift D, let's drop it somewhere around here. So then I think we need just one more window around here. I'm going to grab this again. Shift D, bring it out. Press control and 33, and then let's pull that down. Or pull it into the middle. Yeah. Make sure it's in the wall. Now I'm thinking that's pretty all of the windows and doors in there. I'm just looking around just making sure it's got a nice view going down there, we can see it's got a nice view. I think one thing we would need on here is an arch. We'll put the arch in as well. We'll do that. I'll grab this part here, shift S. In fact, we'll use this, we'll use this actually for the arch. So I'll press shift D, because one thing we want to make sure is that they'll still, I'm pressing S, be able to walk through here, I'm going to press S again just to get it going to the sides and Y, and the arch wants to come just back past this wall. So somewhere like that. And what we need to also do is we need to make sure that he's going to be able to walk underneath it. And I think if I put it there, he should be able to do that. So I'm going to press instead, make it a little bit chunkier, make sure that it's in the wall, like so. And then what I'm going to do is just make a quick arch. So what I'm going to do is I'm going to press control to bring in an edge loop. Left click, right click to drop in the middle. And then a little trick you can do is you can press control B to bevel. And then you can just pull it out to wherever you want the edges of the arch to be. So here and here. So now if I go underneath and grab this one in face leg, so this one and this one. And then what I can do is I can just extrude them down. So pull them down and there we go. We've got our makeshift arch. And now what I want to do is just make sure my guy is going to be okay and the Kenny fit in there. So let's press G, let's bring him over. And just make sure he can actually walk underneath here. So let's pull him up. And he walked through there, that's the question that we need to ask. And yes, he can he should be fine going in there like so. Okay. So that is pretty much done with the very basics of the gray box. There are a few things that I would like to fix. I just want another part in here, I think, and just one small part in here. And then everyone, we are done with our gray box and we can start moving on and start building this out. We'll just put a couple more parts in here including the well, and then we're ready to rock and roll. All right everyone. So I'm going to save that out and I'll see on the next one. Thanks a lot. Bye bye. 18. Crafting Palm Trees Using Geometry Nodes: Welcome back everyone to the blender ultimate guide. In this way we left off. All right, let's bring our guy over here now. So what we'll do is we'll put in round about here. And I'm going to spin it around. So I said 90. Let's spin it around. It doesn't really matter which way he's facing. I just want to make sure that there's going to be enough room if I pour a little bit of a wall coming down here to make sure it's still going to, you know, kind of fit in there. So what I'm going to do is I'm going to press Shift selected, shift A, And then I'm going to bring in a cube. I'm going to make the cube a little bit smaller. And then what I want to do is I want to pull this cube into roundabout into here. Jaws coming down to this bottom step where I can put some plants or something else like that. And then what I'll do is we'll pull it out. I'm going to grab the side of it, I'm going to pull it out. And then what we're going to do is I'm going to come underneath, grab the bottom of it and then pull it down into there. When it come in jaws to this step. And you can see it's going to make it little bit different. I think it's a little bit still too wide of the up, so I'll pull it back, jaws to tad. So that then is adding just that little bit extra to our build. I think it was checking that is going to look a little bit nicer than what it did. I'm just wondering whether this is a little bit too thick. I think it is. So what I want to do is just grab this and pull it back there. Yes. And I think that looks nice. All right, so one more piece then. I think I want one more tiny step over here. I'm, I'll grab this cube again and we'll use that as well. So shift D, bring it over. And then what I'll do is I'll pull it up. I'm going to press S and's head then just to squish it in like so. And then what I'm going to do is I'm going to press S and hit and pull it out. And then what I'm going to do is I'm just going to put it into place, something like that. There's a little bit of unevenness, Double tap the A now going up there. Then finally I think I want one more bit coming along here. I'm going to grab this again. I'm actually going to pull it in a little bit more. Let's pull it in a little bit. Then I'm going to press Shift and Duplicate once more. And then and then and y, just move it over here and then just pull it out a little bit. Then let's just grab the top and pull it up into place and just make it a little bit of a ridge just on that bit over there. All right. I'm happy with all of that. Now I want to come round to the back and I want to put my well in just to get the right dimensions for it. So I'm going to bring my guy over once more, put it on there. And then what I'm going to do now is I'm going to press shift S just to put the cursor back to the guy shift. And then what we're going to do is we're going to bring in a cylinder. Should come in at 20 because we still haven't closed down our blend pile. And then what we can do is we can make this a little bit smaller like so when we want a little bit of a well so ands ad and then we're going to put the well around here. Now normally I don't bother with props and things like that, but because this is something a little bit more than a prop, it's actually part really of the build. So we need to understand where it's actually going to go. Same as the palm trees. Sometimes I'll come and I'll put some just rudimentary palm trees in there as well. Just to get an idea of how everything's going to look. By the way, I have my other building, the first building built on the other side, on the other screen. So that helps me then reference where I'm going to put everything. But pretty much the way I build it in the first place is the way I'm showing you right now. I just took longer to actually have you actually have to work out how big everything's going to be. All right, so now we've got this in here, let's make it a bit more like a well so we can see what we're doing with it. So what I'm going to do is grab the top of it. I'm going to press Enter to pull it out like so. And then to pull it up. Then for Insert to pull it in and then to pull it down into place. Then all I'm going to do is I'm going to grab the two of these. Here, this one and this one, like so. And then all I'm going to do is I'm just going to press and pull them up and just make a rudimentary, well now I'm going to right click and shade or to smooth, double tap the A. And now I have a really, really good idea of how this building is shaping up. I'm thinking that looking around now, just making sure I'm happy with everything. Yeah. Th, this is really, really nice. All right, so now let's come in and save this out. And what we'll do is we'll actually use one of our first parts of, of our actual resource part. But before we do that, let's just make sure that everything is in where we want it to be. What I want to do is I want to grab this part here and I'm going to press M, I'm going to make a new collection. I'm going to call it grade box like so. Okay. And then what I'm going to do here is I'm going to come to this one, I'm going to press M New Collection, and we'll call it ground. So click Okay. All right, so we have ground, we have gray box, and now we have all of these parts. What I'm going to do is I'm going to come to the ground. I'm going to hide the other way. I'm going to come to the man, I'm going to hide the other way. And then what I'm going to do is I'm going to press B box, select everything. And then all I'm going to do is press, and I'm going to put that into gray box. So now you can see really, really nice and tidy and that's exactly what we want. Okay, so now why do we do that? Well, it means now that we can hide any of these parts out that we want, so you know, we hit it with H to bring it back is old age. That's where you need to press. And what it also means is now that we can hide our man out of our way, or we can hide our gray box, or we can hide our floor, which makes it much, much easier when we want to deal with all of these parts, we want them basically in a big chunk. All right, finally then, before we do anything else, let's have one more look around with our actual lighting on double tap, the A turn off these two interlocking links. And now you can see this is what it's going to look like. That is really nice, and I think it's well proportioned, we've got height to it, we've got depth to it, we've got intricacy it to it. And that is what makes for a really nice scene. Just take all of those things in your mind when you're creating your own scenes and you won't go far wrong no matter what you're actually creating. Okay, let's come to object mode, and then we do is turn on these interlocking links. And now we can come to our asset manager. And the first one, just make sure you're on use the library going to come to geometry nodes. And what I'm going to do is I'm hoping I can bring in a palm tree. Which I can now, you can see the palm tree isn't really, you know how I want it or anything like that. So what I'm going to do is to make this a little bit easier. I'm going to press shifts baseball first of all to bring in my move tool so we can move the palm tree over there. And the first palm tree I want is going to be round of the back. So I want it round of the back shaping and going kind of up here. So what I'm going to do is I've got my cursor there. I'm going to press shift A, bring in a plane. I'm going to rotate this plane round, so R Y 90. So I'm going to put the plane a little bit further towards the wall. And then what I'm going to do is I'm going to make this plane a little bit bigger with the S and then and's G to make it a little bit taller. So something like that. And I'm just going to leave my plane there. Now what I'm going to do is I'm going to press control three just to face my actual plane that I've created. I'm going to pull it up a little bit more. And then what' going to do is I'm going to come over to my geometry note. This is my geometry note. Let's take a quick look at this then. On the right hand side, if you click on the little spanner, you can see this has add a geometry node in. Now to add in a geometry node, let's first of all discuss that. I'm going to bring in a curve. So we've got a bezier curve that I've just brought in, so here's our Bezier curve to make this into a geometry node. Then add modifier. Let's go and add in geometry node. And the geomet Ode wants pick is going to be palm trees. Note now you can see this is what is brought in now. I can spin this round, Y, Y, -90 Spin it around the right way. Now you'll notice when you bring in this palm tree, first of all, it hasn't grow a top on it. But now we can actually add a top. If I come in, press the tab bottom, press the born on here, like so. Now we can actually join it with this one. You'll notice on this one it's two. On this one it's zero. And the reason it hasn't got any of those tops on is because we just need to change the count up. And now it'll give us some leaves like so. All right, so that's how you can actually bring in this Geomet note. This Geomet note in particular works with curves. Some of them work with objects and some of them you don't need anything. But now you understand now to do that. So what I'm going to do now is I'm just going to delete this out of the way. And I'm going to show you an even better way of doing this. So what we're going to do is we're going to come in, delete the other way, press control three, just to look at this plane. And then what I'm going to do now is again, I'm going to bring in a curve, Bezier curve. It's appeared here. If I press Tab, you can see now we've got the points on our Bezier curve. Actually, I'll show you that if I press G, now you can see we can move these points around so we can extrude them out to make more of a curve. So, but we don't really want any of that. What we want to do is we want to select them all. Press Delete, Delete vertices. Now, even though we've actually deleted the vertices, that actual curve is still there. So if I press control three, now I can come over to the left hand side, click this little arrow over here, Or press. And what I can do now is and come down and click this little draw. If I click this little draw now and zoom out a little bit, what I can do now is draw in a tree, so I can bring it out, bring it round exactly where I want it, like. So how do we turn this into a tree exactly as we did before. Add modifier geometry node down arrow. Click on palm tree node, and there we go, a beautiful tree. Let's give it some more leaves on top. Now you can see just how easy it is to drain a tree. We can actually come in as well, grab our tree, make sure we're on the move tool, grab one of them, press the borne, and we can actually move it around as well. We can even come in, press the borne, and extend it out if we wanted to. It's a really, really powerful geometry note while we're here though, and we've already gone through that. On the next lesson, I'm just going to show you quickly how the geometry node actually is put together. We'll actually delete this other tree. We're not going to need that one out of the way. And then what we're going to do is we're going to move this plane over to the left hand side. And now we can see if we move this more into place, let's press control A first. All transforms directly, surrogen geometry, and let's put this into place like so. And this is where our first palm tree is roughly going to be. Now I can see if I put that there, I need to move this window a little bit over like so. And now I'm thinking that's looking pretty nice. Now you can see it's very, very straight on. What I tend to do with that is I just tend to just make it a little bit more of an uneven shape. And don't worry, we're going to replace all this. These are just templates. And we're going to put more palm trees in here, but we'll do that on the next lesson. All right everyone. So I hope you enjoyed it and I'll see on the next one. Thanks a lot. Bye bye. 19. Adjusting Stylized 3D Palm Trees for Scene Integration: Welcome back everyone to the blender for ultimate guide, and this where we left it off. Now the one thing you might be asking is geometry nodes. Where do you get from? How do you create them? And the thing is, you can create them yourselves. They're extremely complex to create, but it's like anything. Once you get the hang of them, then you'll realize how to create them. Let me show you this one. So if we come over to geometry node, click on it, zoom out, you'll see this is how this geometry node is created. We can see we have lead curves, is all of this. And if a zoom over to it, this is basically based on curves. So what this lead curve is doing is it's basically telling the blended geometry node at the end of the curve you need to put on a load of leaves. And then this, it's basically telling it how to do that, how to distribute them, how to bend them, and all that sort of stuff. As we move further along, we can see we've got scale randomness. These are all these options here. Now, in a bit or a bit later on, when we change the palms out for different palms, we will be altering a load of these as well. Because what these allow you to do is change, for instance, the that's the leaves, let me just put that back the radius of the bay scale for instance. So we can change that, We can change the size of the trunk overall and things, so many things we can actually change. And this is the main point of geomet nodes. You want to do everything before actually applying it to mesh. You want to make things as easy as possible for yourselves. So you want to create geomet nodes which are like planks or like roofs and just make the whole process easier when you're creating anything. So palm trees for instance, can be lose, used in many, many instances, many projects. And that's why we've actually created this. We've also got ones for roofs. Creating roofs much, much easier, ones for planks. We're going to create 14 steps, meaning that the process of creating steps is just going to be that much easier rather than having to go in make a cube and then, you know, array in it and perhaps curving it or something, just make it with a geometrenode. Then we can just add the steps, change the steepness and all things like that. This is why we do this. Geometry nodes is a real game changer, Very, very powerful. And we do have a load of geometry nodes. You know a three D tutor, so you can take a look at that if you want to. These nodes that you've got come with the course anyway, so you're free to use them in any area projects, just not in any commercial capacity. If you want that. We have commercial licenses available. All right, so now enough of that. Let's actually move on then. And we've got this tree here. What I'm going to do then, I want another tree, so I'm going to come over to modeling again. What I'm going to do now is I'm going to put another tree round here. I'm going to pull this over, spin it round so S D 90 and I want another tree up from here. So what I'm going to do is I'm going to press control one to go to the reverse. I'm going to press Tab. What I'm going to do is I'm going to grab this tree again. I'm going to press Tab To get into the edit mode, I want to come to my drawer function again. And I'm just going to draw this up from here. From, here's the start, I'm going to draw it up all the way up to there. Like one problem you will see is that it didn't draw on here. I'm just going to press control A, go back and I'm going to show you something else which I completely forgot. If we come into this again, press control, one press tab. And before we draw, let's make sure, first of all that we're on surface. So you can see at the moment we wasn't drawing on the surface. So let's draw on the surface then. What we can do is we can now come up and it draw on the surface of this. Yes. Which are? So you can see on the surface of our plane, it's drawn a nice beautiful palm. Let's also make sure that the orientation of this plane is in the center. So right click. So origin to geometry. Let's move that out of the way. And there we go, our second palm. Not quite happy with the top of here. So what I'm going to do is I'm just going to come in, I'm going to rotate this round, so R Y, rotate it round and then let's move it a little bit, so let's like so and I think that's going to look there. And then all I'll do is I'll move it now just so it's not so straight. So you can also use Propulsion leediting on this as well. So if I press now, you can see we can bring it all out and move it all together like so. And there we go. That's looking pretty nice. Except the Bom bit probably probably not. Straight enough. So let's pull it up. And there we go. And the good thing is you can see how we all moved together, making it really, really easy. Okay, so now we're at the back. Let's bring in then the last palm on the last palm doing is come in just above, just above here. And over this bit I'm going to press one. And then what' going to do is grab this palm, press the tab. I'm going to make sure I'm on draw. The surface will already be on now. I just want to bring it up. I want this one to be a bit of a smaller palm tree nowhere near as high as the other one. Something like that. Now I'm going to come in and delete this out the way I don't need this plane anymore. And then what I'm going to do is just move this around so I'm going to come, oh, the other thing is as well, you can also adding extra points on that. All you do is grab two of them. Right click, subdivide, and then what I'll do is I'll give you a point in the center giving you even more ability to move this. What I'm going to do is move these over and just have it slightly, slightly hanging over here like so. All right, again these are just place mats at the moment. Don't worry about them too much. We are going to change a lot of things as we move along. This is just to get everything in there to make sure that all of our grade box is done correctly. So finally, when you've got that, let's first of all save our work and let's put it onto our lighting. And there we go. Now we can't see these. And I'll tell you the reason why. The reason why is because sometimes in blender EV and cycles they work on different render engines. Which means that the way that transparency works is completely different from each other. These palms are self for V. If I come in and set this to EV, you'll see sky disappears. But as it compiles the shades, you'll see once these load up, you'll actually have some transparency. And there we go, here's the transparency in house. You can see them. You can see though why use cycles is because at the moment on V we can't really see a lot. Now there are some things that we can do to actually change that. I will show you those. If you come over to the ambient occlusion, click that on, open it up, and just change the distance you'll see now that we actually start to get some better shadows on there. We can also change this up and bring the more, just keep moving it up and you will get more and more if you change the factor back. Now you can have a much better control over that. The other thing we have in V is screen space reflections. This is used for when you've got high reflection. If we came in to the material and we brought down the roughness, we can see now that we've got reflection on there. And if I go back to V, turn that off, you can see the difference that it makes, it makes the reflections a lot more realistic with V. Now, of course, I don't want those reflections looking like that, so I'm going to turn it back up. Now with V, you might be better off having a little bit of reflection actually, But anyway, that's where you can see from the V, so you can see still quite nice. It isn't real time, so it's going to be much, much quicker. We can see our palm trees looking pretty nice. So what I'm going to do now is I'm going to put it back two cycles. Because that's why I like working with, even though I can't see the tops of my palms, I still get a better visual for me, at least, of what everything's going to look like. So on the next lesson then, what we're going to do is we're going to actually start building out the main parts. Because I'm going to show you a way of how to build which is going to make it not only viable, so you can build things in the future. Not only viable so you can actually save them out in your asset manager, but also a really, really fast way of working and producing professional work. It's took me ten years to get to this stage and I think I'm really at a stage where I can show you the best and easiest and most professional way of doing things. All right everyone, So we enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 20. Crafting Stylized Pillars in Blender: Welcome back everyone to the Blender Ful Ultimate Guide. And this is where we left off. All right, let's put this on object mode now. Let's make sure that our palms are also going to be in with our gray box like so. And now what we can do is we can actually start making the pillows. So let's first of all bring in a cube. I'm just looking for my little guy. Where's my little guy gone? Here he is. Let's bring him over. I also think before we do anything else, let's center this more. So I'm going to go over the top. And then what I'm going to do is I'm going to center out the ground plane a little bit more. So then what I'm going to do is I'm going to grab all of I'm actually going to Yeah, I think I'll grab the ground plane ship S cursor selected. So the curse is right in the center of the ground plane. Grab everything now. So what I'll do is I'll move it all more to the center of here like, so it's more centered now within our actual viewport of blender. And I think now if I'm looking around there, yeah, that's pretty centered. Now, that's good. Now we've got that all the way. Let's come in there. We'll do is we'll grab our guy. We'll press one on the number pad shift S, cursor selected just to bring in a cursor. Then what we'll do is we'll bring in a cube. Should they mesh, bring in a cube. Make the cube a little bit thinner. So we want this to be an actual pillar. It's going to be relatively thick, but not too thick. You don't want to crazy thick. I think something like that should be found. But we'll have a look as we build out this more. Now what we want to do is we want to make this, let's go to the item on the around 3.3 meters. 3.3 meters. So I'm going to give this a test before, so I'm going to pull this over. I'm going to put this into this corner just to make sure it's going to fit okay. It's going to be like this. And then let's pull it up to the ground plane. And then it's just going to stick above this line as you can see here. All right, so let's pull this out now. We've got it. And then what we're going to do is we want to turn this into some pillow. Pillow. What we're going to do is we're going to bring in edge loop here. So I'm going to press control. I'm going to bring in an edge loop round about somewhere around there. And then I want another edge loop at the bottom for the uctoal base of it control, bring it down to something like that. All right, so let's do the base first. So what I'm going to do is I'm going to come to face set. I'm going to old shift click just to make sure I've got those all selected around there. And then what I'm going to do is I'm going to press one to go into front view again. I'm going to press Enter. I'm not going to extrude it. So in other words, just press E and Enter. And just remember that you did press, you don't press two or three times because you'll end up with loads of extrusions on there and you don't want that. So now you can see if I press S and pull this out without portion entering on, you can see that we've extruded it and now we can pull it out. Now if I just go back, if you're worried that you've pressed too many times, you can actually just go back, select the whole thing, come to mesh. We're going to go to clean up and what we're going to do is merge by distance, Merge by distance, eight vertices removed. And the reason that happened was because we had extruded it and those vertices were sat over the top of each other, Which means that if you extruded it again, by mistake, you'd have 16 vertices sat at the top of each other. So then you've just cleaned them up. So now you'll see if I try and pull this out, nothing happens. So we're going to extrude it again. We're going to press one on the number pad. We're going to press E and enter without moving our mouse. And then what we're going to do now instead, is we're going to press alterns, not ENS alterns. What you'll find is we can now bring this out in a straight line. So in other words, the difference, if I press, you can see it comes out like this. If I press old s, you can see it comes out much straighter. Now the other important thing to do when you bring it out like that is just come down and actually make sure that offset even is on. Now the other thing is at the moment I'm just going to put it back. So I'm going to press control head and I'm great like this. What I want to do is though I want to actually make it a little bit of a bend within here. What I'm going to do is I'm going to press control. Bring in five edge loops. So five, left click, right click. Grab the center edge loop. So Alt shift click. So it's going all the way around. And now I'm going to do is going to come in and use my proportional editing. So we're going to try this on probably, let's try it on inverse square, let's put it on inverse square. And what I'm going to do now is press the S one. And you'll see now we can actually bring this in in a really, really nice way, giving us a really, really nice form to our actual pillar. Now you will see that we need to smooth this off. Right click, shade alto smooth, and now it's nice and smooth. And now find that we can come back. All should click. And then what we can do is press one. Let me see if I've got any yet. You can see there, if I take this off, press all test, you can see I've got no extrusion on there. So I'm going to press Enter and then AlternS and pull that out. Now the moment I pick click alterns, sometimes what will happen is the offset of this won't be even you're better off once you've done that. On the left hand side, you'll have the menu that opens up here. Just click offset. Even on if it makes it a little bit bigger than what you intended, just press alternates and you can still pull it back in like so offset even on, and there we go. All right, so that's looking good for the bottom. Now let's think about the actual top. You notice that I've made the top a little bit bigger. If you get it wrong the first time, don't worry. Actually, you can fix pretty much anything, so don't worry about that. So what I'm going to do now is I'm going to bring in another edge loop. So I'm going to press control left click, right click. And then I'm going to press control B to Beverly. So I'm going to hold the shift on then to just drag it into where I want it. Because what I want on this one is a top. And the bottom on here now I'm going to do is I'm going to press Alt Shift and click in Facelift. Click Shift, Click. So then what I'm going to do now, I'm going to press again, Enter AlternS, bring it out like so. Now we've got basically a top and a bott. Now the one thing is I should have really brought out all of this to start with. In other words, I'm going to press controls that again. And what I'm going to do is press old shifting click, going all the way around here. I've got all three of these. Then what I'm going to do is I'm going to press Enter AlternS, bring it out. So now we can see we've got fairly chunky outside of here. And then what we do is offset even, and then alternates, bring it in a little bit. Offset even on there we go, a thing that's looking pretty nice. And now finally we can go the other way. So we can grab all this going around here. We can press Eat and Enter, and then alternates, but drag it in instead. And then we can click Offset, even on, and then alternates. Bring it out a little bit. There we go, our first pillar. Now let's look at the bottom of the pillar, because I want the bomb to actually be coming out a little bit. You can see at the moment, if you press one, it is straight down. So you can see we've got a nice curve here. You can see if we press three because we use proportionate, it's non, we've got a nice curve in there as well. But what we want is the bomb just to come out a little bit. So what we're going to do is I'm going to grab this bomb now. I want to select it going all the way around there. You could come in and press Alt Shift click. But what you can also do is you can press Control and Plus. So what that does is it basically selects the next one up. You also press control a minus and get it to exactly where you want Control plus and then let's press one. Let's press the S one and pull it out very slightly, so. All right, so I'm really happy with how that looks. Now want to create another pillar to give us a bit of variation. In fact, we want to create three pillars in total, but these are the most complex pillars. Let's create one more pillar. So I'm going to do it, I'm going to grab this one ship D, bring it over. All I'm going to do for my next pillar is I'm going to grab this edge lupia and this edge looper. And I'm going to press control B, beveling again, holding the ship bond to get the right size like So I'm going to press and enter to extrude. It alternates and I'm going to bring them out. Now you can see that Alts on here is not actually pulling out in the right way. And that is because we're trying to extrude them based on the middle of here. We don't really want that. What we want to do is we want to come down individual origins, alternS. You'll see sometimes that happens where it still tries and pulls them out from there. If that does happen, the best thing to do is to press control Z. And instead of pressing old S, just press S, and then you'll be able to pull them out like so. Then what you can do is you can press and Z and you can now pull them down, making them a little bit more even like this sort of effect like you see here. All right, so I'm really happy with how that looks. Let's create them the final pillar, which is going to be a little bit smaller than the other two. So what I'm going to do is I'm going to take an edge of here. I'm going to come to the middle. What I'm going to do is a shift click because I like the size of this pillar. I'm going to press Shift D, Jaws to bring this out as you can see. And then I'm going to press to extrude it, I'll tie it to the z axis. Z. And then it's tied to the z axis like so now I want to do is I want to fill these in to fill in the top of it just basically means fill, it'll fill in the face. There are other ways of filling things in which will probably come across further on in the course, but is the way to go, especially when it's just a polygon. Let's come to the bottom and we'll press again. There we go. We build that in. Now we just want to split this off from this pillow and pillar. And we also want to make it a little bit taller than what it is now. Of course I'm going to come in LP selection. And then what I'm going to do now is I'm going to now split it off. I want to press control or transforms right click, so origin to geometry. Then ' press one. I'm going to bring it down the same where this one is. And then I'm going to do is I'm going to come in, grab the top of it with face select. So grab the top here, press one, and then I'm going to pull it up like so, and make it a little bit smaller than these other two. Okay, everyone on the next one. Then we'll get these pillars finished, and then we'll actually be moving on to bringing in some textures, and you're going to find out how to actually bring in your own textures as well. We'll go through that and we'll go through our first shader. All right everyone. I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 21. Introduction to Seams and Sharps in Blender: Welcome back everyone to the Blenderful Ultimate Guide. And that's where we left it off. All right, with this one, then what I want to do is I want to put a top in it fit, so I'm just going to press control left click, drag it up. Something like that. And then what I'm going to do is I'm going to come in, grab the faces going around o shift and click. And then what I'm going to do is enter alternans. Pull them out, make sure we've got offset even on and then I'm going to pull them back a little bit. So alternates like so Officer, even on there we go. As simple as that. All right, So what we want to do a little bit different on this one is we want to put a little bit of an insert on the front of here. So what we're going to do is going to press Tab. Make sure I'm in face leg, grab this front face. Now when I bring this in, you'll see when I press it does come in kind of even, which is great. And normally though, before using it, insert, make sure toys press control all transforms right. Clicks, origin, geometry, press the tabo and now bring it in. So I'm going to bring it in round about like that. And then what I'm going to do now is I'm going to extrude. So we're going to press and just pull it back to where you want it like, so. All right, so they are looking pretty good now. Before we do anything else, before we move on, I think it'll be a good idea if we actually go through the textures, marking seams and sharps. I think that's something that we should go through first, so then we can cover that, and then we can actually unwrap these properly. So I'm going to play that video now and I'll see you on the next lesson. On the other side, if you already know how to mark seams and sharps and you're a bit of a whizz with that, then just move on to the next lesson. Welcome everyone to the short introduction to marking seams and sharp part of the course. So before I give you examples of what I'm actually talking about, let me just briefly explain what they are. Seams, 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 marked like seams, but serve an entirely different purpose. We use sharps to give us control of how sharp and soft angles are on our measures. This makes them look realistic. It is also important that we do this not only for rendering in Blender, but also sharps. Carry on through to other software or games engines wearing one to use like Substance Painter or Unreal Engine as an example. So with all that said, let's get started. 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. Basically, it unwrapped like a present. Now if I come across and I grab this cube, and I press Shift D, and then we press shift Spacebar to bring in our gizmo, and we move it across. 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. I'm going to go Interface 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. So let's grab the top and we'll come down to the bottom. And what we're going to do is we're going to press control Le and then come down to where it says Mark Seems. Now it's important to remember that it's control leap to mark seams in Facelect. But if for instance we're in edge select, so if we come to this edge, if we press control leap, you will get this option up as well, mark seams, but you can also right click in edge select. And you can also see we can mark Sem 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. So if I press 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, but 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 that It's not actually UV unwrapped correctly. So, how do we fix that? If we come up to edge. Let let me grab this edge. And now I'm going to do is I'm going to right click, come down to mark seams. And now I 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 wood's 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. If I come round and I look at this face and this face, you can see that they're going around 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 wood around, for instance. What I'm going to do, I'm going to come over to the left hand side, the viewport of my UV editing, Press A to grab everything, R 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. So let me exaggerate this a little bit. So what I'm going 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. And 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 that try and put seams where you're not going to see them, 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 space part, bring in ma gizmo. Move it out of the way. Shift a, bring in a, another cylinder. And this time I'm going to come down to where it sits, 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 do. First of all, we can come across to this right hand side. What we can do now is come to where it says normals and click on Auto Smooth. Then we can right click on the viewport and click Shade Smooth. Now you'll notice it's actually been smoothed off. But the problem with this is if I turn up my auto smoove, you can see if I turn it up all the way it goes really, really funky. And that is because at 170 degrees, Blender decides that these edges along here needs moving. So it doesn't give us a lot of control. If we do this on the other one, sever, grab this one. Right click shapes, move autos, 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 off, 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 a tab button, come to the top, grab the top shifts like the bottom press control because we are in face select and we'll come in and mark a shot. 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. Sever, grab this one and this one. And now because we're in Edge select, we can write, click, come down, mark a shop, press the tab. 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 sharps when you're actually marking seams. And then what happens is when you join two objects together and you turn up the auto smooth if needed, you're not going to end up with some measures like this. Okay everyone. So I hope you enjoyed that introduction to marking seams and sharps and as they say on with the show. All right everyone. So hope you enjoyed that. See on the next one. Thanks lot. Bye bye. 22. Techniques for UV Unwrapping Pillars: Welcome back everyone to the blender for ultimate guide, and I hope you enjoyed that. I hope you learned a lot about basically how to mark seams and sharps, how to UV unwrapped, because that's what we're going to be doing now. So what we're going to do then is we're going to come to this one first and we're going to mark in some seams. So let's come in. And the other thing is about this, we want to also bevel these off. Now, I recommend beveling off before marking seams. In other words, you want to do it non destructively. So there is a way of doing that. What we can do is first of all, grab all three of these press control or transforms right click, surrogen geometry because we are going to be using a modifier. Let's then come to this one first. And what we'll do is we'll come over to the right hand side, click the little spanner, add modifier. And the one we want is to generate a bevel, generate a bevel like so. And you can see it's basically done what we do with control B except we can turn this on and off, so we can turn this on and off if needed. No problem there. Also, when we come into the mesh, you'll see that none of those bevels are actually there. You can see this is still a straight line. It's not actually beveled, which makes it really easy to mark the seams and things like that while still keeping a bevel. So that's why we do it. Also, we can press Tab and we've still got this available to us. Now let's turn this down a bit though. What I tend to do is I'll turn it down to zero, turn it up one, and have a look at what that looks like. And I think actually that's looking pretty nice like that. And I don't think I'll need to do anything with it. What I'll do then is rather than adding this on to all of these other parts, I'll just grab this one, grab this one, shift select this one, Press control L. And then what I'm going to do is copy modifiers like so. And now we'll end up with exactly the same bevel on all of these, and you can see just how nice they look. Now, why did it put a bevel on there? Putting a bevel on there makes things look so much nicer. And the reason is, nothing in life except a razor blade is straight. Nothing no corners on your desk are absolutely perfectly straight. And especially when you're dealing with something as stylized as what we're doing here, you really want to bevel off as many edges as you can. Now, there are certain times when you don't need to bevel, when it's, you know, a really, really small prop or it's a piece of cloth or something like that. But generally on any of the building, you want to make sure you've got some nice soft edges, which will look much nicer when you come to actually render it out. So make sure you're falling along and you don't cut out this bit because it's actually really important. All right, so now we've got that, now it's time to actually unwrap these. So what we'll do is we'll come in and we'll get some seams marked. Now, I always find that I've got my bevels on, so what I'll do is I'll come to this one. I'll just Turn it off a minute. This one. Turn it off. Turn it off if you knew. It's just going to be easier to see what we're actually doing here. So what I'm going to do, first of all, I'm going to mark a seam going around the top. So I'm going to come in old shift click, No one's ever going to see the bottom, so we ain't got to worry about that as much. You can see there, tried to grab it going all the way around. You can also see that it's grabbed it, going all the way around there. Now, I'm going to do this again because I'm wondering. Yeah, I'll grab it. Going all the way around the top, I'm going to right mark. See, there we go. We've got a seam going around there, which means now that this piece of mesh is split from this piece of mesh in the UV map. Only in the UV map as a build, it's still stuck together. All right, so let's come down to the bott. I'm going to press three just to, sorry. I'm going to press three to bring in my face select. I'm going to select the bomb on them. Control. And then we're going to mark seen middle one, then controle and mark scene. What we want to do is we want this opening up properly. So we need to select all of these, going around here, going all the way around here to make sure this opens up properly. So I'm going to come in, select these like so, right click, mark Sem. Now we can see we've got this on the inside. It's going to be an infinite loop. In other words, it doesn't really know where to unwrap it from. If you're going to mark a seam on the inside, always mark it with the least place where people are going to see it, which will be probably in the top there. And what that means is now, now mark a seam there, it's going to go up around an end there. In other words, it's going to open up and this is where the breakpoint is going to be, like you're wrapping up a parcel or something. Okay, so now we've got that, let's mark a seam on the underside of here. So like this. And then what we're going to do is right click mark Sam. And the other reason we're doing this, by the way, is because we're going to be using these pillars over and over again. They're also going to be in our Asset manager, which then is going to make it really, really easy to just bring them in. They're already UV unwrapped. They've already got materials on really, really easy then to put in against our building. Okay? So now let's come in and we'll mark a same going all the way around here. So right click, mark scene. So I've got a same going all the way around there. And then the last place you want to mark a same is come in down here. Because at the moment, again, this is an infinite loop. There's no place where it actually ends. So we're going to click here, right click a Marx scene. Now we'll show you what infinite loops look like. Now under the bomb, you can't have an infinite loop because that's flat anyway, so that's fine. But again, on this corner, there will be an infinite loop. So let's show you what I mean by that. So let's go over to our shading panel. You do have one that's called UV editing, but we don't want to use that because we already set up our shading panel, so it looks good. Anyway, let's press dot, let's put it onto material mode like so. And let's put this onto object. All right, so let's see what this wraps like. So what I'm going to do is I'm going to grab the whole thing with a, I'm going to press smart. Sorry. Unwrap. Let's have a look why that's not unwrapped. Let's try that again. Wrap, I'll know why it's not unwrapped because on the left hand side we've got this on image editor. Needs to be on UV editor. Now when I click on this, let's hopefully you on the rap, And there we go. Now it's unwrapped. Now you can see if we look at this UV map, we have got a little bit of a problem with this one here. This one just doesn't quite look right. And the reason it doesn't look right is because this is that infinite loopowertandarbout. If I are going and grab this, you can see it's tried to unwrap it. We doesn't know where to end now. This will cause your issues when you bring in your material. Let's now in our material. So what we're going to do is we've got the resource map. So I'm going to go to where is it, my asset manager? I'm going to come down to my materials and the one we want to put here is going to be the brown stone. So this one here, we've got all of these brown ones. But it is the brown stone, the one we want. So I'm just going to click on that, come around to my pillar. Now you will see that these materials at the moment there not set as materials, the set as spheres. So what you can do is just drag it out, put it onto material, and when this loads up, you'll see now this is the actual material. And I've done it like that. Just so you have a bare reference of what they actually look like once you brought this out. You can now come to your pillar. Come over to your materials, click the down arrow, and you will have one that says brown stone. And now you can put that on. Now you will see that this looks great and all that. But what's happening here, and this is because we didn't mark that M on, so let's come in and fix that. So what I'm going to do is I'm going to come in, grab this edge. Right click, Maxing. Now I'm going to grab it all pressure, you unwrap. And now you can see that's unwrapped really, really nicely. Now I will tell you that sometimes on blender you can see some of these blue clay didn't come through. They don't look the way they should. And sometimes that happens. So although the asset manager is extremely powerful, he still has some bugs. We now won a red paint. So we want red painted stone. So let's bring in red and we'll have one that says red paint material. If we bring this out and put it at the side of this, you will see that doesn't look like red paint doesn't look like there. But anyway, that's what actually happened with it. So let's now come in and we'll come to this pillar. And what we'll do is now we'll come to this middle bit. And then what we'll do is click plus down arrow. What we're looking for is the red paint, this one here. Click a sign, and there we go. That is the first pillar done. Now before we move on, let's actually come over back to our shading panel and what we want to look at is these materials. The first thing I'm going to do is I'm going to put this onto shader, and we're going to see if we come over this way that we actually have edging on here. Now, edging is incredibly hard to get when you're using seamless textures. These textures that we're using are actually seamless. If I go into this, you can see that this is a seamless texture. This texture can be repeated thousands of times. It doesn't matter, even if I grab this part here and I make it really, really big, you will see that it just makes it bigger. You can't actually see any edges or anything like that in there. Let's put that back a minute and basically now I'm going to explain how we actually achieve that on the next lesson. On the lesson after that, because on the next lesson we're basically going to be going through how to actually bring in textures, how to use the Node Wrangler and all that good stuff, because now is the time that you're going to need to know that. All right everyone, So I'll see you on the next one. Thanks a lot. Bye bye. 23. Basics of Texture Import and Material Setup: Welcome everyone to the Blender Four Ultimate Guide. And now what we're going to do is we're actually going to be taking a look at textures, how to bring in textures, how to apply textures, and how to create them. And then after that, on the next lesson, what I'll be going through is showing you how you can actually take those textures even further and you're going to really enjoy that. Welcome everyone to the short introduction on importing texture maps and creating materials within blender. Here we'll be going through basic material set ups and easy ways to import your texture maps all within blender. Then we'll be moving on to an explanation of what maps do and why they're important. So with all that said, let's get started. So in this basic scene that I've set up, you will see that I've got these three objects and they're all UV unwrapped. So now let's succumb to our first object, and let's say we've already marked our seams as you can see. Now let's come up to edit first of all, and what we're going to bring in is a add on called Node Wrangler. And this is going to make it very easy to set up materials within your scene. So let's come to edit, Come down to preferences, come over to where it says add ons, and then we're going to search for node N, O, D, E, and you'll see one called no granulate. Make sure that's ticked on. And then let's close this down. Now what I want to do is actually create our material. So if you come over to the right hand side, you'll see this little football kind of icon. Let's click on the Plus. And then what that actually does is create a new material, and let's click New and give it a name. So let's call this Wood because I've already created a ward. It will come up as wood 001. If you've got 001, it will come up as wood 002, and so on. You'll notice as well that this has come in as a principle SDF. This basically is the magical node shader within blender that makes it easy to import all your maps and things like that. So now we've got this. What we need to do now is we need to head on over to our shading panel, which is this button here. Once in the shading panel you'll see basic set up, same as what we had in the modeling panel. And now if I zoom out of here a little bit, you'll see that we've actually got a basic set up already. So we've got our material output, and of course, this is where all the nodes end up in the end. Then we've got our principled, which is what I told you about is the magic kind of blender node. And if we zoom in a little bit, you'll see we've got all of these things where we can plug things in, or we can mess around with these without actually a map plugged in. So now let's come and click on our principal BSDF. What we're going to press is Control shift. And, and that then will open up the file of where you want to actually find your map. So make sure you store them in a place where you know where they are, go find them. And then you should end up with five maps. Normally it's five maps that actually you can download. One is the base color, the next one down is metallic, the next one down is roughness, the next one down is height. And then you've got normal there, normally the basic five maps. So now what we need to do is you need to come to the first one and shift, select the bottom one and then that'll select them all and then come over to say it's principal texture set up and click that on. There you go. They've all actually come in and you'll notice Blender has automatically set everything up for us. And this is part of what the node Grangler actually does. Now if we zoom in a little bit so we can see what we're doing, and now we can actually go through some of these nodes over here. Let's zoom into here as well. The first one we've got is texture coordinates. Now basically this node tells blender whereabouts to place this texture on this object. So you notice at the moment it's basically plugged in from the UV. Now if we quickly just go over to the UV and I grab everything you can see this is our UV map and this is how basically this texture is placed on this. So for instance, you can see that this one has been turned round, so it's going the correct way. Now let's go back over to our shading panel, and if we plug in the generator instead to the vector, let it load up. And you'll see now that blender is trying to generate how this texture is actually going to go onto this object. This is useful when you create in textures within blender itself without maps but useless if you're actually bringing in your own map. Let's put it back on UV. Next one macros is called mapping and this basically is how this texture is mapped onto this object. You can see here that we can actually move the location of our actual texture and this basically is moving the UV map. Now if we come, we can also scale this up as well as you can see. So you can scale it smaller and bigger. And it gives you a lot of control within actually the shader to mess around with the scale and things like that. Normally, I would actually do this in the UV map, but if there's any small details that I want to make, you know, a little bit smaller or something like that, I will do it within the shader. Moving across, you can see that all of these nodes over here, which are our maps, are plugged into our mapping node. So let's come to the first one. The first one is color and basically down on the right hand side here, I'm going to be showing you exactly what they mean. And then if you want more information, you can go onto the blender website and find all of the rest of the information out about all of these maps that we're talking about. So as I say, the first one is the color, and if we unplug that, it's basically what we can see is it's just the base color. Now sometimes you'll get colors where they come in with ambient occlusion. And I'm going to talk about ambient inclusion just in a few minutes. If we plug this in, we can actually alter the color with other nodes that we can kind of slide into here. I'm quickly going to show you that, so if we press Shift, do a search, and we'll just bring in a Gamma, which is just going to lighten or darken our actual color. Now I've put that in there, you can see if I bring that down or bring it up, I can make it much darker or much lighter. So that's something that we can actually do and the Node Wrangler enables us to bring in a new node and just drop it in there. So what I'm going to do now, I'm just going to delete that and I'm going to plug that in now to go onto the next map is metallic. So I'm just going to head on over where we've actually brought in a metallic texture. So here we are in our set up now with our actual metal texture and material. So if we zoom in now, we can see that we have the next one down which is metallic. And we can see that if we come and actually unplug that, you'll see that not a lot happens. And this is because this metallic is very closely based on the metallic that's already there, which is zero. It's quite a dull metal. Now if we come in and we turn up our metallic, you can see that it goes really, really, really metallic like. So you don't have to actually use a map to make something metallic. All you need to do is turn up this metallic. Now normally when we're doing things like using this slider here and no map, either something is metallic, so if I turn this down or it isn't. So we don't really have anything in between when we're not actually using a map. So if we plug this back in now to our metallic and let it load up and there you go. Now the next one down is roughness. And roughness is basically, if you think of a sheet of glass, when you look at it, it's not completely see through. You might have certain scratches on there. You might have things like smears, hand marks, things like that. And basically that is what the roughness map does. Basically, the roughness is determined by this map. So if I unplug this map, you can see we've got a lot of kind of shinier parts and duller parts on here. So let's unplug this and then you'll see that it's all one kind of shine. You can also see if I come in and actually turn the roughness up or turn it down, I can make something like ice, or I can make something very, very dumb. And this is why we use this map because it gives us a lot of control of how much smearing and things like that and makes it look a lot more realistic. So now let's move over back to our wood. And what we'll do is now we'll come down and look at our normal map. So if I double tap the quickly, that'll just un highlight this. And then we can just zoom in a little bit and look what this normal map does. As you can see, the normal map always plugs into a normal map node. And then we can mess around with the strength. So if I turn this strength right up, you can see now we've got a lot more pushing through of that actual texture now. Just be very careful when using this node. You can't turn it up too high and it won't look very real in other words. So try and just get it somewhere where you're really happy with it and it still looks realistic. For instance, you do get some wood which looks like this, where it's really kind of elevated from the base, but I wouldn't go again too high with this. Okay. So that's the normal map. And now let's move to the displacement map. Or displacement map. I'm actually going to bring in a new material now, so I'll head on over to that one. So here we are with our cobblestone texture, which we're going to use for our displacement example. What displacement does is it basically gives this texture. It basically pushes it out. It's like using tesselation, as you'll see shortly. But the one thing is, if you're using the displacement map, well, you really need to know two things. First of all, it doesn't work in. Second of all, it really needs a lot more geometry than what you would normally have here. We've got a flat plane, and we can see that they're slightly pushed up, and you can still see that this is basically a three D texture. So, how do we create displacement on this? First of all, what we're going to do is we're going to come over to our little spanner. So first of all, what we're going to do, we're actually going to subdivide this a couple of times. So let's press Tab. And what we're going to do is right click and subdivide, right click, subdivide. Now what we're going to do is we're going to press Tab. And we're going to bring in a modifier. And what we've done now is basically increase the geometry a lot. So let's come over to add modifier. We're going to come down to where it says multi resolution and we're going to subdivide. Subdivide And again, and again four times. And if you press Tab, you'll see that it still actually looks like this. So you can't really see all the subdivisions on here. But when we finish this I'll actually apply it and then you'll be able to see them. Next of all, what we need to do now is we need to put this on cycles. So if we come over here and we change it from V and we put it on cycles. And then what we can do is we can come down now to our material, which is this pot here. Scroll down and you'll see one where it says settings. And under settings you'll have one that says surface. And what you need to do now is change this, it should say bump only. Change this to displacement and bump. Once you've done that, then all you need to do is go to your Cycles shader, which is this put in here, and there we go. You can see now how actually realistic that looks, and now you can actually mess around with these. So we can really, really bump up the scale as you can see. We can also change the mid level, like so it really push it out or you can really pull it in as well. Okay, so that's a bit of an explanation on there. Now as I said, I will move over now to the actual spanner. We're a modifiers on, I want to press control A to apply that, I want to press Tab. And now you can see just how much geometry that actually took. Now you can get away with a little bit less geometry. So if I press control Z and just bring it back. And just bring it down one. So if I bring this down one like so, and you can see that it's still looking quite good. But if we put the viewpoint level up a little bit, it's nowhere near the level of this. If we put it on three press control, press the tablet. You can see now there's not so much geometry, but we're still getting a pretty decent effect. Okay, so the last thing I want to show you is if we come back to our material shader and we put this back on V. So we've come to our computer icon, put it back on V, and now we'll just scroll around and zoom in to this wood. Now, what does ambient occlusion do? So I'll put a brief explanation down the right hand side of what actually ambient inclusion is. But we can actually enable it by coming over to our computer, putting this on V, and you'll have one that says ambient occlusion. When you click this on, you can see already that we really, really get much more shading on here, much more realism and things like that. Now as I said, you can get textures where they have ambient inclusion already built in. But I find actually doing it this way generally gives you a better result. Now the other thing you can do is you can mess around with the ambient inclusion and really bring it up or down, mess around with factors and things like that. And really get kind of the shadows that you really want on the surface of the actual object. So that concludes the material and texture introduction part of the course. And I hope you all got a lot out of it and have a much better understanding of maps and materials within blending. So with that said, let's get on with the show. All right everyone. So I hope you enjoyed that and I hope you enjoyed this texture guide. And I'll see you on the next one. Thanks a lot. Bye bye. 24. Applying Textures to Pillars for Enhanced Realism: Welcome back everyone to the blended full ultimate guide, and this is where we left it all. All right, so now you've learned how to actually bring in your own textures. You've learned how to use the node wrangler. You've learned how to put them all into the principled. So now run to the next stage which is basically making these edges. So you can see here we've got some really nice edging on our actual pillows. Now this is just achieved by using a bevel. So when you've actually finished this course, when you come to your own projects, I highly recommend taking this and putting it within. All I simply do now is I take this, I grab it, press control C. I'll go to my other material, I'll press control V, drop that in, and then I'll plug them all in. So you can see that all we have here is this color ramp. And this color ramp is just to mess around with the color of this, but the rest of it, so if I plug this into here like so, you will see that that is brown at the moment. And the reason it's brown is because I use the same texture as we've got with the other part of the actual column. If I now plug this back into here and plug this into here, you will see we've got a red back. Now if I plug this, we'll go to this one. Actually, we'll go to the brown because it'll be more obvious. You won't be able to sit in there. I'll just go quickly to the Brown. Let's find it exactly the same self as you can see. What I'm going to do is I'm going to show you, I'm going to plug this just into the base. All that edging disappears. As you can see. You can see just how powerful this set up. It's very simple. Let's plug that in. Plug this into here and there you've got your beautiful Ledging back. Now the one thing we're not showing on here even, is our bevels. So let's click those on. There we go. Now we can see just how nice that pillow looks with just a really, really simple texture and a really, really simple set up, which is going to be the same across pretty much all of the shaders that we've got in here. When we come to a shader that we haven't gone through before, we'll show you the shader, same as the geometry nodes. And then you'll be able to set your own up. Plus you'll have this as reference to set them up as well. All right, so now let's go back to modeling. And what we want to do now is we want to actually do the same thing to both of these. All I'm going to do, first of all, I'm going to mark some seams in because I want to make sure that these are unwrapped really nicely. So I'm just going to come in old ship, click and mark in all of the seams along here. So what I'm going to do is we're going to come in right click and mark a same bearing in mind if you're on face select. So if you're on face select and you're right click, you can't mark a same. You have to press control E and then you can mark a same. So just remember that. Okay, so now we need to get rid of these infinite loops. So I'm going to come in and grab each of these going down. I don't need to grab these ones because they're not going to be infinite lops. It's just the ones going down the side. So I'm going to come to this one, instead of selecting all of them going down, I'm just going to select this left click with this. And then it's just going to select them all for me. Let's come all the way down now. Right click, mark. Same. Now I'm going to do is unwrap. Let's go back now to our shade in shading panel. Let's press Tab, and let's have a look what they wrap like. I've missed some of my edges. Wherever missed these edges. This one and this one. This one. I'm going to right click mark, seen, grab the whole thing, view wrap. Let's have a look what else I've missed. It looks like I've missed something else. Yes, I have. You can see it's miss going up under here. Shift click. I think I've missed all of those. Actually. Old shift click, Shift click, and O shift click. Then let's have a look over the top. Yep, I missed the top as well. Shift, click, shift, click, shift, click, shift click, right click, mark Sam. Let's put it on material. So you can actually see now we've marked a seam going to bottom edges, corners, but not this top inside. Now if press a press unwrap, there we go. Now it's wrapping really beautifully. Now we need to actually give this some materials. So what I'm going to do is rather than find the materials or anything like that, I'm just going to shift like this, press control L, and I'm going to link materials like that gets most of the job actually done. Come over now to materials. You can see you've got red paint and brown paint. But I do need another material. Overasset manager, let's put in blue this time. So blue. The one we're looking for is blue paint material. This one here, I'm just going to drag this out. Drop this there, and there we go. Now, because I've done that, even if I delete this off, that material will still be in there. So what I can do is I can just come in now, delete these out of the way because I don't need that. And then I need to add another material. So I'm going to come to my pillar. I'm going to click the plus bot. Click the down arrow. Blue paint is the one I want. All right, so I've got my three materials now let's go in and add those in. So I'm going to come in face, I'm going to grab this face. And the reason I went on to face Lex is because face leg will grab an island. If I come into edge select and try and grab this face, you'll see it just selects the whole thing. So that's why we want to come in face sl, select this face. And then what I want to do is come in red paint, Click a sign. Now we want some blue on here as well. So we're going to select all of these. So what I'm going to do is I'm going to come in of click old shift, click control plus just to grab those lines going up there, blue pane. Click a sign and there we go. There's our beautiful pillar. All right, one thing, I add these, I don't want those on. You can see here, I've messed up on that. So what I'm going to do is shift click control plus brown a sign and then shift click red a sign. There we go. There is our pillar. All finished. Now let's take a look at these on our rendered view. Let's also make sure that we've got our modifier on like so. And there we go. We can see just how nice they actually look. Okay, so now let's move on to the final pillar, which is this one here. And pretty much the same thing again. And what we're going to do is we're going to come and old ship click, just going all the way around like so I'm going to work my way round, coming down to the bomb so, and then right click and mark a scene. Now you might be thinking, well while we put some texture on the bomb, well if you've got a pillar that might be tipped over in a project, you might actually won that on the bomb. Being as these are going in the asset manager, you may as well actually text to the bottom of them. And then if they're not needed, just take them off in your project. All right, so now let's come to the back of these, what the reason we mark a seam. These are not infinite loops. So shift sleg, control select shift sl, right click, mark seam, then A, and let's unwrap. So now let's add in our materials. So again, I'll grab this column, this one press control and L, and I'm going to link materials like. So now let's come in and add in the one material which will be here. So all I'm going to do is I'm going to come into this one, select this one, face select, grab this. And then I'm going to come over to materials red pane, click a sign, and there we go. All right, so they are, sorry, three pillars. So they're already now. And now what we need is we need some kind of corners. Before we do anything else, we need some corners and we need an arch. So what I'm going to do is we also want to put these an asset manager, but not quite yet. We want to work out, first of all, how big the actual arch is going to be, because the arch needs to fit over a door. In other words, I'm going to grab this door, I'm going to press shift D, and we want to make sure that the arch is going to be fitting over there. If I put that over there, I'm also going to grab this cube as well. Shift D, let's grab this cube. Let's put that over there. So I just want to make sure everything fits really nicely. Now I'm going to do is I'm going to duplicate this one. So I'm going to press shift D, bring it over like so. And then I'm going to grab this one, press shift D, bring it over, and you'll notice some printing on the corners of here. And now I need is I need an arch on the next lesson that's going to fit pretty much into this space here and have a nice arch going round. That's what we'll do on the next lesson. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 25. Designing Archways in Blender: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we left it off. All right, so now let's think about making our little arch. So what I'm going to do, I'm going to grab this door. First of all, shift S Kurt, selected shift and then what we'll do is mesh. Bring in a cube. And then what I'll do is I'll bring this cube up to roughly just under there. Something like that. And then what I'll do is I'll press and Y and bring it back then. And then let's put it right in the middle. The thing is we want it to be long enough so we can actually pull it out. So if I pull it out a little bit more, what I mean is if I now grab this wall and just pull this up, we want it to be sat in the wall. But sat far enough out so that you can see here. Actually, this is a bit of a mess. And I don't know why I need to check that out. I think that's from over here. Yes, it is. I'll have to fix that, actually. So I didn't check that UV map, so we'll fix that in a minute. All right. So we can see that this arch wants to be far enough out so that it's come in just probably around here somewhere. And then what we want to do is we want to shape this so it's rounded, so it comes from round here and round to here, and then some parts going down here, just into the top of there. So the first thing I'm going to do is I'm going to grab the bottom of it. Shift space bar, click the move to pull it up to where I actually want it. I think where I want it is probably to come just about at the bottom of here, so. All right, so that's looking pretty nice so far. What I'll do then is I'll press controller. I'll bring in an edge loop, so left click, bring it up slightly. So then what I'm going to do now is just pull it out. So I'm going to press S and Y or S and X, pull it out into place, it's just fitting into there. And then next, make it a little bit wider, just so it's fitting into the wall like so. All right, before I carry on then, I'm just going now grade in the right size it needs to be. I'm just going to come delete this one out the way. I'm going to then come back to this one here and just see why this didn't work out properly. And I can see straight away why it's not, because I didn't put an actual edge loop in the right click mark seam. Now that should unwrap properly. Let's see if it unwrap, you wrap and now it's wrapped perfectly. Next thing I want to check is, as you can see under here, this is now, it shouldn't be like this. So we want this to be on the brown stone, like so you just checking the rest of it just to make sure I've not made any more mistakes. And the other thing is as well, this also wants to have this ticked on so it's actually beveled. And there we go. Now, all three of these should be ticked on. All three of these should look really nice, which they do now. All right, so let's grab another one of these. Let's press Shift and bring this over. Something like that. Now what we can do is I'm going to pull this actually a bit out, just like that. Now we can see this is the center of this control A all transforms rightly origin geometry. Now what I'm going to do is I've got the width there, but it is going to be easier if we pull this bit out. First I'm going to do is I'm going to come in, press tab, grab this face. Then what I'm going to do is I'm going to press and pull that out. Then we're going to press Tab again. I'm just going to pull it back into place now. Something that looks pretty good then what I'm going to do now is I'm going to create the round part on here. I've got my origin right in the center. Might as well press shift Custer selected shift. Let's bring in a cylinder. Let's save out our work as well. In fact, we'll spin this cylinder round before. Let's see how many it is. It's on 20 at the moment. I think for this arch we can probably get away with slightly less. Let's put it on 18. Let's save our work. Let's spin round this cylinder, then x 90. Let's make it a little bit smaller and let's pull it down to where we want it to go. We want it something like that. I'm thinking I can probably get away with pulling it out a little bit. So what I'm going to do is press and X and pull it out just a little bit like so. Then now all I need to do is decide if that's going to be the right size to see that it's probably better off if we press and Y and bring it a little bit back more into place. I'm thinking that arch is going to look pretty good. The only thing is you can see that probably want this where it's starting to go flat on this part here at the moment. We've got like n of this edge going like that. If I press one I'm going to do is going to press, we're going to bring it up into place. Press the born again. Bring it up into place and that's where I want it now. Can press maybe. And then and X. There we go. That to me is going to be a lot better fit because then it's arched and then we can actually make a nice part coming down here. All right? I'm happy with that now to actually get this to actually work in, in this arch that where we need it, we need to use something called bullion. So what I'm going to do is I'm going to grab my cylinder, grab my soon to be arch press shift and H, what they'll do is they'll actually hide everything else around us except these parts that we're working on. Which is great because that's why we now we can cam two our main part and you can see if I actually Bouley in this, I will have a problem because it's not going all the way through. If you bouley in anything, just make sure it's going all the way through the objects. So I'm going to press S and y and pull this out. And now it's going all the way through. Now if we grab this part, again as important control all transforms right clicks, origin geometry. Before we add on any modifier, add modifier generate, and we want to generate a Boolean. The Boolean object, so you can see it's going to be an object. The object is going to be this cylinder. So I'm just going to click that one now. Normally I always click on the fast solver. I feel it works much better than the exact. The exact seems to work there when you've got more topology, in other words, more polygons. But soon as these are very simple shapes, the fast solver seems to work better. So what I'm going to do now, I've done that, is I can come over on the right hand side, press control A, and then I can grab my cylinder, press the let, and there we go. There is our actual arch. Now we've not quite finished there because we want to actually put another edge of going across here and pull it down a little bit. So what I'm going to do is I'm going to grab my arch press tab controller, bringing an edge. Love going down this way. Left click, pull it forward slightly like so. And then what we're going to do now is grab the bottoms off here like so. And then press and pull them down. There we go. All right, let's right click and shade. Auto, smooth. And we should end up with something like this. Let's press Alt and bring everything back. And there we go. There is our actual arch. Now we can see if we pull this out slightly now. So if we pull it out slightly, we've still got that bit there which is going to be into the wall. And to me, that looks pretty nice. It doesn't matter if we put it down to here, it's still going to fit in relatively nice within our walls or scam. Okay, so now we've done that, it's time to actually delete. We'll just delete this door out the way. But we will keep this cube here. What I'm going to do now, I'm going to keep that cube, by the way, just to make sure when I'm creating the other parts. Because what we want to do is we want to create three pillars, three cross beams, and a corner. And then a part that's going to go in the center, they are the main bits of the actual structure. Once we've actually created those, pretty much we can start doing more or less the whole building. We will have doors and windows and things like that, but these are the main parts of the building. When you look at the reference, it looks a lot more complex than that, but actually it isn't. So once you get loads of parts built up, especially in your asset manager, you'll see just how easy it is to actually put things together. All right, so now we're going to do is I'm going to come to my arch, I'm going to press shift H to hide everything out of the way. And then what I'm going to do now is I'm going to mark some seams in, so I want it to be red around the top and the rest of this to be brown. Now luckily for us, because it is actually, it's a wall basically, You're not going to have like the wood green on there. So it's much easier sometimes to unwrap in a different way. I'm going to show you that now. So I'm going to press Alt Shift and click. Just going around here, all the way around, right click and Marx scene like so. And then what I'm going to do is instead of A and U and wrapping in this way, what I'm actually going to do is I'm going to click Smart UV Project, Unwrap. Click Okay. And now you'll see that if I come in, press all teach. And if I grab this one and this one and press control L. So we're going to link the transfer data, link materials. You'll see it's actually unwrapped. Pretty nice as you can see. That's pretty good. Right Now what we're going to do is we're going to come in, we're going to grab just this top in face let, we're going to press L come over to the materials, red pane clicker sign like. So you can see there's really no difference that you're going to see there. As I said, with simple shapes, Smart UV project works very, very well. And especially when you've got very simple materials where it's pretty much consistent all the way through. All right, so the last thing we want to do with this then is we want to come over and add in a modifier. So I'm just going to press control all transforms, right click se origino geometry, and we're going to add in a modifier, sorry, generate and come down and we're going to add in a bevel. And you'll notice on this one not a lot happens. So I'll show you on the next lesson is exactly how we're going to fix that. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 26. Creating Decorative Beam Elements: Welcome back everyone to the Blenderful Ultimate Guide, in this where we left off. All right, so if you put this on object mode, we will see that although this has a bevel on it, it looks nothing like this bevel on here. And that is because we have got an arch in here which is making this shape kind of non uniform. You'll also see if I press tab that we've got little parts coming off here. And it's a little bit more complex than something like this pillar over here. But there is a way to fix that. All we need to do is we need to come down to where it says geometry and turn clamp overlap on. And then what we're going to do is put this down all the way down zero and put it up one. And then you'll see it's more or less the same bevel as what we've got here and all the way around, which is quite nice. So now let's put our material back on, let's double tap the, and there we go. There is our arch. So now what we've got is we've got three pillows, you know, three different pillows. Pillars. We've got an arch. So now let's make a start on the bits that are going to go across here. So what we're going to do is I'm going to leave both of these pillars out the way. I'm going to pull my arch over here. I'm going to come to file save. And then what I'm going to do is create the next part. Now don't worry about naming anything or even putting him in the asset manager or anything, right at this moment. We're just going to create these basic parts and then you're going to be putting in your asset manager. Now if we come to our cube, and if we come over to the right hand side here and open this so we can see that this cube is around 2.7 meters long and 3 meters high. What I would suggest doing is create a piece, a top panel that we're going to be using, around 3 meters maybe. Let's see what that looks like. First of all, what I'm going to do is I'm going to press shift S being am on my cube curse to the center of there. Then shift a mesh. Bring in a cube, make it smaller, and let's put it to the outside of here. Let's make it a little bit thinner, something like that. Let's then make it S and Y a little bit thinner on this way. And then let's pull it out to 3 meters. If I go to this, we're going to pull it out along the x axis, the red one, to 3 meters, so something like that. And then what I want to do is I want to make sure that it's going to look right. So what I'm going to do is I'm going to grab this pillar once more, shift D, drag it over, put it in place, so then I'm going to grab both of these, pull them down. And then what I'm going to do is check where it's actually going to come on this part. So we can see we're probably not going to be using it in the pillar, we're going to use it on corners. I'd say this if I did put one there, probably going to be a little bit too thick on these axes. Said, let's make it a little bit thinner if I put on this side now shift, I just want to see what it's actually going to look like. All right? I think that's going to be round about the right thickness. Now, before I actually go ahead and finalize it or anything like that, I will be checking it anyway, so don't worry about that. Okay, let's press shift H. Let's then come in and press control and give you an edge loop. So left click, right click. Let's then press control and bring that out light. And then what I'm going to do is I'm going to actually come in, grab both of these top parts and bo part. And I'm going to press and pull them out slightly. So then what I'm going to do is I've got this one here now. So what I'm going to do is 'ren to press shiftD, I'm going to drag that one over. And then what I'm going to do is 'ren to press Shift D again, drag it over. Now with these two, I'm going to make them the same size, so I'm going to grab this one. And this one I'm going to press and Z and just make them a little bit wider than this one, then probably this one here. I'm probably also going to make these a little bit thinner. So what I'm going to do is I'm going to come to this one. This one I'm going to press S and's Ed and pull them out. Now if they're not going to pull out, just make sure you're on medium point S's. Ed, just pull them up slightly. So just to give them a bit of a variation. All right with this one then I'm going to come to this one now. I'm going to press shift S us to selected shift. Let's bring in Cube. I'm going to press, what I'm going to do is just put that in place, so making sure that we've got a little bit of a gap between the top and bottS again. And then what I'm going to do is I'm going to put it over this side. I want the same amount of gap. Whatever gap I have here, I want that in between them. The easiest way to do this is just come over adding the modifier, Generate, adding a array. And then you can see it's already on the X. I'm going to move it over slightly and then we're going to keep bringing those up, pressing one on the number pad until I've got a roundabout, the same gap on each side. Now you can see it's a little bit more on this, so I'm just going to pull them all over the level, so. Okay, so now what I want to do is basically, before I carry on, I want to basically bring in some edge loops going along here. I want the edge loops to be in each of these. Now, can I do it just by pressing control and then bringing them over? You can see that I nearly can, but not quite. If I put it there, actually, that's not that bad. That's not that bad at all, but it's not right. So what I'm going to do is right click, just take that off. And then I'm going to press control left click and put it in the center like. So the reason I'm doing this is because we want to make this very easy to use. There's a lot of times when we'll have to cut these down because they'll be too long. And the easiest way to do it is just to put these edge loops in there. Now what that'll mean is that whenever we want to call it, we can just come in and fix it with the edge loops. So what I'm going to do is just press control law. Bring in another one right in the center of it. And then control and then just control or work your way across bringing more of them in. Now if you're struggling to see it, just put it on object mode and then you'll be able to see it much, much easier. As long as they're roundabout in the center, it's going to be absolutely fine. We know that they're pasted out evenly because we're using an array modifier. And the final one, you can see just how quick that is to do. Now what we want to do is we want to come to our actual cubes. We can see at the moment they're stuck out this far. Let's stick them out a little bit further, maybe even a little bit past there. Yeah, thing that looks actually bare. Then what we need to do is we need to hide this part of the way. Come to the back of the cube. What I'm going to do is I'm going to pull the cube out and then I'm going to press Delete and Faces. And delete all of those faces down there, because we're simply not going to need them. All right, old, bring it back. There we go. That's what we're left with now. And you can see that if I need to fit this into place, I can simply just drag it to the side, make it a little bit smaller. And then cut off either this end and this end, or move it over, make it a tiny bit smaller, and then just cut off this end really easily. All right, now we've got that. What we want to do is then we want to do similar thing on this one instead of the cubes. I'm actually going to use cubes but make them a diamond shape. I'm going to che al, I'm going to actually grab this array here. I'm going to grab this one and this one. Press Shift H and then hide them out of the way. And then one got going to make them a little bit bigger, so I'm going to come to my C a little bit bigger. And then one is I'm going to rotate it round, so 45 degrees. Now what we want to do is we want to bring this X factor of the array down. So if you hold shift, you can bring it back. Bring it back. Let's press one so we can see what we're doing. And we now want to make sure that this gap here is the same on this side. Which looking at this, it actually looks like it is. Maybe I'm going to bring it back slightly. And then I'm going to turn down the array now. Then I'm going to move it across. I'm going to move this just across, giving myself a little bit of extra room. Now I'm going to do is I'm going to do the same thing as what I did before. So I'm going to press tab control law and bring in some edge lips. And don't worry because we haven't finished with the diamonds yet. We're going to do a little bit more work on those. Like we just want to make sure that Bl split this up if needed in the easiest way possible. There we go. So all right, now let's finish of these little diamonds I'll do is I'll come in. I don't think these have the backs on them. A look. So we'll just have a look. See if they've got back on them and No, they're not, I don't think so. Press Tab. Yeah, you can see they don't have a back, because we only can click on the front. Turn that off. Now we've got them with the front now. So all I need to do is press, I bring it in, Insert, and then bring it out. Now they're a little bit too far forward. These, So what I'm going to do is I'm just going to press Tab and Y and squish them in a little bit. Double tap the there we go. That's the second one done. Ol tag, bring everything back. Let's now we'll keep this part again. We'll just move this over here and we'll delete these pillars out of the way. I don't think we'll be needing them for the next part. So we've got 12 and I'm wondering if I think I took my squares and did. I'm going to have to put them back now in there, unfortunately. So I messed up there. Sometimes that happens. Okay, On the next lesson, what we'll do is I'll put my squares back in 'cause I moved them, forgot to duplicate them. And then what I'll do is we'll make the final one. All right everyone. Sorry about that. I'll see on the next one. Thanks a lot. Bye bye. 27. Variations in Stylized Beams: Welcome back everyone to the blender for ultimate guide. And this where we left off. So shift did, let's bring in a cube and let's make some short work of this. Because I did mess up. And then, well there is. I'll just pull that out to where I want it, make it a little bit smaller, and just get that back into place. I'm going to poke that out just past here like so. And then what I'm going to do is I'm going to grab the back up here. I'm going to press Tab. And then I can really see where I need it to be, so I'm going to press L. I'm going to drag that over. Then right into the center of there, I'm going to press one on the number pads so I can see where I am. And then what I'm going to do now is I'm going to select this. I'm going to come round to the back. So let's put it onto x ray. Press the tabb, grab the back one, press Delete and faces. Now what we can do is we can come in, add in a modifier, Generate, and an array. And then what we're going to do now, again, we're going to press one, we're going to take off x ray. Grab the back here, press Tab. And then what I'm going to do is I'm going to grab this first, then press Tab. And now I actually, I can move this over. What I want to do now is I want to line this up. So I'm going to move this over, as you can see, to be near enough, right in the center of there. Then hopefully I'm going to increase the cow like so. And then I'm going to try and level these up. Sometimes it works and sometimes it doesn't. I'm wondering why is it not working this time? Let's see if I can increase it, get it into place. And if not, yes, there we go. There we go. All right. Let's get it into that place just because I didn't have enough. And then increase the count by one and there we go. W it actually worked. Okay? All right. So what we'll do now is then we've done that one, we've done this one now let's come to the last one and the last one, we're going to keep it pretty much the same. All we're going to do with the last one is bring in some cylinder. If I press shift S, Ks selected shift D, let's bring in a cylinder. It's going to be set to 18. Now, I think if we go lower than that, we might have a problem. And the reason is I'll show you two, I'll bring one cylinder in that's like this. I'll just pull that back and then I'll bring another cylinder in, shift D. Let's bring in another cylinder which is like this and we'll put it to 1010 sided instead. Now I'm going to do is with this one, I'm going to right click, shade, auto, smooth. And you can see all the way around there. It's nice and smooth. Now we'll come to this one. Right click, shade, auto smooth. And you see because it's too low down, it can't actually shade it smooth. You can come over and go to normals and actually turn that up to shade it smooth. But you stand up with this jagged bit on the front of it, which is what we don't want. That's why we have to be careful with how far down we go when we're actually dealing with cylinders. We do say that the least amount of sides you can have on there is going to be around 12. As long as you don't go lower than that, you should be absolutely fine. All right, so we've got this one now, so I'm going to let this one and bring this one back. Then what I'm going to do is I'm going to rotate it around our x 90. Press the B, press one, let's get it where we want it to be, which is somewhere like that. I'm just wondering if, yes, my cavity is not on for some reason. I've just turned that on. If you blender closes, generally you'll have to turn your cavity on. All right? I'm going to pull that out. I'm going to make it a little bit smaller. I'm going to pull it into place, then I'm going to press one. And then I'm going to put it onto wire frame just so I can see how close is, you can see it's very, very close. I'm going to make it a little bit smaller. Then what I'm going to do is' add in modifier, generate an array, let's then pull this out, turn up the amount, let's pull it out a little bit more. Yeah, like that. I think that's going to be much bear. And then I'm looking now, you get the same distance on each side that looks about right. Now finally, let's put it on object mode and let's make sure these are poking out far enough. So something like that. And then what we'll do is we'll come now to the back of it. Let's put x ray on tab, Make sure you're on face. Grab this back face, then just pull it forward and press delete faces. And delete that back face. And there we go. Simple as that. Okay, so let's take the X ray off. We're going to press one now. Again, I'm going to also press, just to close this panel out because I don't need it. And then what I'm going to do now is going to press control. Just drag it over and then just keep going. Same thing, this is what we did before. If you haven't done one properly, just press controls head or old shift and click and then you can just move it across. Very easy to fix. So there we go. All right, so there are the three parts done pretty much. Now what we want to do is we want to change these into mesh. So what I tend to do to do that is I'll come and I'll grab them all, so we know they're all pretty nice. Now what I want to do is object instead of basically what I'm trying to do here, making things easy, speeding up workflow. Instead of coming in and applying the arrays one by one, what you can do is you can come to convert mesh and then I'll apply them all. You can also then now join them all together. Control control J. Control J. Then what you can do is you can grab the all right click and shade. Auto, smooth. And now they're going to be near enough. All done for you. Finally then what we want to do is we want to come to the first one. In fact, we'll select the control or transforms right click, set origin to geometry, because we can do that on all three at the same time. Then what we can do is come to the first one, add, modify, generate a bevel. Let's turn the bevel all the way down to zero. Turn it up one, let's just check with this side. If that's too much, it looks too much as you can see in comparisons there, this is a smaller piece. Let's turn it down to naught point naught five, like the thing. That then is going to look a little bit better. Now what I can do is I can grab this one and this one. And finally, shift, select this one, control L, and then copy modifiers. And now you can see all of those are pretty much done. Now what we can do is we can actually come in and we can give these some color. So what I'm going to do, I'm going to be using pretty much the same colors as what I've used in all these. So I'm going to pick this one because this one has the blue, the red, and the brown, which is what we need. Then what I'm going to do is I'm going to grab this one and this one, and finally this one. Press control L. And what I do is link materials like. So then what I'm going to do is I'm going to grab them all at the same time. So let's grab them all. What I'm not sure about though is if it's going to try and put them all in the same UV map. Smart UV project. Click Okay. Let's go over then to shade him. And what we'll have luck at if I press Tab. Yeah, it's fair to more into the same UV map. Unfortunately, that's not what we want. So what I'm going to do is I'm just going to grab this one. And then what I'm going to do is instead of just unwrapping it again, what you can actually do is you can actually come over. If I open this up, I'm thinking UV editor. Let me just put this onto UV Editor. And unfortunately the option I want on here isn't available on here. I don't think what I want to do is I want to basically pack the islands. So I'm just seeing, yeah, I can actually do it through here. You see these three dots on here? If you click on that, you have one. If you come down to UV, which says Pack Islands. This one here. Now, what you want to do though is make sure you've got everything selected. Now, while I was confused, if you go over to the UV editing panel, you will see that you have these options here. I'm not actually sure how to put these on, so if anyone knows, just drop it in the messages to me because I'm not actually sure how to bring these on either way. Let's do it through here at the moment. So I'm going to do is and then the press dot zoom in. And then what we're going to do is press UV and pack islands. And we're not going to rotate them, so make sure rotation is clicked off. Make sure the margin is on. No, 0.01 or not 0.13 I think. N 0.11 for this should be absolutely fine. Click Okay. And now it's going to pack them all in there. Then we can move on to the second one. We can press A and what we can do is UV and pack islands. Click okay. Rotate should already be ticked off when you do that. And then the same on this one. So a UV and Pac islands. And all it's doing is basically packing all of these UV's nice and neatly into the UV map. All right, so now we've done that. Let's then go back to our shading panel. And then what I can do now come to each of these. This one here, for instance, what I'm going to do is you can see that it's some wrap really nicely, we've got some really nice detail in there. Let's then come to red paint. So what I'm going to do is I'm going to grab each of these. So I'm going to grab my red paint and click a sign. And there we go, that's that one done. Now let's come to these ones here. Now, this one here. I'm going to do a little bit different, I think. So what I'm going to do is I'm going to grab, yeah, I'm wondering whether to grab it going all the way around there. I think what we'll do is are the easiest ways we'll just come in, we'll assign it to the red paint, like so. And then we'll grab the front of each one of these, holding the shift born down. Then what we're going to do is press control plus blue paint. Click a sign, and there we go. And then we're going to come to these ones. We're just going to assign these red paint like so. All right, so they're looking pretty nice. Okay, so we've got those. Now what we'll do then on the next lesson is the last part of these before moving on, which is the little corner parts that are going to go in between each of these. So they have to be slightly bigger than these parts, but we're really motoring on now and once we've got those parts in, we can actually start making some progress on the actual building here, once we've got them in our own asset manager. All right everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 28. Organizing Pillars and Archways Using the Asset Library: Welcome back everyone to the Blender four alternate guide, and this is where we left it off. All right, so now what we can do is we can come to this one here. Let's go back to modeling. Actually, just to make it a little bit easier so we can actually see what we're doing, Let's put this on Materials, and let's come over to this one here. So let's click on this one. Let's press shift De, just to make sure our cursor is there. And then what we'll do is press Shift, and we're going to bring in a cube. And we're going to make the cube a little bit smaller like so basically this wants to be a part that fits in between. So in other words, we want to be able to place something in between the walls, so the top of the wall and then have this kind of part that's coming along to be able to carry on after it like. So you can see here that this is probably going to be a little bit too thick, so if you press and X and pull it in, pull it into place, pull this one next to it, then we have a good idea of what it's actually going to look like. And I think if I pull this out a little bit, so something like that, that's actually going to look about right. So what I'm going to do now is I'm going to pull back this part here. Let's pull it back then. What we'll do is we'll bring in an edge loops on control. We'll pull it down maybe down to here. We'll grab the bottom of it, then pull it back. Then what we'll do is we'll pull the top down. We'll pull that down a little bit. Then what we're going to do is I'm going to press to pull it up. And then finally I'm going to put a top on it. O shifting. Click Enter alternates, pull it out very slightly, make sure offset is on, and then just make sure you're happy with it. Actually, thing that looks about right now, the last thing I want to do is I just want to put some motive on here. So what I'm going to do is I'm going to come in, grab this face, press the bond. This is what I'm talking about now. You can see because it didn't reset my transformations that when I brought that in, we've got wider part on the top and bomb in comparison to the side. What we do is press control set control Yl transforms origin geometry. Now when I press I, you can see it's much more uniform. I'm going to bring it into that fall and I'm going to bring it out slightly. So there we go. That is that part done. Now what I want to do is I also want to corner part. So I'm going to press shifty. I'm going to bring it over. I want something to be like this, but to also needs to be round about the same size of this, but on a corner I'm going to actually use, I think I can get away with using the bottom side of it. So what I'm going to do is I'm going to come in, just grab these ones going around here like so. Then one going is going to press shift and just pull those out into there. Then I've got a rough side of what it is finally. Then one going door is going to press L, delete versus. Then we're going to come to this, press L, just select press to fill it in. And then we're going to come to my corner and see what I can get away with here. Then do is going to pull it down, let's pull it down to the. Then what I'm going to do is I'm going to come in to the corner. Now one thing I can see here is this is not very uniform at the moment. We can see x and y, 4.8 1.3 0.97 Let's copy the y. Let's copy that. Let's go to the X, press control V, and then we should end up with a lot more uniform shape, making it easier to pull on the corners. Then what we'll do is we'll come to this corner, we'll resell transformations. First come to this corner, press control B, and then we're just going to be level that out like so it goes on nicely on that corner. Then what I'm going to do is it's about the right size. I think it's about the same size as here. What I'm going to do now is put a top and a bott on it. So I'm going to come in and what we'll do is we'll grab this one. And this one I'm going to press then to pull them out. So now we can see as we pulled them out, they pulled out in this way and that is because we've got it on medium point and we want it on individual origins. And now when I pull them out, they're going to pull out a lot more uniform. So now what we can do is we can press Enter. And then when we press N's Ed, you'll see they don't pull up. If we pull this on Medium Point Sensed, pull them up. There we go. Now we can see we've got that shape that we're looking for now. Finally I think what I'm going to do, I want to pull these actually down now. So I'm going to press Old shift and click on going around old shift click going around there. Old shift click going around here. And then essence Edd and just pull them down just to make it a little bit thicker on there. Finally then what I'm going to do is I'm going to come into the center. I want to reset all my transform again. Then what I'm going to do is going to press the eyeball and bring those in. Finally, I'm just going to pull it back this time and not out. You should end up with something like this. I think that's going to be about right for what we need. I'm just thinking to make them a little bit smaller. Maybe they're too, maybe they're a little bit too thick, is what I'm saying. I'm going to make them a little bit smaller, so I'm going to make sure on individual origins. Then what I'm going to do is just shrink them down slightly. That one seems fine now This one seems fine. Now you can see how this one fits nice and snug in there. That's exactly what I'm looking for, Something like that. Okay, now what you want to do is I'm just going to put this onto object mode. What I'm going to do now, first of all, wrap this one. So I'm going to grab this one smart UV project. Then I'll come to this one Smart UV project. Click okay. Then we'll do is I'll add in the materials first. We'll do that first. We'll put this on material, we'll grab this one. This one and then this one. We'll press control L link materials. We'll come to this one, then we'll grab this face on the inside. As you can see, it's already selected on mine. Come to materials, red paint. Yeah, select this one, red paint. There we go. Then let's come to this one and we'll do the same on here, but our press control on this one, just so I've got those back bits as well. There we go. Now let's grab this one. This one and this one. Press control L, and this time we're going to copy modifiers. If we press now on the object mode, we can see that they've got the modifiers on as well. Okay, that is pretty much it. Now what we can do is we can put these into some place. Because what I'm going to do next, we're going to put these in their own blend file so that they can be used in another asset manager. So basically, we can set up another asset manager if you haven't got an asset manager by the way, you can basically copy these and put them in place as you see fit. But if you do have a blender three and beyond, then we will be using the asset manager. Let's now just delete this and delete this cube. By the way, we're not going to need them. Let's come in. First of all, what we'll do is we'll rename them. We'll come over to this one rather than actually going over to the right on side, I'm trying to rename them. Let's just come here and press two. We'll call this pillar Plan. Then we'll call this pillar double, double. Then we'll call this one pillar insert like so. And then we're going to call this one arch. I'm just wondering what we can actually call this up at the top there. I think just to make it easy, what we'll do is we'll just call it side, side one. Of course you can call them whatever it makes sense to you two. And then side three. Then we'll call this plinth middle, middle. Then we'll call this one plinth corner. All right, so now we've got these. What I recommend you do. I recommend you open up another blend file. So we're going to right click, open up a new blend file. Okay, I'll let that load up. And then what I'm going to do is just put that down and we're going to come to each of these then. The great thing about blender is we can press control C. And then what we can do is we can go now to the blend file we just created, which is this one here. I can press the control and you will see that we actually have these in place, complete with the materials, hopefully. And there we go. All of the materials are there. Now the other thing is if I click on one of these, you'll also see that we've actually got the bevels attached here as well, which is really, really great. Now what I want to do now is I want to save this out as another blend file. And I'm going to save it out where I have my resource pack, because then this is our own blend file. So what I'm going to do is I'm going to go to File Save. As you can see where my resource pack is, This is the blender four ultimate course guide, the one that I'm talking about, if I go to my resource pack, this is the resource pack that came with it. And now if I come, what I can actually do is I can also put this blend file in there. So I can call this, let's call it course Asset Manager. And let's save that out. Now what we're going to do is we're going to put this into the asset manager. So what I'm going to do now, you can see on the right hand side here, they're all actually named. So what I can do now is I can grab them all. Select them all. Let's press one. So we're looking straight on. And then what we're going to do is we're going to right click and mark them as assets. So now let's go to our asset manager near the L, and you can see within this asset manager we've got these naming what we had before. So what I'm going to do is I'm going to make a new one, because this is the current file, I'm going to make a new one. And what we'll do is we'll call it Pillars. Pillars. And then we'll name another one, and we'll call it arches like so. And then we'll name one more and we'll call it sides. So then what we're going to do is we're going to save this out. But before we save it out, we're going to make sure that we're automatically packing all our resources. Make sure that's ticked on and then file and save it out. Finally, then let's come to unassigned. We can drop this one into our arches. Then we can drop these three pillars into the pillars down here. We can drop all of these sides, then into the sides which are down here. And finally, then we can save this out. So let's save it out now. You can close that blend file down we will be adding to it. So then you can open it back up or you can leave it open. Just depends what you want to do. Now, if you don't want to do that, what you can do is you can right click these on here and then you can mark them as Assets. And then they'll be within this folder as well. If we go to Asset Manager now, you will see that we have one called Pillars. And what we need to do now is we need to refresh this. If I come in and click File Save, and let's see if I can actually refresh this. Sometimes it means I have to reopen the blend file to actually get them working. Let's quickly reopen that. Now, here is my new blend father. I've opened up. I'm going to go to file, I'm going to open, and it's this one here called Blend Fall Ultimate Course Guide. Let's open it up, wait for it to open up, and you'll see here that the pillars aren't actually there. And the reason for that is just because we need to go to Edit, we go to Preferences, and then we're just going to make sure that we have our resource pack here. Also, I've also got blue actually wrote in there, so just make sure that's not in there. Let's see if they're in there now. And here are our pillars. Now if I bring in this pillar, as you can see, it comes in with the actual bevel attached, which is even bar for what we actually need. So if you click that on, we can see now we've got the bevel attached looking exactly like the one that we actually created. The best thing is now because we've done it that way, means that can actually come in and delete all of these without worrying about what will happen with these. So now I can leave this one as well. We've got our pillars, we've got our arch in there, we've got our geometry nodes. We've got basically everything we need. So now any parts we actually create, what we'll do is we'll put them in their own asset manager and then we'll make him much, much easier to deal with other parts. And the best thing is you then will be able to have your own kind of Arabian themed asset manager file as well. So just to reiterate, so I'm just going to go, I can show you that here is the resource pack and here is our course asset manager. Because they're in the same actual file and they're in the same over here. So on it and preferences, they're on the same on here. So you can see if I open up this, we've got our Arabian Resource pack, our course asset Manager, they're all in there. That means then that we have access to everything within that folder. So any blend files you put in there, if anything's in the asset manager, you know you've right clicked and you've marked as an asset, you will be able to find it. All right everyone. So I hope you enjoyed that one and I'll see on the next one. Thanks a lot. Bye bye. 29. Integrating Pillars and Archway Supports into Scenes: Welcome back everyone to the Blend of Four Ultimate Guide and this is where we left off. All right, so now let's make a start on our actual building. So this is what we have in the moment. Let's come in and first of all, bring in one of our pillars. So the first pillar we'll bring in is this one here. So we'll bring our pillar in, we'll drop that into place then. So we're going to stick it on this corner. And then what we're going to do is we're going to duplicate that one over then. So I'm going to press shift, Duplicate it over. And what I'll do is I'll just put them there for now. Because I'm going to put an arch in here. And then once I know that it's going to fit in nicely, then I'll move them out. So what I'm going to do is go to arches. I'm going to bring in an arch, so I'm going to spin that round, then Y, -90 -9,080 There we go. And then what I'm going to do is I'm going to press three and I'm going to put this into place up here, just under those ones and then pull it back. So just making sure then that these come out far enough. So I'm going to grab both of these now. Pull them out. And there we go, our first part in there, Hurry now let's come in and bring in the next part. So what I'm going to do is I'm going to grab this pillar. I'm going to press shift D. I'm going to bring it over. Then maybe somewhere in front of this part of the wall there, I'm going to pull it just to the bottom of the steps actually, because that looks pretty nice like that. I think this wall. Then I'm going to put just to the bomb of the steps, the thing. This is where you're making all your adjustments. By the way, I'm going to press and X and just pull this out a little bit more. So then what I'm also going to do is I'm going to grab the bomb of there. So I'm going to come underneath, grab the bomb, grab the bomb face, and pull it down into the floor. Now I can finally grab this pillar and pull it over A. So then what we'll do is I'll grab this arch, I'm going to press Shift and D. Then we're going to do it -90 Rotate it around, then we're going to pull it into place. And I'm also going to move this door over a little bit, and then what I'll do is I'll move this over just a tad like so pull it back into place then if I need to, I'm going to pull these out a little bit. So I think that is going to look quite nice. Now, the thing is, because we've got all these in there, we can see now that we're probably, we're going to have to pull this floor. So all four of these, just over a little bit like so just to make sure it fits in a little bit nicer, especially where this door is. So we want this door to be right on the edge of here, while fitting in here nicely. So you can see that we want it to look nice. In other words, once we've got this door in, because it's going to have a round the top in it, it should look really nice, actually fitting in there. Now, we're not going to do the door yet. What we're first of all going to do, we're going to just check it. Now, double tap the and there you go. You can see already that's starting to look pretty nice. Okay, So now let's actually carry on. We'll do the next part up here. So I'm going to do is I'm going to bring in another pillar. So I'm going to bring in this pillar here. And then I'm going to do is I'm going to bring it up, sit this one on top of this pillar here. So I'm going to pull it out and I'm going to sit on top here. Now that means when I sit this one on there, you can see that it looks really nice the way it is. I need to pull it up a little bit just so it's on there now. Never be worried about making these a little bit bigger or anything like that. What I'm going to do is I'm going to make this a little bit bigger and then I'm going to pull it up. But I want to keep this, so I want to process ins, just this bit hanging out. But I want this just at the top of there as you can see now. Don't worry. The other thing is I'm going to put a top on here. We're going to make some things to put a top on here. But for now, what I want to make sure is, as you can see, these are not quite in there. I want this into the wall. In other words, I need to pull this back a little bit. I'm going to pull it back just to here. And then what I want to make sure, can I now pull this wall back? Will it fit in very nicely so we can see here it's just stuck over it. Might need going just this way. Just a little bit like that. It's got a little bit more to it, and now we can see that's fitting in nicely. Okay, now we've got our window here, let's bring in our sides. Let's save our work as well so it's file and save. We'll come to our sides. I think the first side we'll have is the square ones. We'll bring this one in. What I'm going to do is I'm going to place this one above the window. I'll said 90. Let's pull it in. This is the first test just to see if everything is going to work out okay. I'm going to put that up there. We can see that it's a little bit too long for what we actually need. I'm thinking as well that this part here wants to be a little bit higher as well. I'm going to pull this up a little bit now. I've got this in, let's pull that up then. What we'll do is we'll grab this and we'll make it a little bit longer. And we'll pull that up and make sure it fits nicely into place. Something like, let's pull it down a little bit, just so it's sat on top of that pillar. There we go, That's looking nice. Now we've got a little bit of room on there to put something on top of here, and that's why I've done that. Now we want our corner pieces, which is this one here. So what I'm going to do is I'm going to bring in this one. I'm going to spin it around. Let's have a look, actually let's not spin it around. Let's not make it hard for ourselves. We'll just drop it in here. Then we'll make it easier. And we're going to press seven to go over the top. I'm going to then press G and put it in this corner. So then what I'm going to do is I'm going to drop it down. Now we can see that it's poking through then. We really don't want that. What I'm going to do is I'm going to pull this, not this one, this one here over to the side. Put this one in place. And then I'm going to grab this corner now, press shift D, bring it over, and then just rotate it 90, rotate it round and into this corner here. So now we can see why I actually did what I did. If I come in now to this part and I come in and I grab this going all the way around, Alt shift and click Control Control Plus. And then what I'm going to do is you can see now it's just going up there. I can press Delete and Bases. And then we're left with this. I can hide this one out the way now. And just come in and delete these tab Alta. Bring it back. And now let's fit that into place like really easy. Now we've got that in there, okay. Now I want, I want to bring this one over the other side as well. So what I'm going to do is I could mirror it going the other side as well. That might be something that we could do or we could just bring it in and rotate it around. Let's just press shift, rotate its 180, then just try and fit it the same distance. That's what this one is. We've got this now going down to here, we can see that this balcony is going to be a little bit too wide. So what I'm going to do is just grab this, pull it over slightly. I'm not going to worry too much about that, because I know that once I've got my balcony in there, I can see where it's going to come up to. Anyway, this balcony is probably going to be a little bit too wide anyway. I've just got that, there is a placement as you can see. Then what I'm going to do is I'm going to come in and grab this shift, pull it round O -90 press one on the number pad. Let's see if it actually fits in which it should. Now if it doesn't quite fit in, don't be worried. As you can see, it doesn't quite fit in. Don't be worried about making it a little bit smaller and x make it a little bit smaller and fit it in. That's looking pretty nice. Okay, now let's bring that round to the other side, so shift D, then 180. You can see there that as I've spun that round, I need to press control all transforms right clicks, origin to geometry because we did cut it down now 180. And now we should be able to fit that one in much, much easier and need to pull it over. So now we can see we're going to have one problem in this door isn't going to fit on there, but don't worry because we're going to cut that away anyway. You can see this door is nearly to the top of there. But we're not going to, we're going to cut this at the sides away. So don't worry about that right now. Okay, so that's looking good so far. Now the next thing we want to do is we don't actually want it to just have this gray box, of course. So what we want to do is we want to actually replace this with an actual proper wall and proper mesh. And the other thing is we really want to make sure that this is actually leveled off on the edges because we will have some edges on there as you can see. So what we'll do on the next lesson is we'll start work on this part here on this bot part, we'll make sure they've got some material on them, on both of these. And then I think what we'll do is we'll make a start on the actual door because then it will give us a better idea of what this is going to look like. Not only that, if we make a door and a window, then we can use those a lot of times, which means we'll be able to build a lot more of this. All right everyone. So let's actually save that out. So fill save it out and I'll see you on the next one. I hope you're really enjoying it so far. Thanks a lot. Bye bye. 30. Modeling Your First Door Asset in 3D: Welcome back everyone to the Blender Ful Ultimate Guide, and this is where we left out. All right, so let's now deal with this cube here. So what I'm going to do is I'm just going to grab this cube. In this cube, I'm going to press Shift H. Then just to hide everything else out of the way. And what I'm going to do is I'm going to come in and what I can do is to hide even more out of the way. I can actually press the little question more next to the shift board. And what I'll do is I'll isolate everything else except this. What that means is now I can come in to the bottom of this, for instance, because I'm not going to need the bomb, press the lite and click on faces. Now what I can do is I can actually unwrap this. The way I'm going to unwrap the actual walls is I'm simply going to grab the top of it. I'm going to press control E. I'm going to mark a seam. And then what I'm gonna do is I'm gonna come round to one of the corners that's not going to be seen. I'm going to right click, I'm going to mark a seam like so. Then what I'm going to do is I'm going to press Tab. I'm going to press the little question mark again, which will bring back the bottom one. I'm going to press question mark again, which will isolate this one out. And this time I'm going to delete the top and the bottom. So delete faces. And then I'm going to come to this corner again. And then we're going to mark a same in here, so rightly mark seam. And there we go. Now press tab little question mark. And finally now we should be able to grab this one. We're going to press tab U wrap. And we can see here it says objects as non uniform scale. Unwrap will operate a non scale. What that means is that we forgot to actually reset our transforms, so I'm going to grab both of these control all transforms, right click origin to geometry. And now let's go in and try the same thing. And now we don't get a problem. So now we'll come to this one as well a on the wrap. Now finally let's come into our materials and what we're looking for is wool. So let's put in wool and here is our wall material. So let's drag and drop that in like so again, all we need to do is just drop it in and then we can delete other way. And finally now let's come to this and what we'll do is we'll put this onto wall instead. So I'm going to search for wool. So drop that on there. And then what I'm going to do now isn't going to come to this one, jump to this one, press control L, and link materials. And there we go. There is our wall. Albeit I'm not very happy with how this wall looks. So let's head on over now to our shading panel. Shading panel. Let's actually press dot one to zoom into whatever part we have. There we go. Let's press dot now with these walls, if I press ol tag now we can see that the dirt part, So this one here, you can see where it's got some dirt on there should be more or less down of the bomb. If I grab this one here and press a, we should then be able to press a 90 G and drop that in place. Now you can see the dirt at the moment is at the top we don't want that. So what we want to do is we want to press or 180 and spin it around, and now it's down more of the bomb, and that's where we want it. Now as for these bits here, we don't really want so much dirt around there. So what we want to do, we want to come to this one, press A, and then what we're going to do is A over here, R 90. Let's spin it around, and there we go. We don't want so much dirt around here. You could have a little bit of dirt if you really wanted it. Just at the bottom maybe of here. You can see as a bring this down. You can see it's at the top of the moment like so we don't want that Re hundred and 80 and let's spin it around And there we arch just a little bit down at the bottom. There we go. That's looking pretty nice. Let's have a look what that looks like. Then double tap the A. That's pretty nice as you can see. Okay, so we've got that so far. Now what we should do is we should make a start on our actual door. I'm just looking at this bottom part, making sure the bottom part is okay. Let's have a look what's going on there. And I think, yes, we've put this too far over, you can see go to my UV map. It's not right down to the bottom. So I'm going to press and Y and lift it up. And there we go. Now it looks bare. Okay. So I was wondering more what was going on there. All right, so now let's work out where we want our actual door to start. So in other words, where we want it to watch. So if I grab my guy, press you spacebar, and bring him over like so. And then what we'll do is pick him up, pull him over, I'm going to make him a different color. I think what I'm going to do is I'm going to minus that off and I'm going to leave him like this. Actually, just so I can see a little bit easier when he's actually stood against that gray. Okay. Now we can see we've got this. Now what I'm going to do is I'm just going to grab this door. I'm going to grab this corner then. And this corner, I'm going to press control and pull those down. That's roughly the shape that I can get away with my door looking at this now I've got that. What I can do is now I can take this door over here. I don't need my Guynamore pretty much got it worked out. How big this needs to be. What I can do now, I can go into modeling like so now I can shape my door from that. What I'm going to do is I'm going to press shift Ursa selected shift. Let's bring in them a cylinder. Then with this cylinder, because I restarted my blend pal, you can see at the moment on two, let's put this on 20, so something a little bit more reasonable. And then what I'm going to do is I'm going to rotate this round x and 90. Then what I want to do is I want to make sure that the top here, so the sides up here are right where this bit starts dropping down this side and this side. So what I'm going to do is I'm going to come in, you're going to grab front and back of cylinder. I'm going to press Delete and Faces. And then what I'm going to do now is I'm going to come to where it starts coming down, which is this one here. And this one over here, delete. Then L delete, we should end up with something like this. Now let's make this a little bit thinner, so I'm going to grab the whole thing and Y pull it in like so. And then let's pull this out now. So now we can see it looks like an arch of a door, but it doesn't look in the style that we're wanting it to All going to do is I'm just going to pull it down. I'm going to come then to edge slick. Grab this top, it here. Click on Proportional, let it in, and I'm going to click on the shop. Let's see if we can do it with a sharp. Now, if I start to pull this up now you'll see that's looking a lot more Arabian Ordsity themed door. Let's press one then. And then one going to do is I'm going to pull these down now. So I'm going to press and pull those down. And then f, there we go. There's the main part of our actual door. Now, of course it doesn't actually look right at the moment, because, well, first of all, we need to have our door in there. And second of all, we need a archway going around there. Although we put a face there, probably better off if we don't have that right now. So what we're going to do is press delete and Faces. And then what we're going to do is press control or transforms right click origin geometry. And now I'm going to come over to my modifiers tab, Add modifier. And this time it's going to be a modifier we've not used before, which is solidify and when to right click and shade autos, move on there. And then what we're going to do is I'm just going to press one now to go into there. And I'm going to increase that thickness up to make it much, much thicker than what it was, something like this. Now you will see as we get to the top, once I apply this, we are going to have an issue with the top of here because if you keep bringing it in, you can see you're obviously going to get some crossover on the top of there, which we don't actually want. We're going to have to go in and fix that. But just make sure that the thickness of this is looking good enough for you. And I think at the moment the thickness is looking really nice. I'm happy with that. I'll go with that. What I'm going to do then is I'm going to actually apply this. I'm going to put even thickness on first and then you can see it evens it out really nicely. This is with and without. Then we're going to do is apply it. Control. Let's apply it. Now let's press Tab and have a look. And make sure that this, if I press, and you can see actually it's actually worked. So it's actually brought it together really nicely. And that is looking pretty good. Now one thing we do have to make sure of is if we press the x ray on, you can see it's a little bit wider than what we wanted it. So what I'm going to do is I'm just going to press S and X and just bring it in very slightly, so. All right, let's turn that off now. Let's bring our guy over, making sure he can still fit in that doorway. Which he can, if I spin in round, so Rs 90, you should still be able to fit in there. You may want to make yours a little tiny bit taller. But I think for me that's that's looking good in fact. Yeah, I think I'll make it a bit, just a bit like while hopefully bring this over. Still fitting in there really nicely. All right. I'm going to press controls head to get that back now. I'm happy with this bit now. All I want to do is I want to shape this into what I need. The first thing I'm going to do is I need the center part. I need it to actually make my actual door. So what I'm going to do is I'm going to press old shifting click, going all the way around here. And then I'm going to press and fill that in. Then what I'm going to do is instead of pressing, I can actually press Y. And what I'll do is it'll actually separate it off away from this mesh. Now I'm going to pull it out here. And then what I'm going to do is I'm just going to hide the o the way. Now find that what I want to do is I want to bring in a couple more edge loops. But the problem I've got is if I press one and I bring in an edge loop, you'll see control. You can see there at a slight angle. And I don't really want that. What I want to do instead is I'm going to press eight to grab everything. I'm going to come over there to mesh bisect. And what I'm going to do is I'm going to have my pillar starting somewhere around here. So I'm going to cut it straight across here. Then what I'm going to do is I'm going to come over to the bomb left hand side, and I want this to be perfectly straight. This is on the X axis going across because you can see this is slightly out. So what I'm going to do is I'm going to set this to zero and now you'll see that it actually straight to Nell. Now, the good thing about the bicect tool is you can also come in and clear the bottom of it or clear the top of it and you can also fill them in. So if I come in, I can actually fill them in now that on this occasion we don't actually need anything like that. But what we can also do is we can also pull it up or down wherever we want it. We can also change the angle of it if we want to do that. Now I'm going to set this to zero again because I don't want the angle changing. I'm happy with the height of this, so I don't want to do anything else. All I want to do now is grab these, so I'll grab them. A shift click, shift, click, shift, click, the insides of them. And then one going to do is I'm going to press Enter AlternS and bring those out like so. And then we're going to put offset even on like so. And then alternates, bring them back in tiny bit off, even on there we go, we should end up with something like that. And that's looking pretty good. Okay. At the moment, I'm going to then come in and what I want to do is I want to split these off because I actually want to bevel them and I want to make a nice part that goes in on this as well. So I'm going to do that on the next lesson, and I hope you enjoy creating this door. You're going to end up with a really nice door when we've finished. And I'll see you on the next. On everyone. Thanks a lot. Bye bye. 31. Stylizing Doors to Match Environmental Aesthetics: Welcome back to the Blender Four Ultimate Guide, and this is where we left it out. All right, so now let's split off this one and this one from here. So what I'm going to do is I'm going to have old shifting click going all the way around. Control plus and just go up to the center point like so. And then what I'm going to do is press Y. I always press just to make sure everything's split that I needed to and then right click to drop it back in place. Now I want to do is I want to press Altern. Now I have got this part here, and I'm not sure yet if I want to have it as part of this object or not. So what I'm going to do is I'm simply going to press P selection and just separate it off. Just going to make it probably a little bit easier to actually work with. Once I've done that, I can hide it out of the way. And now come back to this bit. Now at the moment you will see I can actually grab this. And if I just move it over here a second, you will see that it's now got a hole in each of these. And we don't really want that. So if I press controls to put it back, what I can do is I can press A and I can come to mesh. I can come down to clean up. And then what I can do is I can put fill holes. Now, it doesn't look like anything's happened at the moment, but if I press L now, press G, you will see that those holes now are filled in. And that's exactly what we want. Now the thing is that you can only do this when it's a quad. In other words, when it's four sides that needs filling in. If it's any more than four sides, it won't actually work. So just bear that in mind when you're actually working with automatically filling in those holes. All right, so now we've got that. What I want to do now is level this off. But before I do that, I want to actually use my Insert to make a kind of difference on this bar going down here. The other thing is, do I want to split off this bar as well? So I think I do. So what I'm going to do is I'm going to split it up to probably this point here. I'm going to press shift, click, shift, click, shift, click, shift, click. And then we're going to do is press Y. And again, I'm going to do the same thing. A, to grab it all. Mesh, clean up, fill holes. There we go. Now let's grab this one going all the way up to here. And then shift click this one going all the way down to here. Now before we use the insert, we need to resell our transform control. A transforms right click origin geometry. Now what we're going to do is press I bring those in. Then what we're going to do is move around to the side. Press break strewed and just pull them back slightly like so. And that's looking pretty nice. Now for this, all that's left to do is adding a deble modifier. And to add in the material, let's add in all materials. Now if we put this on material, let's actually go to File and save it out. Let's come and grab this one. And let's grab this one here. Press control L, and let's link materials like so. Now let's unwrap this properly. A smart UV project. Okay, there we go. Now it's unwrapped. And finally then let's come in and give these a different actual material red paint flicker sign. There we go. Looking really nice. Finally, then to finish this bit off, let's come to our modifier. Modifier bevel and let's actually turn this down. We're going to turn this down, turn it up one. And you can see that we do have a problem in that this is way, way too much. As you can see, it's not beveling off properly at all. Let's try pressing control Al transform again. Sometimes that we work. Then what we'll do then origin geometry, turn this all the way down, turn it up one. What we'll do instead of that is n 0.3 And there we go. Now it's looking much nicer than it was. Let's put it onto our shader. And there we go, That's looking pretty nice. Okay. So I'm happy with that. Now we've got our door, so if I bring back my door with Ol tag, we can actually make a start on this now. So the way we're going to do this is we're going to press control A all transforms, right click, set, origins, geometry. And then what I'm going to do now is I'm going to come, the first thing I want to do is I want to create the wood going down here. I want to wooden slack going straight down the middle. So how do we actually do this? Because you can't come in and press control. You'll see you can't even add an edge loop or anything like that. You can come in though and click K and bring in the knife tool. So what I can do is I can come with my knife. I can select the top one of here. And you can see that I can bring it down, but I'm struggling to make it even. But if you press A, you can actually straighten that up and then drop it to the bottom part. And then press the Enter Born. And there we go. Now we've got that part. Let's actually put it on vertices so we can see where else we want these other pieces of wood. Now we do want this fairly even lease split and you can see at the moment. That it's not going to be very even. Let's put one in here. Let's try one in here. Press A, Come all the way down. So let's press K again and bring this one down. Press A all the way down like so. And then what I want to do is I'm going to come from this part here and press A, going all the way down. I'm pressing editor now, the other problem we're going to have now, we've done it like that, is the fact that you can see that this is slightly out, so it needs to be probably a little bit further over. However, if I pull this over, you can see it's going to slightly take it out there. So what I'm going to do is instead of doing that one, I'm going to put it a little bit closer. So a little bit closer like there. Bring it down. Now that looks a little bit more even now. The next problem we've got is that the other side, to get this to be perfectly right with this is not going to happen. What we're going to do instead is we're going to come in and delete this face off here. And then we're going to come in with the edge select, I'm going to select that. Edge shifts selected. And then what I'm going to do is I'm going to come out press control or transforms right click, set origin 23d cursor. And the reason I'm going to do that is because I want to use a mirror on the other side. So I'm going to come in now add generate mirror and it's going to put it on the other side. Because the mirror works basically where the orientation is. It takes the orientation as the middle of whatever it's mirroring. In other words, now if I grab all of this in eddy mode and pull it over, you'll see that we end up with something like this. If we pull this over, you'll see that we end up with something like this. So that's how the mirror modifiers work, so let's actually put that back. So now what I can do is that I can actually come in and apply that mirror, and now you can see that we've got everything nice and even basically what we wanted. Now from here we want to also make a little bit that's actually going to go in. So what I'm going to do is before doing anything else, I'm going to actually select it. Going all the way around with control click. So I'm just control clicking like so. And then what I'm going to do now, I'm going to press Shift, and I'm going to pull that out. And then what I'm going to do is I'm going to press, and then we should end up with something like that, which is basically what we started with. Now if we go on to face Select and just select the face, Now what I should be able to do is press I and bring that in. So what this is going to be now this part here, delete faces. This then is going to be the metal part that actually goes around the wooden part. What I'm going to do then is I'm going to come in L, I'm going to press E and pull that out like so. And then what I'm going to do now is I'm going to grab the whole thing with L and pull it back into place. Now at the moment, these don't really look like wood, and that's something that we need to fix. So what I'm going to do is I'm going to come in and I'm going to grab each one of these. So then one Interiors going to press right click and I'm going to mark scene. The reason I do that is because I find it they're much easier to come in and to grab each one of these individually. And then one interiors are going to press Y and split those off. Now the other thing, at this point, we're probably going to be better off splitting off this mel part from the actual wood. So I'm going to press selection and just split that off. Now I've got my wood, I've got my metal, and I've got my actual. Let's come back to the wood now. What we're going to do now is these should be all split off. If I grab one of them, you can see if I press G, it's split off from the rest of them. What we're going to do now is grab them all and then I'm going to pull them back E, pull them back like so. And then what I'm going to do is now bevel these off. So if I come over to my old modifier, I'm going to generate and bevel, you can see already. Now we get a nice bevel on there. Let's press control or transforms. Just reset the origins. Turn this all the way down. Turn it up one, there we go. That's how you make a wooden door. Now we can pull that into place, so it's very nicely in there. Double tap the, let's put it on object mode just to make sure. I think these be levels are a little bit too high. So what I'm going to do is I'm going to put this on. Not 0.5 like so. And now I think they look much, much better. Now the other thing is when I'm using bevels sometimes on doors, maybe not this one. You might want to make them a little bit uneven with the doors because at the moment they are straight down. Do we really want them straight down? Probably not. What I'm going to do is I'm going to press one. I'm going to press Tab. And then what I'm going to do is press A to select everything, and I'm going to come to bisect. What I'm going to do is I'm going to bisect across there. So make sure this is on zero. Then what I'm going to do is I'm going to press a again mesh bisect. I'm going to bisect across this way, make sure this is on zero. And then the same thing again, probably let's have luck maybe a couple more times zero. And then a mesh bisect like zero. And then one more time on the other doors, I will show you how we can do this without dissecting so much. All right, so now we've got all that. What we can actually do now is press a come up to mesh transform and come down to where it says randomize and then turn this down really low. And we can see now we've got a lot of variations in our actual wood. Now that's probably still going to be a little bit too high, so I'm going to put this on Not 0.5 So I'm going to press Tab. And there you go, right click shade to Smooth. And now you can see that door is a little bit uneven and it looks really, really nice. Okay, so on the next one, what we want to do to finish this door is we need to actually look at the hinges. We're going to make some simple hinges on there, and then we should have this door actually finished. All right everyone, so hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 32. Creating Realistic Metal Hinges: Welcome back everyone to the blend of four Ultimate guide and this is where we left. All right, so now let's make a start on our hinges. Let's first of all though, put our door in place. So what I'm going to do is I'm going to grab the wood, I'm going to grab the metal. I'm going to put it back into place. Let's move our guy out. It looks a little bit too close there. And there we go. That's our door so far. And then what we'll do is we'll move him just to the side. And then what we'll do is we'll actually start with our actual hinges. And what I'm going to do is I'm going to make sure the press one that the cursor is right in the center. And then I'm going to press shift, bring in a cube. So I'm going to want three of these in there. I'm going to make them probably around that height, 12.3 Then what I'm going to do is I'm going to make them a little bit thinner, so S and y finally I'm going to delete the back. Deletes the back off. So now let's pull it into place, make sure that we're happy with how that's going to look. It needs to be a little bit SOS and Y. Then what I'm going to do is pull this out so we can see the center of it is around here. Let's bring it down to something like that. Let's also then, probably still a little bit too thick sensed, let's actually grab it properly. So L en ed. So then what I'm going to do now is press control all transforms, right click, set origin to geometry just for now. And then what I'm going to do is I'm going to grab this top part and this bot part, I'm going to press control B. And then what I'm going to do is I'm actually going to mouse my mouse up and get a nice round part to that. All right, that's look in pretty nice. Now, the next thing I want to do is I want to put some bevels on these parts here. I'm just wondering the easiest way to do that, I think is to do this. So what I'm going to do is I'm going to come in control, left click, drag it out. Just a little bit like so. And then what I'm going to do now is I need to put another edge loop going around here. Now you can see at the moment I can bring an edge loop in, but it isn't going to go all the way around. That's not ideal. I really wanted to go all the way around. So I'm just going to press controls head. I'm going to then I say out with question. And what I'm going to do is I'm going to press Tab. I'm going to come in and grab this one. And this one press G. We don't need to worry about the back one. Now, I should at this point also tell you about engons. We have triangles, we have polygons, and we have engons. What is a triangle? A triangle would look like this if a press G on here. This is a triangle perfectly acceptable in any games engine or substance, painter or zbrush, Whatever it is, it's perfectly acceptable. Normally we prefer polygons or quads as they're called. When we do animation, it does make the topology flow better or move better when you move in arms or heads. When you've got quads rather than triangles. Generally, the reason why things get triangulated when you send them through to a games engine is because it will be optimized better. That's why it actually does it. But when you actually read, apologize in something, you'll always read, apologize in quads are quads, this is a quad, Four sides is a quad, three sides is a triangle. What is an end? End is something with more than four sides. Generally, you want to steer away from ends, especially when you're dealing with things like characters. Now generally with something flat like this, you can get away with end guns. Because if you're going to send it through to a Games engine, it's going to be triangulated anyway. But normally, I would say, make sure that you don't have anything like this. Now the easiest way to deal with something like this actually is just to grab both of these. Right click and you will see you've got one that says triangulate faces. And then what you can do is right click tries to quads and then it'll convert it back to a quad if it can do and you can see it's done a pretty decent job of that. But generally what we're doing, we don't actually have to worry about Engon. You will see here if I press the question mark, you will see if I go over to, let's bring it in, I'll asset manager. Let's go to our sides and use the library take off wall. Then let's bring in this one here, not this one. The round one which is this one. You will see that every single one of these is an end on because it just has a plain face on here. This should all be actual topology, but on something flat again like this. It doesn't really matter so much. So don't get over, you know, whether you should have engons in there or not. It all depends on what you're doing. If something's rounded, not a flat face, generally steer away from engons because it will affect the light. But if not, don't worry too much about it, because it will be converted to triangles. Anyway, if you've actually created something you're going to read, apologize it then. No, you don't want to engons, you want to make sure that it's a beautiful quad mesh. Wherever you can. All right. So that's the explanation of that. Now what we'll do is we'll come back to this now. I'll press question mark. No, I won't. I'll just put it on object mode. Press dot just to zoom into it. And now we've actually pulled that in. So you can see how we've got this in. We should be able to press control and get in nice edge loop. So I'm going to bring in an edge loop round about there. And then what I'll do is I'll pull another edge loop round about here. So roundabout, here will be my next edge loop. I think this edge loop, actually I could probably get away with putting it round about there. Putting in this one shift click round about there, all shift. Click them both, then see you've got them both. And then what we're going to do is press control B, pull your mouse borne out. Then what I'm going to do is I'm going to grab the back of the back of each of these, then I'm going to put it onto medium point. Then what I'm going to do is press and Enter, and then and's Ed and pull those out. Now finally what I'm going to do is we're going to come to each of these edges. This one here, this one here, this one here. I don't actually know what happened there. Did I hide them? Did I hide them out of the way? What happened there? There we go. I have no idea where they disappeared to. Let's grab each of these now. This one. This one, This one, this one. And then what' going to do now is just going to press control, pull them out and round them off a little bit like so. All right, so you can see that's already looking pretty nice, I think. Still it's a little bit too thick. So what I'm going to do is just press S D and squish those in a little bit. Now the other problem you can see is because I squished those in, I've also squished in these parts here. Let's just fix those. So what I'll do is I'll just come in and grab each of these, each of these S and pull them out, and there they go. Now they're looking a little bit back. All right, so finally what I want to do is I want to come to this one shift, ka selected shift. And let's bring in. I'm thinking whether to bring in, I think I'll do this with a cube. So let's bring in a cube. Zoom out, press the bone, make it much, much smaller. Press the On. Zoom in. Much, much smaller. Even still, let's put it into place. Something like that. And then what I'll do is I'll just delete the back off. So I'm just going to come to the back press, delete faces. And now I'm going to grab it all l drop it into place and Y. So then what I'm going to do is I'm going to come now grab the sides of it. Press control, then what I'm going to do now is come to the top of it and press control. There we go. We've got a nice bolt in there. Now I can do is I can right click, shade, auto, smooth. Then what I can do now is I can actually grab this, grab this Bh, bring it over. And then I can press shift, bring it over, and then finally shift and bring it over. Now, before I do anything else, what I want to do now, I want to split these bolts off away from what I'm doing. The reason I want to do that is because I want to bevel this part off before doing anything else with it. So what I'm going to do is quickly just grab all of this part here. Press selection, grab a again control or transform. Right click Sar reg into geometry. And then what I'm going to do now is adding a Generate like so. Then I'm going to turn that bevel down all the way down zero and then up to 0.5 or not three. Bevel it off just very slightly. No, no, no one. There we go very, very slight bevel on there. We don't want too much. That may be a little bit too low point n n two. Yeah, a thing that then looks fine now with these bolts, let's have a look what we do in the east control all transforms, right? Clicks, origin geometry. Let's try adding in a subdivision surface just to round those off a little bit. Actually, that has made those look much better, although I'm going to squish them in and Y and pull them in. Double tap the Yeah, I think they look a bit better now. All right. I'm happy with those. Let's come into these, first of all and apply our subdivision and then what we'll do is we'll also apply will we apply that yet? I don't think we'll apply bevel quite yet. What I think we'll do first of all is we'll bring in our material. All we'll do is on the next lesson is we'll actually bring in the material just for this metal here. And then what we can do is we can actually bring in the other part. So we can have one here and one here, and then three on the other side. And then we can put the actual materials on the rest of the door. And then we can save it out in our asset manager. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 33. Adjusting Doors and Converting them into 3D Assets: Welcome back everyone to the Blender Full Ultimate guide, and this is where we left off. Okay, let's come to our materials and what we're going to do is type in metal, this is our black metal material. Let's bring that in. And then what I'm going to do is I'm going to delete that off again. Now finally I'm just going to put on shade mode. What I'm going to do now is come to this. Come over to material, down arrow, black metal. Let's bring that in. And there we go. Let's now grab it, a smart UV project. Click okay. And there is the Mel. This Mel is really, really nice. If we put this on the actual shader, sorry, the actual Renderview, you can see just how nice the actual metal is with all of these scratches and things like that going round in it, really, really nice. Okay, so now we've done that, let's put it back on material. We might as well come in then and add the material onto these as well. So I'm going to press U Smart UV Project. Click Okay. And then we're just going to click the down now. Black metal, like. So now let's join all of these together. Now the thing is though, this has already got a Bevlon. So what I'm going to do is I'm just going to press control. And then I'm going to join all of this together with control J. And then what I'm going to do is I'm going to press one on a number pad, like so I'm going to put on an object mode so I can really see what I'm doing. Press Shifty, bring it down and then Shift, bring it down to the something like that. And a thing that looks really nice. Finally then what I can do is I can grab all of these. I can press control G. Then now what I want to do is make sure that my cursor is in the center, so all I'm going to do is press shift on the actual arches or selected back to my Mel. Add modifier, Generate a mirror, put it on the Y. And you can see the problem I got at the moment is I didn't move my orientation. Right click, origin three, D, cursor, take off the Y. Put on the X. There we go. That's looking pretty nice. Just making sure I'm happy with how that actually looks. And I think the one thing I'm worried about is maybe I'm just wondering whether I need to pull these back a little bit. In other words, is this too thick going across here? Let me just check that out because I might as well fix that. While I've got the chance to do it, I'm just going to grab all these press control then what I'm going to do is just pull that back a little bit. Yes, a thing that actually looks better. Now I've done now what I can do is I can just grab this one. Grab this one, deletes, Grab this one, L, press one, so I'm in front view shift. And what I'll do now is I'll follow it over on the mirror and then put that into place, holding shift to get them in shift D. Again, put them into place. So Yeah. And I think they look much, much better now I've done that. All right. So now we've goll those, What I'm going to do is press control A, and then I'm going to go over to my shading panel. So over to shading. And what I'm going to do is press dot to zoom in, press the tab A to grab them all. And you can see this is how they all look. And then what I'm going to do is I'm going to grab everything. I'm going to come up then to the three little dot v and I'm going to pack islands. I'm going to take rotate off. Click. Okay. Let it think about what it's doing. And then what I'm going to do is now is pull them out. Pull them out. And then I'm just going to have a little look at what they all look like. We can see that's what they're looking like. I'm just making sure that I have not pulled them out too much. They look nice like that. Okay, I'm happy with that. Now, the actual black metal, you can see that this was set up the same way as before. We have our principled, we brought in all of these textures. So we have all of these textures actually brought in. And then what we've done is we first of all messed around with the color. This here will mess around with the color as you see, so you can make it dark or light, or wherever you want to do. What we've done is we've brought in an ambient occlusion. Because this is met, you really want to accentuate your actual dark and light. Let's have a look. If I can plug this one in. If I plug this straight into my base color, you should be able to see exactly what I mean, if I come in to my color around where my ambient inclusion is. If I'm very careful, I can actually come in and you'll see on here if we put this on rendered view, you'll see if I move this to the right, look at this part here, It's very, very faint. Well, you'll see. You go lighter or darker. And that is where we've actually gone in and made sure it's really, really finally just made a little bit darker in those crevices. Because with metal, it really is all about how the edge and how the crevasses are to make the metal look realistic yet still stylized. We've also then got the bevel, which is the thing we had on before, which is all these edges. And we can control how much of the edges is actually, as you can see there, we can control how much of that then of the edges is lighter, so we've got the lightness on the edges and the darkness for the crevasses, and that's exactly what we're looking for. All right, and then what we do is we plug all of this in. So we've got the ammunocclusion plugged in with the base color in a multiply, then we've got a control over the entire metal. And then finally, we're plugging in those edges into this screen here. And then plugging the color and the ammunoclusion together. And finally then into the principle. The other things you've got here is a normal map which you can turn up and you can create much more kind of higher normal map, which means it looks more bumpy and things like that. But with Mel, honestly, you don't really want it that high at all, unless it's really, really weathered metal, you know, with lots of rust, Dumbo, for this occasion, it's not anything like that. So that looks absolutely fine. All right, so we've got that then. Now let's go back then to modeling and let's come to our door once more. And what we need to do now is we need to actually figure out what we're actually going to do with the metal. And I think with this Mel on here, all I'm going to do is just grab it. Smart UV Project. Click okay. And then I'm just going to click on this press control L link materials. And there we go. That's the Mel in there. And now finally the door. So I'm going to come into all of this door and this will be the first time that we use the wood. So what I'm going to do, I'm going to come to Asset Manager and then I'm going to come to wood. We have a number of wood here, but the wood that we want is the light wood we want, the light wood. We're going to bring that in. We're then going to delete it. And then what we're going to do is come to our door, put it on material. Come to our material, and then we're looking for light wood. Let's bring it in now. It looks like that, which is useless, of course. Let's press Tab. Grab everything, Smart UV Project. Click Okay. And there we go. There is our actual door. Now you can see if we put this now on the shader, this is what it looks like, really, really nice, as you can see. Okay, So we can get rid of this door. We can join all this together now. And then we have our first door, which we can use multiple times around our actual scene. Let's put it then onto material mode. Then let's join all this up. So I'm just going to grab it with selection. I'm going to go to object because I know it actually has modifiers on and things like that. So what I'm going to do is go to object convert and we need to select one. If it's never, not there were you can convert. Just come in and shift select one and then object convert and mesh. Finally, control J, control all transforms right click origin to geometry. Now I'm actually going to rename this two and we're going to call this single is not going to be a double arch door single. Now I'm going to do is I'm going to press control C. I'm going to go over then to my asset manager in my other file, which is this one here. This is with the archers. Then what I'm going to do is I'm going to press control V and drop that in the shift spacebar to move it. And then what I'm going to do is I'm going to create a new one. I'm going to call it doors like. So I'm going to go over then to the right hand side mark as I said. And then what I'm going to do is file and save it out. All right. Let's put that down now. So let me just think about saving it out. And the other thing is before I do that, I need to put my door into my door there. And then finally I need to save it out. Okay? So let's now put this down. And then what I want to do is I want to come over and see if I've got a door there, which I have. And there's my door. So it's already in there. I didn't have to reload it. All I had to do was refresh it and now actually I can delete this door out of the way. And I can bring in my door that we've actually created. And there we go, that is our door. How good's that? Okay, so what I'm going to do is I'm going to save out this file now. And then on the next lesson, what we'll do is we'll get this door into place. Then I think we'll actually make a start on the actual window. So we'll do our first window. And then what we can do is we can work a little bit on our actual steps. And finally, we'll work on this top part here. But remember, the more parts we actually create, the easier it is as we go along because we've got most of the parts in place. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 34. Crafting a Stylized Window in Blender: Welcome back everyone to the Blend of Four Ultimate Guide, and this is where we left it off. Okay, if we pull this door into place and let's see what it's going to look like, let's get it into something like that. Just pull it up a little bit just so we can see that metal. Let's get it more centered. Yeah, I think that pretty nice. I think I'll pull it back into the wall just a little bit. Double tap the and there we go. All right, now what I want to do is let's have a look at our render now. We can see it's starting to really come along, but let's actually come in and turn down our sun. It's a little bit bright for what we're looking at, so we'll come over to our world. Over here is what you can actually don't have to jump into the shading. You can also come on over here to the right hand side and actually turn it down, for instance, the sun here. So let's turn it down slightly. Let's also then come down and turn down the air just slightly, just so it's not quite as yellow. It's making that a little bit pink. And that's not something we want. Yeah, I think that's it for the door. Now let's actually come in and put this onto object mode. I'm going to do is I'm going to take this window here. I'm going to rotate it round. So I said -90 And what we're going to do from this then is create our first window. The thing is about windows, you can make them as complex or as simple as you like. I think we'll start with a more simple window, probably in terms of complexity. Same as the door, something around there. All right, so what I'm going to do is, first of all, I'm going to bring in a plane. So I'm going to go mesh and plane. I'm going to put my plane up a little bit and try to make it round about the same size. This window X 90 S S button. Let's bring it over. Doesn't need to be absolutely exact or anything like that. Let's press the X and bring it down. And then finally what I'll do is I'll try now to actually shape this. So I'm going to pull the top down first, like so. And then what I'm going to do then is press controller, bring in perhaps five edge loops. I think that's going to make it quite easy for me. So left click, right click, grab, then this top one. And then I'll use the sharp so to create that little edge on there. Now on the actual original that I may have made it a little bit more rounded, but it's up to you really what actual shape you want to make. We could come in and turn this off and grab both of these and create it a little bit of a different style, like the one thing I'm concerned about is this top bit. It might be a little bit too sharp, it's going to be stone at the top of here. So what you can do as well, you can actually grab the top of here, press control shift and B. And then what you can actually do is bevel that out like so now, so it's like bevel, but you can't, if you can try and grab one press control B, you'll see nothing happens. So you have to actually press control shift and B to actually get that done. So I'm going to bring this down a little bit, and I'm thinking, who we need another edge loop in there to round that off, maybe. So what I'll do is I'll press K, grab this one here, press A, go to the top, press Enter, and then I'll come in, grab the top one. Just round it up a little bit, like so. Yeah, I think that's looking pretty nice. All right, so now we've got that bit. What we want to do now is want to grab the bottom. It's just easier dealing with it like this. I press one again and if I press Shift, bring it down very slightly and then one wins, press and Z, pull it down. And that's just going to be that window ledge. And now find I can split this up. Lp selection control or transforms origin geometry, and then S and X and pull it out slightly. That's that bit. All we need to do now is obviously give this some depth. So what I'm going to do is come in, I'm going to press Delete, and we're just going to limited dissolve this. The reason is we've got a load of edge loops that we don't really need, so we might as well get rid of those. Delete Limited dissolve, and then E and pull it out like so. Okay, so back then to our main window. So what I want to do on this window is we want to have stone going around it. Then we want a little bit of wood going in between the stone and the glass. And finally then our glass. The thing is the easiest way to probably do this, is probably to come in, grab the whole thing. Limited dissolve, so we end up with something like this. And then what we can do from there is we can press the eye button and bring it in. And we'll have probably a little bit of a problem in that these on the top you can see might actually touch. First of all though, let's reset the transformations again. Now let's press Eye, and now we can see that it's coming in much, much neater than what it did before. Albeit we've got these touching now and sloking a little bit of a mess. But we can actually fix that, no problem. So what we're going to do to fix that is I'm just going to grab. All of these. I'm going to grab this one last, and then what I'm going to do is press the N bottom. And that's then he's going to merge them and we can merge them at either the center or at the last. We pick the last one so we can merge at the last. So okay, so I'm happy with that. And now we just need our piece of wood. I think what I'm going to do is just pull that down just a little bit. So Yeah, and I think that's looking pretty nice. Okay. So now let's make the wooden part. That's actually going to go in there, so I'm going to grab the center up here. I'm going to press the eye button to bring that in. And then we'll have our wooden part in here. Now, then let's actually split all these off. This is going to be our main window, so I can just press Y on that. This is going to be our wood, so I can come round and press Y on that. And then this stone is already split off. Now now the one thing we want to do is we want to have some stone blocks in here. The easiest way to do that is to split this off away from everything if I press selection like so. And then what I can do now is I can come in, press the button and grab all those. Make my mouse my circle a little bit smaller. And then just left click on each of those like so. And then come down to the bottom one and just select it. Now we've got them split off from each other. I might want some stone down here as well. Let's see, Actually, let's press Y. And then what we'll do is we'll press controller and bring in perhaps three on this side and then three on this side, three on this side as well. And now finally, let's split these off. I grab the top one and this one. Top one and this one. Press Y, and now all of those are split off. Now we've only got this at the moment all together, so we can work with this. Again, we're going to press control all transforms, right click, set origin to geometry. And then what we're going to do is come over to my modifiers and I'm going to actually solidify this. So I'm going to add modifier, generate, solidify, and let's pull it out the other way like so. And then what we're going to do is a little bit of modifier stacking. Now, modifier stacking is basically where you're non destructively adding two or more modifiers onto the actual mesh that you've got. This then makes it so it's all non destructive and you can change it however you like. Let's actually close that up. Add modifier, let's add in a bevel, let's turn that down. Turn it up, maybe one, we've got that beautiful stone effect that we're looking for now. Maybe this is a little bit too high. I think 0.3 try that. Maybe that's a little bit low. Try not 0.5 And there we go. I think that then is about perfect. Now it's up to you if you put something in the middle of here. So you could come in, for instance, come around the back. Why you've got this non destructive. As I said, you can press the E, you can bring it in then. And then what you can do is you can pull it back. So by press and pull it back, it should come back on there. Which it hasn't done. Which is probably because I might as well actually leave it like that. And then I can pull it back in a minute. So in other words, I can come in. Now I think I've done with my solidify. So what I can do is I can actually apply this solidify. Let's see if I can actually apply it. I can't apply an edit motor. Let's click the down arrow. Apply. And now I should be able to come in and grab just these and then press and pull them back, and it should bevel. Now you can see we've got a little bit of weirdness there in the bevel. Let's press control A, or transforms the origins geometry. And let's see now if we can fix this actual bevel, because it is causing a little bit of an issue. Let's try not 0.3 Now you can see that bevel is looking a bit nice. Let's try one more up. So not point nuh four. Let's try that. And there we go. I think that's looking pretty nice now. Okay, so now let's come to our wood. So we're going to come to the inside. We should have this split off away from our wood. So what I'm going to do is I'm going to press on my window selection and then we're going to come to my wood. Now with the wood, we don't want a piece of wood that's going to go all the way around because that's not realistic. And even though we're dealing with a stylized scene, we still want to keep a little bit of realism within our scene. So what I'm going to do is I'm going to come to the bottom part and then I'm going to come to this part here, and I'm going to press Y. And when I'm splitting off, when they're very close to each other, I always press H just to hide them out the way. And then I know which ones need to split, so I'm going to grab this one, go into here, and then we're gonna split it and then hide it out the way. Let's press all H then and bring everything back. And finally then what I'm going to do is I'm just going to press A, I'm going to bring it out with extrude. And now finally what I'm going to do is I'm going to also level this off. So I'm going to press control or transforms, set origin geometry, Generate, turn it down, turn it up one, let's turn it down, not 0.3 Let's try that. And I think that is going to be absolutely fine. Now what we want to do is just grab our window and pull it slightly forward. So there we go. We've got a very, very nice window there. Let's pull this up a little bit as well while we're here. And then what we'll do on the next lesson is we'll actually get some materials on here, get it in our asset manager, and then we can start building this bit. I think then what we'll do is we'll just build up this top bit. So we've got, I think there's two pieces in here, and then we'll make a start on our steps on here. Because these ones we save to asset manager, they're something that will only be used really in this actual scene or project. So we don't really want to put those in our asset manager, you might want to, but I'm not going to do that with the stairs. They're a little bit different. You might want to keep them in your Asset manager. Alright, everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 35. Using Atlased Textures to Illuminate Windows: Welcome back everyone, to the Blend Four Ultimate Guide, And this is where we left it off. All right, let's come in then and bring in our material shaded. Let's click back on. Let it load up. And then what we're going to do is we've got our materials down here. You can see if you search for window, you will have these three here. Now you'll notice that two of these should be lit, I think. And I think this one is unlit. So let's bring this one in. First of all, let's check what this one looks like. And let's also bring this one in as well. You can see actually both of them are lit, so what I want to do is I want to actually create two materials on here. We can see if we go to the right side, we've got windows two and we've got windows three here. What I'm going to do is I'm going to come to this one first. I'm going to click the li plus bottom. I'm going to click New. And then what I'm going to do is I'm going to call it Windows or window 02. And then we'll put Lin. What we'll do is we'll do the same thing on this one, plus new window 03 and then lit while we're here, we may as well do the other one as well. We'll bring that one in as well. And then what I'll do is we'll go to Plus New, and then we'll go Window 01 lit. So now I want to do is I just want to come to this one first copy material and then we're going to come to this one paste material. Now what I'll do is it'll inherit basically this material. It'll be near enough, well, it will be the same material. Now we're going to do the same thing on this one. Copy and paste. And then the same thing on this one. Copy the top one and paste the second one like so. And then you'll see it actually changes and it's lit exactly the same as the other one. Just make sure all three of them look the same way. Now all I'm going to do is if I grab all three of these now and just press shift D, shift D. So, and then I come to this one and I just put it onto this material. The moment it's I think it will be on this. I can actually check that if we're going to face, just grab any face and you'll see the switches over, which means that is the material that it's on. So what I'm going to do is just come down to this, grab the whole thing with a and click a sign. And then I'll come to this one tab, make sure it's all selected, click a sign. And then the last one, make sure it's all collected and click a sign like so. Now we're going to do is we're just going to come into this first one, go to our shading panel and all I'm going to do is just unplug the emission so you can see the emissions actually plugged in here. So I'm just going to, I'm just going to press control on here and just unclick it like so. And now if I press Art and zoom into this, put my shader on, you'll see when this loads up. Now that is how it looks. So it's exactly the same as this one, except it has no emission coming out of it. And the reason, of course, why we're doing that is we want to have one Lit and one on Lit. And the ability to actually change them if we want. So now I'm going to do is I'm just going to come into this one. I'm going to press, I think it's Control. Let me just see if it is Control. Yes, control. And then just unclick it. Same for this one, then we're going to go to the emission. So just make sure it's the emission control and unclick like so. All right, so now we've got those three materials. The one thing that we don't, well we have them in. You can save these out if you want, but they're so like such a small change. Do you really need to save them out? Because they're still going to be in our materials on here as long as we, you know, save out our file. So now what we can actually do is delete these. So delete them all. Not my human. So let's shift, click him twice and then let's press delete. So now we've got our windows set up. What we can do now is we can come into this window and we're going to press one. And then what I'm going to do now is assign a new material. And the new material will obviously be window. So we're going to look for window, and I think it's window one, I think. Let's have a look. Nope, it's not that one. Let's go to window two. Yes, this is the one. So this is the one window, window two. And I'm not sure whether I want it lit at the moment, but what I tend to do is I'll click the plus buttom, and I'll click the down arrow. And then I'll put in window, and then I'll put in 02 lit. So now I have the ability, when I'm actually in the scene, to actually quickly swap these out. In other words, if I don't want this lit, all I can do is I can just come in, grab it all, and click a sign. Or I can click on this one and click a sign and then turn them off and on as I like, there are other ways of doing this, but you might as well keep it as simple as possible. All right, so now we want to do is we actually want to unwrap this. So all I'm gonna do is grab it. All I want to click, and the way I'm going to unwrap this is then I'm going to come down and you have one which is project from view. And basically this is projecting from the view that you are. So you definitely want to be straight on when you actually do this. So if I click you now, Project from View, and you'll end up with something like this, which means you can't really see anything. And that is because if we go over to our shading now, you will see once I zoom into this, press the tabon. This is our mesh here. So what I want to actually do is I want to put this. Probably around this one here. You can see on the windows. What we've done is we've made it lighter in the middle. We've got a really nice, you know, kind of motive on each of these. And then finally, what we've done is we've put some darkness going around there. So we just really need to grab this, press the button, bring it into some sort of place. Press the S button then, just to make it a little bit bigger. And you can see now how nice that actually looks now you can also see that probably probably it needs shrinking down. So and D, let's, no S and Y, sorry. Let's shrink it down a little bit so it actually fits. And I think we'll pull it out. So S and X, let's pull it out a little bit, just so we've got a little bit more dirt around there. And there we go, that is our window. Let's see what that actually looks like then. So if you come up and put it on a render view, this is what it's actually going to look like. And we can also come down, so you can see here where the actual emission is. What you can actually do is you can open the emission and you can see the strength at the moment is set to 2.2 Now at the moment, this is in bright sunlight, so you might not be able to see it. But if I put this on 20, you will be able to see a difference there as I say. Now I'm going to set that back to 2.2 because I'm not sure whether I want it that bright. Actually, let's try putting this on ten. Let's see what ten looks like. I'm actually going to come in and mess around with that once we've actually finished the wind now, we're going to leave it on ten for now. The thing is, on the other build that I did, it was done with Blender 3.6 I think. And the lighting has definitely changed from 3.6 to Blender four. So we'll actually have to go in and see what this actually looks like. I think actually the one thing we will do right now though is we'll just hop over to the right hand side where our cycles is and we're going to pop down to where it says color management. And I'll just show you on the old blender it used to be. If I put this onto filmic, you will see now just how yellow that actually is. And you'll see the colors look a lot more intense. If you put this back onto AGx, you'll see there's a definite change in how the color looks. And the color on the GX is definitely designed for more realism for sure. So it's up to you whether you want to use GX or whether you want to use filmic. Filmic, being from the old blender, this is more in line with how you know movies and things like that work and makes the lighting much more realistic. So I'm going to put it on filmic. And what I'm also going to do then is just turn this down to 2.2 so I'm going to turn it down a little bit, maybe that's a little bit too less. Let's try five. Something like that. And then what I'm also going to do is we can come down, we can change the look of this. So what we can do is we can put this on medium contrast and you'll see, let's put it on a bit higher. Actually, let's put on very high contrast so you can get an idea. What it does is it really, really saturates the whole scene. If I put this on what it had done before, so if I go to very high and put this on none, you can see it looks completely different now. So what I'm going to do is I'm going to put this on medium high contrast like, and I think that's going to be good enough for this scene because it is a stylized scene. If I put this though back now on AGX, you'll see the difference in how the color looks. This is something we're gonna play around with once we've actually finished our scene. Just to see what kind of look we're going to get. But for now, so I have a good view of this, I'm gonna put it on Filmec. I'm gonna keep it on medium, high contrast. All right, so now that's out of the way. And what we'll do then on the next lesson is we'll get this stone in here going around the outside. And then we'll also get the wood in there as well. The wood we've already got in our scene. The stone we haven't. And it'll be good because we're going to be using this stone for this kind of these steps going up there as well. Okay everyone. So I hope you enjoyed that. Let's save that our file and I'll see you on the next one. Thanks a lot. Bye bye. 36. Modeling an Aesthetic Rooftop: Welcome back everyone to the blender for ultimate guide, and this is where we left it off. Now let's come in and what we'll do is we'll keep in this shade panel because it might make it a little bit easier. And we'll come then to these two here. Well, I'll come to this one first. And what I'm going to do is I'm just going to grab it all, press and then we'll go to Smart UV Project. Click Okay. And then what we'll do is we'll come over. I'm thinking we haven't actually got the material in here yet. So what we'll do is first of all, come to our asset manager, let that load up, and the one I'm looking for is going to be stone. I think it's called Gray Stone material. I think it's this one. Let me just bring that one in. And I'm in edit mode, so I can't bring it in. There we go. Let's have a look at that. Looks like let's let it load up. Yes, this is the one I'm looking for. So gray stone. That's fine. And now what I can do is I can go back to my shading panel. And then what I can do now is I can put this on material and I can come to this, click the down arrow, and then we're putting gray stone, like so. Now the other thing is you will notice that we're ending up with a lot of files going down here and sometimes you don't actually want that. What you can do is to actually not have as many files on there. You can come off, just save out your file first and then file. And what we're going to do is clean. Well, first of all, we want automatically pack because if we're sending this through, you know, if you send it through to a different computer to work on or anything like that, you want to make sure everything is packed in there like we did with the asset manager. So let's click that on. Let's then click Save again, and finally, then let's come up and come to where it says clean up. And what you can do here is you can clean any external data. So in other words, if you're not using that particular material within the scene or you're not using that sky texture within the scene, anything like that. If you click it, it'll say, look, purging 18 unused data blocks, four images, seven materials. And click here to proceed. And what they'll do is it'll actually now shouldn't be nowhere near as you can see, as many materials as what you had before because it's only going to be using the materials that are being used in the scene. Okay, so now we've done that. Let's also go up and what we'll do is we'll clean recursive unused data blocks, 31 unused data blocks, 27 images. Click that on, and now let's have a look. And there we go. So it's now much, much cleaner, nowhere near as many materials. This then also reduces the file size of blender, so it's a good idea to actually do this. Just don't forget though, anything you've not go and you've seen maybe you, you know, deleted something and you still wanted it there or you still wanted that material in. If it's not on anything, you're going to actually delete it. Unless unless you come in and you hit this shield here which says fake user. And no matter if the material is being used or not, if you hit this or if you click this on, basically when you actually go to delete them, it won't delete this material. So that's a bit of a tip there. All right, so now we're on our stone. We can see our stones looking very nice already. So let's now come to our wood. What I'm going to do is the same thing again, so a smart UV project. Click Okay. Let's come down then. And the one we're looking for is wood and light wood like so. And you can see that that's gone on pretty nice as it is. And I don't think I'll need to do anything. Finally, then I'll come to this part U Smart UV project. Click Okay. Now the one thing about this one down here is I don't think I've got a bevel on there. So what I'm going to do is I'm going to click this one. Click this one, control L, and then we're going to link or copy modifiers. And there we go. And then I'm going to grab this one, grab a stone control L, and I'm going to link materials like so. Now, is that unwrapped? Okay. Yes it has. That looks absolutely fine. And now finally what I can do is I can grab all of this. I can actually then come up to where it says object. Let's go down to convert to mesh. And then finally what I can do is press control J. Join that altogether, and there is my window with hopefully the ability to still come in and click on the unlit. So you can see the unlit is still here, so that's great. We can also as well, if we want to put this to the top, put this one to the top, and then we've got them both near the top like so. All right, so what I'm going to do now is I'm going to press control C, and then I'm going to open up that other blend file that we had open, which is this one here. I'm going to press control V then and drop this in. So here is my window, let's drop this in like so. And then what I'm going to do now is going to find this over the right hand side. So I'm going to press the little dot board on my number pad. It says plan oh four. At the moment we want to call this small window like that, let's turn caps off, so small window. And then I'm going to press the little dot born again. And then right click mark as I set. Now you can see it's coming in on the unassigned. So what I want to do is I want to make a new one. So I'm going to click plus. I'm going to call this Windows. So I'm going to go to unassigned then, like so. And then I'm going to drop this into the windows in there. Click on the windows, and there is our small window. Let's go to file them and save that out. And then what I can do now, I can put that down, come back to my file now let's go to Asset Manager and make sure that is there. So what I'm going to do is you can see I've already got windows here. Let's turn off this ST. And there is my window. So now I can actually come in and delete that other way. Bring in a new window, let it load up, or think about what it's doing. And there we go. Now the one thing I think I should do, it has great actually in the middle, So we've got an orientation in the middle, so it should be fine. So what I'm going to do is press ours head 90. I'm going to press three then. And then what I'm going to do is I'm going to a line that up with the one I've already got. And then let's delete this one and this one like so. And let's grab this one and pull it back into place. So right on the edge of the wall. So pull it back into the wall like so. And there we go. We've got our window on there now, which is looking really, really nice. Now, I think what we should do is we should have a look at the top. So let's have a look at the top of here and create that top part, and then we can move on to the steps. Now for these top bits, all I'm going to do is create some simple mesh for these. So basically I'm going to come into the top of here, I'm going to press shift S curse to selected shift A and then bring in a cube. Some parts you just really don't need to actually put on to your asset manager because they're just so simple to create. Also, we can actually pull these out once I've created them pretty easily. So I've just brought in a cube. I've brought it in, I've squished it down on the S and z axis. And now I'm going to do is just put it in place. What I want it to do is basically fit under these, so I want to make these a little bit taller. So what I'm going to do is I'm just going to press and y and pull that out a little bit like so. And then what I'm going to do is just stick it down roundabout there. And then I'm going to pull it out now, so I'm going to grab the front of here and pull it out there like, So let's grab both of these then at the same time. And what we're going to do is just press and Z and pull them up. And then lift up this just so it's over the top of here. And you can see that's looking pretty nice. Now let's create the one that's going to go on the front. Then this one I'm going to press Shift, and D, I'm going to rotate it round, so 90 I'm going to press control or transforms right click, set origin to geometry. And I'm going to put this into place along here. And then of course with this one, I want it to be slightly thicker than the other one, and probably slightly thinner, so it looks a little bit different. So all I'm going to do is press and X and just pull it in a little bit, and then and Z pull it out a little bit, so it's like this. And then let's give it a nice top on there. So I'm just going to press control two. In fact, I won't do two most of the time. I don't actually bring in like two edge loops and things like that. What I tend to do is always press control, left click, right click, drop it in the middle, and then control. And I do that because I feel like you have a lot more control doing it that way. So that's the reason I do that. Let's come in then and grab the top face, and what we'll do is just press and pull that up like so. And then what we're going to do now is we're just going to pull it to the end up here. So I'm going to grab, in fact, to make this easy for us, so we can just grab the end very, very easily. Let's press shift Tates, just to isolate out from everything else. And then what we'll do is we'll just bring in a marked seam along here. So right click and mark a seam. Let's make sure we get all. And then what we can do now is we can actually come in and select this very, very easily in case we need to move them. We'll do it on this side as well. All about making it easier for yourself. Right click mark. Same. Now if I press Tab or tag, what I can do is now I can grab this, come to face Select and just press L on here. That then we'll make it very easy to pull it to the edge like so let's leave this one here for now. What I'll do now is I'll just grab them both. Control or transforms, right click, origin geometry. And then finally what I'll do now, I'll give them both the same material. So what I'm going to do is click the down arrow. We're looking for brownstone. So I might as well grab both of these. Grab this one. Press control L, link materials, then grab both of these at the same time. Press a smart UV project. Click, okay. And then they're actually done. Now what I can do is I can just drag this one over to the other side. So shift D, let's drag it over and put it more in line with this one. So you can see this is how it lines up. So our jaws need to pull this a little bit that side. And then finally what I'll do is I'll come back to this, I'll make sure I'm Jaws grabbing this one. Press L and then pull it out like, so that's looking double tap the A. Pretty nice like that. All right, let's have a little look at what it looks like just before we finish. Yeah, and there we go. So what we'll do now on the next lesson is we'll make a start on this actual flooring down here. That's quite a difficult task to do. And then from there we can actually do the steps going up and just keep working our way over. As we work our way over, we are going to come across more things we need to create. But eventually you all get to a point where near enough everything's created and you can just bring them into place. You can also see as well, once we've actually created this, all of those parts we can use to create a building in this style. We could create a town in this style. Because what you can do is you could actually come down and just grab all of this, for instance, join it together, and then you've got a nice block already built out for you. All right, let's double tap the, let's save that, our work. And as I said on the next one then we'll actually make an attempt at this circular part here. All right? Every once. I'll see on the next one. Thanks a lot. Bye bye. 37. Constructing Staircases with Precision Measurement Systems: Welcome back everyone to the Blend Four Ultimate Guide. And this is where we left t right. Let's put it onto object mode. And then what we're going to do now, we'll come to this bit. I'm going to actually, I could probably use this one here that we've already got out, but I think I'll just, I think I'll bring in a new one. And the reason is I want a few more edges than what this actually has on. So what I'm going to do is I'm going to press shift selected, and then we're going to press shift A. And I'm actually, before I do that, I'm going to go to modeling. I'm going to then press, and then what I'm going to do is press Tab. And then I'm going to press Shift. And we're going to bring in a cylinder. So let's bring in a cylinder, let's set the cylinder on something like 2024, something like that. And then what we'll do, we'll bring it out to this first one here. So I'm going to bring it all the way out to this first one here and try and make it line up as well as I can. What I'm also going to do is I'm going to press En's ed and bring it down. And I'm also going to come in and just put this on object mode just so I can really see what I'm doing. So let's bring this down into place and let's see how it's going to fit. So you can see at the moment it's a little bit out. So let's press S and bring it back here in a little bit. And let's pull it out this way. Because what we want to do is we want to still keep the roundness of this. We don't want it to be kind of thin here and thick here. And that's what I'm trying to avoid. So what I'm trying to do is keep it as close to this as possible. What I'm going to do though, is I'm going to join all of these up, so control J, join them altogether. And then what I can do is I can hide those out the way. As you can see now if we come and press Alt tag again and make sure that this first block, so this first block here, is going to be the right height. So what I'm going to do is I'm going to pull it up just so it sat on the ground playing like so. And then what I'm going to do is I'm going to come in and drop it down like so Now what we can do is we can get a measurement of this when we want to pull it up. So if I come and put on this here and put on the edge length, and then I'll come to this edge here, and we can see it's 1.22 meters. Now we're going to obviously have a top on there as well. So just bear that in mind when you're actually doing this. All right, so now we want to do is you want to bring it in, so all I'm going to do is 1.22 so just write that down somewhere. So I'll quickly just write that down, 1.22 So then what I'm going to do is I'm going to grab this one. I'm going to pull it back. So I'm going to press to insert it like so I'm going to insert it probably to somewhere around there. Because we want to make sure that he's fought again. He's going to be on there and it's going to look good. So what I'm going to do is press tab. We're going to bring him over, I'm going to sit him on top of there. So I'm going to hide this one out of the way just for now. And it looks a little bit fiddly and it is. I guess what I'll also show you if I've got my guy here and a press control, all transoms, right? Play set origin to geometry. Now I want to do is I want to rotate him round ours. I want to rotate him around. Let's say I make him a little bit bigger as well. Now what you can do is to get him back because you reset those transformations, is you can press Alt S, and that'll rescale him back to the actual size he was. And you can also press Alt and R, and then that will point to the rotation he was. This is useful for when we're going on the steps like here, where we want to rotate him around to see where his actual feet are going to be. So if I pull him back, we can see now if I press Tab, his feet are going to fit on there pretty nicely. So that's absolutely fine like that. So now we know that we can bring it in to just in front of his feet, so you can see No 0.131 So let's now try and bring it in again. So we're going to press and bring it in again. We can see we can get to 1.131 like so. And then let's press again and bring it in, 1.11 So then we need one more. I'm going to press, and we can see already that we're probably, we're going to need either three or four steps, but I think it's going to be four. We might have gone a little bit too much on there. Let's just see if we have we can bring them all back, so don't worry about that. Let's press again, 1.31 It's 1.31 there it is. And this is how far it's actually going to come back. So you can see now it's probably going to be a little bit out. Let's grab them all now. Shift, click, shift, click, shift, click, shift, click. And let's pull them back into play. So I'm going to pull them back to, maybe here it's 1.10 0.11 Now I can see 0.11 and we can see that this one is 0.134 Let's do this one. Now I'm going to press, we're looking for 11. There we go. And then this one again. 11. There we go. And then finally this one shift and click and then in one. And let's see if I can get away with that. And that I might be able to get away with is just this little step here which I could probably grab the whole thing now A, and pull the whole thing out a little bit, like, so now I'm hoping that might just fit in there. I might need to pull back the jaw tiny bit. I'm actually going to come to this one again and just pull them back. J, a little sliver back, 1.051 0.05 and then 1.05 like so. And then finally this one. Let's see if I pull this back to 1.0 All right, let's see if that works now. So we know it's 1.22 which means now we can come to the center. We can press control Control control plus. And then what we want to do is now lift it up. So if I press, I can pull that up then to 1.22 So if a whole shift, 1.22 there it is. And then let's come to the inner one, control and minus. And then what we can do is we can pull this up again, 1.22 like so. And then control and minus, and then 1.22 And the other thing is we might have to make them all smaller, but we'll just bring it up to 1.22 for now. Because what we need to take into account is the fact that we're also, on this one, going to have some steps which are slightly above there. Okay, so now we've got the whole thing. Now we know they're all even going up. Now what we can finally do then is pull them down. If I press and's on this, I can start to pull that down just below where this actual door is. I can actually make sure as well that it's into the floor. Like you can see there. It's into the floor and now you can see if I move my guy back, it's adjust it's just like you can just walk on there. I'm thinking, could I actually pull it out a little bit more? Maybe I could pull it out a little bit more this way. But actually, I don't I think that's going to be absolutely fine once we've got the slabs going across here. All right, so I'm happy with that. Now let's move our guy, so we're going to press altar on our guy. Just move it back a little bit over there. And then what I want to do now is I want to cut this away. So if I want to cut this basically away from let's say here all the way over to here, because most of this I'm actually not going to need. So what I'm going to do is I'm going to come over the top. So I'm going to press seven over the top. And now we can see this. Let's then think about, can we do this? Yeah, let's have a look. Can we do this in there? Yes, we can. So we can see that we need to come to let's say, let's just turn that off a minute. I'm going look where I'm coming. So this bottom step is here. And then we've got this part going over here. Yeah, that's what we'll do. So seven, let's go over the top. We're going to cut here. And we're going to cut from here. I'm going to grab my steps. I'm going to put on our x ray. I'm going to press Tab, then A. I'm going to turn off my length. Now, I don't really need that on. And then what I'm going to do now is come over with what is it called, the bisect. Let's bring that in. And let's cut it going this way. We're going to go in that way. We're going to make sure each of these is on zero, as we already know. And then what we're going to do is we're going to clear the inner or the outer. So we're going to clear the outer. Now we're going to press A again. And I'm going to cut it down this way, this time this way. If I have bisect selected down this way and then put this to zero, you can see it's not point north north four, let's put that to zero and we're going to swap these over like so. Now let's have a look at what we've got. So let's turn that off. And there we go, some perfect, perfect steps. All right, the last one then what we need to do is we need to use these parts to create our kind of slabs that's going to go down here. We can see here as well that this is, you know, a tiny, tiny slab, should we pull it that way a little bit. Probably going to be a bit better actually if we do that. You can see also, there's a little bit of a gap down there as well now. So let's do that. So what I'm going to do is I'm going to grab this, I'm going to press and y and just pull it out and then pull it into place like so I'm just wondering how far can actually pull it into place. So let's pull it over to here like so. And let's press S and Y and pull it out, over to there. Now, why have done that? It means that this slab here now, as you can see, is right on the edge of the door. So I'm going to have to pull it this way just a tiny bit, and we see now it's fitting in perfectly. And we're just looking now to make sure everything's fitting in. And then what we can do now on the next lesson is we can actually turn these into slabs. Now you will see on this bit it's actually not fitting in, right? So we might need to cut this. So what I'm going to do is just before I finish press control and bring that across. And then what I'm going to do is I'm just going to go to my x ray. And then I'm just going to cut this one. So just this one from here. So if I grab this one, this one, this one and this one, I should be able to then come in, press Delete, and Bases, and I can also come underneath. And I should be able to delete this bottom part. So just grab that one there, press delete faces like so. And now let's have a look at what that looks like. And there we go. Perfect. So that's perfect. What it means is that this slab, now I can make as one, this one. And it means I won't have any little kind of bits that I don't really want. This one's okay if we have a little bit there, but the rest of it now is going to fit in really beautifully. All right everyone, So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 38. Adding Style to Staircases: Welcome back everyone to the Blender Ful Ultimate Guide. Now before carrying on, let's save out our work. And now what we can do is we can actually start creating these parts going over. So I'm going to grab this going over here. So what we're going to do is we're gonna grab this one. Control, click, control, click, shift, click, control. And just control, click along just so we're not grabbing anything else like so. And then shift, click, control, click, control, click. All right, now what we can do is we can actually press Shift D and we can bring those up like so. Now these are going to be our slabs. And you can see just how easy that is now. And now what we can do is we want to select every other, every one of these. We can actually probably, I'm thinking if we can come in. Yeah, we want this going all the way over. So I'm just going to do this by hand. Actually, I'm just going to make it easy for myself so it won't take too long. There are ways of selecting things, but on this occasion just might as well do it like that. And then what I'm going to do is I'm going to right click and I'm going to mark. Seems like so. All right, so now I want to do is you want to split every one of these off. So all I'm going to do is just come down and select every other one. So we're going to split them off. The way I'm going to do it is I'm going to press Y. I'm I'm not going to do that because I need to just go back. I didn't select these two. There we go. Can I select one in there? No, I can't. But I think that one will be fine. I can pull that one out, actually. So what I'm going to do is I'm going to press Y, and then what I'm going to do is I'm quickly just going to pull this one out just so it's fitting in there, right? So you can see this one just in the corner there. Let's just pull this one out into place like So now we've got these split off. So what that means is now if I press a, well, first of all actually I'm going to split off this. All right, before actually I split these off, what I'm going to do is I'm just going to split this off away from it. So I'm going to grab this, I'm going to press L selection. So that's a split off. Now I need to make a little bit more of a change because at the moment, we can't actually bring these out too far over here. So I'm just going to make a little bit of change. What I'm going to do is I'm going to press a on all of these. I'm going to come to mesh because I'm messed up. Clean up. And then what I'm going to do is merge by distance and we can see 40 vertices removed. What that means is now that each of these is not separated. So if I press Alt shifting click, we can see now that they're not actually separated. Which allows me then to grab the front of them and press the S button and pull them out a little bit. Because at the moment we can see though when I'm pulling them out, let's try al tests instead and see if I can pull them out that way. No, I can't. So I'm going to have to do this a little bit of a different way. One, we're going to have to do it and we'll have to grab each of the edges of these. We're going to have to go over the top and seven, and we'll have to put the x ray on. And instead of doing it that way, what I'm going to do is we're going to pull them out like so. Because it's going to pull them out a little bit. Even then what I'm going to do is pull them this way and finally pull them this way. And just get them all lined up so you can see we can line them up with this red. So now you can see the basically all lined up and we have a little bit of an edge there and that is what we want. We can see we're out a little bit here. I'm just going to pull them down a little bit and try and line them up, making this line, this line going here the same, basically, all the way. Pull it this way, you can see. So pull them out and then let's pull them back. So, all right, so I think that is looking pretty good. Now you can see we do have a little bit of a problem if we turn this off. You will see that they're poking out slightly on here and here. We're not going to worry about that right now. What we're going to do, first of all, is we're just going to grab the whole thing and just pull it back slightly now if we can. And I think that should still be okay on there. And the other thing is, I think this just being just on the edge here should be absolutely fine. All right, so we've got those in place. I'm happy with what they look like. I might need to move this one just a little bit. So I think we're going to do that just to get it just in front of here. And yes, I know it's a little bit fiddly, but we really want it to look pretty nice. All right, like that. I think that's going to be fine now. Now we have this bit and this bit. So let's actually come in and fix those while we're here. So I can grab this one and I should be able to just pull it back through there. I'm going to grab. Let's have a look. This one, there we are. Or is it this one that's poking out? Not even sure which one's poking out. Let's have a look. Yeah, it seems to be this one. So I'm just going to pull that back and a little bit more. There we go. And then let's pull this one back. There we go. And let's pull this back as well. There we go. Now you can see that, that I need to grab the top one as well. So there we go. Pull that back. Let's turn it on. And there we go. Okay, we might finally be there. A little bit of fiddling around, but I think we're there now. Let's grab the whole thing. Let's press A in fact. Yeah, we'll split it up. Actually, I think we'll grab them all and split them up. Let's see if we can actually split them up first. So what I'm going to do is come into each one of these, I think it wasn't split up, so I'll just come in and grab each one of these. So like so. And then press Y. And then what I'm going to do is I'm going to press A to grab them all. I'm going to go over to this button here and put it on individual origins. I'm going to press the S B then, and I'm just going to make sure they're all split up, which they are. Now finally what I can do is I can pull them down, to pull them down like so. And then I'm just going to go around this side and look at the actual height of them. And finally then what I'm going to do is just pull them down so they sit on top of there. And now they've got a slight, slight gap up there now that's looking pretty good now how to turn them into steps. So yeah, they're looking really, really nice now actually, they come right up to the place where I wanted them. So now let's turn them into steps. So what I'm going to do is I'm going to come over, I'll reset my transformations first. So all transforms right Click set, origins, geometry. Let's add in then a generate, and let's add in a bevel. So let's turn the bevel all the way down, so we'll put it onto something like not 0.1 Let's turn up the segment. See what that looks like. It makes them look a little bit more, you know, stone like. Let's right click, shade, auto, smooth. And then finally, what we'll do now is we'll come in, grab everything like so. We'll come over to where it says mesh transform. And then we'll go to randomize. Turn the randomization down, so let's turn it down all the way down to nought 0.1 So we'll end up with something like this. Now you can see they're a little bit uneven. And then what you can do is you can also come in again, mesh transform, randomize, and turn it all the way down again to naught 0.1 Let's try not, not five. Let's try that. Press Tab and then we go. Now we've got a fair amount of unevenness on there. And I'm just, I'm thinking, yeah, they're looking pretty good anywhere. They're like touching too much so you can see like this one and maybe this one. We can just simply come in and grab this one and this one and then press the S but and just shrink them in just a little bit like so. So they're not touching so much. Okay, then they're looking pretty good. Let's go over then to our material. Let it load up and then let's save that our work. And then finally Tab to grab everything. And what I'm going to do is I'm going to come over to my material, I think. Do we have a stone? Yes we do. We have a stone here. So what I can do is grab my stone flags, grab my window control, L, and I'm going to copy materials. And then what' going to do is I'm going to come to the top one. Minus it off, minus the windows off, and then minus the light wood off. In fact, I've took them off of there. So let's come to this one and then minus off, minus off, and then minus off. And there we go. Well that's what we're left with. Double tap the A and they're looking pretty nice, except the fact that we need to press Smart UV Project. Click Okay and now they're looking fantastic, as you can see. All right, let's put it onto our rendered view. Let it load up, and there we go. Once we've actually got then this stone wall stone on here, you'll see those will really start to pop out. All right everyone. Sir, I hope you enjoyed that. Sorry it was a little bit fiddly. Sometimes things like that are a little bit harder to do. As I said, the stairs though are going to be much, much easier than what this round part was. All right. Every once. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 39. Utilizing the Array Modifier for Staircase Modeling: Welcome back everyone to the blender for Ultimate Guide and this where we left there. All right, so now let's put this on material, let's grab this part here. And what I want to do is I want to come over and just give it this material. So I'm going to grab this, grab my wall press control L, and link materials. And then we're going to come back to this press Shift and H. And now what I want to do is unwrap this. So I'm going to press a smart UV Project. Click Okay. And let's actually see what that's unwrap like. Not very well. So if it unwraps not very well, let's come in and see if instead we can just grab each of these steps, including this one. Like so let's right click Mark a scene. And let's instead just press L U and unwrap. And now you can see they've unwrapped much, much nicer. Still getting a little bit of stretching. And that's probably because we need to press all transforms, right click, set origin geometry, and now unwrap. And now they should unwrap. Much, much nicer as you can see. Now why do we do that? You can see now that if I grab this part here, delete it out the way you can see. Now we've got some dirt underneath there, and they're looking really, really nice as you can see. Now, I'm just making sure everything is lining up. I may need to just lift up this door just a little bit, just so it sits on there a little bit better like so. But I think I'm really happy with how that's turned out. Okay, now let's think about this part. This part here. We're going to put another pillar in. I think I'll take this pillar and I'm going to drop this right on the edge of here. Let's grab this one. We're going to press Shift D, and we're going to bring it over. I'm thinking that it should be at the same height. So it should be at the same height as here. I'm just going to drag it over and I'm going to put it I think just on the corner of there. So I'm just going to make it actually fit into place a little bit. Something like that I think is going to look good. And then I'm thinking that maybe I'm just wondering how far back to pull it you can see there. If I pull it back to here, it's not going to cover this edge. But I might actually be able to pull this all back. Then I could pull this part back into place because it's not looking quite right there. I think I'll do that. So what I'll do is I'll just grab this face and pull that back just behind there. And then what I'll do is I'll come into this, grab this face and pull that back then into place like so double tap the let's have a look at what that looks like. And I think that's looking pretty good. Let's give this some material as well. So what I'll do is I'll grab this one. I'm going to press a U Smart UV Project. Click okay. And then what I'll do is I'll grab this win wall again. Control L, and we'll link materials. Double tap the A, and let's look at what that's looking like. I'm not going to worry too much if it has got a little bit of dirt down there, because that looks absolutely fine. It's got a little bit of dirt down here as well. Let's have a look rendered view, what it looks like. And you can see that's actually looking really, really nice. People are going to be putting the hands on going up here, so I don't mind that at all. This is actually looking cool now. All right, so now let's bring in, I think we'll bring this part here. And what we'll do is we'll put that on top of there and make all of this fit in. And may need to pull this out a little bit. I don't want it poking through though, so maybe to there. And then what I'll do is I'll put this part right at the edge of there. Still might need to pull this back a little bit. I'm going to pull it back just a little bit, so then I'm going to pull this one back. Now, just a little bit to get it into place like, so. All right, that's looking in there pretty good. Let's now grab this bit. So I'm going to press shift, I'm going to bring it down. I'm going to press R 90. Then what I'm going to do is put this into place down here. Let's pull it back into place. Just fit it. It's just in there. Just in there. So let's pull it down. One thing I just want to check on these is, yeah, got a bevel on there. Look, yeah, we've got no bevel on there. So that's something that we need to sort out. What I'm going to do is I'm going to bring a bevel in. Let's bring in a bevel. Let's turn it down, and then let's put it on. Let's turn it up to not 0.1 First 0.1 you can see it's probably going to be a little bit too high. So what I'll do is I'll put this on. Not 0.05 and that's probably going to be more. Right? And then what I'll do is I'll grab each of these like, so grab this one last press control L, and I'll link or copy modifiers onto those, and now you can see they're looking good. And then finally, We'll come round now and what we'll do is we'll grab this one here. So I'm just going to go into space, select, grab the end of here. And then I'm going to pull that into the wall over here so it should fit in there. Don't worry about this wall. By the way, we're going to actually put in another pillar over there. We're just trying to get this bit in place. All right. Now the last thing to do, if I go back into material now, you'll see that this is stretched out a little bit. So let's press U Smart UV Project and unwrap that. Okay, so you can see that wall now is really starting to take shape. Now let's come to this wall and we're going to do the same thing. So a smart UV project. Click okay. And then grab this and this, press control L, and we're going to link materials. Let's then double tap the A. Double tap the A and have a look at what that looks like. I'm just wondering if that's going to be okay or is it because I need to reset all my transforms. So I'm going to reset those. And then you Smart UV project. Click okay. And there we go. Now that's looking a little bit there and I'm thinking at this point that we can probably get now we'll finish this wall. Actually we'll come to this and we'll come to this, We've got this part here. You can see if I move that, that's what that one looks like. And we can see this one. And this one is. I'll join those altogether. I'll press control, Join them all. Then I'll press Control all transforms, right? Click, set origin, geometry, and then Tab, grab them all. And then what we're going to do now is press Smart UV, J click, Okay. And now let's join these to these with the material. So control L link materials like so. And that's how they've actually, did I unwrap them. I wasn't even shut. So let's try you Smart UV project. Click Okay. Double tap the A and there we go. Now the final thing then I want to do with these is I want to actually level these off as well because we don't want sharp edges on here. So as we're going through, we want to make sure we're beveling things off. So what I'm going to do now is add modifier Come to Generate. And click on Bevel and turn this down to naught point naught naught one. Let's try that first. That's maybe a little bit to less No, 0.5 Let's try that. And I think that's perfect. Now let's copy the modifiers then onto this one. This one. Let's also look at this here because we've got some edges on there. We might as well do it on there as well. And then let's select this one last control L, and we're going to copy modifiers like so now we should have a beautiful bevel on all of these parts going around. There we go. Okay, let's have a look on our rendered view. There we go. We can see that's looking pretty nice. Now, I'm happy with how that looks. It's really starting to come together. Okay. So now what we'll do is we'll come to these stairs. So I'm going to save out my work again. I'm going to come to the stairs now. And we've got two stairs here. And I think they're a little bit different now. The thing is we've already got the array on here, which actually might make things a little bit easier. So what I'm going to do is I'm going to duplicate this, and then I'm going to slot them back into place once I've finished with them. So I'm going to press shift, bring it out. And then what I'm going to do with this one, first of all, I want to copy the top of here. So I'm going to copy the top of here like so I'm going to press shift. Just bring that up and you'll notice they all come up. And I don't really want that. Now I've copied the top of there. What I want to do is press controller and bring in a load of edge loops. Left click, right click. We can see I've brought in eight. That should be good enough. Because what it means is I can split these up going all the way up the top. I'm going to turn this up to ten, so ten edge loops going all the way up. Now what I can do is I can actually apply this array. So control, let's apply that array. And now it'll end up with is the stairs. So we're going to have each of the stairs like so, so I'm just going to come down select each of these. And I'm just basically going to separate these away. I'm just going to go back because I selected all of that away from these top parts. If I press nail selection, now we've got the, so if we hide these, we've got these parts here and then we've got the stairs underneath. All right everyone. So that's it for this one. What we'll do on the next one is then I'll show you how to make short work of these stairs really, really easy. A little bit like we did with the steps here and yeah, it'll really start coming along now. Thanks everyone. See on the next one, Bye bye. 40. Designing Stylized Tiles for Staircases: Welcome back everyone to the Blender Four Ultimate Guide. And this way we're left the art. All right, so we've got our stairs now what we want to do is we want to split these up and we want to basically randomize where actually the tiles are going to be. So you can see this one, then three, and we're going to randomize this one, so it's a little bit different from the other one and the same going down. So basically you want to make it so that you've got different edges as you can see in different parts. Like so it doesn't actually take long to do this. And the reason we're doing it obviously is because we want each of the steps to talk independently, different from the other step. So that's why we're actually doing this. So if you can see, you can put it here, here, here, here, and here, and then here. So right click, Maxine. All right, so now we've still got these joined to the other one and we don't really want that. So what I want to do is I want to press a just to grab them all, selection, split them off. I'll teach them to bring back my stairs. And now you can see, So Yeah. Should we just be able to select both of those? All right, So now let's come into these steps and what I'm going to do is, first of all, I'm going to make them a little bit longer this way, so I'm going to press and X and pull them out like so. And then I'm just going to pull them forward just a tad. Now I'm going to do this, I'm going to separate these out. So all I'm going to do is I'm going to come to each of these, so just every other one, just work your way down like so. And we're just going to then separate these out like so. So you can see now they'll all be separated once to press Y, press the G, and then they're all separated. And if you really want to test what it's going to look like, then just come down, make sure you on the individual origins press the S born and just make sure that they're all separated out, which they are finally. Then what you're going to do is you're going to press, pull them up to create those steps that we have or need. And then what we're going to do is we're going to go in with the bevel again. Now at the moment we have got our bevel on here. So we want to make these steps look exactly the same as these. So what you might as well do is grab these steps. Grab these steps, in fact, before we'll reset our transformations. So let's set origins, geometry, grab these steps, control L, and we're going to copy modifiers like so. And then finally we're going to come to these steps, grab them all with a, and then come to mesh transform and randomize. Pretty much the same thing as what we did before. We're going to bring it down to Not 0.1 like so. Right click, shade, auto smooth. And actually I don't think I'm going to go anymore with those. I think they're going to look absolutely fine like that. Then finally what I'm going to do is I'm going to grab these now. So shift select these ones. I'm going to press control L, and I'm going to link materials. Let's put it onto shade mode. And then finally what I'm going to do is I'm going to grab all of these steps. Now press A to make sure to grab smart UV project. Click okay. And there's all of those steps now done looking beautiful. And now finally, we can come to these ones. We're going to grab all these smart UV project. Click okay. And what I'm going to do now is join them up to this shift. Select this one, control L, and you're going to link materials like so. Now let's make sure that these, because I'm not sure if I did, if I press control all transforms right clicks at origin to geometry. And then what I'm going to do now is I'm just going to unwrap these again. So you where is it? Smart UV Project. Click Okay. And there we go. Now we've got a little bit of dirt on some of these. You might want to put more dirt underneath each of these. You can actually do that. If we come to our shading panel, you'll see that if I zoom in with a little dot born and then press tab. This is what it looks like at the moment. So all we need to do is just grab the front of these. So if I grab each of these fronts, you can see at the moment they look like that. Let's actually spin the all round and then I'll show you what I mean. So if we grab the all a R 90, spin them all around and then what you can do is you can just drop these ones in. And then we can grab all of these. So we can press B for box select, Control plus. And let's drop them all in. And now you'll see we've got some dirty steps going up there and they look even better. Okay, so now I'm going to do is grab everything. I don't want to join them together yet because I've still got some modifiers on and things like that. But what I can do now is just pull them into place where they need to be. Now what I'm going to do is I'm going to line them up with the bottom one. So I'm going to hold shift, pull them out, pull them out, pull them out very slowly, like so. Then I'm going to hide them out the way. Delete these steps out of the way. Put the steps back, so l tag, put them back. Double tap the and there we go. Finally then we want to move just this pillar jaws a slight bit because of the moment you can see it's a little bit out. Or we move our steps back, whichever be the case. Maybe actually on this occasion because we've got so much on there, it might be a little bit easier just to grab my steps and move them back just very slightly. Like, so, okay, so that's looking good now. And now what we want to do is we want to come to our other steps. And while, because we're doing steps now anyway, we might as well finish these steps and make them, you know, look nice. So let's come to the other steps. What we're going to do is shift D. I think that these steps are a little bit different from these, so let's just have a look actually, so our sad 90. And let's see if I press one and try and put these steps into. So I'm going to put, let's have a look. Let's put X ray. Just look in if I can get those in. X ray is not working, so let's put the wire frame on. Let's see if they all line up. We can see that they're a little bit out. A little bit out, unfortunately. So do we take these steps and try and make them fit round the other side? I can see, I think actually this step starts here. Yes, this step starts here, but it's got another step on top as well. I'm wondering whether it's easier just to make these steps a little bit steeper. Let's have a go. Let's see if we can actually do that, because it might actually work out much, much easier for us. What I'm going to do is I'm wondering whether I I think I don't need my bevlon or anything like that anymore. So what I can do is I can join these together and I'm going to join them together. So I'm going to come to object. I'm going to go to convert to mesh control J, join them together, and then I'm going to get rid of these steps. I don't need these right now. And then what I'm going to do is I'm going to press shift and I'm going to see if I'm going to actually make these fit in to where I need them. So -90 and then let's pick them up like so. And then we'll put them into place where I want them. And we can see we have got a step missing and that might be the problem. Do we just need one more step on there? I think as well that we're going to need them to be a little bit higher than what they were. I think I can actually make this work, actually. So what I'm going to do is I'm going to grab them like that. I'm going to press and's head, pull them up. Then I'm going to do is I'm going to put them back a little bit now, see if I can actually get them Yeah. Round about there. Let's make sure then that they're in the ground, so it looks like they're in the ground there. And then what I'll do is I can come in, grab one of these steps. I'm going to come in and grab this here. I'll grab this one here, L. And then what I'll do is I'll grab these here as well. Now what I should be able to do is I should be able to press shift, press shift space bath to bring my move to move them up. And we should end up with something like this, which then I should be able to put into place at the top of here. Let's bring it back into place now. Let's come in and just delete the other steps, or hide the other steps out of the way. Let's press G. Yeah, let's hide those. Let's move these to the side, because I still might want them, so I'm just going to move them over to this side. Then I'm going to press Alt to bring back the steps. Then what I'm going to do is double tap the. I just want to look to see if I've saved myself a lot of work. Look, let it load up, let's come around to this side. Yeah, I think I've actually saved myself a lot of work there. Now if we want to make them look a little bit different as well, what we can do is we can press and X and pull them in a little bit so they're a little bit thinner than the other steps. But yeah, I think that's actually going to work. We've saved ourselves a lot of work there. That's great. Now let's delete this step out the way. We're not going to need that. Now what we can do is let's make a start them on this part here, this is a much bigger door on this part. So what we can do is we can pull this out like we've done before. So shift, we know now the size of the door. And then what we can do on the next lesson is we can start shaping this door. Get it in our asset manager, and then boullion this back so we can have a nice door that's set all the way back. And finally, then just finish off this front bit from there. Then we can work all way up here, all the way to the top. And then we've got this first kind of bit actually done and out the way. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 41. Understanding Normals and Doorway Modeling: Welcome back everyone to the blend of Four Ultimate Guide and this is where we left off. So let's see now if our guy is going to be around the right height for this, so let's put him down to the ground plane. So let's press one then. And then we can see this is the height of what it's going to be. It's probably, we'll use this bit for the door and around the outside then we'll actually create an arch or something like that because then the boolean doesn't have to quite go in that far. So what we'll do is we'll come in, first of all, we'll use this block seen as we've got it. And then what we'll do is we'll reset the transformation. So all transforms, it's the origins geometry. Grab each of these sides then and control B. I'm going to pull them down. And then what I'm going to do is I'm going to round them off slightly like so. And I think if I press one now, that's gonna look pretty nice for a door. Now let's think about the outside of it. What I'm going to do is I'm going to grab this, going all the way around here. Just this edge loop, we're using control click. And then what I'm going to do is I'm going to press Shift D. I'm going to pull it out a little bit. I'm going to press, and I'm going to follow the Y and Y, pull it out. And then what we'll do is we'll make this now into our stone around here. So I'll press control left click, right click. Control left click, right click. And then I'll use that for the stone. I'm going to separate this off now. Lp selection, grab it again. Control or transforms. Right click, so origin geometry. And then we'll add in a generate and solidify. Then what I'll do is I'll put even thickness on and I'll pull this out like so. Now you will see we've got a problem there. And the problem, as I said with the modifiers or with materials, textures, is always caused by near ing off two things. This is the other thing, so it's a good time to actually show you what this is, so let's actually hide the other way. Let's actually come up then and what we'll do is we'll put face orientation on. And you can see that on here. So on here, anything in red means that the normals, so the way that the mesh is facing, is facing the wrong way. In other words, when we take this through to a Games Engine, a Games Engine only renders one of the faces. It doesn't render them both, because then it optimizes the game or the scene, because it's not having to render out two faces at the same time. You can have leaves and things like that which are double sided and they're fine. But anything else, you really want to make sure the normals are facing the right way. Not only do the normals affect things like light, they affect materials, and they're invisible. If you have them the wrong way round, you need to come in and fix them, basically. All right, so now we've seen what the issue is. How do we actually fix them? Fixing them is so easy. We just come in press to grow everything, and then just press Shift. And then what it'll do is they'll just rotate them all round the correct way. Now while we're here, let's come into these steps and we'll do the same thing. So a shift, rotate them all the right way round. Same for the door. Then tab shift, rotate them all the right way round. And then finally this part here, shift rotate the all the way right way round. So you can see there shift sometimes doesn't actually work, and if it doesn't work, you can see now this one's facing the wrong way round. Just come in and grab the mesh or meshes that are at the issue. Press Shift and then come down to where it says Recalculate Normals. Open that up and just click on the inside. And then you can fix them that way as well. All right, let's do the same to these as well. So I'm going to press tab shift N and reverse those. Ran. And the reason I want to do all of these is because if I use any of the parts again, I want to make sure that I'm not going to go in and, you know, fix the load of normals. All right, so now that's done, let's come and turn face orientation off. And then what we can do now, we can come to this part, turn back on our modifier. And a presto, it's actually working now. Let's bring this back. So I'm going to bring it back the other way and make it something, something more like this. And then what I'll do is I'll just move this back into place where I want it. So something like that. And now I can actually start work if I move my guy over on my actual door. For this door, what I'm going to do is I'm going to make relatively simple door. So the first thing I'm going to do is I'm going to come in, I'm going to put it on object mode just so I can see what I'm doing a little bit there. I'm going to press the eye button then just to bring it in. And this then will be the metal kind of part going around here like so Then what I'm going to do now is I'm going to actually separate this out from this. So I'm going to press P selection, separate it out. And then what I'm going to do now is I'm going to grab this bit and I want to make this basically a door. The way I'm going to do it is I think I'm going to make an insert on here and here, and then two down the bottom. So I'll show you what I mean. What I mean is I'm going to first of all need. An edge loop going across this way. So let's come in and what we're going to do is grab this vertise. And this vertese, we're going to press G and then we're going to do face on one on the number pad. And now I want to bring in an edge loop on control. Let's bring it up to something like there. And then one more control right in the center. Left click and right click. So now I'm just looking to make sure that this window, as you can see here, they're probably going to be a little bit small there. And I think that's exactly how we want them. Now I want one more edge loop going up the middle. Now you can see I can get to there, and then I can't go any further. So what I'll do is I'll left click, right click to drop it in the center. K to bring in a knife, grab the top, press A and make sure it's going straight up, left click, and then enter. And there we go. Now finally we want to be able to bring this part in. So in other words, we want to bring all of this part in. The way to do that is we're just going to have to get rid of this edge loop here. So what I'm going to do is we're going to press Delete, and I'm going to dissolve edges like so. Now you can see that we do lose a little bit of these parts when I do that, and I didn't really want that to happen. So let's see if I can actually delete. Let's press Delete, and let's see if we can dissolve vertices. That's not also going to work, so let's press control. And I want to just dissolve the edges. There we go. That's the one, that's what I want to do. I want to leave that on there. So the one I pressed is if I grab this, I've pressed dissolve, sorry, Delete edges like so. And why I've done that, it's because now if I come in and grab oh, yeah, that's what it's done. It's leave the faces. So now let's come in. Fix that quickly. So what I'm gonna do is I'm gonna come in and grab this one. This one going all the way around here, press the F Bt to fill that in. And then just do the same thing, going all the way around here, press the F button to fill it in. Let's press one now, and then what I'll do is I'll come in now and grab all these faces. I'm going to use the inserts. I'm gonna press I. But what I'm gonna do is instead of just pressing I once, I'm gonna press I a second time. And now you'll see we can actually bring it in in a completely different way like this. Now what that's gonna enable me now is to put some windows on here and have some wooden blocks in this part. So now I'm going to come in, I'm going to separate these parts out. First I'm going to press Y, and then we're going to separate these parts out, press in Y and then come back to these parts. Now what I'm going to do is I'm going to insert again. So I'm going to press I like so. And then what I'm going to do now is pull these out. So I'm going to press, to pull them out like so. And then I'm going to press control plus, and I think I'm going to pull them out a little bit like so. So they've got a little bit of a beautiful edging on them like that, and I think that looks pretty good Then what I'm going to do now is I'm going to make the wooden parts off here so these windows can stay as they are. These wooden parts need to actually be coming out. So what I'm going to do is basically I need to separate these out where I want them separated. So we can see we can have a piece of wood. We can actually have it probably bending around here. Let me show you what I mean. First of all, we need to separate this part out. So all of this is going to be a piece of wood here. So if a part of piece of wood here, here, you can see now we can have a piece of wood going up here. And then we can have a piece of wood being separated here and here. Here and here. And the same thing on this one. So I'm just going to work my way down now. So you can see at the moment, that's how it looks like. And then what I'll do is I'll put one in here and here. Here, and here, and here, and here. Now you can see that these will be my pieces of wood going around. If I right click now and put Marken now, you should have a better visual of what we're actually doing here. Now if I come in and I come to this part, you can see that I can separate this part out. So I'm going to press it and H, and then L. L on this one, Y and H, and then L on this one, Y and H. Now you can see I've separated all these parts out. I'm going to do the same now on this one. This one and this one. I'm just wondering whether I want a piece of wood separating these two parts out. I think I do. I've missed one. I'm going to put one in here, one in here, right click, mark seen. And then now we'll separate these parts out. So I'm going to separate this, this, and this. I'm going to press Y, H, Hide them out of the way. And then this. I think that's all I've pretty much got left. So, this and this, Y, H, and then this one, and this one, Y and H. I'm hoping that I've separated them out enough. So, let's have a look if we have. So what we're going to do is in fact what we're going to do is we're going to just hide these out the way first. Because at the moment they're going to actually get in the way of what we're doing. So what I'm going to do is I'm just going to press selection. And now I'm going to bring out this piece of wood. So I'm going to pull it out like so. And that's what you should be left with, ready for the next lesson. All right everyone. So hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 42. Techniques for Unwrapping Door Frames to Enhance Wood Grain: Welcome micro everyone to the blend, the ball ultimate guide. And this is where we left out. All right, so now let's think about our wood. So the best way to test this is I know that some of them will probably be still be joined. So what I'm going to do is I'm going to press A. I'm going to make sure again that I'm on individual origins, I'm going to press the S. And we can see that we do have some problems here, mainly in these parts here that are all joined. So you can see this one in here. So what I can do is I can simply come in and select both of these like so I can press Y then and separate them out. And then I can have another go. Let's see where they're all joined now. So we can see if we bring all those in. We've just got these two here. If we grab this one and this one Y, then we've got this one here, so we can see this one and this one Y, S. And there we go. Now they're all separated out. That is exactly what I want. So now what I want to do is I want to actually pull these out and basically unwrap them. I might as well. Yeah, I'll probably pull them out first. Let's, let's pull them out so there's our wooden blocks now. And then what we'll do is we'll press right click and shade. Auto, smooth control all transforms. Right click, set origin to geometry. And I'm thinking with these, yeah, I'm wondering whether I want to get rid of the back if I need the back. I think actually I'll leave it on for now. You could get rid of the back if you wanted to. And what we'll do is we'll add in and modify it. Will be a bevel and then I'll turn the bevel down. Turn it up one and it's still probably going to be a little bit too high that, so I'll put it on nought point. Not three, maybe. Let's try naught point N5o. 0.05 Yeah, and I think that looks bad. Okay, so now let's see what it looks like when it's unwrapped. So what I'll do is I'll put this on shader, let it load up, and then what we'll do is we'll press Tab, A Smart UV Project. Click Okay. And then what we'll do is I'll come over to the material. And I'm going to put this instead on wood type in wood like so. And that's what we should end up with. And we can see that these parts around here are the only parts that I'm not happy with. All the other piece of wood are going fine. Maybe they need to be a little bit, let's look on the rendered view. Maybe they need to be a little bit larger on the UV map. Let's go into them. Let's first of all press A and bring them out. I think they look better. Now let's think about fixing these parts here. We can see these are the parts here that we need to fix. Now generally we can come in and fix these. If I just grab these parts and just pull them out the way, then what I'll do is I'll try and see if I can actually separate these. I'm going to just separate them out a little bit just so we can see what I'm doing. And then I'm going to grab this one and go all the way down to here. And then what I'm going to do is I'm going to right click. And we can see, we can straighten out that. Now I can do is I can pull it to the side like so. And X, let's pull it to the side. Now let's try straightening out this one control click all the way down. Right click straight, and then X and see if that is straightened out. It's going to be on the back there. So I'm going to press shift and H, hide everything else that the way let's put it on material motor or I can see what we're doing. There we go. Now you can see that's actually being straightened out. Let's try another way as well to see if we going straightened out this way. So what I'm going to do is I'm going to come to this one control click to this one. And what I'm going to do instead is I'm going to click, I'm going to click, Follow active quads. Click, Okay. And we can see that that's not straightened out very well at all. So let's try different techniques. Light pack, click, okay, and then you follow active quads. Click Okay. And let's have a look at that. And now spin it around 90. And there you go. That is a better way of actually doing it. So I'm going to do is make this smaller now so it actually looks right. Something like that, I think. And then what I'll do now is I'll do the same thing on this one. We're going to grab it going all the way around. Light Mac pack click okay, And then and follow active quads click okay, and R 90 and spin it around. Now I'm going to show you another technique as well, just so you don't have to keep doing the same thing over and over again. So what I'm going to do is I'm going to come up to Edit Preferences. And this add on that I'm going to show you is inbuilt within blender. It's called UV magic, so you'll see one here that says UV magic. Let's click that on, and then what we'll do is close that down. Then what you can do now is let's say to this one. So you can come to this one. And what you can do is you can press U and you will have another part here. So you can come to copy and paste. Copy and then Default, and then you can come to this one. And then what you can do is press U and you can come to copy and paste. You're going to paste Default, and there you go. Now these will be pretty much exactly the same on the UV map. Now you can see that I do, Actually, let's see if they are. I do actually have a problem with that and sometimes, sometimes that happens when we copy like that, that actually doesn't work. This time generally does work, but I don't know why it's not work this time. Let's have a look if I've put it the wrong way round, so our hundred and 80. Let's see if it looks bear that way. You can see we've got a bit of a block in there where it's actually cut in half. It looks like it starts again. So what I'm going to do is I'm going to go back. I'm going to press controls head. We will use that a little bit in the future. Not quite yet, I guess. So let's pull it back to there. And then what I'll do is I'll grab this one now. Then I can come in, grab this one, press the S one, make it smaller, and then just drop it next to there. And just make it the same size. And there we go. That's looking pretty nice. Now the back of them, we don't need to do those because no one's going to see those. So that's fine. Let's now come in and press Lth. Bring back everything. Let's save out our work. So file and save, and then now let's start work on the actual metal. So we can see we've got our metal here. So what I'm going to do with the metal is I'm just going to come round and click it all. Going all the way around. Do here like so. And then I'm going to press Shift D. I'm going to bring it out. And then what I'm going to do is press pull it out like so. Then I can now split this off. Lp selection control A, or transforms right clicks at origin, geometry, right click, shade, auto, smooth. And let's drop that back into place like so. Now let's make it actual metal. First of all, we'll come down and look for metal, black metal. Then we'll go in and press A and U and smart UV project. So let's have a look what that looks like. Absolutely fine. Then what we can do is finally we can come in and we can level this off. We're going to add in a modifier. Turn it down. Turn it up one, there we go. We definitely want to make sure that we're beveling off the metal because that then enables us to have that beautiful edging on there that we talked about before. So you can see now maybe this is a little bit high, so not 0.5. There we go. That's looking fantastic. Let's put it back on our shader. Let's save that, our work. And then what we'll do is we'll bring in this one. Now this is this part here. We'll drop that just into there. The wood just in front of it, like so. And there we go. And then what we'll do now is we need to actually unwrap these parts. So what I'm going to do is I'm going to press L, L, L and L. Press one on the number pad and I'm going to press, and what we're going to do now is we're looking project from view. So let's zoom in. And now we're going to need another material. First of all, I'm going to make these a little bit bigger. And now we need one more material. So we'll go over to our asset manager. And what we're looking for here is painted. So if I go to All and click on Painted, the one I'm looking for is green painted. So we can see here green painted wood, even though it's red. Don't worry about it. Let's bring it in, make sure we're actually on object mode. So bring it in now. And then what we can do is we can delete that out the way. And now we can come two, our shading panel once more. Click on these parts, and let's click the down arrow. And we're going to look for green painted wood. Let's click that on, let it load up, and let's see what that looks like. And there we go. Now we can see that these are going the wrong way round. So all I'm going to do is I'm going to come back to now shading. I'm going to press Tab and then I'm just going to spin these round, so R 90. Spin them around. There we go. Now the last ones are these ones here, so let's press one on the non pad. And then let's come to project from View because that's going to make it easier for me. And then what I'll do is I'll come over to my materials, click the plus be, click the down arrow, and we're looking for window. Let's look at what window we've got. At the moment, we only have Windows two. At the moment you can see we've got Windows two. Which one is that? Let's click this on. Let's see what these are. So let's click a sign, that's the Windows two. Let's click the down arrow and go to the 21. I don't think these are named correctly. Yeah, they are the same ones. So I really don't actually want that one on. I think I want a little bit of a difference. So what I'm going to do is come to Asset Manager, I'm going to go to window, and then what I'm going to do is I've got 12.3 we've already got this one here. So what I'll do is I'll just drag this one in in object mode. Then what I'll do is drag this one in. Now we can see what the difference is. I think I'm going to go with this one. Actually it looks like it's Windows one. Let's delete those out the way, and then let's come into this and we're going to put windows. I think it's that one. Yes it is. Okay. Now, if I come in back to shading panel, let's press one. Let's come to these parts, and let's press and pull them out. Now you can see on these that I can spin them around and fit them into this part. It's a little bit harder to see on these, but you can see we can just bit them into place. Let's press R 90 and spin these round, and then R 180. Spin them around again, and let's see if I can fit these into here. So let's press and try and get them into place. Let's try this one as well. So Y, pull that one into place like so. And there we go. That's the way that I want them. Okay, finally, then finally we'll be on the next lesson onto our rocks. So I'm going to pull this into place there, we're going to create these into being rocks. I might as well delete this part now. I don't really need it like so. And then once we've done that, we have another door that we can add to our asset manager and we can bring in our scene. This door, it's going to be used here and it's also going to be used on the back of here as well. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 43. Finalizing Doorway Entrances: Welcome back everyone to the Blenderful Ultimate Guide. And this where we left off. All right, so let's now work on this part here. So what I'm going to do is at the moment we can see I've got a solidify on. So what I might as well do is I might as well, before I use my solidify, let's just turn it off a minute so we can see what we've actually got. Okay, so it's going around the outside of there. So what I might as well do, I might as well put this on object mode. I might as well press. And what I might as well do before doing anything is just come in and add in all of my seams, ready to split this off. So if I come in right click, mark, Seem, and then come in to every other one, what I can do is I can press Alt, Shift click, and then come to Select. And what we're going to do is check a D select so, and then just press Y. So now we can just press Tab, Then it back on. And there we go. Now I don't think, actually I want it like that. So I think what I'm going to do instead is, and we're just going to press controls head. And instead of splitting them all off, I've got them all mark seams. Let's now turn it back on again. And there we go. We're going to have it like that and I'm going to split them up hopefully individually, once have added this. So I'm going to press control like so and now. Yeah, it's not actually worked. So you can see the seams don't quite go through. So I'm just going to have to do this the hard way. Just going to come in and split them off the other way. It was weird for shot, so right click. Let's mark scene. And then what we're going to do now is come in with L, L, L, L, L and L. And then what I'm going to do is press Y. Now I can come in and grab the mole, press mesh. Come down and we're going to clean up. And we're going to fill holes. Now we should be able to hopefully come in, add a modifier, generate a bevel, turn it all the way down. Turn it up one, there we go. There is our stone. And that's looking pretty good right now. Okay, so now let's grab the stone. So this is the stone here we, we'll just go into shading and then what we'll do is we'll grab these, we'll press control L, and we'll link materials. And then we'll come back to that and then press A, just to make sure we've selected it all. U and Smart UV project. And click okay. There we go. There is our stone. Okay, the door finally done. Let's have a look what it looks like. Let's double tap the A. There we go. Looks really nice now on the windows, let's just come to the materials first. So we want Windows one. So what I'm going to do is going to click down narrow window one. I'm going to click this Windows one again. In fact, no not, I'm going to minus it off. I'm going to click the plus N. I'm going to call this window one lit. And then I'm just going to copy this. I'm going to copy material, paste material. And then all I'm going to do is just unplug the emission control, just grab it and let it go. And then we've got one that's unlit as well. Now we can just come in and change those if we want to. Okay, finally, now let's join this altogether. So I'm just going to hide my base out the way I'm going to just put it onto our material shade just to make it a little bit easier to work with. And then I'm just going to simply select it all as always, mesh convert. It means if it's grayed out, you just need to select one shift select and then object mesh control J. And finally what' going to do is control all transforms. Right click, set origin geometry, and then right click, and I'm going to shade auto, smooth. And there we go. Now let's get this into our asset manager control C. What I'm going to do then is just open up my other blend file, which I've should be here. Here's the other blend file control. Bring it in. Let's come to it, put it here. And then one going to do is dot over the right hand side, we'll call it large double, right click. And then mark as asset. And then finally come to a sign and we're going to drop that into our doors. So let's then come out and save that out. And hopefully again, it should. Now, even if I delete this out the way, so delete it, Asset managers, turn the window off and there is our door. All right, let's bring it in. Let's put it on there. Let it load up as to think about it. There we go. Okay, so now let's put that into place where we want it. Now we do want it in this place, but there is a bit of a difference. Obviously, we want to actually use a boolean to go straight back through there. So what I'm going to do is I could either use this to actually boole or I could delete that and use this to actually do it. So I'm just going to bring it forward and what I'm going to do is I'm going to press tab. I'm going to come in and just grab each one of these. In fact, we'll grab them from the outside, the outside on here, going all the way down to there. And then what I'm going to do is just press Shift D, pull it out. And then I'm going to press Select. Then I'm going to select these. Hopefully if I press, can I actually fill all of those in? Probably not. Let's press and see if that works. No, it doesn't. So what we're going to do is we're going to fill in each of these. The easiest way is probably going to be to grab this and this, press the, grab this and this, press the F and just work your way round. Just so then we've got the general shape of what we need. And we're not worried about the shape of this anyway, because we're using it only for a Boolean and we're not using it for anything else. We just want to set it back a little bit. Again, adding intricacy to our build, which is what we're looking for like this. Now we should be able to join this one and this one. Now finally we should be able to press Old Shift and click. And then press, and there we go. Now let's decide how far back we want it to go. So let's press, pull it back. And now let's press Tab Control, Lay or transform. Right click, set origin to geometry. And now we'll just pull it back into place. And it should hopefully fit in there as you can see. Now what I want to do is I'm just going to move it this way and see how much room I've actually got. Let's just move it. You can see it's just if I move it a little bit, it will be poking through. What I'm going to do is I'm going to pull it out a little bit. So we've got all of that room now to put this door in if we want to. And then all I'm going to do now is I need to put it through probably both of these walls. So I'm also the one thing you want to make sure is that you don't want to boole and have this little bit of a bottom here. So what I want to do is come to the bottom of it with face select, grab the bottom, and then just pull it down all the way through. So we can see here, it's going to be going through all of these. All of these here. So what I'm going to do now is I'm going to come to this one here. I'm also going to come to this part here as well. I'm going to press control all transforms, right? Click, origins, geometry. And then what I'm going to do now is I'm going to come and grab this one first and add modifier generate. And it's going to be a bullion. And the billion of course is going to be this year, large double door. And as I said, I normally put it on fast because that seems to work. Bet. And then I'll come to this one. What I'm going to do is I've got a bevel on here already, so I can apply the bevel because no one's going to see in there anyway. So let's apply the bevel with control y. And then what we'll do is add another Boolean. So generate Boolean and then let's collect this. And then fast, and then let's press control. And then hopefully, hopefully if I delete this out of the way now, no I won't because I need to apply that. Let's apply that one now. Let's delete it out of the way. And there we go. It should be going all the way through. One thing I just want to make sure is it's not made a hole anywhere in where the steps are. We don't want any holes there. And let's grab this now. And now we should be able to put this back into place like so. Now finally, let's deal with this actual wall here. So what we'll do is we'll right click, first of all, shade auto smooth just to kind of shade that off. Can I shade that off? I'm not sure. I'm going to press control all transforms and then right click shade auto smooth. And I think that's as best as we're going to get this. And then what we want to do is we want to add in the wall texture. So let's come in grab or wool, press control L, and we're going to link materials and we're also going to press control L. And what we're going to do is link copy modifiers basically just to get hopefully a little bit of an edge on there like you can see going around there. All right, so that's looking pretty nice like that. I'm really, really happy with that. All I need to do now is I just need to unwrap this. So I'm going to press a smart UV Project. Click Okay, and we can see that we do have some dirt along here now. Do we want dirt along there? I don't think so. I think we need some dirt more at the bottom on this one, to be honest. So what I'm going to do is I'm going to, yeah, I think I'm going to do this maybe a little bit different. I'm just wondering the best way to do this Is this one piece? This should be one piece. But what we want to do is we want it to be coming in to here as well. What I want to do is I want to unwrap this part separate. I'm going to grab all this. I'm I'm going to press control and I'm going to mark A. Then what I'm going to do is I'm going to go over to my shading panel. I'm going to press Tab, I'm actually going to press A and then R 90. Spin it around, G, Y, pull it down. I just have a little bit of dirt on there. Also want a little bit of dirt on here. As you can see here. If I select all that we can see, it's this as the back. I'm just wondering where this bit actually is. I'm going to actually unwrap all this one. Now coming up here, I'm going to unwrap it altogether. So what I'm going to do is I'm just going to press you wrap. And then you can see this is the bottom here. So what I'm going to do now is this is this bottom. And this bottom hasn't got anything as you can see. But if I turn this around, if I press a 90 pine place, now you can see we've got going over most of it and I think that actually looks better. Then we've got this part here. Let's spin this round, a 90, 90. Spin that round, and then finally this part. Let's press A and then 180. Spin that round. There we go. A thing that looks at tomb. Except this bit I don't really want it into the dirt, so I'm just going to press 90. Drop that in place like so. All right, let's have one final look then at what that actually looks like. Double tap the A, there we go. That's looking really, really nice as you can see. Okay, so on the next lesson, and then I think we'll actually work a little bit more on building this out. So we'll get the top on here and then we'll probably work on building this little bit out. I'm trying to basically split it up so we've got a little bit of modeling, teaching you more and more complex things as we go along. But at the same time trying to keep you engaged by not doing too much of the same thing. All right, every once. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 44. Decorating Doorway Entrances with Beams: Welcome back everyone to the Blender Four Ultimate Guide. And this is where we left off. Now let's go back into modeling. Just for now, we'll keep it on shade and what we're going to do is just hide out these palm trees out the way. And then what we'll do is we'll make a start on building this part here out a little bit. So we'll do that now. So the way we're going to do that is first of all, I'm thinking if, yeah, we'll have to go and asset manager actually, because it will make it a little bit easier. And what I'm looking for is the one which is the side. So this one here. And I'm going to, I think I'll need one of these. So this is the center 0.1 of these which is the corner point. And I think I'll use the round of ones which are I think they are these ones here. No, not those ones. So they're going to be these Yes, they are. Those those are the ones that I'm going to use. All right, so first of all we will come and put this corner piece in. So I'm going to press seven squel at the top. And I'm just going to put this then into the corner like so. And then I'm going to lift it up and just place it probably actually just a little bit down. Now I am wondering on some of them we might be better off making them a little bit smaller because you can see this may be a little bit too big for this part. It looks good up here, but maybe they're too big for the. So I'm going to do is just grab them all and I'll make them smaller, independently like so. And I think that's going to look like that. So now I can put it in there. And then what I'll do is I'll put the other part, this part here, over the top of here. So what I'm going to do is I'm thinking I'll put it round here and let's see how that's actually going to fit in there. Something like that. And I'm just trying to fit them all into place. As you can see, if I press one, actually I'll put this more in the center. And then what I'm going to do is I'm just going to pull this up and see if that's actually going to fit in there nicely or not. I'm going to pull it out there. We can see probably we need to make them still a little bit smaller, so I'm just going to grab all three of them. Make them a little bit smaller so they're going to fit in place a little bit better. Then what I'm going to do is pull this down. I'm going to fit this then into place. Pull it down a little bit, making sure there's a bit of wall there. And then what I need now you can see it's not quite going to go over to here. So I'm going to pull this up. What I'm going to do is I'm going to bring this over and put it halfway so we can see if we put it around there maybe. And then we can grab this again, presi, pull it out over to here maybe. Then what I can finally do is I can come in and delete this part here. I'm going to come into this, I'm going to press out shift and click. So make sure you're on face, slick shift, click, shift, click control plus them. And then you can see it comes up to here, which is absolutely fine. That's what we want. Delete and faces. And then what I can do is now I can come to this one because we can see it's here. So we're going to press Ot shift click. You know what? I'm going to hide this one out the way so I can see what I'm doing. I'm going to come then to this one first. It's going to be around there old shift and click and then delete bases. And then let's delete these out the way. Delete bases. Now let's come to this part. And I'm thinking that I'll delete this one here out the way. Deletes L delete and then L delete. Now I'm just going to go into my x ray, which is this one here. And you can see I've missed one here, L delete. Now let's see what that looks like. If you press Alt tag, bring back everything. And now we can see that we're probably going to have to, let's have a look how much room we've got. I'm going to bring this over very slightly so we can see we've got another bit on this, so I'm just going to come in L, delete vertices, and then what I'm going to do now is pull this one over and hopefully get that one into place. And we can see that it's a little bit out. So I just grab this, pull it over very slightly. Grab this one again, and we'll delete this part. So L delete it. Says ol tag. That actually is looking pretty nice now. Okay, so now let's grab this part here. Let's press Shift, and we'll drag it over to this side. We'll press Z -90 And then what we'll do is we'll put it into this corner. We can press one on the number pad. You can see just the distance here, so you can see it needs to come out a little bit. And hopefully, hopefully now I should be able to bring this one over. Let's have a look shift. I think it's a bit longer because of where the door is. So what I'll do is I'll see if the next part, so I'll bring this one in again. And we'll put it on there, so then we'll spin it round. So 90. Let's have a look. Is that the right part? Yeah, I think that's actually the wrong it's, it's the right part. Let's press R Y 90. And then heard hundred 80. Let's see if we look at the scale on this. 1.24 and then we go to the scale on this. Let's see if we can make them size. If I grab this, the one thing is that we've actually cut these away. I'm not going to do it that way, actually. It's going to be a little bit fiddly. I'm just wondering if I can the same size, but then a little bit longer we might have to fiddle around with this little bit. Let's press, let's make it a little bit smaller so it lines up with this. That's the size it's going to be, the length of it is going to be from there to there. I'm wondering. I think it'll be easier just for me to put this in place. Yeah, we'll do it that way. We'll line it up. Let's line it up with this one, making sure it's in the right place. Like making sure nearing off it's the right size. And then what we'll do is we'll pull this over here. And then what I'm going to do is I'm going to come in and pull this bit out. Alt Shift, and click hopefully on this edge, there we go. And then what I can do is I can pull this part out into place. Then what I can do is now I can grab these, press one on the number pad, and then I can press shift D and bring it over and have it in the same space shift, then shift D, and then the world is I'll move this one over very slightly. So there we go. All right, so that's looking pretty good. Let's see if it's go lost stretching on here, which I think it has. Instead we'll just press smart UV project. Now we'll just see what that actually looks like. Double tap, the A. Yeah, that's looking good now. Okay, I'm happy with how that looks. Now we need to think about these two side bits. So let's go back to shading. Let's save that our work. We'll come to this one first because we can see we've got a bit of a mess on this one here. So what I'm going to do is I'm just going to hide that out of the way H to hide. And the reason is because this one, yes, this one here is causing the issue. I'm going to hide all of this out of the way, and I'm going to come to this one and then I'm just going to press L, L. In fact, I'll delete that one in there as well. So delete versus. And then control our pull. It's there like so. And then what we can do now is we can just come and then Alt shift and click like so. And delete bass tab. Oh, double tap and there we go. Okay, finally we got that bit. Still got, oh, what's happened there? Wait a minute. Is there a mirror on what is going on with this? I'm just wondering that has changed. Let me just check to see. Yeah, that's not changed. That's absolutely fine. I'm just wondering why this went like that. Let's just have a look at when that actually changed. Here we are. Did I actually delete that out of the way independently from that? Maybe we've put that back there, we've got this one in place. I'm wondering why this is decided. Hide the other way. I've got this one here. I'm just wondering if I delete this and this delete vertices. Yes, it's actually changing this one. What I want to do is I want to separate this out. I think that's a little bit of a book. So what I'm going to do is I'm going to come in, I'm going to delete the other way. And then I'm going to come in and I'm going to see if I can delete just these. I'm just going to delete these two delete vertices. And you can see that's where the issue is. I'm going to go back and what I'm going to do is I'm going to bring this one back. And this one here, I'm going to delete it. I'm going to grab this one, then shift D and then pull it over into place like so, all into place. And then hopefully I should be able to do now is I should be able to come in and L and L delete vertices. And now it's kept those there, so I don't know why what's doing that actually. So I'll come in now delete vertices and then what I'll do is now I'll come in old shifting, click control control plus and then delete and faces. And now finally we should be able to pull this into place. I'm just going to stretch this a little bit. So S and X, just a little bit of stretching shouldn't actually alter anything. Let's press S and X and bring it back a little bit. Double tap the and there we go. Now what I'm going to do is I'm going to use this one. So I'm going to use this part. I'm going to bring this round to the side, so I don't know why it had a little bit of buck there where it was altering the other one. I'm not sure if I pressed old D instead of shift D, but either way we've fixed it now. So Rs 90 and let's get this into place. So I'm just going to pull this into place where you can see it's probably needs stretching out a little bit as well. So I'm going to press and y, let's pull it out a little bit and let's see if I can get that into place. Now if it's really, really tight, what you can do is you can just put it into there. And then what we can do is we can probably get away with bringing these back jaws to tiny bit so it covers that up like so. And I think that's still going to look good like that. All right. I'm going to save out my work. And then on the next one what we'll do is we'll cut this bit off, get it over to the other side, and then we can move on to something else. All right, one. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 45. Adding Foliage Ferns to Enhance Entrance Appeal: Welcome back everyone to the blender for Ultimate guide and this is where we left off. Okay, so let's then come in and what we'll do is we'll take off this born here, the x ray. And then what we'll do is I'll click on this, and I'm just going to hide it out of the way so we know we have three. Then what we're going to do is click on this all shifting click, and hopefully it shouldn't alter any of those. So delete. No, it's not. That's good. Apart from we've gone too far down. So delete faces instead. And then what I can do is I can come in now and delete each of these. So delete vertices A tab Ol tag, bring everything back. And there we go, double tap the A can see we're little bit out, so we're just going to pull it over very slightly. Double tap the A now it fits in perfectly. And now what I can do is I can take this little bit shift, bring it over to the other side. And then what I can do is I can spin that round, R z 180. Spin it round. Let's put that then into place where it needs to be, which will be something like here. Now we can see with this one probably going to be too much. What I'm going to do with this one instead is first of all, I'll pull this end out. Let's come into edge slit or shift click. Let's pull it out into place. Then what I'll do is I'll see if I can pull another one in shift. Let's put another one right there. Let's see if I can scrunch them up or split them up a little bit better than what they are. L and then L, I think Matt's going to be fine. And then L on this and you smart UV project. Click. Okay. All right. There we go. Yeah, that looks actually good. Okay. So now let's make a start, I think on this part going around here before we do anything. So we're going to, I think we'll use this one that we add here. So this one here, which is, I think it's this one here. So over look, yes it is. And then what we'll do now is we'll get these parts into place. So I'm not sure if we want to make them as small or as big as those, but we'll see as we actually build out. Probably going to make them a little bit of the smaller ones I think, but we'll see as we build out. So I'll said 90, let's hide these palms out the way because they're actually starting to get in the way now. And then what we'll do is we'll put it, let's put it coming over just below this window here. I'm just wondering if I can get away with using bigger or smaller At the moment, I've brought that one in. Let's bring in then. Then we'll bring in the corner. We'll press, in fact, do we need to press? No, we don't. We can just put that in place, I think, pull it up into place. I think that's actually going to fit. Okay, let's move this down a little bit. Let's move it out like so. And then what we'll do is we'll bring in a halfway point. We basically want to pull this all the way to the stairs. So you can see that we're probably need to make these a little bit smaller. What I'll do is I'll bring in the halfway one. I'll drop that on there. And then what I'll do is I'll press Y -90 So then we've got all of these parts in. And then what we can do is we can change them all together So you can see here not quite fitting into the stairs. And that's where I really want, So I'm just going to grab it, I'm going to press S then on all of them and make that fit in a little bit better, as you can see. Now what we're going to do is we're going to grab this part. I'm going to pull it out so it actually fits in the stairs really nicely like so. And then what I'm going to do is grab this bit, put that in place so I can see here. I'm going to put it in place maybe a little bit up. So then I just want to line this one up with it, which actually is lined up pretty nice anyway, so then I can just grab this one shift deep, bring it over and see where that's going to fit. So it's going to fit somewhere around there. I'm going to put it just there. And then what I'm going to do is I'm just going to see if I can pull that out a little bit. So now let's come in and get rid of these x ray on. Let's come into this one. This one and this one, and delete. And then let's come in now, shift click, control control and delete. Double tap the there we go. Now let's bring in the window. What I'm going to do is I'm going to come to my windows. This is the window that we've got. The moment, let's pull it out, let's spin it around. R, Z 90, press three. I'm going to put it into place roughly where it needs to be, which will be somewhere around there. And then I'm going to pull it out into place and' delete the other window that we had there. It's one here. Delete it and there we go. I'm also wondering whether I should line it up a little bit. Let's line it up. Yeah, I'm wondering if I should line it up more with this point here actually. That's looking pretty nice. One thing I want to do with this window though, is I just want to come in and I want to grab the actual window. And what I want to do is I want to put it on lit a sign. Double tap the there we go. This one's also lit at the moment. Let's have a look if that I mess with this one. Grab this one and click sign. Yeah. They both actually, they're both actually doing the same thing. In other words, they both seem to be copying each other. What I'm going to do is instead of bringing it in from the asset manager, I'll just actually delete that. In fact, I'll actually grab this one. I'll press shift D to duplicate it. I'll grab this one, shift selected. And then I'll delete this one out the way. Delete, grab this one Shift and selection then will do is now. And come in, grab just this surface here. Click sign and there we go. Now we have one lit and one on lit. So we just have to be very careful when we're using the asset manager. As you can see that when we're changing something and cutting splicing things, that we're not actually changing the other part. So better to use shift D once you've got a part in, so we're not altering the asset manager. I didn't actually know it actually worked so much like that, but now I do. So let's fix, now I'm thinking, let's probably work our way up. So what I'm saying is, let's get this in the right place. Because I want to be able to put something under here. Another part of this going along here as well. I think what I'll do is I'll lift this up a little bit because I want some rocks under there and things. I'm going to put it right about there. And then what I'm going to do is I'm going to come in, I'm going to grab this one here. I'm going to press shift and I'm going to pull it into place like so. And then pull it down just so it's probably going over the top of the. Pull it into place. Double tap the eights. Have a look at what that looks like and that's looking pretty good. And then what I'll do is I will bring in, I don't think we have a middle section on here. Again, let's see if I can bring in a middle section. So I'm going to go to sides. And this one is the same size. This one hasn't been shrunk down in anyway, our middle section should work fine. One, let's put this in place where it's going to go, which is roughly going to be roundabout there. And then what I'll do is I'll steal this corner as well. Shift D, let's bring that over to there. Then rotate it round 90, 90 and zed 90. And there we go, finally that's where I wanted it. Then what we'll do is we'll bring this back. First of all, let's put this in place where it needs to go, all the way back to there. Then what we'll do is we'll grab this one shift. We'll also move this one over to here now. And again, we're going to make sure that it fits in place. Let's pull it out slightly this way. Pull this one out slightly this way. And then we'll come in now and alter this. Hopefully, again, we'll see if this actually works. L not that one we're going to go into there. We don't want to select that. We want to select just this cube. There we go. We selected the back there, but I don't think it really matters. So we'll select this one and this one delete vertices, and we can see, did we alter anything? No, we didn't. So should click control plus control control. Delete faces on this one. So delete faces and then double tap the A and then just make sure nothing got altered, which it hasn't. All right, that's looking good like that. So we worked our way round Now. Now I think what we should do is we'll tackle this door here. But before that, I think what we'll do is we'll actually go to our foliage. I'm going to come in, plant some foliage, and we have some really, really nice ferns. Let's bring in these ferns. We're just bring in a fern here, we'll bring in a fern here. We'll bring in another fern, and we'll bring in one final fern on here. What we'll do is we'll put one of these ferns. Let's have a look at them. They actually, they're all rotated the wrong way round. So we'll just rotate them back, Y, S, X minus x, 90. We'll rotate them back. So then what we'll do is we'll just pick one of them. You can see they're all different. And we'll pick one and we'll put it just in this corner. Yeah, let's put it down. Let's lift it up, so R and X, we'll just tilt it a little bit that way. Double tap the A, and now let's just put it in place where it's going to go. And then R and Z rotate it around. We can also come in and just delete this one out the way we can grab that press. Delete. And there we go. That's looking a little bit there. The other thing what we can do is, as well as we could also come in and move that part. I'm just going to press Al Tage and I'm going to see where these parts are. I'm going to come in L, L and delete. Then we go, now we should be able to press and Z and pull that into place. Then finally let's pull it down like so. And then A, mine actually just rotate it on the Y as well. And there we go. Right. I don't need these others in fact. Yes I will. I will keep one of them because what we'll do on the next lesson is I'll just leave these two other way. Pick whichever one you want is we'll just make a simple pot to put on here. I'm going to leave this one this size. I'll make this one a little bit smaller, but we'll make a simple pot to actually put on here. And then we will kind of build this out. Because what I want to do eventually is I want to take a nice image of this with the render options just to see how it's coming along. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 46. 3D Modeling of Plant Pots: Welcome back everyone to the blender, full ultimate guide, and this is where we left the art. All right, so what I'm going to do now is I'm just going to create a little plant pot for us. So I'm going to grab the fern shift S sta selected and then what we're going to do is press shift, we'll bring in, I think a cylinder will make it really, really easy for us. Let's put this then on something like, let's try 16, something like that. Let's make it a little bit smaller then. I just want to create a basic plant pot. I'll deal with the size once I've actually created this. So what I'm going to do for now is I think I will come in and add in some edge loops. I'm going to turn off x ray, we don't really need that on control law. Left click, right click. Bring it down to there. And then what I'm going to do at the bottom is I'm going to put my proportional, It's on. And we'll put it onto, let's try inverse square. Let's try that. We'll press, I don't think, is it going to be right? Actually, yeah, maybe that's going to be quite nice. It's a little bit different from my last one, but I think actually this is looking quite nice the way it's turned out. Then what I go do is turn that off and then I'll press control B. Be level that off, maybe bringing in two. And then we'll, I'll grab the center, press the eyeball to insert press to bring it down. And then what we'll do is we'll bring that out then. And then finally bring it down again. There we go. Actually that's turned out pretty good. Now what we'll do is we'll just be level off the edges Alt shift and click control, so we'll bring in the inside. First I'm going to come to the top. I'm going to press the eye button. Then one going to do now is press drop it all the way down and then press and bring it in. Now I can come in and grab the edges. Shift, click Alt shift, click control B and bevel off the top of it. And now finally let's bring in our fern. We're going to stick our fur in the top of. You can see this is probably a little bit too big, so I'm going to make it a little bit smaller like so. And now we'll right click and shade, auto, smooth. And then finally we'll just put a little bit of a band going around on here. So all I'll do is our press control are left click, right click, and then come in face lect al shift click, enter alternS, then just bring it out, make sure offset even is on. There we go, a beautiful plant pot. Now the last thing I want to do is I just want to come to the top of it. And what I want to do is press control. Bring in another edge loop. And then all I'm going to do is press and then Y and just split that away from it. All I want to do with that basically is just make sure that I can actually put some soil in it. Let's now come to our materials. Let's press Tab and we'll do, first of voice search for soil soil. We'll search for clay. We've got blue clay. We'll bring in the blue clay. We'll also bring in the clay. And we'll also then do a search for soil. We'll also bring that one in as well. So we've got soil clay. Then what I'll do is I'll delete those like so I'll then come to my little pot, Come down and we're looking for clay, then we're looking for plus clay again. Stand the blue and then down arrow soil, So Okay. So let's now unwrap this. So what we're going to do is smart UVP J click okay. And then we're going to sign the clay, which should be there now, so just a simple clay pot. And then what we're going to do now is come in, click Control plus, and we're going to assign the blue clay. And then finally the soil. Click a sign. Now I'm just looking to make sure the soil shouldn't really look like this. It should have a lot less roughness and a bit of metallic to make it look like actual soil. And then what we can do is compress Altage now and bring back everything. And now we can actually move these altogether. So I'm going to select my pot, select my bush. Then we're going to put them up here. Just on this step here. Some jaws are going to press jaws to bring those into place. You can see it. We're going to have to make it much, much smaller. So I'm going to press S. You can see when I press I shrink them independently. Don't really want that. I want to actually shrink them with medium point. This time, press the S Be, and now should be able to put that pot on top of this wall here. Let's put it on there. Let's make it then a little bit bigger and put it into place. So let's double tap the A, and there we go. You can see that's looking pretty nice now. It's got some actual left foliage in there Now, then let's think about where we're going to go next. Also, this I think is a little bit out, so if I pulled this over, you can see it's a little bit out. So I'm just going to pull it up a little bit, just to align it up a little bit more. Now, let's work on the top of here, underneath here, we're actually going to have some more blocks, but we need room to actually have something under this part as well. So we need to pull this up. So in other words, we need some blocks under here, which means that this and this is going to have to be a little bit higher to actually accommodate the top of here. Even higher than that, may be something like that. So what I'm going to do is I'm just going to come in and grab this and pull it up. Then what I'm going to do is now I'm going to put in the corners of this, I might as well do this all at the same time because it's all pretty much the same, going all the way around. So it'll be easy if we do it all at the same time. What we're going to do is we will duplicate this one. And in fact, I think we'll use these ones, so we use both of these. We'll press Shift and we'll bring them up because that then will make it a little bit easy for us. We'll also make sure that this on here, this part on here is actually going over this, so we don't want it going under that. So what I'm going to do is I'm just going to make this a little bit bigger, just so it's going over. And then what I'm going to do is I'm just going to pull this back a little bit, bare into place. So that was stuck out a little bit too much that way. So I'm going to pull it back into place like so you can see it's actually sticking through there. We don't actually want that, so we're going to stick it into place like so. And then what we're going to do is we're going to put this on the halfway point of this, and then we're going to pull it back. It's actually under there. Okay, so that's looking good. Now one thing I want to make sure of is if I grab this, I should be able to press Shift S and Selection. Cursor selections. Cursors are selected. I'm hoping that's right in the center. Now if I grab this and I set the orientation to here, right click origin to three D cursor, then what I should be able to do is mirror that over. Let's see if you can add in a mirror and you can see, now it's gone on that side, we can see. Let's go over the top I think. Yes, it's a little bit out. As you can see, we don't really want that. What I'm going to do is I'm going to come in, grab this again. Press control all transforms, right click, set origin to geometry, shift select, cursor to selected, sorry. Then now what I'll do is I'll grab this right click, set origin three D cursor. And now it's gone in perfectly. Now I can also press the bum and put those corners on the other side. Now hopefully we should be able to do the same thing with this. If I join this to this, let's see, join this to this press control J. Is it going to do the same thing? No, it's not. We don't want to do that. What we want to do now with this one instead, because the mirror is obviously not working, is we want to press the little sideways V near to the shift bottom. Then you'll see that you get a one that says three D cursor. It's the right one next to the question mark. Click on three cursor. Now what happens is if I move this, now if I press R and S, I can actually move it around the orientation of that actual cursor. So what I can do now is press shift D and then Rs 90, shift zed 90, shift zed 90. And there we go. Now it's going all the way around, following round, beautifully. Okay. So now let's actually bring in then these parts here that we want, they're going to be the sides, and I'm going to close that off. And the one we want now are the triangle sides. They're the ones we want to bring in. So let's bring these sides in like so. And then I'm going to do now. You can see my cursor is still more me, Gizmo still attached to my cursor here. We don't really want that, so I'm going to do a little sideways V again. And let's put it on individual origins. Now we can do is to compress one, We can bring it up and put it into place. Now once I've done one side, I can do the same little trick that I've just been doing, and you'll see it works perfectly. Let's make it a little bit smaller and put it into place. Let's put it into place something like this. Or maybe the halfway point I think should be fine. Let's pull it back as well just so it goes in nicely like. So then what we'll do now is we'll come in turn on our x ray and then I'll come in and actually delete these. First of all I'm going to come in L, L and L, delete vertices and then what I'm going to do is O click hopefully control control plus and delete pieces. And I'm also going to delete that piece as well. And there we go. That's what we're left with. Now I can pull this out a little bit into place, press and X, just pull it out a little bit more. Double tap the A. There we go. All right, so far so good. That's looking good. Now on the next list, and then we'll just put another one here and then mirror them over and spin them over. And then I think we'll start work on this door and then we'll start work on the top of here. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 47. Techniques for Modeling and Unwrapping Spherical Roofs: Welcome back everyone to the Blend for ultimate Guide. And this is where we left it off. All right, so let's grab this. Let's press Shift, and let's see if it's actually centered, so we can see, no it's not. It's actually a long way out. So let's see if I pull this to this side, how far is it going to be off? So we're going to put it kind of if we press one we can see now we got a good view of what these are look like. I'm going to grab this one and this one and I'm going to instead put this onto individual origins. And then we're going to press S and X. And then I should be able to pull these down into place now. So now I should be able to grab this one, pull it into place, and then grab this one and pull it into place. And we can see we're still a little bit out, so I'm just going to pull it there, and then I'm going to pull this into place. I'm going to grab them both again, S and X, and just get them to fit nicely in place. So okay, I'm happy with how that looks. Now what I want to do now is I want to join these both together. So I'm going to press control J, like so. And then what I'm going to do is I'm going to play a little sideways V again. Three decurshifz 90. And I'm hoping, yeah, it's going to be a little bit out, so I'll have to move those around. So what I'm going to do is I'm actually going to come in and delete these off. Now we've got this part in place and then what I'm going to do is grab this again. Shift 90. Shift 90. Then what we'll do is we'll grab this one. Shift 90, shift 90, shift zed 90. So all right, so far so good. So that's looking pretty good there as we can see. Now let's think about this part here. So this part here, we can see at the moment, comes up to here. So what I want to do is I'm thinking that I can, I don't really want to paint. You can see if I paint this, I really want this joined all together. So in other words, I want this all joined, kind of together and all unwrapped together. Also you can see it comes all the way down and round to here as well. I think what I need to do is I need to grab this part here and then pull it down. So I'm going to come in and I'm going to come to this part. And then what I'm going to do is I'm going to come to the bottom of here, old shift click. I want to grab all of it going around there like so. And then I want to pull it down. So it goes down to here. And this is the part that I actually want to unwrap. Now we can see as I work my way forward, I should pull this out going along here. In other words, I should basically create it again. But I'm not going to do that right now. All I'm going to do is I'm just going to grab this part now. So you can see if I press shift H, we should just be left with this part now. Now we don't need a top and we don't need a bomb, so we might as well get rid of those. So delete and faces. And what we're going to do now is we're going to press A, and in fact, we'll actually mark a seam on here. So we'll mark a seam here, right click mark seam. And then we'll press A and U and unwrap. And it should unwrap, absolutely fine. Now what we'll do is we'll actually add in the wall texture. So we'll change this to wall like so. And now we can see we've got a bit of a mess and we need to turn this round. So what I'm going to do is I'm going to come back to my shade in now. So shading panel. So put this onto Material, this is what it looks like. Let's press Tab. Let's press A, then R 90, let's spin it round. And what we're going to do is we're going to put it down on there. That's the wrong way around though, so I'm going to spin it around R hundred and 80. And then what I'm going to do is I'm going to make this a little bit bigger now and make it just fit Y. Now you can see that's looking much, much nicer than where it was before. Now if I press Ltage and bring back everything, this is what it's actually going to look like. You can see we've got some flash in there and that's because we've got another building behind it, which is this one here. We can also see if I hide this out of the way that's gone now. So I can actually probably delete this out of the way and build that wall again when I'm ready to do that. So I'm going to delete the other way, press lag. This is what we're left with. And now I'm going to do is I'm actually going to bring in a bevel, or I can copy the bevel from here. So you can see over here, the one we still got on, we can actually copy this. If I grab this one and this one, press control L. And what I can do is copy modifiers and hopefully it doesn't work because I didn't reset. Let's reset transforms right clicks the origin to geometry. Let's have a look at what that looks like now. As it got, yes, it has now it's got the bevel on there, very, very slight, which is what we're looking for. I'm just looking to make sure it's in line with that one, which it is. All right, let's put the shader on. There we go. That's what we're left with. Now I'm thinking that we maybe want to. Now we've got all of this in here. Before I put this top on, real, Can we put this top on? Probably probably could. Let's have a look at how small we need this top first. So if I press the S born and I press the little V just to get my individual origins back, and now I press the S, I should be able to bring that in to roundabout there. Now what I can do is I can actually sp sculp but actually model this out. So I'm going to bring it down. Something like that. And then what I'm going to do is when it comes to face select, grab this face. I'm going to press and bring it in a little bit. Then I'm going to press, bring it up. Then we're going to press I again. And bring it up like so. Then we're going to press, then we're going to press again, and then and pull it out. And finally. One more time. One more time. So I think that looks very nice. All right, let's press control or transforms. Set origins, geometry. Let's add in a bevel. Then generate a bevel. Let's turn it all the way down. Turn one, Let's then bring in a material. So if I grab this and I grab this pillar can press control L and link materials. And then while there is our lunrapsmartUV project, click Okay. And then finally this part in here, Alt Shift click, and let's Ase a Material. There we go. Okay, fantastic. Now we've got that. What we might as well do is we might as well also do the top of here because the top is quite simple. Anyway, we can keep the top we've already got, it's quite nice. All we'll do then with the top is we'll just press control, left click, right click, right in the center. A shift and click Enter AlternS. Then just bring it out very slightly, just make sure offset even is on. And then what we'll do is we'll press control and no we won't, we'll actually just press control all transforms, right. Click the origins geometry, then we'll copy the bevel on here. I think the bevels looking okay. Yes it is. We'll just copy the bevel control L, copy modifiers and then we'll press control L and we'll link materials. And finally then we'll grab it. U, Smart UV project. Click okay, and I'm hoping that works out okay. So let's actually have a look at that. Sometimes as you can see with a sphere, it doesn't actually work out too well. And you can see here, it's not actually working out that well. What I'll do is I'll just press control Ed. And I'll go back before. And you can see it was much much bear before because it's actually been unwrapped in the proper way. So what I'm going to do is I'm going to actually leave it like that. And what I'm going to do instead is I'm going to press Lt shift and click. I'm going to press Control Plus. And then what I'm going to do is I'm just going to sign the red paint on there, and that's looking nice. Now the only thing is that this top part doesn't need to be this brown. So what I'm going to do is I'm just going to change that over. I'm going to put it onto wall wall like so. Now we can see that that is looking much, much better. Now if I come in and I select just the top part, so if I slick this and just click control plus, wait a minute, that's not right. So let's select it. Going around here. Control plus going all the way down to this part here. Then they have the power now to press G and Y and move it down and actually create some dirt on the bar measure you can see now, and I think we don't quite need so much dirt or do you want it the other way round? So in other words, you can spin it around. So our 180 and we can spin it around and then we can have dirt at the top. I find that when we're dealing with spheres, the dirt being on the top makes it doesn't make it look too good. So yeah, I probably don't want it that way round. I'll spin it around the other way. And I think now that looks much, much nicer. Now what you could do if you wanted to is you could also add these into your asset manager. I'm not going to add things like that because I think they're pretty easy to actually create and we're only going to be using this once within the whole scene. This one over here is going to have a different top on it. The one thing I do want to check though is just to make sure that this now is high enough. And I actually think that the difference in height here does look about right. So I think I'm happy with that. I might come in and I'm not actually sure yet whether I want to make that a little bit higher. Is it Or, you know, if I'm happy with the way it is, but I think for now it's about right. So what we'll do then on the next lesson, is we'll actually make a start on this door. And then after that we might make a start on this balcony. And this balcony is pretty complex, so it will be probably one of the hardest models we have done up to this point. All right everyone. So hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 48. Modeling Another Stylized Door in Blender: Welcome back everyone to the Blender Ful Ultimate Guide. And this where we left off. All right, so let's take this door and what we'll do is we'll bring it out again. So shift, let's bring it out. We know what our door is. I'm going to actually go over to model in. Just to make it a little bit easier for myself, I'm going to press one. I'm gonna bring it down just to bring it next to my guide, just to make sure it's the right size. And what I'm gonna do, first of all, I'm going to come in and I'm going to grab the edges of here like so I'm going to press control B then. And I'm just going to bevel them round like so. Because I want this to be more of a rounded door. In actual fact, I don't think I like how that is actually coming out. I think I want it more rounded than that. So what I'm going to do is I'm going to press control A all transforms right click, set origin to geometry shift S, Kurt to selected shift A. Let's then bring in a cylinder. Let's put the cylinder on something like 20 and then let's spin it around. So far x 90. Let's press one and let's get it spun round like so. And I think this now, if I put it like that, coming down here is going to be much based more of a arch door. We could stretch it out a little bit, so we could press S and's ad and pull it out a little bit more. And I think that might look a little bit better now. Let's squish it in a little bit. So let's pull it in like so. And let's pull it out. And then what I'll do is I'll delete the front and back. So delete the front and the back, delete faces. And then what I'm going to do is again, where the downward points are. So we can see, we can come down from this one and down from this one here. So let's delete faces. And then what I can do is then come in each of the edges, and we've built a lot of these by this point, so it should be fairly good at doing this by now. Let's press an S, bring it down, like let's press F, just to join that in. The reason I'm joining that in is because I want to actually take this part here, so this going all the way around, press F, why? And then what I can do is I can bring that, I'll pull it back. Actually, I'll make it a little bit easier. Now, I can come in and actually delete the bottom off here. So delete and faces like so. And then what I want to do now is I want to put in one more edge loop on here. So control left click, right click. Control left click, right click. Grab both of these, and let's just pull them up a little bit. So we're going to make it a little bit like this, you see here, but a little bit different. At the same time, these are like halfway on the door. These are going to be a little bit higher up. All right, so now we've got that, let's actually think where we're going to put this. I think what we'll do is we'll make it probably come round to there. So what we'll do is I'm going to mark in a seam. I know the seam will get destroyed once I add in my solidify. So I'm going to bring it down to there, and then there, and then to there. I'm just marking them in really to show me where we actually won the seam. So something like that. I think it's going to be absolutely fine. Now let's separate it out. So let's press selection. Separate it out. Control transforms like, so let's press one. What I'm going to do now is just put it onto object motor, I can really see what I'm doing. And then finally let's add a solidify and let's put even thickness on. And let's pull it out this way or do we want to pull it in? You also need to decide if we want to pull it in, is that going to be wide enough? That door, Let's grab our guy. Yeah, and I think that's easily going to be wide enough. Now, the other thing is this door is fairly tall, so I'm going to grab both of these. I'm going to press and's head, and then I'm going to pull it down. I think that is probably going to be a much better height, maybe a little bit higher. So now what we'll do is we'll actually apply our modifier. So let's come to the door, let's press control and fill that in. And then what we'll do now is we'll just come in old shift click, all of the ones that we actually marked out ready. And then we'll right click and mark a seam. All right, now we'll actually split them up. So I'm going to come into face, I'm going to press L on each other one and then Y split them up A to grab everything, Mesh, cleanup, fill holes. And then finally tab, Add modifier, Generate bevel, turn it all the way down. Turn one, and there we go. There is a very nice arch. Now let's right click, shade, auto, smooth. Now what we can do is the actual door, I'm going to pull this out to roundabout here. I'm thinking that you can see it's a little bit too big. So what I need to do is that I could make it smaller. I think I'll actually do that. What I'll do is I'll just press Tab And bring it in where it needs to go, so you can see the jaws there. And then what I can do is I can bring the bottom. So can come down to the bottom, press one again, and then just drop it down to where I want it, just above that line there, like So now I can do is I can actually make the wooden planks or wherever I want them. I always, nearly enough, always one to one, going straight down the middle. What I'll do on this one is I'm going to press one, I'm going to move my guy to the side. Then what I'll do, I will come in, I'll grab the door first. I'll grab the x ray on, I'll grab this one. And I want to bring this one down. I think this one here may be. Let's see. Let's press, let's press drop it down to the press Enter. And then let's do the next one. And drop it down there. And then we'll do the next one. Then a drop it down there. All right. This is fairly thick as you can see. And I'm just wondering if I want it so thick so I'm not sure if I want to keep it more in line with the ones I've already got. So I think I will. So what I'll do is I'll come in now, I'll grab this one and I'll basically do the same thing. So I'll go down to the Bottm like so, and we could of course bring in a mirror and do it that way. But I think with this one I'm just going to come in and use the knife tool. Whoops. Just to copy just a copy of the other side. It's fairly easy to do that. Okay. Come to the other side, drop it down, press the Serb, and there we go. Now what I'm going to do is split these off. So all I'm going to do is shift, click each of these right click and mark scene. Now let's come in and what we'll do is we'll just grab each other, one of these, press the Y, and then they're split off. Now what we can do is we can actually pull those out. Let's turn the X ray off. Let's actually pull those out. So then what we'll do now, we'll actually come in and level them. So let's come in, add modifier, Add in the bevel, turn it down, Let's turn it one, maybe one more. Let's press control or transforms. There we go. Now we've got it where we want it turn up one. So yeah, and I think that's going to be going to be okay. Now what I want to do on this one is just put a kind of motive on each side of them. So I'm going to press control A. I'm going to bring in a cylinder. I'm going to turn a cylinder down to something like 16 instead, a little bit too high. If it's 20 and x and 90. Let's make it smaller then. And then what I'll do is I'll pull it out and then let's pull it into place. So let's press one, I think. Yeah, that's looking good. So let's press S and Y, make it thinner. Then what we'll do is we'll just put it onto here. So then we'll do is I'll come to the front of it in face leg, press the eyeball, then let's bring it in. So I think that's probably going to do it for them. You could put another one in on the inside again. It could go and then bring it out a little bit. So that might be something like there. Right click and shade. Auto, smooth, let's put it on the other side. Then shift and just have a low that looks like. Let's make them a little bit th, I think they're a little bit too thick at the moment. Like that. Yeah. And I think they actually look pretty nice. Okay, so now what we'll do is on the next lesson we can delete this out of the way we can save out our work. We've already got now pretty much all of the materials which we can actually get off this one. We could add some hinges in here as well. I think we'll do that on the next lesson. Just some metal in the parts on each side of them. You know the open in the middle kind of thing. So we'll do that and then once we finish that, we'll make a start on the actual balcony over here. That'll take two or three lessons to complete that one, especially with the curtains. That's something you're going to learn how to use the actual cloth generator in blender. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 49. Techniques for Applying Textures to Doors: Welcome back everyone to the Blender Full Ultimate Guide. And this is where we left off. All right, so what I'm going to do now is just make a couple of Jes just on the sides. I'll press Shift, I'll bring in a cube. Let's make it a little bit smaller. Let's then pull it out. And let's see where we're going to put this. So if we press one, we're going to put it just one leading up just in front of this part here we're going to do. Then press and y, bring it back a little bit like so then what we'll do is I think that'll be okay in there. I think I need to make it a little bit thinner. So then what I'll do is just be level off these edges. So I'm just going to grab this edge and this edge, I might need to reset the transformation. So I'll do that now. Then I'll press control and bevel them off. So I think that's actually going to look good. Now, while we've got this here, let's give it an actual bolt on here as well. What I'll do is I'll bring in, we'll do it a little bit different this time what we'll do is we'll bring in a UV sphere. And what we'll do is we'll turn this down something like 12. Turn this down to something like ten, like so. And we should end up with something like this. Then all we're going to do is we're just going to separate the bomb. I'll just come in, I'll grab this line going around here, right in the center. And then what we'll do is right click, mark seam. And then I'll come in, select the bottom part in face, select Delete and Faces. Okay, now let's right click and shade. Auto, smooth. Let's spin it around our x 90. Let's make it much, much thinner. Then let's pull those out. Let's press one so we can go into the front view. Let's press to put it into place. Let's press the S board then, then let's put this right in place. Around about there like so. And then let's press Shift. There we go now with this part here. Let's go to Add modifier Generate. And we'll give it a bevel, remember it's Mel, so better off giving it some edging on it that's too high still not point, not three. So I think that's going to be pretty nice like that. And then I'm just looking if I need to put these a little bit more level with this plant on here, I think that I can actually apply that now. And then what I can do is I can join all of this together. So control J, join it all together like so. Then all I'm going to do is press shift, bring it down into the other place like so. And finally then I've still got my cursor in the center. So what I can do is I can grab both of these. Join them both together with control, J control or transoms. And right click and this time set the origin to three D cursor, add in a modifier and we're going to generate a mirror to put on the other side. And let's then just apply that. Let's then join everything together. We'll just make sure actually that we have a bevel on these parts as well. So let's join both of these control J adding a modifier. And I'm just wondering, I think I'll paint these first before doing anything else. So what I'm going to do is I'm going to add in a modifier. So I'm going to generate a bevel like, so that's going to be a bit too high, I think, so let's turn it up one, maybe two. Yeah, like that. And then what we'll do is now we'll come in and steal the textures from here. In fact, we'll get them from this one here. I think this is going to be, we have some wood in there, we have some green paint. Actually, we'll just grab it from there. So I'm going to grab all of this and join all of this together because I don't need to do anything else with this. So I'm going to come down and I'm going to convert to Mesh. And then I'm going to press control J, Right click, shade, auto, smooth, grab this one. Then we shift click control L, and we're going to link materials. Let's put it now on shade in. And then what we'll do is now we'll wait till this loads up. Sometimes it does take a while, let's go out and save our work. And then finally what we can do now, we can come into each of these in edge leg. So we'll go to these first like so. And I'm going to come in to materials and I want it on brown stone. With these, I'm going to press Smart UV Project. Click. Okay. They're done now. They're out of the way. Let's now come into the metal on these. So I'm going to grab each one of these. So I'm going to press and smart UV project, and then we're going to put on black metal, click a sign, hide those out the way. Now finally we're onto the wood, which is basically, I can select it all with a, I'm going to press Smart UV Project. Click Okay. And then light wood click sign. And there we go. Now one thing is you can see I need to. Oh dear. I've actually had them both at the same time. So we're going to have to go back and I'm going to have to Let's have a look. If Yeah, it's because I press. So I'm just going to press, there's where the point was, where I made a mess of it. I'm just going to press Tab. I'm going to select this one, then I'm going to press A Now to select those. And then we're going to press Light Wood. And then I'm going to press Smart UV Project. Click. Okay. Okay. Little mistake there. All right. So they're looking pretty nice. Now let's have a look what it looks like on our rendered view. Let it load up, and there we go. Okay, that's looking good. Now let's come in and put this back on here. And what we're looking for now is all our paints. I think we brought all of our paints in wood paints, that is. So if I come to this, let's see if, then click the down arrow and point wood. And let's see. So I've got light wood, I've only got the green painted, and we want the blue and the red paint. So let's go over to our asset manager. Let's go to materials. And the one we put in on is wood. The ones we want then is blue painted wood, so we can see blue painted wood. And we also want the red painted wood. Let's bring those two in, let them load up, and then we can delete those out the way. Delete and now come back to my door. And then what I can do is now I can grab all of these smart UV project. Click Okay. And then what we'll do is click the down arrow. And we're looking for wood and we want the red painted wood like so there we go. And then I want the blue painted wood. So I'll put the blue in the middle. So I'm going to grab each of these. That one, this one here, control plus and then I'll click the plus arrow down. And wood blue painted wood pick a sign. And there we go. Let's double tap the A and let's have one final look what that looks like. And then we should be able to join it altogether. All right, so that's looking pretty nice. Let's now turn this off and then what we'll do is we'll join these now altogether, I'm just making sure I've still got Devlons. I'm just going to press control A, and then I'm going to join everything together with control J. And then finally one going to do is I'm going to press control C. I'm going to go over then to my other file where I've been pointing everything. I'm going to press control V. Now this door is called Arch door single. So I'm going to call this round door. So let's come to this one here, round do single, like press the ban, find it right click. And then what we'll do is we'll mark as asset. And then I'm just going to put this into my doors, which is this one here. Make sure it's in there. And then let's save it out of the file. Save. And there we go. Now let's open up our file again. So it's this one here. We can delete this door out of the way. Now we can come over to our, we can turn off the wood and we can, hopefully, if we refresh it, there we go. Now there's our door. So now I can bring in my door, let it drop in. There we go. And let's put it into place where we want it, which will be something here. Let's delete this old door out the way. Let's then pull this out a little bit. Let's make sure the bomb of the door is right on the bomb, like so. There we go. All right. One quick look then see what it all looks like. Yeah, and it's really starting to come on now. As soon as we've got this bit here now, we've done pretty much half, well a third of it or something, but we've already got all the parts now I think there's two more doors, I think, and one more window. So we haven't got that much more to even make when it comes to doors and windows. But the next one is a balcony. And that one on the next lesson will be quite difficult, but I'm sure we can actually get that one sorted. Let's see then how we actually do this as we move along. The one thing I'm just concerned about the moment is whether this needs to be a little bit higher. Because this is the point actually where we can actually make it a little bit higher. I think what I'm going to do is I'm just going to grab all of this. I'm going to press the G button. You can see that I've got the option there to make this a little bit higher if needed. And the reason is because I might need to make this higher as well. So if I need to, I will make this higher. And then I'll also bring this up as well. You know, bring it up like slightly like that. And I think actually, you know what, I'm going to leave it like that because I think that looks much better. I'm going to come in then and what I'm going to do is I'm going to grab in shade mode. Turn off this. I'm going to grab this one. And I'm gonna pull it up just under there like so. And don't worry, we'll make it all fit together. We just want to make sure that it looks really nice from here. You can see here now, I think that looks a little bit better. Alright. Alright everyone. So, I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 50. Modeling Double Framed Windows Using Mirror Modifiers and Loop Tools: Welcome back everyone to the blender for ultimate guide. And this is where we left off. Now this balcony is going to be pretty complex, so fair warning. Take your time with it. If you make a mistake, just go back and start again or rewind the actual lesson. And just rewatch it just to make sure you're getting all that information. All right. So what we're gonna do is I'm going to first of all, press shift and I'm going to drag this out. And then what I'm going to do is this is the scale that I actually want it and I'm going to keep fairly consistent with this scale. The only thing I'm going to do is I'm just going to pull up this top of it. So what I'm going to do is I'm going to press controller. I'm going to press 12.3 And then what I'm going to do is I'm going to grab the top. And I want to round the top off very smoothly, so this might actually work. So let's press one, and let's see if I pull up the top like so that is going to work perfectly fine for what I need. Okay, so the next thing then I want to do is I want to actually take this door now. So let's grab this control, click shift, and let's pull it out without portion editing on like so. And then one we're going to do is I'm just going to hide this part out of the way. So I need to actually split it off, so LP selection and then we can grab that, hide it out of the way. Now we've got this part. Let's actually make a start on the actual door then. So if I come in and I press Tab, I press A to grab everything, what I'll do is press I, and I want to bring that in. First of all, we want to fairly chunky like so. And we might need to pull this out a little bit, I think. So what we'll do is we'll press A and then and X, just pull it out a little bit like so. And I think that is a little bit there, Don't worry about any of these parts. You can see the bending slightly, Don't worry about that. It will be absolutely fine. I just want to make sure though that it is level. I'm just making sure that the level going down the sides. Yes, it is, That's fine. It's just these are actually bending in because we actually pulled that out. All right. Now we've got that. Let's first of all change this bit into wood. I'm actually thinking that I might have actually gone a little bit too far. Let me just come back again before we pull it out and just go in again. I bring it in, I think I made it a little bit too thick. There we go, like so. And then let's pull it out. There we go, That's fine. Because we're going to have some windows in here, we're going to have some curtains and things like that. So let's come in now, and what we'll do is we'll grab this one, and this one, and this one, and this one. And then what we'll do is we'll press Y, and then this one. And this one, Y, and then we'll pull these out. So I'm going to grab this and I'm going to press the key to pull it out to extrude. And then what we're going to do is grab this one and this one, and I'm going to press the key to pull it out like soap. And there we go. That's the start of our door. Now let's bring in another piece of mesh. So we're going to bring in a cylinder, and I'm going to turn the cylinder down to 12. I know we don't normally do that, but with this we might as well, because it shouldn't have that many loops on it anyway, I think we'll be able to get away with that. If not, we can upscale a little bit. What I'm going to do then is I'm going to turn this round to ox 90. I'm going to make it smaller. And then what I'm going to do is I'm going to put it into place where I want it. So let's pull it out and then what we'll do is we'll shape this part there. So I'm going to grab this part and this part, delete faces. And then what we're going to do is we're going to grab this part going all the way around like we've done before, delete faces, and then we're going to grab this part. In this part, press one, and then you're going to press and Z and bring it down. And then you're going to press, and you should end up with something like this. All right, so this is going to be the shape of the windows in there. You can see they're a little bit too thick at the moment. I'm going to press and X N as to pull them in slightly and then one wins. Do is I'm going to pull them up slightly. So then what I'm going to do now is I'm going to come to the bottom part of it, come to the bottom. So let's press one again. And then we'll just pull it down to where we actually need it. And then finally now we want to know where the center is. The center is going to be there if I press Shift S cursor to selected. And now I can go back to this, this part here, press one. And now I can see where the center is. The center is going to be there. Why is that important? It's important because I want a middle part coming down here. In other words, one piece of wood coming down here in the center. And I want to make sure that I've got enough room either side to make another piece of wood that's going to be going around the actual window. If I now come into this part and what I'm going to do is I'm going to fill in the front, so I'm going to grab this front. And then press and come behind and press like. So now I can see what I've got. Now I can, I can press control or transforms. Right click, set origin to three D cursor, add in a modifier and we're going to add in a mirror. So we're going to end up with something like this. And you can see already it's really starting to form nicely now. Now I want to hide these out of the way. And I want to come back to this wooden part here. And what I want to do is I want to make this so that it's a nice piece of mesh. So what I'm going to do is I'm going to come, I think this is already split off, actually. Yes it is, so that's good. What I want to do is I want to press Delete. And I want to limit or dissolve that to keep everything but to make them nice and straight. Now I have to press one. What I can do is I can halve this. So I'm going to press K, I'm going to go two, so we can see them there. In fact, what we'll do is we'll split this off selection. Let's split it off. Press one. Now press the tab. And now what we can do is we can pull this down with the knife. A, pull it down to the bomb, press Enter. And then what we'll do is we'll pull one more down here. K, pull it down to the bomb, and then enter, and then K, pull it down to the bomb like so. All right, so now we've got that, let's split this off. So we're just going to grab all three of those. Right click and mark scene. Then we'll split them off now from each other. Shift click, Shift click the other one y to split them off and then a pull them out. Now what we'll do is we'll be level these off. Control all transforms right clicks, origin geometry, adding a modifier. And we're going to add in, or is it a bevel, there we go. Turn this down. Turn it one like that and then let's put that back in place. Now we can see straightway because we do want it to have this edging on here. This needs to come back a little bit. As you can see, what we'll do is we'll come in, we'll just pull this back a little bit, coming all the way around. All the way around. All the way around. And then what I'm going to do is I'm just going to pull that back to make it a little bit thicker so we have more space to put this in the wall. Okay, now let's hop back on over to this part here. We want this to be wood come into here. We don't want to fall piece of wood. In other words, the way that we're going to get around that is we're first of all going to come into the corners. Click Hopefully you can see that it's not going into the corner. We can see that it's not actually selecting them all. What we'll do is we'll just hide this piece of wood here. And then we're going to come back to here, a shift click. And if it's not, we're just going to select it. Going all the way through like so and all the way around taking a little bit longer. And shift click them just to make sure. Right click and Marcos then we're going to do the same thing on the top of here. We want to go all the way around here, Here, all the way around here and here. Here and here. All right. Let's right click then max scene. And then what we're going to do now is we're going to split these off. So I'm going to come to face select, I'm going to press L and L, Y. And then what we can do is we can A to grab everything, make sure that you're on individual origins, press the born, and then you'll see that we've split these off like so now, I'm just wondering, this is actually go off facing it, does this go off face on it? Yes, it does. So I think we already split those off, but either way it doesn't matter. So now we can just press controls head and just put those back next to each other. And then it can add a modifier. And we're going to add in a bevel. We're going to turn the bevel all the way down. Turn it up one, and let's have a look what that looks like. So now we've got some nice piece of wood in there. If a press ol tag, we've got some nice pieces of wood here on the back. I can actually come in now. I think I will just hide that out away again, because I'm going to need it again. Now what I want to do is I want to create the actual windows that are going to go in there. So the way I'm going to do that is I'm going to come to my piece of wood. I'm going to apply. Do I want to plan my bevel yet? I'm just thinking. I think I will. I think I'll apply my bevel now. And then what we'll do is I'll add in another modifier. And this time it'll be a bullion. And we'll actually select these parts here and then we'll put it onto fast. And then we'll press control like so. Now if I hide these parts out of the way you can see, that's what we've ended up with, looking really, really nice as you can see. And now what we want to do is we want to make. So if I press Alt and then hide this bit behind again, what we want to do now is we want to make these slightly, slightly bigger than what they were. So I'm going to press Tab. I'm going to press A, I'm going to press the Born. Then just make them slightly bigger than what we were then. What I'm going to do now is I'm going to press and Y and bring those in. What I want to do is now is I want to bring them in with an insert. The best way to do that is I'm going to show you another way. What you can do is you can come up to Edit Preferences and we can go to one that says Loop Tools. So this one here that says Loop Tools, tick that on, and then we're can close that down. Now what we're going to do is we're going to grab the front of this and the back of it. And I'm going to press to bring it in. Bring it in very slightly like so. And then what you can do is right click and you'll see that you've got on there that says Loop Tools. And what you want to do is bridge. And what that's going to do is it's just going to bridge the front and back. Saves you a ton of time actually. That U, that button. Okay, so what we'll do now is press grab everything. And now we're just going to pull them back. And we can see we're still a little bit out on this part here. So what we want to do is you want to bring in the middle of these because it's not coming quite enough. Can I lift that up and let's see if you're not going to see any wood there. That's the main thing that I want to make sure that I'm not going to see any wood underneath there. Actually, a thing that looks good. Finally, then what we can do is we can come to this shift click, press the Bom, press Y, And then what I can do is I can bring this forward now to create that actual glass. And there we go. That is the first part, near enough of this door. Done. As I said, it's a little bit complicated this door. And now we've done that though. We're going to make it even more complicated because we're actually going to be adding in some curtains. All right, everyone. So I hope you enjoyed that. I hope you're looking forward to the next one, and I'll see you on the next one. Thanks a lot. Bye bye. 51. Creating Curtains with Cloth Physics Simulation: Welcome back everyone to the Blender Four Ultimate Guide. And this is where we left it off. So now we've left it here. What we want to do is we want to actually create a curtain. Now the cloth simulation is a little bit, it's kind of hard to use. It looks simple, but getting the right cloth to be absolutely perfect to what you want it to be takes a little bit of time. So what I'm trying to say is, don't worry if it doesn't work for the first time, just give it a few more tries and eventually you'll get something that you're actually happy with. All right, so what I'm going to do is I'm going to press Shift and we're going to bring in a plane. I'm going to press Art and X and 90. And what I'm going to do is press one. Now I will also say that we will have some hanging tapestries on here. They are much easier to do than the curtains, so just bear that in mind. Now, let's pull this out, let's make it a little bit smaller. Let's press one to go into front of. And then what I want to do is I want to actually set it a little bit bigger than what I actually need it. So I'm going to press S and X, pull it out. And then I'm going to put it down to the bottom, joust above this wooden slit here, and then going to come in, grab the top of it and pull it to the top. So then what I'm going to do is I'm going to come in and grab this side of it and pull it down slightly like so. And that's what you should end up with. Now let's press control A, and we'll bring in four edge loops. So left click, right click. And then what we'll do now is we'll actually press a right click. Subdivide, Subdivided. Subdivide, Let's have a look. Subdivide, maybe one more subdivision, okay? Now what we want to do is you want to select one, you want to miss three of them, and select the next one. Rather than keep doing this all the way up, what you want to do is press control shift and plus going all the way up like so. And then what you want to do now is why we've done that, is we want to pin this cloth to something. So what I'm going to do now, over the right hand side, you've got a little triangle. Let's click that on. Click the plus bottom. And then what we want to do is we want to click this group, put in pin. Let's click a sign. And then what I want to do now is I want to press control. And at what we want to do is hook to new objects. And what we should end up with is an empty in there. Now, now basically we should have a cloth and an empty. But the one thing I forgot to do before doing any of that is I'm going to delete this out the way I forgot to actually reset all of my. Let's just actually go back before I actually do that. So before I edit in these pins, I'm going to go back control El transforms right click, Rogen geometry. And now I'm going to do is come in, click the plus click pin. So let's put this as pin. Let's go down then and assign them. And now we're going to press control H Hock to object. And now I'm going to press Tab to go into object mode. And what I'm going to do now is save out my work before I start the simulation. I'm also then going to grab hold of this part here. And what I'm going to do is come over to the right hand side. In fact, I'm going to grab my cloth first. Come over to the right hand side where it says physics. And then what I'm going to do is put this onto cloth. So now what I'm going to do is I'm going to come down and what I want to put this on is where is it? Let's have a look. It's going to be shape. Where it says shape, you want to put this on the pin that you actually made. You also want to put on self collisions. So now what we're going to do is we're going to go over to our layout and we're going to basically set this 20, you're going to then set the time line up to 2000, like so. And then what you're going to do now is you're going to simply press the space bar and nothing's really going to happen. You're going to end up with something like this. And you can see it's moving, Moving around a little bit in the wind like. So let's just press space part, Let's put it back to zero. There we go. You can see it's slower as it works its way up. What we're going to do is we're just going to wait for it to get up to round about 100 or something like that. And then what we're going to do is we're going to alter this, and you'll see, then we'll actually start having curtains. Now, the thing might be a little bit funny because we have self collisions on. So let's come down and turn off self collisions. And what that's going to do is going to make it much, much faster. Now we have a press space bar, now you can see much, much faster. So what I'm going to do now is I'm going to reset again. I'm going to come in and I'm going to make this smaller as the timeline is going. You have to be very delicate with this press space bar. Press the S bar and bring that in. And you can see a start bringing that in. We start to actually have curtains like so that now is set in there. If I bring this back now, press the spacebar. You'll see that it's set in there exactly as we need it. I'm just looking, bring this out. Rest space bar. It's actually should have been set in there, but it doesn't seem to be. I'm just looking to make sure I can actually work with this. What I'm going to do is I'm going to reset this Olt, and let's reset it. Press space bar, put it back now. I'm going to bring it in again. Bring it in now. We can see that's looking better as you can see. Now what we need to do is we need to, actually, I'm just going to re say back here and see if we actually get the same result. Yeah, you can see that we don't get the same result. We just have to be careful that. So what I'm going to do is I'm going to reset this again. Alters, reset it again. Start the timeline again. And then I'm going to bring it in now, very slowly to create my curtains like so. And then I'm going to do is pause. And I'm going to press shift. And what we're going to bring in now is a mesh. And we're going to bring in a Taurus. We're going to pull the Taurus over to here. I'm going to make it smaller. And then I'm going to just put it just in front of this curtain here. And what I want to do now is pull it across. So I'm going to pull it across round about here, Round about halfway, I'm going to pull it across. Now the first thing I'm going to do is put a collision on this donut. So I'm going to put collision on. And then what I'm going to do now is I'm going to start the timeline. Now when this timeline starts, it means that I will only have a certain amount of time to actually bring this over. Also, the gizmo will disappear. So what I want to do is press space bar and then X and move it over space bar X. Move it over very slowly. And you'll see now that it starts interacting with the curtain. Like so now we can actually let this finish. There we go, Nice beautiful curtains. Now what I want to do is I want this to be slightly out, so if I bring this back a little bit, you'll see there that we can actually bring it back to how we actually need it. Now, these are probably the best curtains I've actually made. I know that you doing this a few times really, really helps. So what I'm going to do now, I've got my curtains there. I'm going to come over to object, come down to convert, and convert to mesh. The other thing I would say is as well probably put it onto object mode and you're going to get a much, much better view of what your curtains are actually going to look like. Now the next thing is I want to just delete my donut out of the way. And then what I want to do now is I want to smooth these out a little bit. We already have a lot of subdivisions on here, so that might not be the best option, but we'll give it a try. So we're coming over. I'm going to save my work so we don't crash or anything like that. I'm going to delete this hook bend because I don't need my hook anymore. And then what I'm going to do now is add modifier. And we're going to go to generate, and we're going to bring in a subdivision surface. And there we go, actually I think they look about perfect. Now let's pull them back into where we want them, somewhere like that. I'm just thinking that it's just stuck on there. And then what I'm going to do is I'm going to pull them up into the actual wood. Yeah, they're pretty much perfect and I'm happy with those. Now, if you need to pull them out, all you can do is you can come in and what you can do is you can grab it. Let's say here, make sure you've got it on to smooth. And then what you're going to do is you're just going to press G, and you can pull them out very gently. Pull them out. So very gently and again make it bigger if you need to. Not like that. Let's pull them out. We go just make sure we don't ruin. You can see here, probably gone a little bit too much on this one here. Probably pulled it out a little bit too much. It's probably bare to pull them all out. And a thing that's going to look there and now can come in and slightly move them out. Now if they're not coming out in the way that you want, just put it onto sharp or something. And generally speaking, that actually moves them out a bit nicer than the other way like, so now you can see how they're looking a little bit more realistic, pulled out like this. Okay, so the final thing that I'm going to try and do is I'm going to try and just give them a little bit of thickness. Sometimes it works, sometimes it doesn't. So let's generate solidify. Just want to make sure that I'm not going any kind of going through each other. You can see here, this is the problem I'm talking about. So let's come in and just bring it down. Just before it gets to that point, just add a little bit of thickness on there. Let's have a look how much thickness we've got. And I think that is just about enough. Okay, so the next thing we can see is they're a little bit bumpy around here. So let's pull this up and we'll pull this one up. And then add in one more modify, and we're going to go to deform, and we're going to bring in a smooth. So let's bring in a smooth. Let's turn our smooth up a little bit. So let's repeat the action like so. And let's now bring it back just so we can get them as smooth as we can like so. And there we go. I think they are looking pretty good now. Let's pull it back a little bit and there we go. I'm happy with that. All right. I'm going to save my work. So file save again. I'll reiterate. Don't worry if it doesn't weigh the first time, just copy what I did. Take your time with it and remember whatever you're doing. It has to be slow and precise. So when you come to your hooks, just make sure that you're really making that hook very, very slow, bringing it in. And then you'll end up with a nice finish like this. Make sure as well that you do it in stages. Don't do it. Try and do it all in one go and finally keep trying out because the curtains will definitely not turn out the way minded the first time. I think I've done this five or six times and these are the best ones I've had. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 52. Techniques for Window Mesh Cleanup and Stylization: Welcome back everyone to the blend of four Ultimate guide and this is where we left off. All right, so now what I want to do is I'm just going to try and see if I can actually drag this over. So I'm going to press, bring it in a little bit, and Jaws bring it over like so. And then Jaws is going to bring that one back just to get it more in the center. I think that looks good. And then find the one I'm doing do is going to select my curtains. And before I actually apply all of these, I think I might try and put on a material. So let's put it onto our shaded mode. Let's then go over to our Asset Manager when this loads up. So let's save it out. So save Asset Manager, and then what we're going to do is going to go to materials. And what we're looking for is cloth like so. And here is our cloth material. Let's bring it in. Drop it on there. Delete it out of the way, and let's come to our curtain. Let's click on the new, no, not the new, the down arrow. Let's find cloth like so. And there we go. Let's press Tab Smart UV Project. And let's see what we've got. Okay, is that going to be unwrapped? Okay, let's go and have a look at what that's wrap like. No, I don't think it is going to wrap wrap. Okay. So I'm going to go to shading. I'm going to press the dot on what I'm going to do instead I'm going to press one. I'm going to press and I'm going to go, Let's have a project from view. Let's have a look, if I press A, now press the, bring that out. Let's have a look if that's going to wrap. Okay, now we can see, because we've got these kind of marks on here that it's probably going to be bear off if we go the other way, R 90. Let's take off proportion editing. And now we can see if I can put these in a place where there's not going to be many, that now they're looking much more realistic. And I'm just looking, move this out, Y, X, move it out like so we're going to put it on the render on. Just have a look what they looks like and I can see that a little bit to Sandy on there. So what I'm going to do is I'm going to press the S born, I'm going to bring that down. What I think I need to do with the curtains is actually, yeah, what I need to do with the curtains is now I need to go in and I need to bring that back a little bit, just on the curtains. So what I'm going to do is I'm going to click plus new. I'm going to put it down as curtains. And then what I'm going to do is I'm going to click the down our copy paste. And then minus like so. And then now I'll go into my curtains. And what I'm going to do is this bit here. I'm going to turn this up a little bit like so let's see if we can bring it back. Going to see if I can bring that back, but it's not quite as much. I'm going to go down the other way. If I'm bringing it down this way, yeah, that's the right way. So I'm going to bring it all the way up. It's nowhere near then. Like what it was actually, that's looking good. I can even come further. I think with this, I think I can bring this down even further. They're looking really nice now, really, really happy with how they look. Now what I can do is I can go back to modeling. Press the Tabon, and what I'm going to do is I'm going to set the orientation. So set origin to three D cursor add modifier. And we've got all these modifiers on still, so modifier stack in all the way, so mirror and there we go. Now what I want to do is finally I can apply all of these. So I'm going to come to object, I'm going to go down to convert and mesh. Apply all of those, and then we should end up with something like that. Now the thing is when I click on these, can you see how much topology is on there? We don't want that. In fact, if I can come down and see I think it's 166,000 triangles, we absolutely don't want that many polygons. So what we're going to do is we're going to come over to the right hand side, add a modifier. And this time we're going to look for a decimate. Now when I click my decimate, you can see interesting thing is it tells you how many polygons are in these curtains. 83,000 way, way too high. Let's bring them down something like 10,000 and see if we can keep the same detail as what we've gotten them. So what I'm going to do is I'm going to put this down to not 0.2 even lower. I'll brate down to 0.1 15,000 brate down to 0.8 like so. And that's around 12,000 polygons. And actually I think that's going to be okay. The thing is with polygons is you don't need to worry about them, but you do need to worry about them. You don't want to be creating. Things like lanterns with 1 million polygons in. Although it will go in you know, to unreal engine because of nanite, it will work. The problem is when it comes to texturing them or the problem is when it comes to actually exporting them out, they're going to be huge fouls. So we do want to reduce polygons for that reason. And the other reason is in blender, if you try bringing in something with 1 million polygons, it's going to be heavy on the system. So you want to keep things down to a certain level. So these curtains being down at 12,000 we could probably come in press control a, apply that and then come in again and generate and bring in another decime. This is how I tend to work. I tend to try and bring them down as much as I can without destroying the topology. All you can see here now, we can see there's a little bit of fracturing on these, and we need to be careful of that. So if I put this on not 0.5 now, you'll see now that we can probably get away with that as well. So round about 6,000 so whatever you can get these down to, that's what you're probably off bear doing. So control a, let's apply that, let's put it back then. Non material, and there we go. All right, so now we've done that. All we need to do now is we need to actually finish off the actual door here, and we need to finish off the actual windows. If I hide my curtains out of the way, let's hide them out of the way. Let's come back to it. Hide those out of the way. I'm just looking now at the wood wood. I need to just think I want these to go in or whether I want them to go outward. Actually, yeah, I think I'm going to leave them like that. I think actually they look quite nice. I could bring them in. Let's see if we can bring them in. Let's actually reset the transformation. So oh, we can't reseay because we need to press control late first. There we go. Now we can reseay all transforms cell region geometry. I'm just looking, would it be too hard to actually bring them in? I don't actually think so. I think I'll just leave them out a little bit. Yeah, I think actually that's going to be the best way of doing this part of it. Okay. So what we're going to do is we're just going to now make the wooden parts near just before I applied that mirror. I'm just going to go back bring on that mirror again. And then what I'm going to do now is I'm going to come in an old shift click, going all the way around. Old shift click, shift click, and then especially in the corners, Right click, right click, and max. Okay, so now what I can do is I can select all of these. So I can come in L, L, and then Y, and then L, and then Y, And then we split all those up. Now if I press A and I come in and make sure I'm one of individual origins, we should be able to make all of these smaller, which is exactly what we want. Now we can press tab press control A. And then what I'm going to do now is I'm going to start bringing in some materials for these. So let's first of all do the wood. So what I'm going to do is I'm going to come in press control on there. Oh, I also need to add in a bevel on this as well. So we'll just split these off. So I'll press on these two. I'll press P Selection, Split them off. It'll make it much, much easier. And then we'll come to these parts. Right click, Set origin to geometry, adding a modifier. Bring in a bevel, we'll put it onto object mode just for now, just so we can see what we're doing. And then put it up to one naught point. Naught three. Yeah. And I think that's going to be enough. Right click and shade. Auto, smooth. There we go. We can see that's looking pretty nice. What we can't see though is those little ridges in there. And the reason for that is because for some reason we haven't filled in these holes. So we're going to do is press a come over mesh cleanup bill holes tab. And there we go. Now we can actually see these like wooden parts as well. Okay, so now on the next lesson then we'll actually finally be round to gain in the materials that was the hardest bit of this balcony. There's a lot more to this balcony, but we're over the hardest hurdle now. So it's going to be much, much easier now to create the rest of it. All right everyone. So you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 53. Using Geometry Nodes for Balcony Base Planks: Welcome back everyone to Blender for the Ultimate Guide. Let's put it now on shader. And then what we'll do now is we'll get right on into actually unwrapping these. So smart UV Project. Click Okay. Let's go to Materials. Click the down arrow. We're looking for wood, and the one we're going to use, obviously, is the light wood. But we actually need to bring in another wood as well. Because at the moment when we only have light wood and we actually need, I think one that's a little bit a little bit lighter than this one even. I think what we'll do is, well, we also have a dogwood. Let's just put it on there for now. And then what we'll do is, I'll actually apply this one and this one, and this one. We'll press control L and we'll link materials. And then what we'll do, we'll come to this part first, Smart UV project click okay. And then we'll come to this one. And then Smart UV project click okay. And then what we'll do now, I'm not going to worry about these ones. We could of course, make them a little bit bare, but I'm not going to worry about them because you can hardly see them anyway. So what I'm going to do now, I'm going to come to this light wood click plus. And I'm going to click new click Paleo. Or we could call it something like yes, we'll call it prop Wood is what we'll call it. That'll make more sense. Pro. I'm hoping that we don't already have one. Let's bring, see if we've got one wood prop material. Let's see what that looks like. I'm just going to bring that out then. What I'm going to do is I'm going to come to this and I'm going to see what the actual wood looks like. Wood. I'm going to click a sign. Let's have a look if there's much difference in that. Let's double tap the and you can see there's a slight, slight difference in it. And I think that's just enough, actually. I think it's a little bit lighter than the other one. So what I'm going to do is I'm going to go to shading panel and we're going to come down and we can see here, this is where we can alter it. If you notice here, this is the bevel in, so all of the edges and this is the actual color of the wood. The RGB curve basically is going to be able to make it darker or lighter depending on what you need. So there you can see now we can make it tons, tons, lighter. Let's make it a little bit lighter like that. And I think that looks pretty good. Okay, now let's come over and what we'll do is we'll bring in our lights. So if I come over, put it back on shading and I'll come to these parts here. And then what I'm going to do is select them both. Press one and I'm going to unwrap. And we'll wrap. We'll wrap, Where is it Project? From, there we go, we'll press A and we'll make them a little bit bigger just for now. And then what we'll do now is we'll come and bring in our window, the window we want. Now we've got window two. Let's look, that's not the one. Let's have a look at window one. Window one I think is the one I want. Let's actually have a look at the other windows that we actually have under our asset manager once more. Let's put in window, we have this one. This one actually we're going to use this one. This one I think is going to suit the much, much bear. Yes, it is. Okay. So this one is window three. So we're going to have window three on there. We're going to come to these and then we're going to put in window three. Yes. That's looking much better. Now what we're going to do is we're going to go over to shading Then what I'm going to do now is I'm going to press Tab. And I'm going to come in and I want them to be fairly big. So let's pull them out like, so let's just put them over. Just want to see if I can get them right in the middle. I'm going to make them actually a little bit smaller, G, x. What I'm looking at is this right hand side one. I'm looking to see if I can actually get that to fit in any of these, because at the moment I feel like this dirt on here is a little bit too much for me. So I'm going to make them a little bit smaller and I'm going to put them into place like so. And then what I'm going to do now is this one here. This is the one I'm focusing on, just this one. I'm going to press and X, move it over more into the middle. Then I'm going to press S and X and bring it in, and then and X, move it over. So I think that is actually looking good. Now I'm going to do is just grab this one and I'm going to put it over at the top of the other one. So there we go There looking pretty nice. All right, let's press all tag and bring back our curtains. Double tap the, and there we go. There is what our actual Balcony looks like so far. So now we need this part here. I'm going to use this part just to give me an idea of how far this should come out. I'm thinking something like that. And what I'll do is I'll come in and delete this door. Delete vertices, and then I can pull that forward. So now at this point for this part here, we're actually going to use another geometry node. It's a plant geometry node, so to use that, let's go to modeling first. Let's save our work. So file save. And then what we'll do now is we'll come to this part Shift S Custer selected. And now I want to go back to my asset manager, so sorry, I need to be an asset manager geometry node minus this off. And the one we want is our plants. I'm going to bring those out and then I'm going to go back into modeling and error, our planks. Now first of all, let's bring our guy up. So we can either bring this all down to our guy, which is probably worth doing. In fact, the other thing is we might as well join all of this together because it's basically finished this bit. If I press, I just need to join the curtains and what I'm going to do is object convert mesh and then control J join it all together. And now I'm going to do is I'm, I'm going to bring this all down to the floor so we can see how this is going to work. I can see if he's stored out. Let's move this over on his balcony on here. How wide do we need it dead, 180 spinning around. If I put up some wood here, stow some wood going across here, I actually think that's going to be okay. Now, how big do we want our planks? Let's make our planks a little bit smaller. First, let's pull them out. Actually they little bit bigger maybe are a good size for our planks. I think they're a good size. So what I'm going to do is just put those in to the place where they want to be. I'm going to pull them back then to where I want them to be. And then what I'm going to do now is just pull them back the actual width of them. If I come over to my little spanner, you'll see it's a geometry node. Everything is all over the right hand side. You can of course, come in and you can have a look at how this geometry node was actually set up. This geometry node actually is much, much more simpler than the one that we did with the palm trees. The only difficult part of these is the bend. So the bend is going to be much harder to actually recreate because it's a bend, we can basically put it into anything. Okay, so now we've looked at that, let's go back to modeling. Because we're not actually going to be going through the geometry nodes. We're not actually going to teach you how to create the geometry nodes, We're just going to show you the benefits of them. And the fact that you can pretty much get these things now off many, many sites. Some are free, some are paid. But making geomet nodes is a course within itself. It's so long to create these things. Sometimes it takes us a couple of days just to create one geometry node. So very, very long, nearly as long as actually creating this scene. So I think we'll do in the future is bring out, of course, on geometry nodes, but for now let's not worry about that. So now I'm going to do is I'm just going to pull these back a little bit. So we've got plank length here where we can pull them back just a little bit and put that into place. I'm going to leave them there just for now. And what I'm also going to do is just grab this bomb and delete it out of the way. Now the other thing is, at the moment, these planks aren't very thick. So let's come back to our planks and let's make the plank thickness a little bit more before we do anything else. So let's put them under there like so. And they're looking much, much better. Let's pull our guy up and there we go. This is looking really nice at the moment. Okay, Now let's make the first of all, the balcony. So what I'm going to do is I'm going to first of all come in, grab a cube. I'm going to pull my cube down into this corner here. So I'm going to press S, bring it down over this corner. I'm going to press S just to make sure it fits within that plank. Pull it up and in place, so make it a little bit smaller. Pull it down. There we go. All right, so we're going to now pull this up to where we want it. So I'm going to pull that up to something roundabout there. And then from there then, what we'll do on the next lesson is we'll get this balcony actually built out. Then once we finish that, we need some chains on there and then a slight canopy going over the top. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 54. Modeling Support Structures for Balconies: We, Mike everyone to the blend for ultimate guide and this is where we left off. All right, so now let's make a start on this part here. So what I'm going to do on this part here is I'm going to grab it. I'm going to press Enter. Pull it out like so. Press just to bring it up. And then what I'm going to do is I'm going to press to bring it in. And then, and then to bring it in, scale it in like. So what I want to do is just make sure that I'm happy with the whole scale of that. Actually, I think now I'm going to do is I'm just going to duplicate this shift D, bring it over to this side now. So. And then what we're going to do now is I'm going to put a bottom part going over. So let's grab both of these. Press Shift S curse to selected and then what we're going to do is bring in another cube. So shift bring in a cube and then I'm going to make it smaller like so. And then pull it out. So SNX, pull it out into place and then make it smaller a bit more and then make it smaller on the z. So S z and then S and X pull it out into place. Now again, let's go to object mode so we can actually see what we're doing. Let's press S and Y to shrink it in so it's actually going to fit properly. And what we want is it just above there, just so your feet actually go under there. So that's normally how it would work. And then finally, what we can do is we can bring it up and put it into place along there. And I think that's looking pretty nice. Now, the one thing is I just want to make sure. I think actually on here we'll make this a little bit uneven. This bare bit uneven. This bare bit uneven. And the way we're going to do that is we'll come in, we'll add some edge loop control, left click, right click. We'll do the same then on this one, control left click, right click. What we'll do now is we'll join these both together, Control J, join them both together. Control or transforms, right click, set origin to geometry. Adding a modifier. We want this to look a little bit better. In other words, we don't want it like the stone where it all looks new and fresh and things like that. Cause it's stoney. It's not going to take a lot of damage. It's going to take a long time to be weathered, whereas the balcony is made of wood. It's not going to take so long. So what we're going to do is we're going to come to where we're going to go add it, sorry, add, modify it, generate. We're going to bring a bevel, we're going to turn that bevel down then turn it up one, maybe not 0.5 Yeah, like that. And then what we're going to do is press tab A. Grab everything, Mesh, transform, randomize. Turn it all the way down, maybe something like that. I think that's actually going to work. Let's make a random seed and we'll turn that up just so they look a little bit different from each other. I think that is fine. Now let's make them, I think, a little bit thicker. So what I'm going to do is I'm going to grab these. I'm going to press and pull them out a little bit like so. And I think now they look much better, right click or to smooth. And now I can do is we can come in and just bring in a few more cubes. These obviously are going to be the parts that are going to hold all of this together. I'm going to make it a little bit smaller, something like that. Grab, grab the cube, pull it up. So it's just just in there. And then what we'll do is we'll bring it up and put it into place like so just again, just in the top like so. And then I'm going to move it to the side now. And then what I'm going to do is add modifier. We're going to bring in an array like move the x factor a little bit out. And then we'll increase it. And I want it to be near enough by press one the same distance away from there. I might need to move this a little bit to the side. So now I'm going to do is while I've got my array on, I'm just going to come in control. Bring in a few edge loops, left click, right click, add modifier, Bring in a Bevel like so. And that bevel has worked out absolutely fine. Now finally what we'll do is we'll just apply these. We'll go to object convert mesh. Now find we can grab them all transformando. Then what we'll do is we'll turn this down. Maybe not 0.3 so I look at that and what I'm going to do is as well, I'll do that again. Mesh, where is it transform, randomize. Let's have a look at what that looks like. Right click shade, auto, smooth. I'm just making sure. I don't think I'm happy with how that is. And the reason is is because I already added in my bevel. So what I'm going to do is I'm going to actually press controls head and just go back just before I added all these. And what I'm going to do instead is I'm just going to apply the array, leave the bevel on. And now I should be able to come in mesh transform, randomize. And there we go. Now think it's looking better. So shade auto smooth. Because what happens is if you add that bevel in, you've got extra topology on there. Which means that when it randomizes it, it's going to move these edges away from each other on. So what I mean is at the moment you can see we've just got one edge up there. The moment though, I apply the bevel, you can see now we have two edges on there and the randomization is pulling those out too much. So that's why I don't want to do that. It's okay to apply it now, of course, because we've finished with the randomization. So what I'm going to do now is I'm going to grab these. I'm going to press Shift D. I'm going to press R and Z and 90. Step in to go over the top. What I'm going to do is I'm just going to place them in the center up here. Pull them back so that these then can go into the wall. So I just want to make sure that they're going in there like so. And then what I'm going to do is I'm going to do the same thing. So I'm going to basically press shift, bring them over. And then what I'm going to do though instead, is I'm going to rotate them around said 180 just so they don't actually look too similar. And then I'm going to put these into place like so now I'm going to do is I want to cut them away. The easiest way to cut these away is mine, be able to press three and I'm going to come away from here, Press tab A to grab within mesh bisect and let's bisect them from here. So let's make sure this is set to zero like so. And let's clear the inner or the outer like so. And it actually works. It's actually done them both at the same time. What a wonderful job that's done. Okay, control J. Let's join them all together. And now finally, let's bring these round shifty zed, zed 97 to go over the top. Let's bring them into place when I'm thinking I could probably got away with putting just three in there, Three in there from here. And then I can grab these ones. So what I'll do is I'll press Shift, Duplicate them, or Z 180. Spin them around. And then what I'll do is I'll move these into place now, the same I have done before, so I'm going to go over the top so I can see what I'm doing. Move them into place roughly where I think they're going to be. Press three on the number pad. And now what I can do is I can actually move them near enough into the same place. Okay. So I'm happy with that. Now what I'm going to do is I'm going to join these all together and I'm going to just go in and just select each of the ones that I don't want. So all of these four elite T, there we go. Now we can finally probably join all this together. I'm going to join all of these together like so. Then we'll go to object first, convert mesh control J. Join them all together, right click, shade, auto, smooth. There we go. Press, you can see they all move together. That's exactly what we want now, the planks underneath them. Let's actually come to these. So we have all of these options. Actually what we can do with these, we can see now we've got enough room on the balcony, that's fine, everything's good except these planks. These planks don't look particularly good. So let's actually fix those. So what I'm going to do is I'm going to come to my, we've got plank width, that's all fine, everything's fine. We just need to come down to our rotation. So if we rotate them, you can see now we can get some random rotation on them, which is really nice. We can also bring them up or down set, so we can change that seed if we want to. We can also rotate them to the left or to the right. Just be very careful when you rotate them. You don't want to rotate them too much, so just a little tiny bit on there. And then what we want is a random width. So if we turn this up, we're going to bring it down, we're going to get a random width on there, which is going to make them a little bit better, I think. Let's actually turn that not so much, so something like that. Double tap the A. Yeah, and I think that's looking pretty good like that. And then finally what we want is we want the random length. So we want to bring those out and have a random length on there. And finally we've got an angle or a compression. We really don't want to bend these. We can come in and actually bend these if we want, as you can see. But we don't want to bend them on this one. We're going to bend the canopy on top. I think maybe maybe we'll use it for that. And J. Yes, I think actually we'll, we'll do that with the top one, so I'll show you how to do that. All right. So they're pretty much done. Now, all I want to do is I want to steal this one here. And what I want to do is I want to bring it down. So I'm going to press Shift D, bring it down. I'm going to then spin it round, so x 180. Spin it around. I'm also going to move all of this up now. So all of this up. Let's pick it up off the floor. So I'm going to grab this one, then come in and pull it up, like double tap the eight. And then what I want to do is I want to make sure that this comes right to the edge of here because you know it's holding it all together. And X pull it right to the edge near enough of here. Let's press one, make sure that's the edge. That's the edge. Let's pull it down a little bit. So then what we're going to do now, I'm going to pull it back towards the back as well. So shift, pull it back said 180, just so it doesn't look the same. Let's put it back to wherever it's going to be in the wall, which will be somewhere around about there. We can check that as we actually work on it. All right, so this is this part pretty much done. So what we'll do now on the next lesson is we're going to actually put this against the wall to make sure everything works okay. And then from there we'll be able to carry on building it out. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 55. Attaching Balconies to Walls with Chain Geometry Nodes: Welcome back everyone to the blender for ultimate guide in this where we left off. All right, so now we can pretty much probably, I'm thinking whether I should join. I think I'll join all of this together. I just won't join the door. I'll actually keep that separate because I might want to just put this door on and not have a balcony or have a different balcony on. So I'm not going to join all of that together. But what we can do is we can now change this, these planks of wood to actual mesh. So what I'll do is I'll come to object convert mesh. And now you'll see that's being converted And there you go, now it's all mesh. Now the one thing that we want to do before actually joining it is I want to actually level these off as well because I haven't done that yet. So what I'll do is I'll come in, add a modifier, generate a bevel. Also, you can see here that there is an issue where the bevel is not working properly. Again, as we know. First of all, try all transforms and then set origins, geometry. And then after that, try a shift and spin them around. And there you go. Now they're working properly. And now we can turn that down. Turn it up to maybe not 0.3 maybe that's a bit low, so no 0.05 like so. And there we go. All right, so now we've all those, What I can do now is join all of these parts together at least. So control J. Join them all together, right? Click, shade, auto, smooth. And now finally, before we do anything else, let's actually bring in some materials. They're all going to be pretty much the same materials. We've already put a shader onto our window, so let this just load up. And then what we can do is we can steal, you know, the material from here and put it on this one here. All right, let's just wait for it to load up. There we go. Now what we can do is we can come to this, select this one, press control L, and we're going to link materials. And now we're going to go back and what I'm going to do is just minus off of that, one of this one. Minus off the wood props and the window. And then what I'm going to do is press U Smart U V Project. Click Okay. And there we go. Now you can see the wood's not looking too good on this one. And the reason is because it's a little bit too small on the UV map. So let's go over to shading. Let's press Tab, Zoom in, and you can see all of this. All we need to do is just make it a little bit bigger like so. And now you'll see it's going to look much nicer. Let's have a quick look then what it's going to look like, and then we go looking absolutely fantastic. And now what we can do is we can put this into place. I'm going to go back to modeling now. I'm going to press Tab. I'm going to grab this, grab this. And what I'm going to do is now, I'm just going to pull them over here. Now, bearing in mind I'm only doing this just so I can see how it's going to fit on there. So I'm going to leave this off now. I'm not going to need that at the moment. And then I'm going to pull it back into the wall and eventually we're going to be able to have this so that it will be able to be part of our asset manager. So you'll have that for your own projects and things, okay? So we've got that there now. Now what we want to do is we want to bring in some chain. So the first thing I'm going to do before doing anything is just save it out, file and save. And then what I'm going to do now is bring in another geometry note. So I'm going to come over to my asset manager and I'm going to come to my chain, which is this one here. And then what I'm going to do is just, well, I'm going to pull this chain into the scene like so, and now it's in the scene. What I'm going to do is I'm going to go back then to modeling. And here is my actual chain. And you can see this is a really, really nice geometry node. Really, really easy way to actually create chain. I'm just going to press control all transforms right click, set origin two geometry. And then what I'm going to do is just make it smaller and I want to make it usable. So what I'm going to do is I'm just going to come in and I'm going to delete one of the edges. So I'm going to delete this vertex here. Not the handles, just this part here. So delete vertices and then I'm going to come to this part seven to go over the top. And then I'm going to press and y and just pull it out. Now sometimes this will happen, it's not quite right where it's actually working like this. When it's bending like that, it's because we're using the Bezier curve. So what I want to do is instead of that, press shift S curs selected. And what I'm going to bring in instead is I'll bring in a curve. And this time we'll bring in a path. So we'll bring in a path, we'll spin the path round, so I'll z 90. We'll put it on object mode just so we can see what we're doing. And then what I'm going to do is I'm going to grab, grab this chain, I'm going to press control L and I'm going to copy modifiers. And there we go. Now that's sort of nice straight chain to begin with. Okay, so let's move it into place then where we actually want it. So I'm going to pull it up here. And then what I'm going to do is I'm going to make it a little bit smaller. Don't worry too much about the sizing or anything like that right now. All we want to do is just get it into place where we're going to put it. I'm going to put it, it's going to have to be just at the top of here, roundabout. Here is where we're going to aim for it. Let's try that again. X, Let's put it into the wood around there. Let's get it. Make sure it's straight seven to go over the top. Make sure it's straight into that wood. And then we can see that we're going to have to tip the angle up a little bit x, bring it out, let's pull it up. That is more of the angle. I think I'm looking for somewhere around there. Okay, Now what we want to do is we want to convert this chain. So what we're going to do is going to click on it, come to the right hand side, and the first thing I want to do is turn up the resolution. The resolution will just give you more rounded chain, so the lower this is more, it's basically like, you know, when we look at the cylinders and we turn up the vertices on the cylinders, that's basically what we're doing here. We're turning up the vertices to create more topology, which leads to a more refined shape. Which means that you can have them either really, really realistic or really stylized. You could have them like World of Warcraft wy, with kind of a lot more chunky. So this is what that does now. What I'm going to do now is I'm going to change the chain link distance. You can see I can change this. And the reason you might change that is because you can actually change the chain radius. In other words, you can make them much, much bigger if you wanted to. So what I'm going to do is I'm going to pull them down a little bit and I'm going to change the chain thickness. And then what I'm going to do is I'm going to line them up with a chain distance. So let's line them up, hold in the ship bomb. Let's bring them down and get them into the place that we want them. They need to be quite chunky because it's fairly, fairly heavy part. And the other thing is we want actually this part of the chain to probably be straight as long as you get it in that point. Same as this one. This one is probably also going to be a little bit straight. Then you should be absolutely fine. Now, do we want to stretch out our chain? In other words, do you want to stretch them out? So they're actually a little bit elongated. If you do, you can stretch them out. And then all you need to do is just change the chain distance again. And sometimes I find that looks a little bit bare. Something like that I think is looking a little bit better than what it was before. All right, so once you've got it, you can press control A now and actually apply these. If you can't press control A, just come up to object and what you want to do is you want to convert to mesh and then it will convert it. Now what we want to do is we just want to come in and delete the ones in here. We don't want this one for instance, or this one, or this one, or even this one, delete vertices. Let's take that off now. And then it should look something like this. Now I want to do is we just want to bring in some metal to actually hold this. All I'm going to do, I'm going to come to this point here. Press L. I'm going to press Shift cause Selected. And then what I'm going to do is bring in a cube. So I'm going to bring in a cube, so I'm going to make my cube a little bit smaller. And then I'm going to press S Y, bring it in. Then what I'm going to do is I'm just going to fit it probably around there. So I'm going to press S and's just pull it down a little bit. And I'm going to have this chain of thin, thin in there. So I'm going to make it a little bit wider so S and X pull it out a little bit. And then what I'm going to do is just insert the middle of it, come in, grab the face, and then just press and insert, and then pull it back like so. And then finally we can just pull this out now a little bit and then we can actually pull this down. And then you'll see that if I now grab my chain and delete this part. So L delete verts. Now you can see how that's actually going to go in place. Now we need to do is we need to just grab this part. So shift D, grab this part. Spin it round, so r x -90 It's seven to go over the top. And what we want to do is we want this to be a little bit smaller and then we want it to be into the wood like so I want it into the wood. So now I'm wondering if I want to pull this bit back a little bit. You can see at the moment might need to pull this back. So what I'm going to do is I'm going to come in, I'm going to grab my chain, sorry. I'm going to press L on here, delete vertices. And then what I'm going to do is I'm just going to grab any part on here, Make sure proportional editing is on, make sure smoothing is on. And make sure that you haven't got connected only on, because then we want to move the whole chain. In other words, if I now move it, you can see the whole chain is moving and that is what we want to do. So we're going to vary gently. Just move the whole chain into place without getting too much of a stretch. Okay, So that's looking pretty good and I think that's going to be supported pretty nicely there. All right, so now what we want to do is we want to actually grab both of these. We want to press control J, control all transforms, right click surgen geometry. Add in a modifier. We're going to bring in a bevel. Then we're going to turn that bevel a little bit down. Bring it up a little bit nor 0.05 it's a little bit too high. Nor 0.03 And there we go, that's looking a little bit beat. And then we're going to do is Tab, and we're going to Smart UV Project. Click Okay. And then we're going to bring in a material which will be black metal like soap. All right, so we've got black metal on there finally. Then what we want to do then is with this chain, we need some actual chain. Let's see if I've already got the material in here. Chain, Material, there it is. And then what I can do is now I can press a U and smart UV project, unwrap the malt. And now let's have a quick look at what that looks like. We'll have a look on the shader first, and then we'll actually have a look on the render before moving it to the other side. Then all we need to do then is put on the canopy on top of here. And this is what I was worried about that might actually have to move this part up. As you can see, there's going to be not enough room because we need some rocks and bricks and things like that under there. So we just have to probably move this up a little bit, which is not a hard thing. Anyway, let's double tap the then let's now save out our work. Let's now put this on rendered view and have a look at what that looks like. There we go. That's looking pretty nice. If I come back here. Yeah, you can see that's looking pretty professional. All right, so let's, again, I'm not just going to go to modeling. And then what we'll do on the next lesson is then we'll get that over the other side. And then finally we'll put some bricks actually in here. And then what we'll do is we'll create the canopy over the top. And then we have a really, really nice piece for actually putting into our asset manager. Alright everyone, hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 56. Modeling Attachments for Balcony Rooftops: Welcome back everyone to the Blender Pot Ultimate Guide, and this is where we left the art. All right, so now we've got these two parts. We can actually join these together. So control J, let's join them together. And then what we can do is just right click and shade auto, smooth. And then all I can do is press Shift and D, Duplicate it and put it over the other side. Just making sure that it's fitting in that piece of wood nicely like that other side. Now what we want to do is we want to actually create a kind of canopy going over the top of the. So before I do that, what I actually want to do is I want to create the wood. And then once I've created the wood, then I can actually work on pulling this up basically. So what I want to do is I want to come to this part here. I want to go in and just grab the center of here, so you can grab these two press shift desk because it's selected. And then what I'm going to do now, I want to bring in another geometry node. So let me just see if I can just bring in a cube. And let's see if I can change that to a geometry node. So geometry node, click the down arrow, and the one I'm looking for is planks. Planks. Geometry node. There we go. That is what I wanted to do. Okay. So now what I can do is I can shrink this down to where I want it so you can see something like that. I want to make them a little bit thicker, so plank thickness. Let's bring them up. I think I'm happy with the size of these. What I want to do then is bend it. I'm going to bend it, so it's actually going to go round. And you can see already that's looking really nice. Then what I'm going to do is make these a little bit bigger, pull them out a little bit, because what we want to do is we're going to need one on each side of these. We need a few more than this. What I'm going to do is I'm going to increase the plant count. So you can see now if I increase that plant count, I'm going to pull that back in like so. And then I'm just wondering, is that going to be enough? Maybe 14. And then what I'll do is I will pull this. So if I press Form, I want to just make sure this is in the middle, like so. And I'm thinking that is near enough in the middle. I think I can work with that. Then what I'll do is I want to pull this out a little bit once to actually go, so I'm going to pull it out there, something like that. Now what I want to do is I want to basically put a plank on the top of here. I'm going to come in and press shift. What I'll do is I'm just wondering the best way to do this probably going to be with a plane. Yeah, I'll bring a plane in. I'll press and Y, and bring that back to this point here S and Y's. Bring it back a little bit more, and then what I'll do is I'll press S and X, and then I'll bring in some H loops now. So control bring in some H loops. Make sure there's one in the center, so one in the center, like, so grab the center one. And then what we can do is we can actually pull this up. Hopefully it will work. There we go. That is exactly what we want. So we're going to pull it up near enough, just to the top of the. Turn this off then. And then what we'll do is we'll pull these down. Now each of these sides, we're going to pull down one, pull them down into place. And then finally, we're going to pull this one, this one here, and this one here. This one here, press one, and we're going to pull those down as well, making it a little bit flatter. Like next of all we're going to do then is going to press a and and pull it up. Now we have a fairly, fairly good idea of how much higher this needs to be. What I'm going to do is now I'm going to grab all of these going around, all of here, and we're going to pull all of this up together. So we're going to grab all of these. Let's see if we've got them all. You can see I've missed two there. So I'm going to move them up. I can see I've grabbed them all. And then I'm going to grab this, I'm going to grab the top one as well. And what I'm going to do then is just move them up, so this is rather the top. So let's pull them into place like so. And then what I'll do is they'll just hide this part out of the way. So hide it out of the way. And what I'm going to do now is I want this part here. This part going all the way round here. I actually want to pull up a little bit higher. Let's now press al tage. Bring back everything. So oltage, what I want to do now is just check to see what that's going to look like. First of all, I'm going to check it on my shade of view. Then what I'll do is I'll check it on my render view. I also want to make sure that now I've done that, Is this going to be high enough? Again, it's the same old question, we moved it before now I think it is the right high actually. I think looking from there, it does look very nice. Might just move it up just a slight bit. Let me just grab this. Move it up just a slight bit more. And then what I'll do is I'll come to the top, I'll grab this one. And this one actually press Tab and I'll grab the top of the slick top of this one and then I'll grab these. I'm just looking to pull them up just a slight bit, actually. That'll probably look nicer like that also, it gives a bit more room on this part here. Yeah, that's looking better. I'm happy with that. All right, finally then we'll just save it out and then what we'll do is we'll actually just have a quick look at our render now just to make sure that it's looking good. And I think, yeah, that's looking pretty nice like that. All right, so now what we'll do is we'll come back then to this part. And then what I'll do is I'll actually take this and I'll press shift D. Duplicate it. And I'm going to pull it out, not quite to the end, probably somewhere around there. And then what I'm going to do now is I'm going to come to my plants because now I've got them. I know how big they need to be now, so all I need to do now is make these a bit not so uniform basically. So now I can come down, I can turn up the randomness a little bit like so. And then I can turn, let's have a look. So we've got a set up and down rotation left and right. I don't really want to change that too much, just a tiny, tiny bit. And we want a random width just a little bit further down, like so. And then what I want to do is the random length, I want to pull that out just a little bit like so as well. Maybe a little bit more. Because we're going to actually be doing something with these, so we've got the right angle. Yeah, something like that. A little bit more uniform. All right, once I've got that, then I can press control A hovering over there. And now finally I can come in. Let's come into these. And what I'm going to do is I'm going to grab the two, the two at the front like so. And then what I'm going to do is I'm going to put this onto sharp I think. Let's press seven to 12 over the top. And then what I'm going to do is I'm going to pull these out. So I think that then is going to look much, much nicer than what it did. And then finally I can actually press and Y now, and I can pull them in. There we go. All right, that's looking pretty cool like that. Now let's put the parts on the side. So I'm going to press Shift Cube to make it a little bit smaller. Bring it to this side, make it a little bit smaller. Then what I'm going to do is I'm just going to pull it out to where I need it, which will be somewhere around here. And then I'm going to press and X to make it a little bit thinner. Put it into place now let's just pull it out and see where it's going to come to. So I'm going to pull it out without portion of editing on somewhere like there. The other thing is I want to make sure that it's just going to cover that. I'm going to press L pull it into place. I'm probably going to need to pull it up a little bit to make sure it's not in there. Now, the other thing is, is that a little bit too thick? Maybe it is. Let's pull it back a little bit. Let's pull it out a little bit. I'm just wondering, this part top of here, these two parts are a little bit too thick. So what I'm going to do is I'm jaws going to pull them down a little bit, which enables me then, to pull the top of this down, making it look a little bit better. Thing, that looks a little bit better than what it did. Now finally I can grab this shift. Let's grab this and let's pull it down. We need to basically make this a little bit longer. First I'm going to press and Y, make it a little bit longer. Then what I'm going to do is I'm going to rotate it around on the X and then just pull it down. Now I want to actually make it smaller on this way, but if I pull this down now, you'll see it completely destroys the angle that we're at. Instead of doing that, what you can do is come to normal, and then you can pull it that way instead. And then you can keep that beautiful angle you've got. Then what I want to do now is I want to pull it back as well. So I want to pull it back into place wherever it's going to go. I want to have the ability to do that. What I'm going to do is I'm going to press and X and pull it in. And then what I'm going to do now is pull it down. Now remember because normal still on, you might get a little bit punky with moving it around on the gizmo, so just remember that. And then what I'm going to do is now I'm going to pull that out into place. And I'm also then going to pull this back into place like so. And I think that's pretty nice. So I'm going to press control J on both of these. And I'm also then going to set the orientation to the cursor and then add modifier. We're going to bring in a mirror just to put it on the other side. Press Control. Now let's join all of these up together, including these planks as well. So control J, join them all up together. Control right clicks at origin to geometry. And finally, on the next lesson. Then finally, we're going to finish this off. We're just going to actually give it to some actual wood. And then I think what we'll do is we'll actually leave this one in there, put one out as our asset manager. We've also got just a few bricks to put underneath, but we can actually certainly sort that out after building this part. All right everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 57. UV Unwrapping and Straightening Wood Supports: Welcome back everyone to the Blended four Ultimate guide, and this is where we left off. All right, so before moving on, let's first of all add in a modifier. We're adding a level, and then what we'll do is we'll turn that all the way down to one. And let's have a look what that looks like. Again, we've got these planks, we've got an issue with them. So all I'm going to do is press a shift in, because I know that's what the issue is now. And then what I'm going to do is I'm going to put this down to not 0.03 Let's try that. Maybe not 0.5 Yeah, that looks much much better. Now, let's press Tab. In fact, before we press the tab, let's just join them to this. So if I get, grab these, grab this press control, L link materials. And then what I can do is I can come into these. Now I won't apply my bevel yet. I will apply it soon. First things first though, what we'll do is we'll actually come to materials and minus off the plank. And then what we'll do is we'll press Tab Smart UV Project. Click Okay. And there we go. All right. I actually think, I'm just wondering whether I want to straighten these up. I could actually straighten them up if I wanted to. So let's come in and do that first. So I'm just going to grab both of these. I'm going to press Shift in H, then just to hide everything out of the way, I'm going to go over then to Shader. And what I want to do is press Tab, and we can see the ones that are actually Ben out of place. So all I'm going to do is I'm just going to grab them like so. And I'm going to right click. And let's have a look, how do we want to straighten these? And the way I'm going to straighten these first is I want to make sure that I'm grabbing the right ones. So let's see if these on top. Yeah, it is just though, so if I grab them all, I can see that there are these ones here. So let's come in and what we'll do is we'll grab this one going all the way down to here. And then what I can do is I can put straighten and then, and move it out on the x like so. And then I can grab this one. And this one right click, straighten and then and x, move them out. Now what I can do is I can do all of these, hopefully at the same time. So I'm just going to grab all of these. Going down, right click, straighten, and then and X, pull them all over to the side like so. And then I can come in now and grab each of these have the bend. And I can go and hopefully straighten, rag, click, straighten, and then and x and pull them over, make them as thin as those. And now you can see the look really nice. Okay, so this is all of this done now, except a few rocks on the underneath. So let's actually do those now. So what I'm going to do is I'm just going to bring in a cube. Bring in a cube, make it smaller. Let's make it a little bit thinner as well. So we'll make it a bit smaller. We'll pull it up to the wall, We'll press and y just to make it a little bit thinner. And then what we're going to do is we're going to press and's ed just to make it more like a brick. And then what I'm going to do is I'm going to actually put this underneath this. I'm going to make it even thinner and Y and I'm going to stick it against the wall and just under here, so something like that. Then all you're going to do now is you're going to press Shift and D and bring in another one. And you're going to press and X and just make that one a little bit thinner, putting next to it and then shifting D. This one will be a little bit longer, something like that, shift D, and this one will be somewhere more in between. Then what we'll do is we'll press shift in D. We'll make this one a little bit longer. I'm also going to grab this one and press shift in D as well. And what I'm going to do is I'm just going to put this over here because I think it looks nice. All right, now we've got that. Now let's come in and actually grab this one here. And we're just going to pull it down. I'm going to take it off of normal. It's normal, It's pre global. Then what I'm going to do is I'm going to come to this one. I'm going to pull it up a little bit, and then this one, pull it down like so. And then finally this one. Let's pull this one down as well. So grab the bottom of it, pull it down. So let's grab them all now. Grab them all together. So control J. And then what we're going to do is now we should still have on our modifier. I don't think we've got our modifier on, That's a shame. Never mind. We'll actually make a new one, so we'll actually press control a first and then add a modifier. Generate a bevel, we're going to turn the segments up to two. And then what we're going to do is we're going to drop this down now to make them look like stones, like so. And you can see already, they look pretty nice. Now all we need to do is bring in. We'll bring in the material, we'll come to this one and we'll press control L link materials. And then we'll go to these. We'll just minus off the wall like so. And then we'll press tab a smart UV project. Click okay, and there's those blocks done. So now if we look from this angle, put it on render. You can see now that looks starting to really, really come together. All right, let's go back now. And then what we'll do is we don't actually want these stones in the asset manager or anything like that. All we want is this part here. We might as well come over and join all of this part together. So I'm going to grab all of these. All of these include my window. I'm going to press G just to make sure grow everything. I missed the chain there as you can see. And then what I'm going to do is come to object, we're going to go to convert and mesh. And then what I'm going to do is press control J and then right click and shade. Auto, smooth. Okay, there we go everyone. That's that part actually done finally. Okay, so what I can do now is I can actually press Shift D, Bring it over here, and then what I can do is I can press control C. And then one going to do is open up the other file, so the other blend file, bring it in and there is our balcony. So now I would actually put these in a clean order. I'm not going to be using these again, but I would if I was you put these in a nice clean order so they're, you know, in a really nice place. But, you know, we make these things and we have a stock of these anyway. We normally make things again. Anyway, we don't because obviously we're teaching people, so we're not going to be bringing in loads of assets or anything like that. We use them when we need to create scenes for courses. Sometimes we'll use these if it's a scene where people need a scene to actually do something with. But apart from that we don't do that. All right, let's press dot. And then what we'll do is we'll call this balcony with curtains like so. And then I'm going to write plate Mark's asset. And then what I'm going to do, I'm going to go to assigned and I'm going to put this in my doors because I think it could go there. You might want to make another one for a balcony completely up to you, file and save out. And then what I'm going to do is put that down and then what I'm going to do is now I'm going to delete this out the way. And hopefully, hopefully, if we come to our asset manager, now we have the doors, our balcony, which we be able to, let's see, pull out, let's see if I can pull it out. Let's put it on material. There we go. Drop that in, let it load up. There we go. There is our balcony again. The one thing we did forget though is I forgot to put windows unlit on there. We can put that on in a bit. We don't need to worry about that too much. Now what I want to do is basically I want to put this balcony also on the other side, being as I've got it, I'm as operating our 180, spin it round. Now what we're going to do is we're going to build a little bit more of this out. I think I'm going to put my other balcony in here, up against here like, so let's just make sure back against the wall. I'm just going to zoom into it. I can see here a little bit out as you can see if a pull back, pull it back there we are into the wall, making sure it's level with the other part. I'm going to press control once I can see the rear view of it. I think it just needs to come over a little bit this way, like so. And then I'll delete this one out of the way. This one's going to be a different balcony, so I'm not going to worry about that one right now. But this now is looking really nice. What we'll do on the next lesson is we'll actually make a start on this part over here. Because we've got pretty much all of the parts. The only things we need to do is we can delete these parts we don't need oh, sorry. These are the windows, aren't they? So they're just placements where we can pour windows a thing. What we'll do is we'll get all of this part built out just to take a break from such a heavy modeling, which gets pretty tiring. Actually. The other thing is I'm just looking on my reference here. We will need another balcony as well. I think that one then is the final, once we've created this door on here, that is the final door. Which means then we can actually, we only have one more window left as well. So you can see now we're pretty motoring along in terms of what we actually need to build for the actual building. All right everyone, So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 58. Working on the Backside Entrance Design: Welcome back everyone to the Blender Ful Ultimate Guide and this is where we left off. All right, so now what we're going to do is we're going to actually make a start on this part round here. So what we're going to do is you can see at the moment I've got these pillars in here. These aren't the ones with the blue in, in other words the pillows here. This one here is the ones that want, so we're going to make it a little bit different. Moving on round to here. So let's bring the first pillar in. Hopefully it's going to just fit in there really nicely as soon as you've got one in, the rest of them fall into place. What I'm going to do is we're just going to press shift. I'm going to bring out the other pillow pillar onto there. What I'm going to do is I'm going to try and get them a bit more centered so you can see now more in the corner. Then as soon as I bring now the arching, we will get a good idea of how these are going to look. Now I'm hoping if I stretch this arch, or if I make a huge, it's not going to make all the other arches huge or anything like that. So I'm just checking that. And then what I'm going to do, I'm going to press our head 90. And I'm going to put this into where it's going to go. I'm going to hide my palms out of the way. And then I'm going to press three just to go into a nice few. And then what I'm going to do is I'm going to see how these are going to fit in. And if I need to pull this out, because there is a chance that I need to pull this part out, it might not be actually long enough. And I think once I get this part in, better idea of how far I should be pulling out. If I put it down to something like this, let's pull it back a little bit more. Let's put it just under there. Something like that, so it's going on top. And then let's pull this one out to where that one needs to go and see how much gap we need. That looks round about how much we're going to need. You can see here, going down here, I'm thinking behind the other way. I'm just looking now at how long this is. I think I need to make this a little bit thinner. Actually, I'm going to press S and Y. Make it a little bit thinner, and then pull it back this way a little bit, and then pull this back this way a little bit. So now we still need to bring this out a little bit. So what I'm going to do is I'm going to come down and pull this out just so it lines up there. And that means then I need to bring out my balcony just a little bit. And then what I'm going to do is I'm going to bring out these windows as well. Just a little bit. And then I'm just going to come down to this. I'm going to pull this out just to line up with this part here. So I'm going to pull it out a little bit, line up with this part here. And now finally, let's put back our balcony. So we'll put our balcony back in place. And I actually think that then it is looking a bit better because it's got a little bit more width to it. Yeah, I think that looks a little bit better than where it did. All right. So now what we can do is we can actually start bringing these pillows in. Then with the pillows, we'll have 12 and we'll have another one over here. So I'm going to press shift, bring it over. That didn't work. Shift there we go. Bring it over to here. And then shift, bring it over to here. And then shift, bring this one over to here and put that one in place. And I'm not sure where I actually won that one at the moment. We'll see once we get these parts in, if I bring this in now, shift D, and then what I can do is I can spin it around so is at 90 and then I can pull it into place. I want to make sure that it's far enough back like this one here, so we've got the same distance. And then what I want to do is I just want to make sure that it's going to fit into place. In other words, I want to just put it there for now, just as a placement. And then I can put the next one in, and I can see that these probably going to want to be a little bit wider, so shifty. I can see that they're in the right place. What I want to do then is I want to grab them all. I want to press and X and pull them all out at the same time. Now let's come to this one. Now if I pull this one over here, we can see that they're still going to want to be a little bit wider, so I'm going to grab them all and X. Now let's put this one into place first, just like that, it's perfect. Let's then move this one into place as well. This one's probably going to need to be a, a little bit wider as you can see. Because you can see we've got this one. This one. This one. Just wondering if it's worth using the array. I don't think so. Actually, what I'll do is I'll grab this one, I'll press S and X, and I'll pull it out step on its own. And then I'll use this one and do the same thing, S and X. Let's pull this one out. Double tap the A, and there we go. That looks absolutely fine. Okay, so now let's think about our wall here, because we never actually fixed this wall in here. The other thing as well is I would like a beautiful arch going into here as well. So I'm going to actually do that. I'm actually going to lead these pillars out of the way now. And we'll put our doors in first because that will in fact, will it make it easier. Let's actually come to the underside of here. Let's actually move our floor for now. So we're going to hide that out of the way. And then what we're going to do is we're going to jaws come underneath here. And we can see that this underneath we don't actually need, so this underneath here we don't actually need. We can actually create our arch from there. So I'm going to press the lit and face us and we'll end up with something like this. Which means now we've got loads of room to kind of bring this floor from here. So what I'm going to do is I'm going to press control left click. Bring it down to something like here. And then what I want to do is I want to press control and go up this way. So I'm going to press control going up this way. Bring it over to something like there. And now I should be able to use this part here. So as you can see this part in here, and I can extrude it out, or I can press shift D, Probably going to be easier to be honest with you if I press shift D. So I'm going to press shift D, and then what I'm going to do is then extrude it out because then it means I can unwrap this completely separate from everything else. Now I just want to check and make sure it's not poking out anywhere. It shouldn't be, you know, it's not going into the back of there or something like that, I don't think it is. So that's absolutely fine. So what I can do now, I can grab the top of it. In fact, I'll isolate it out. Let's press shift age, isolate out. We're definitely not going to need this bit, this bit, this bit, or this bit. We're only going to need this wall part here. So I'm going to press delete faces, in fact. Oh, we're going to need that bit. I'm going to leave that bit on there. I'm just going to delete these three. So these three. So delete faces and then let's come in and let's press you and rap. Let's see if that wraps Okay. And there we go. Now it is there too much of a difference there from this one and this one? I think there is. So what I'm going to do instead is I'm going to let's press control one and go around to the back. And then what I'll do is I'll grab all of these. I'll press and I'll project from view. And then I'll go to shade in. I'm going to press Control one again so we get an idea of what it looks like. And then obviously we need to make this much bigger as you can see, like. So what I'm looking at is just this edge here. And I think all it is is the fact that I haven't quite moved it over. I think. Let's have a look. A little bit of an edge there, let's put on. You can't see it anyway. You can see a tiny, tiny little line there. I think that is okay. I really think that will be okay. The other thing I can do to get rid of that is I could actually come in and join these up. I think I can come in. Oh, it's where the bevel is. That's why, that's what's causing it. Yeah. So what we'll do is we'll join these up. If I come into wire frame, I can actually come in then and press on these and grab them both. And then right click. And what I can do is I can merge at center. And then I can do the same thing on these down here as well. So grab one of them and then you can merge at center. Now if I put this onto here, you shouldn't be able to see anything. There you go. All right, that looks pretty good. Now let's press sltage and bring everything back. And that's what we're left with now. Now what we can do is we can come around to this side, or we can just come to our Sat Manager and we can come into doors. What we want to do is bring in one of these doors like so. Now just remember though, actually I don't know if I want to turn one of these lights off, so you know what? Instead of that, I'm actually going to bring in this. I'm going to press shift, I'm going to bring it over. And then what I'm going to do is I'm going to spin this round now, 180. Spin it round, Press control one. And I'm just going to put that over there. I'm going to then press Shift and bring this one over here. And then what I'm going to do now is I'm going to delete both of these. Press delete, grab this. And then let's put them back into place. Let's hide out this palm tree again. Let's put these into place on here, like so. There we go. All right, that's looking pretty nice. Now what we'll do on the next one is then I'm actually going to leave that pillar. Leave that, We'll create this part going over here. We'll decide where we actually want it to come from. I want it, realistically the if I go in here, I want the arch to probably come from the top of here, just so I'm not clashing with anything else. So probably from the top of there is where we'll put our arch, and then we can have it going all the way down. And then if you was in a game and you were walking down, you looked up for the ceiling. It'll look really, really nice. Okay, everyone. So I hope you enjoyed that. I hope you enjoyed the course so far. And I'll see you on the next one. Thanks a lot. Bye bye. 59. Creating Curved Staircases for Back Entrances Using Simple Deform Modifier: Welcome back everyone to the blender for ultimate guide and this is where we left off. All right, so let's grab this arch and then what we'll do is we'll press shift S us to selected shift. And what we'll do is we'll bring in a cylinder. We'll make our cylinder something like 20. I think they'll be fine for this. And then we'll rotate it round on the y value like so then what we're going to do is I'm going to delete the front and back of it. I'm not going to need those. Delete faces. And then what we'll do is I'll also delete the parts which are coming down and going round like we normally do. So all of these following round like, so delete faces. Now let's see what this is going to look like when we've got it in place. So if I put it in place, so I'm going to go around the back of here and we're going to look if it's in place like that. As you can see it needs to go up a little bit and then you can see it's a little bit out on. I'm going to do is just press and y and pull it back into place like so. Now the next problem we've got is, as you can see, that it's still poking out through here. And we don't really want that. We have two ways of dealing with this. First of all though, the first thing we should do is come to the back of it. Shift and click, and just move that. Then down here, move it all the way down, all the way down into into here. Pull it all the way down into here. Now you can see the problem with guys, where do we want this to end? So you can see at the moment it's coming over here and it doesn't really end very nicely. I think instead what we'll do is we'll grab the whole thing. We'll press and Y and then what we'll do is we'll just pull it in. So I think if it ended like that, so in other words, we add one bit, coming out for here, one bit there. I think that then is going to look much nicer than it is at the moment to do that. All I'm going to do is I'm going to grab each of these sides and then I'm going to press Enter and Y and pull them out. Now if they don't pull out, just put it onto medium point and then and Y, and then you should be able to pull them out into place. Now just make sure this side, as you can see, is not quite level so I'm going to grab the whole thing. And when to zoom out a little bit, just so I can get my halfway point. And then I'm just going to move them over like so. And finally then I'm just going to pull them all out now. So and y, pull them all out like so. And there we go, Right click, shade, auto, smooth. And then we think we've got our arching now you can see not working this side. So I'm going to come in oak shift and click and then I'm going to pull it back into place like so. And just make sure it's near enough touching that part so you can't see it coming through and you can't see it up there. And I think actually that looks really cool. Now, we've just got to remember that we will need to put something in here instead Walder is, I'll just grab it going all the way around like so. And then walled is, I'll just press and just give that color there. And I think I'll also do it with this side as well. What I need to do is I need to come in and find it. So let's put on our x ray. And there it is. We're going to go into here old click. Pull it all the way out your, so we can see it. And then pull it there. And then what we're going to do is just grab this one and this one here, and press and there we go. Now let's maybe not split these up, but what I'll do is I'll unwrap these two separate. So I'm just going to go into face leg, grab this one. And then I've got that one. I'm going to press on wrap. And then what I'm going to do is hide those out the way, grab the rest of it. And then just press and unwrap, Press l tage, bring everything back. And now finally what I wanted to do is I just want to give it the right material. So I'm going to give it the war material. So if coming over, come to wall, there we go. Give you that material. There we go. I think that is looking, you can imagine you could put some pots and things like that on here. You could even have some ivy or vines hanging down here as well in a little pot that would look really nice. That's what we're looking for, something like that. We could also put some light in here as well, some big chandeliers, maybe to really set the scene up. Okay, I'm happy with that. Now what I want to do is now I just want to replace this. Do. I'm going to come round, I'll grab this. Do press then what I'll do is I'll press the 90. I'm going to press three on the number pad. And what I want to do is put this door in the place where it's going to be, something like that. Let's pull it back. So let's delete this door out the way. And now we can pull this one back. And you can see we've got a bit of a mishmash on the door here. Don't worry, we're going to fix that. Let's pull this back into place. First into some place like there. Then what I'm going to do is just think, let's have a look what we can actually do with this. That's another pillar there, so we'll just get rid of that. There we go. And then what we'll do is we'll grab this wall here, and I think I'll make a copy of this wall. What we'll do then is we'll just grab this face. Just this face here. Can I grab this face? I don't actually think so. Actually hide that. There we go. This one here, and this is the one that I'll need. So all I'll do is I'll just check how close that is. I think the near enough levels. So that should be okay. All I'll do is I'll just press selection. And then what I'll do is I'll just grab this face now with a, I'll press on the wrap. Then what I'll do is I'll just bring on instead of the gray box, we'll have our wall, like there we go, double tap the A. And there we go. The one thing that you might want to do with this wall, you can see it's, it's this wall. And we don't really I'm looking now to see if we need it for anything else. We don't really need it for anything else. The thing is we don't really want to have the wall. So what I'm going to do is going to come in and grab it here and just bring it, pull it all the way back into place where it should be. Then I'm going to go to here and pull it all the way back. I'm I can pull it back all the way just to the top of there. What we're going to do now is we'll just press a and we'll just unwrap it again. Wrap, there we go. Now it's looking tons bare. Okay. All right. So I'm happy with all of that now. As I said, it's nice to take a quick break from doing all that. I think what we'll do now and we'll do it on the next list and actually what we'll work on, I think next will be the three windows together. I think we'll do those because then we can near enough get most of the windows in. I think while I'm here what we'll also do is we'll just copy this. So we'll just press Shift D and we'll actually put this door into place. So that's already, I will bring it over here, so I'll also test out and see if I can steal the steps that we've already made instead of making some new ones. Let's delete that. Let's pull it back because if we don't have to make something, then we shouldn't. If we steal these steps shift, let's bring these steps around R, Z -90 Let's pull those into place over there. Let's see if they will go into place, which they will. So that's great. So let's delete those out of the way. Let's put these into place, just make sure that they're on the floor. We'll need a bit of a wall here. We're also going to make them a little bit thinner as well, so S and X make them a little bit thinner. The final thing with these steps is I want them to actually have a rounded part them, so I'm just going to pull that back out again. And I'm going to show you a really nice technique to make things rounded. Also just a bit concerned with where these steps are going to come to. They need to come just to there. And then this door will certainly need lifting up a little bit like so I'm going to save out my work. And then what I'm going to do is I'm going to come to these steps. I'm going to press Control layer transforms, right click, set origins, geometry. And then we're going to come in and add a modifier. And the one we want is deform. The one we want is simple deform. And you'll see now that they're bend in a really weird way. But if we put it on this way, you will see, hopefully not like that on the Z. It's not actually bending the way we want it to, but if we put it on Y, instead of doing it like this, what we can do is press A to grab it all. And then what you can do is you can put it on medium point. And then you can rotate it. Let's rotate it on the Z O Z 90. Press the tab and then rotate it back. Our Z -90 and rotate it back. Now you might find that you can actually twist it the way you want, as you can see, because you basically swapped it over in the edit mode. And then it bends the simple deport works, changing the direction that it's bending in. Now what I can do is I can actually bring this down, can make a slight bend on it like so there we go. We can see that it's looking pretty nice and it looks a little bit different. It looks like it's actually leading out. That's nice. Okay, so we've got that in now. We can save about our work and we also need to put a wall on there. But you can see now because we've built already a lot of parts, it's just really, really easy to bring it all together. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 60. Modeling a 3 Framed Window Asset by Merging Primitive Shapes: Welcome back if you want to the blend, the ful ultimate guide. And this is where we left off. All right, so we want to do our windows. So I'm going to take this one and we'll use this as our kind of base. And what we want to do, I'm thinking is kind of one in the middle which is a little bit arched. And then the other two on the side which will be a little bit more round. So what we'll do is you can also think about if you want to put all these windows together as well, I'll split them up. It's up to you. I think sometimes putting them together looks nice and sometimes splitting them up also looks good. So it's really down to complexity of what you want to make it. I think with this one actually, I'll have a look at actually putting them all together. So what we'll do is, first of all, we'll press shift S Ursa selected. And then what we'll do is we'll press shift, I think first of all I'll bring in mesh. Bring in a cylinder. And I'm going to leave that on 20, that should be fine. And then R x 90. Let's spin that round, put that in place. I'm going to follow what this kind of sizing that it is at the moment. And then what I'm going to do is I'm going to come to the center part of this center part here. I'm going to come in, grab this, put it onto Sharp. So I'm going to press one and then pull it up like so, making a slight tear drop. And that's looking nice already. All right, so the next thing then is I'm going to bring in the other two parts now and work out what I'm going to do with those. So I'm going to press Tab. I'm going to press Shift Day. I'm then going to come down and bring in another cylinder, spin it around so R x 90. Let's put it this side, then let's press and X and pull it out a little bit. Something like this actually looks what we're actually going for here. What I'll do is I'll just pull this out. Then what I'll do is I'll join this up and show you how to actually straighten all these out. First of all, let's look though where this is going to go. If we join these two up, let's press control J. Let's go into object mode. Let's turn off our x ray here. Now we can see where they're actually going to join up. So you can see it's a little bit out. It needs to be probably just about here. What I'll do is I'll grab this one. I'll press one on the number pad. I'm going to zoom in a little bit. Now I can see where it should join, So we can see that it can probably on this one here. This one on here, I think will make it the easiest one. This is the downward point, and this is also the downward point. So what I need to do is I need to pull it down and pull it out, and that is where these two should join. That would be the most efficient way, I think. All right, so that's that one there. So what I can do now is I can come in and join these two together. What I'll do is these two here. In fact, what we'll do is first of all we'll actually split this off selection. And then what we'll do is we've already got a cursor in the middle. I'll get grab this one control all transforms. Right click origin 23d, cursor add modifier and we'll generate a mirror. Put that on the other side. Now when I come to join to this it join much easier. I'm just wondering if I should also do the same with this one as well. Yeah, we'll do it like that. So I'll come into this one, I'll get rid of front and back press, delete faces, and then we'll do is I'll just delete this face all the way down to here. Delete faces. Then finally we'll do is I'll join this to this control J. And then it's going to join me. Now when I come in, I can actually come in and join this with this. If I come in here, press the little dot just so I can orientate myself around. Press the Born. Then what I'm going to do is I'm going to press M, where it merge as center. All right, those two are merged. I might as well do the same with this one. I might as well get rid of all these. Now we'll come in, we'll come to this side and I'll get rid of all down to the delete faces. And then we'll do the same with this one. Now, delete, delete faces on this one. Then from here, going all the way around here, delete faces. Now you can see we've pretty much a straight line going all the way through. That's I'm going to do now is I'm going to come in, grab them. Going all the way around. You can see they're still going round or there and I don't really want that. So what I'll do instead is control click, Going all the way around. Shift click, Control click. And then press shift D and then pull them out like so. And you should end up with something like that. And basically that's all you need, you don't need anything else. We can actually come in and get rid of this. So delete vertices and then what I can do now is then come in and apply that mirror because I've got the base for y I actually need now. So I'm going to do is press tab A. I'm going to press and Y and pull that out like so. Now we know that he's not going to be perfectly straight along gear. So what we're going to do is we're going to actually come in. Press A and then what we're going to do is mesh bisect. And I'm going to cut cross here like so I'm going to set this then to zero and then we know that is perfectly straight there. Now we'll just do the same with the backside as well. So I'm just going to come in mesh bisect. Do the same thing here, set this to zero, put it on the other side this time. And then we'll end up with something like that. All right, so now what we need to do is we need to grab all of these like, so press one and then on we're going to do is pull these down, seed, pull them down, down to here. And there we are. We have a beautiful window. Okay, now let's join all of these up. We have to join them up individually, I'm afraid. Then then finally on this one, just to fill in those faces. Now what we can do is we can start working on what we're actually going to do with these. First of all, we want to have the bit that's going to be in the inside, so I'll do is old shift click like so going all the way around here. And I'm going to fill in this part here as well. So I'm going to press, then I'm going to press Y, just to take that away from there. This can be in fact, no, I won't press Y. What will do is I'll do them all together. So if I do this one next, so Alt shift and click, going all the way around like so Ol shift, click and then fill them both in. And now what I want to do is that Jaws want to come in and grab each of these. Press tab control A, or transforms, right? It's the origin geometry. And now I can press and pull them in. Press I again. And there we go. Now they're being pulled in really nicely. You can see how easy that was when we joined those altogether. Yeah, I think I'm happy with that. All right. So now what I want to do is I want to work on these parts here. The easiest way is we'll have, yeah, we'll grab these. I'm just looking at the moment we have this, we can probably do this a little bit easier. So what I'm going to do is I'm going to press Y on these, then they're split off, and then we're going to press shift click, shift click, and Alt shift click. And then what I'm going to do is I'm going to press Y and then just pull those out and then and Y, like so. And then grab your windows and then we can pull those through into there like so. And then grab the back bit. Don't need that anymore. So delete vertices and there we go. Now let's think about the wooden slats that are going to go down here. We'll do a little bit different. I'll pull all these out a little bit further, actually, just to make it a little bit easier. And then what I'm going to do now is I'm going to come in and I'll join these two up first. And then I'll join these two up as well. And then we'll do is I'll join these two up as well. Now I'll do is I'll press control. And I'll bring in two, left click, click, control law two, left click, right click. And now we'll bring in one on here. Left click, right click. All right, so now we've got those, these are the windows. Now what I can do is I can come in, I can grab all of these, like so. And then I can press and bring all of these in. And now you can see that we've got the wooden parts that we actually need going around here. These thin bits will be the wooden parts, these parts will be the stone parts. Now I'm thinking is that in far enough so you can see there quite small on the top. But I think actually, I think actually they're looking quite nice, so I don't mind them being a little bit thin. I'm just comparing them then to the other bits of wood that we've got. Or they're going to be too thin, that's the question. Maybe they want to be and we're just going to go back. Maybe I want to bring them in a little bit more. Don't worry if they're crossing over like you see here. Don't worry about that. We can actually fix that. All right, so I'm happy with that. Now what we'll do is we'll grab this one. And this one what we'll press is M and we'll go at the last like so. And then this one and this one. And don't press it again, just press shift or and then we'll just copy that last command. Now you can go to this one shift and then this one shift. And there you go. All of that is fixed now. Okay, now let's split these off because these are actually going to be our windows. So press Y, and then what we're going to do now is split off this wood. We're going to have wood coming from there. Pretty much basically like we did before. I think actually if yeah, I'm going to come down to these two first and then I can pretty much do all of the next one. Right click markem, and then I can hide all of these. So if I come in, I just want to make as easy as possible for myself and come in there. And then I can press hide those out of the way and then I can come in once more and then walk press now. I think that's actually going to be fine. Okay, so we've hit those ones out the way. Let's just grab them now. Going like this, this and then press Y, H, Hide them out of the way. And then work all way down. We'll work all way down here. So we're just trying to get them all split off from each other, Y and H. Then what we'll do is we'll split these ones off, these bones and we'll go Y, H, hide them out the way. Then finally then and H, hide them out the way. Let's press all the, bring everything back. Now I want to do is I just want to, I think I'm going to grab all this one first and I'm going to press selection. And then what I'm going to do is grab my windows, because I also want to separate those off just to make it a little bit easier. So I'm going to press selection now. Should be left with just these. Now if I press on these, I should be able to press when we're in individual origins. And now I'll be able to see which ones haven't been split up. I'm looking at all the way around here and they all look like they've been split up. Which is great. Now what I can do is I can pull these into place, I can press the Born and pull them out like so. And then what I can do with these now is I can split these off away from each other. The easiest way to do that is just to press A and then we're going to go to mesh. And I'm going to go to clean up. And hopefully I'm going to fill all the holes. And now I should be able to add in a modifier. Bring in a bevel, and there we go. Let's bring that down then. Bring it up, 12.3. There we go. There's are wooden slats on there. And now all I need to do, right click, shade, auto, smooth. Just to smooth all those off. Now let's bring in our glass. So what I'm going to do is control A all transoms, right click its origins, geometry. Pull them back into place, like double tap the A. There we go. They're looking pretty cool. Now think what we'll do is we'll delete this out of the way. We'll save out our work. And what we'll do on the next one then is I think we're going to need to split these up a little bit to differentiate between the stone. And what I might do is I might pull this window out a little bit just to make it a little bit different. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 61. Fixing Mesh Gaps in Window Frames: Welcome back everyone to the blend of full ultimate guide and this is where we left off. All right, what I'll do is I'll grab this. Now I'm going to right click and shade, smooth. Shade, auto, smooth, sorry. And there we go. That's looking pretty nice now. Now the only thing I'm wondering is if I should bother now, I think what I'll do is we'll have this as a full block of stone. If I should basically have things like this in this one, I'm just wondering if I should actually do that. Because if we want to do that, what it means is we need to split off these two away from each other. And I'm not sure how easy that's going to be. I think I think we will. I think we'll go for it. So what we'll do is we'll come in and we'll mark a seam going all the way down here, so all shift click. And then what I'll do is I'll click on this one and click on the inside of this one and then come to the back. And then just underneath, just make sure they're all marked. Right click, mark scene. And then what we'll do is we'll come into this stone one first. Notefully, if I precel now we should be able to split all these off, so why H hide them out of the way? And now what we'll do is we'll just fill in these parts first. Because then it will make it much easier for us to fill in this part. Fill in this part. Now press old shift in H, I think it is. Oh, there we go. I think control shift H, I think reverses it round. I'm not actually sure. Let's come in and grab this one. Hide it out of the way. And now we'll just fill these ones in and you'll see there's a method to this madness as we work through it. So now we've got these at the moment and they're all split up. Which is great. Now if we want to make these look like stone, we need to certainly bring these bottom parts. We need to cut them so they're not going to look like wood. Because generally stone, it doesn't join like wood. Wood joins in that way because that's the strongest kind of seam you can get. But with stone, it's different. They sit on top of each other. So if we want that, what we want to do, first of all, we'll pull this out. So l shift click and we'll pull this one out so it stood in front of the other two. And I think that's going to look a bit nicer. Then what we'll do is we'll come into this one, we'll grab all this. So we're basically are going to fix this part first before doing anything else, and then we can pull this forward. Then finally what we'll do is we'll look at what's going on with this one. Because you can see that this here, for some reason, sat all the way back there. I don't actually know why it looks as though it's been spun around this one. But we'll fix that in a minute. First of all, we'll the windows in. Now, I'm going to come in L, L, L. And I'll pull these forward. That's one at the front, and then all we've got is this side. What we could probably do now is, I'm just wondering if, if I grab these parts here, this is the one that's a little bit all over the place. I don't know why it's gone back there. I can pull this one forward. If I pull this forward, there we go. Let's pull it forward there. And let's press tab, double tap the there we go. That one looks fine now. Now, then let's work on what I said we basically want to make going round here. Old shift, click shift, click shift, click, shift, click, shift, click shift, click, right click. Then what I want to do, I want a seam going down the bottom. Now the only way to do that really is if you press A, then you can come in to mesh. And what you can do is you can bring in a bisect. And then I'm going to cut across this way like so. And then I'm going to come in and level this out to zero. And then what I'm going to do is I'm going to bring this all the way down as close as I can to here. It should shine. Once you've got it, there we go. That then is directly in line with all of those. And what I can do now is I can right click, mark a seam. Now we've here, we've got all of our parts. So we've got these parts here. You can see here we've still got a seam going across there, so just make sure that you grab them going all the way. I think what I'll do is first we'll do these two first. So I'm going to grab just these two shift, Hide everything else out of the way. And what we want to do in fact, let's press Alt Age. And what we'll do is make this easy for ourselves. Hide the wood and the windows. Now we've made it very easy for ourselves. Now what I can do is I can come in and grab the bottom up here and the bottom up here. And you can see here, we've got this as well, So we want to make a solid piece. So what I'm going to do is I'm going to press Shift. Hide everything else out of the way. I'm just wondering, let me just check this. I'll deal with this one first. So I'm just going to grab all of this one first L, and then shift H, hide everything else. Yes, that's what I want. Okay. So now I can come in, I can grab L, L, L, L, and on the underneath. And then what I can do is I can press Y and then shift H, hide everything else out of the way. And then we can fill this part in and fill it in, press Alt H, bring everything else back. Now that one's all done, we've split those up. So now let's split the other two up. If I come in, shift, click, shift, click, shift H. Now all I need to do is fill in these tops. All I'm going to do instead I'll go to mesh, clean up filloles there we go. For some reason top holes haven't got filled, so let's fill them in manually. And then I'm going to press all tag. So now what we should have now if I come in and press control or transforms right click, so origin geometry, we're going to end up with a little bit of mess because we've not finished yet. But we're going to do is generate a bevel, and I'm hoping that this one here, you can see it's still not split here. So that's what I'm hoping. So let's put this to naught 0.5 and there we go. That's what I'm looking for. Now what I want to do though is I want to see why this is not split off. So what I'm going to do instead is I'm going to grab this, going all the way around the and press Y. And then there we go. Now it's split off, but this side, for some reason, isn't fixed very well. Let's hide it out the way, and let's see what's going on. Let's delete this part. So delete faces, and then let's fill in this part here. Let's press old. Now double tap the A, and there we go. That's that part done. So that's the first part done. Now let's figure out what we're doing in this one. So I'm going to press L, and we can see for some reason, yes, I need to grab it on this. So L and then L, and then Y, and then shift H. Let's hide those out of the way. Let's see if we can go to mesh, clean up, fill holes and yes we can, that's good. All tage and there we go, we've got those parts done. Now finally just the bottom bits. So we'll come in first of all, and we'll grab each of these so, and then we'll press Y and then shift in H, hide everything out of the way. And then what I'm going to do now is first of all I'm going to fill this one in this one, and then I'm going to press A and then I'm going to come to mesh, clean up, fill holes that's filled, all of those in a tag. Bring back everything else. There we go. All we need now is just to finish, to make this proper is to finish these bomb parts. You can see I've grabbed them going all the way around. I just need then just to grab the tops. And then one going to do is press shift age. And this is what I'm left with. You can see now what I need to do is I just need to fill in these parts. We'll fill in these two parts first. You can see these two parts here. I'm going to press F like, so I'm hoping. Yeah, let's have a look, why is that joined there? Let's have a look again without filling these in. I think actually for some reason, these are still joins. So what I'm going to do is actually I'm going to press L on the whole thing, and L on the whole thing, Y, and there we go. That's actually going to fix what we needed to do. So now what I'll do is I'll just come in, I'll grab this one and this one. This one and this one. And then, and then I'll grab this one and this one. And that doesn't want to join either. Look, that doesn't want to join. Let's see if I can do the same on this, then. Then I'll press L on this and L on this, and then press Question Mark. That doesn't work, so we'll press Shift. Hide the other one out of the way, so be able to join together. Now, press then, we've just got this one left. I'm just going to grab this bit here. Shift that one's fine. Tag, bring back everything. Double tap the Ala, bring back everything else. Let's press all tattle question mark. There we go. And let's have a look at what we've created that is looking really nice. It was a real pain to actually create, but it is looking pretty nice. All right everyone, on the next lesson then what we'll do is we'll get the materials in here, we'll get the little windows in here, and then we can start putting this window around our scene. All right everyone. Let's go and save that our work so we don't lose all that work we did and I'll see on the next one. Thanks a lot. Bye bye. 62. Texturing Three Piece Windows: Welcome back everyone to the Blend of Four Ultimate Guide, and this is where we left the art. All right, so now let's come in. And now we've got this, and let's actually get some materials on. So we're going to grab all of these stonework. First I'm going to press you Smart Uv Project. Click Okay. Let's come over then to our materials. Let's put in gray stone like so, let's put it on material and let's wait for it to load up. We've got a fair amount of shaders now. We're going to clean this up as well. After we've done these, get rid of any of the materials that we're not using. The reason, by the way, the materials keep coming in is because we're using the asset manager to bring them in. So we just need to clean all of that up. Let's let this load. So 26 shaders remaining. There we go. All right, so now we can see that's looking pretty nice now before I'm doing anything, I'm actually going to clean this up. So let's go to clean up unused data blocks. Let's go to clean up. Let's clean up. And I'm just going to clean everything up. Should be a board which is clean up, but I'm just going to make sure they're all clean. And then what I'm going to do is now save it out. All right. Let's now come to these parts here. These are the windows. I'm going to come to these parts, which should be the wood. These are the wood. I've got to make sure that this one on here, for instance, this should have a seam on there for sure. O shift click. Let's see if it's going all the way around. Right click. And man, what we'll do is we'll come in L and there we go. Okay, That's going to work on a smart UV project. Click Okay. And then what we'll do is we'll put it on wood, light wood, double tap the. Let's have a look. Well, they look like we could make this look a little bit better. But actually, I don't actually think it's turned out quite that bad. But we could certainly straighten those up if we wanted to. The other thing is let's have a look, double tap the ah, let's actually fix those just to make sure they look good. So I'll do is I'll just grab this one and grab this one and this one. Go over to my shade in press the bond to zoom into it. We go press the tabb, and here they are. All right, let's quickly straighten those up. So I'll do is I'll grab these two and these two. And hopefully if I right click straight and then grab this one And this one, not there. Let's come in again. We'll grab this one, this one. And then go all the way down through here like so. And right click and straighten. Let's see what they look like. Let's just press dot on them, so I can actually zoom into them properly. And now they're looking better. What I'm actually going to do then as well, is I'm going to grab them all. I'm going to pull them out. Just give them a little bit more on the UB map just to make them look a little bit better. And now I think they're looking pretty nice. All right, so now we've got the windows, so if I press one on the number pad, I'm going to come in and grab hopefully my windows, which are going to be these. I'm going to press A. I'm going to press, and then what I'm going to do is let's project from view. It's the easiest one when we do the windows and there we go. And then what I'm going to do now, I can split these off. I'm going to press a and, and I'm just going to put them over here at the moment. And then what I'm going to do is I'm going to come in and bring in a window. But let's have a look which window we've got. So we've got windows three, which are these? We've also got, let's see if we've got the other windows. I'm going to click the down arrow. We've got Windows two, not those. Then we've got Windows one. Which are these? These are the ones on Windows one. There we go. These are the ones at one. I think they're going to pretty much the best way. Now what I'm going to do is I'm going to try and get these into place. If I grab these two first I can drag those over and drop those into place like so this one is actually looking quite nice the way it is. And these two here, we can bring them over. What we can do with these is we can bring them over to somewhere like this. I bring them over to there, I'm going to make them a little bit bigger, then let's drop this one then into place. We can see then that we have a little bit of a difference in how big they are. Let's move this one a bit down like, so let's move the other one a bit down as well. Like so. And then let's move these now into position. So I've got these left. I'm going to do is I'm going to grab this one. This one and this one. This one and this one, and this one. I'm going to bring them into place. I'll drop these in there. I'm going to press and X and just move them over very slightly. I might make them just a tad bigger just so we've not got those little bits in here. Look, I'm going to do is pressed then x. Just put them in. And then we'll do is I'll grab these now. And then and X, let's put it in the center. Like the other one, you're just wondering, I'm going to put it in the center. I'm going to just hold it in the center like that. And then I'm going to do is just press S and X and pull them in like that. I think then we'll do is I'll do the same with these as well. So I'm just going to, I'm going to press a pull those in like the others. There we go. That's looking fantastic. If I put that on now on our rendered view. And there you go, you can see they are looking pretty nice. Okay, we've got those now, let's put it back onto material view. And then what we'll do now is we'll join all of these together. I think we've still got some modifiers on some of these which we have. So what we'll do is just box select, box select, and then object convert mesh control J. And then what we'll do is press control C. Open up our other blender. We've got our asset manager control V, and then we'll put it in. We'll call this window large or something like that. Window large, like so. And let's find it with the dot and right click and mark as asset. Then what we'll do is we'll drop this into our window, which is down here. Drop this into your window, and then finally save out the file. And I'm hoping again that it'll all come through. So let's see now if I delete that, so delete it out the way, come over to Asset manager, come over to my windows and there it is, Okay. So where do we actually want this one? The first place we're going to want it is we're going to want it in this area here. What I'm going to do is we're going to bring it out, let it spawn. And then what we can do is I can press one and then press and put it in roughly the right place where it's going to be for now. I think it's probably going to be a little bit higher than that actually. I think I'm going to lift it up a little bit in there. Something like this. Then what I'm going to do is just delete that one out of the way. Then I'm going to grab this now I'm going to come to the other side. I'm going to bring it around shift D and then bring it over and then R and R 180. Then what I'm going to do is I'm going to put this one press control one on here in the middle. And just a little bit, so let's pull it back in place like so. And then what we'll do now is we'll put one here, shift D, bring it down into place. Let's delete this one out of the way, pull it back. And this one we may need to, we don't actually actually fit in place. Then we have a look. I think that's the only two where we're going to need it. I'm just looking on my reference now. We've got actually all of our windows. I'm just looking. And we have one more door to make, one more door, and pretty much a balcony. And then we can actually start with the rest. I'm actually looking. Yes, we can actually do it like that. So I think what we'll do now is we'll create our last door on the next lesson. And then basically near enough, then we've got all of the doors, all of the windows. We need a canopy going over one of them. But pretty much then we can actually really start putting all this together once we've done that. So really, really moting along. Now let's go to file and save it out. And I'll see on the next one, everyone. Thanks a lot. Bye bye. 63. Creating Window Variants for Diverse Design: Welcome back everyone to the Blender Ful Ultimate Guide. And now what we'll do is we'll actually start with the final door then. So what I'm going to do is I'm going to grab, do I have a door that can just give me a little bit of a base. So what I'm going to do is just shift this. That'll give me the right scale. What I need said 90 and let's just put that in place. And then what we'll do is we'll create pretty much anything we create at this point. It's going to be fairly simple to what we've actually done. So what we'll do is we'll press one on the number pad. Press shift, just to bring in our cursor to the selected shift. And then what we'll do is we'll bring in a cylinder. Let's bring in a cylinder, let's put it onto something like 20, rotate it around, and we should be really faster to actually creating these now. And then what I'm going to do is I'm going to bring it in a little bit, so I'm going to press the S born, I'm going to keep it like this sort of scale apart from I'm just going to pull it down just on the z axis, so something like this. And then I'm going to put it around about there. I'm going to make it a little bit bigger then. So a little bit bigger, so it's just a little bit wider. And there we go. Now what we'll do is we'll delete the front and back. So delete the back. So delete faces. And then what we'll do is we'll come down now, come all the way over it with control, click at faces. And now finally what I can do is I can come down, grab both of these. Press one, and then E and Z, and pull them down like so. All right, so that's looking a nice shape. I'm happy with that. What I'll do then is he come in, grab them, going all the way around, and press and then Y to separate it off. And then we've got that part. And then what we'll do is we'll just grab all of this now. So we're going to press L and Y, make it a little bit thinner, and then bring it into place. Then what I'm going to do now is separate this off from everything else. Selection, separate it off. Let's come to this now. Control. Lal transforms right clicks the origin to geometry. Add in the modify, and we'll bring in a solidify. Okay, let's press one and then what we'll do is we'll pull this out now. So pull it out to the thickness we want. I'm thinking whether I want it to be in, I think it's going to be better in, to be honest. I think if we don't bring it in, it's probably going to be a little bit too big. So I'm going to bring it in like that. It's already on the outside. And then what we're going to do is we're just going to apply this now. Now let's come in and what we'll do is we'll bring this part. So this part here, we're going to press one. And I'm actually going to bring it up and then I'm going to grab these two, and I'm going to bring these up finally. Then I'm just going to come in, grab this sense part. Press the eye button to bring it in. And then let's pull it either in or out. I think I'll pull it in like, so let's right click and shade auto, smooth. Let's put it onto object mode just so we can see what it actually looks like. Now finally, let's come in and mock some same old shift, click shift, click shift, click shift, click, right click, mock, same. Now finally, what we want to do is we want to come in and grab this. Going all the way over there, all the way over there, y to separate everything out. A to grab everything and then mesh, clean up, build holes and then contro all transforms rightly it's origin geometry, add modifier and we're going to bring in a bevel and you can just see how quickly and easily the workflow is now. So quick. Now let's come in and make this part here now. So what I'm going to do first of all is I'm just going to press control all transforms rightly, Srogens geometry. So pull it out. Actually we don't want to pull that out because you can see at the moment that this is not the inside of there. So let's delete that out the way, and now we've made this stone. What I want to do is I actually want to come in and fix this, because I need to grab all of these going around there instead. So I'll do is we'll grab all of the back ones. So I'm just shift clicking and control clicking. And then what I'm going to do is I'm going to press shift D. And now you can see if I pulled that out. So if I pull that out, you can see now it's in the arch, whereas before it wouldn't have been. Let's press P, then Selection. And now to fix that, all I want to do is I just want to come in and press Tab and then mesh. Clean up. Merge by distance. There we go. So remove four verses. Perfect, Press the bottom. And there we go. And then what I'm going to do now is I'm going to press one. I'm going to come in then with my vertex, select this top one. And then what I'm going to do is press K actually for the knife press to move it down like so. All right, now let's join these two over as well. So I'm going to grab this one and this one. Press J, and then what I'm going to do is press control two, left click, right click. Finally, then I'm going to come in, I'm going to grab all of these. And then I'm going to press press I again if it's not coming in properly. And this is the way that we're going to make our door. Now let's separate these windows off Selection. Separate them off. And then what I'm going to do now is I'm going to grab my wood and I'm going to press Tab. I'm going to press A, I'm going to press control and mark seams. And then what I'm going to do is I'm going to see if I can actually come in. And unmark these ones. Because these ones I don't need mark seams. So what I'm going to do is right click and clear seams. All right. Now rather than actually selecting all these, what I'm going to do is I'm going to grab these two here. I'm going to press Y and then hide them out the way. Then what I'm going to do is I'm just going to select the rest of them. I'm going to come up to mesh and I'm going to go to split. I'm going to face us by edges, let's split them like that. And then what we'll do is we haven't got to go through all of that that we did before. You can see they're all split off. I'll take bring everything back. And then hopefully I should be able to grab all of these. And these shouldn't be split. So you can see these are not split because they hid them out of the way. So that makes it much, much easier to actually do that is what I'm saying. All right, now we've got that, Let's press E and extrude them out like so you can see we've already got a beble on because we use this. Let's though turn this bebble down 'cause it's way too high. So all we'll put it on is not 0.5 something like that. Right click and shade auto, smooth. Let's press Control all transforms. Right click, set origin to geometry. And let's put those into place. So now just start glass. So control all transforms right click, set origin to geometry. Draw up it into place, and there we go, there's our final window. Now let's come in and add in some material. So what I'm going to do is I'm going to apply this bevel and then we're going to go in. In fact, no, I'm not. I'm going to come in and then Smart UV Project. Click Okay. Material down arrow. Let's look for what's it called? Stone. Is it called? No, it's called greystone wood props. What is it called? Let's have a look. I'm going to just minus that off. I'm going to have gone here. Brownstone. There we go. It is called that. What I'll do is I'll grab this and I'll grab this. I'll press control l link materials. Let's put it on our shader. Let it load up. And then the one we'll pick on is going to be brownstone. Again, we have a few shaders now, so it's going to take a little bit more time to actually, you know, load up and things like that. We're using a lot more memory now basically as the scene starts to get bigger. And I think also asset manager also uses a lot of data actually when you bring them in. So now we've got that, we can see we need to unwrap them so you smart UV project. And then what we're going to do is this inside one, put it on red paint like so. And then what we're going to do now is the wood. So I'm going to grab all of the wood. I'm going to press you Smart UV Project. Click Okay. Grab the outside press control, L link materials and then come back to this. And then what we're going to do is light wood, click a sign. Let's see what that looks like. We've got actually some on this one, which is very strange going the actual wrong way. So what I'm going to do is I'm going to press control all transforms right. Click, Origins, geometry. Now a smart UV project. Click Okay. And we've still got some going the actual wrong way. And I'm just wondering what is causing that. It could be all of these seams. Instead of doing it that way, I I don't know why all of a sudden it's actually turning them around this way. Actually. I'm not so sure. What I'm going to do instead is if I come in and I try and grab, yeah, this one and this one, we can see why that is. Let's actually go on to object mode once more. I don't actually know. Let's go to shading. And then what I'll do is I'll zoom out. I'll come to here, I'll grab them all, and I'll just look at the ones that are actually facing the wrong way, which I'm not sure. Let's see if it's this one. Let's have a look at this one, okay? Any facing that way, we can see now all of these that are facing this way, I can just literally come down and I can press all on any of these and spin them around. What I'm going to do, I can see all of these on this side. I'm going to press B, go down them and then go up these ones here. Press control. And then what I'm going to do is I'm going to also grab this one, and then this one and this one, and finally this one. Spin them around, so our 90 like. So now we can say that all of those are going pretty much the right way, except these two on here, which we're going to sort out in a minute. So what am going to do now is I'm going to press A, I'm going to go, I'm going to express you. I'm going to right click. And I think not on here. Where is it? Straighten. It's the three dots. There we go. Three dots. Uv lands, no rotation. Click. Okay. Letty think about it's going to pack them in there, nice and neat for us Now, all we need is we need the front of these. If I grab these two, let's see if any of them. So we've only got one of them there. Which one is it? Is it this one? Nope. So we know it's that one. Let's grab the other one. Nope, it's not that one. So this one. So we'll press G, pull that out. So now what I can do is I can come in and straighten these two up. So I can straighten these two up at the same time. So right click, straighten out. And then we've got this one going all the way around to here. And this one going all the way round here, I think. So round two, not that way, this way. And then I can write, click and straight them. And then what I can do is I can press and Y and hopefully put them in the right way. And then A, sorry, not a L and then 90. And there we go. All right, so they're looking pretty good. Now what we'll do then on the next lesson is we'll get the windows materials in, we'll get those into the asset manager, and pretty much then we're finished with all of the doors. And I think I'm fairly sure we've finished all the windows as well. They are the tedious part, actually doing all those. Alright, everyone. So, I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 64. Strategically Placing Doors and Windows in the Scene: Welcome back everyone. And this is where we left it off. Sorry, we should say welcome back everyone. To the blender for ultimate guide. And this is where we left it off. It's been a long day, guys. So now all we'll do is we'll actually bring in, I think we'll actually copy this one. I actually like that one a lot. So what we'll do is we'll press one and then what we'll do is we'll press Tab. And we'll come to actually our windows. So I'm going to grab all the windows and we're going to project from view like so. And then we're gonna go over and I'm looking for a window and I'm looking for the one I want, which is two. No, not that one. Let's try one. No, not that one. So it's definitely going to be three. There we go. Okay. So now what we want to do is I'm going to make these a little bit bigger, like so. And then I want to put them in some sort of place that makes sense. So I'm just going to pull them to the side like so. And then what I'm going to do is I think I'll move, so these two, let's move them down just a little tad. I think that's looking fine. Let's then grab these two, and we'll just make sure they also look fine. Y, A, G, Y. And we'll put those more in the middle. Those ones are fine, and these ones will also move a little bit y. All right, looking fantastic. Now let's join them all together. So we'll come up to object convert mesh and then press control J. And then what we'll do is we'll copy that and quickly put them in our asset manager which is over here with the press control. And we have at the moment, let's have a look what the doors are called because we have a few of these doors now. I'm also going to save this out so I don't actually lose it. I'm going to go to this one round doing this door here. I wouldn't say, I would say it's an arch single. What's this one? Let's have a look. Arch single. Let's call this arch Glass. We'll call it that. Arch Glass. Like so. And then right and Marks asset. And then let's drop it into doors. This one here. And now finally we'll just say that out and then we'll just bring that in. I'm going to go to Asset Manager, I'm going to go to Shade In. I'm going to delete this now out of the way. And hopefully I'm going to go to Do and find the last in there. There it is, there is our last. Now, let me just pull up my reference so I can see where these doors are going to go. This it's going to go over here, so we can get this door in here, but it's going to have part of a balcony. So what I'm going to do is I'm going to bring in my balcony first. I'm going to press one on the number pad and I'm going to put in my balcony over here like, so the balcony also needs some rocks underneath, so I'm actually going to steal these rocks. And what I'm also going to do is I'm just going to press shift D. So you can see at the moment this rock is attached to then I don't really need that. Let's grab this one L delete verticesn what I'm going to do with these rocks, I'm just going to move them over and I'm going to right click and mirror on the X just to move them around. Now you can see they're looking a bit different from those rocks. And then what I'm going to do is I'm going to put those into place where I'm going to have them, which will be round back here. And then what I'll do is I'll move them back into place, grab everything then, and then move everything back into place. Making sure that my metal up here, the most important bit sticking out the wall far enough, then these bricks are in the actual wall. Now finally what I'm going to do is I'm going to come in and I'm actually going to delete all of this because I don't actually want this window in this one. I'm just going to press delete, hoping because I've brought this in, I'm hoping it doesn't affect the other parts. Now, let's give it a try and see if I bring this one out. Yes, it has, That's the problem I'm going to have. So I don't want to do that. I don't want it to be affected like that. So if I'd leave that on the asset manager, the one that I've brought in, I need to make a good duplication first. So now we know that, we don't want to mess around with that. So what I'm going to do is I'm going to again press shift D. And now I should be able to leave this out. I'm going to press one, I'm going to press, put this into the place where I want it, which will be roughly around there. And let's pull it back into the wall, so making sure it's sat on these bricks. So let's pull these bricks up a little bit. There's also to be, there's nothing going to be along here, but there is going to be something back here. Now along this top as well, on this top we're actually going to have this on ever, we're going to actually have something else on there. What we'll do is now we'll come in to this part. I'm going to press Lth. Bring everything back. Double tap the let's now come in, select all of these. Then what I'm going to do is I'm actually going to delete these out of the way. So I'm going to press delete. And then I'm going to come to this bit now, do pretty much the same thing as what I've just done. We delete all of these out of the way. So I'm going to press delete vertices. Let's see what we've got left. Not too much left. Let's come in. So delete Bert And there we go. All right. So now we can do is we can get our door and then what I can do is I think this one is the one I made, so I can actually bring in an asset manager or use this one. I think I'll use this one. I'll pull it up into place. So one, put it to the top of there, and then let's pull it out and see what that looks like. Let's make sure it's down to the floor. It's a little bit too high as you can see. It's not quite down to the floor, so let's pull it down into the floor like so. There we go. Let's press one just to make sure it's pretty even I think it needs to pull in this way. Just a little bit. And then what we'll do is we'll put it maybe a little bit further in the door. Double tap the A, there's that one. I've got a window there. I'm just looking where else I'm going to need this one. I think round this side is where I'm going to need this. So I'm going to grab this Shift D, Bring it around this side, so Z -90 Let's press control three G. Let's put this in place now in here we'll delete this one out. The way we know that this is, this is going to be actually a different balcony on. I'm going to do is just come and come in L delete vertices and then pull that back into place. We'll want it then. I want a couple or more of windows. I'm going to grab a window like this one shift, bring it out. And then 90. I'm going to press control one. Let's pull that one into the place where I want it, roughly around there. And then shift D, bring in another one. Then one we're going to do now is delete these two windows and then pull these back into place holding shift. So then I'm going to take one of these windows, shift D and then Z 90 control three, and then into place like delete this window. Now let's drop that one into place. All right, that's looking pretty cool. Now, let's look at this. Do let me just have a look at my reference again. We're going to have this window. I'm thinking, is it this window? Let's have a look. We've got this window, we've got three. Do these two doors. And this one I think I'm going to use this door again round on the top of here. So what I'm going to do is I'm going to press shift D. We're going to bring it round to here. We're going to spin it round. Then at the moment it's the wrong way round, I think. Let's spin it round. So was hundred and 80. Let's put that into place so I can get rid of this. I don't need this door. And then what I can do is I can come in, drop this row fully into place where it's going to go. And I can also make sure that it's actually down on the floor not floating in the air, Something like that. Double tap, the A. I'm also going to make sure for press control one that it's actually level at the moment. Now we've got an even space this side and this side. We've got that door in. Now let's grab the other door, which will be this one here. Let's press shift then. And then we'll do is I'll pull this out, z hundred 80, control one. And then what I'm going to do is press, and I'm going to pull that and put that door in there somewhere. Let's delete this part out. Let's then pull this part in like so, and let's make sure that it's not off the floor. Double tap the so now we've got that window in, we've got two windows in here, we've got this one in here, we've got this here. Moving along, then we need the same, this window again, I'm going to use over here as well. So I'm going to press shift D. I'm going to bring it over. And then what I'm going to do is pull it into place. And I can see that I'm probably going to need either this balcony coming down or this one going up slightly. This part here, in fact. No, I'm not. I know what I'm going to do. I'm going to cut this one away. So I'm going to put this one in there, so I'm going to delete this one from behind there I can grab it. This here where the balcony is. I'm going to come in L on this, grab this L, delete vertices and now grab my, so let's put it a little bit more in the middle and that's that door on. Then I've got three windows down here, and then going around I've got one window on the back here going around again, I've got balcony, one door here, one door here, and one large door down here. I think actually, actually we've nearly got all of those windows except one little window that we're missing that's going to be up here. So I'm going to press shift, and then what I'm going to do is pull this up and pull it across control three. Let's put it, let's see if it looks good. Maybe more to this side. Let's pull it into place. There we go now, is that looking good there? Should move it a little bit further over and I'm fairly sure that's it. All right everyone. Now on the next lesson, I think what we will do is we'll start working our way around this bit. We'll start working our way around here. And then we can slowly work our way up to this part. But you can see now already that if I come in and I put my camera here, let's go in. There we go. You can really, really see it coming together. Now don't forget, there is one thing that you're looking at here. You're not looking at this with composite on, so you're only looking at this as a basic view. It looks good and all that, But it's going to look really, really good once we actually get into the compositor and actually start rendering this out properly. Because the thing is, with the compositor at the moment, all of this, it's got no ambient occlusion on it, hasn't got any saturation on it, hasn't got any sharpness, it hasn't, you know, anything to do with the lighting or anything like that. So once we actually start in there, then this thing's really gonna come to life. I think what we'll do actually is we'll start just building round here and then we'll give it a quick render. And actually I'll show you what it's really going to look like just to give you that extra boost to actually, you know, carry on building out your model. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 65. Working with Cloth Simulations for Shades: Welcome back everyone to the Blend Four Ultimate Guide, and this is where we left off. Now I think what I'm going to do personally, is I'm going to shut my asset manager in that other file now and actually just spend the time working on this one. It's up to you whether you want to keep adding to that or whether you want to keep everything in this one. Well, there's no point keep going backwards and forwards at this point. I'll just re use the assets because I've already stored my assets anyway. Okay, With that said, let's get started then on this bit around here. And what I'm going to do, first of all, I'm going to hang this bit of cloth from here, going over to here, and I'll show you exactly how to do that. First of all, let's just grab this top pot. Press shift us is selected. And then what we're going to do is we're going to bring in the cube. We're going to bring our cube over here. So I'm going to press the S button. Bring it out, then this is going to be a little bit of metal and then the cloth can hang from here to round about here. Let's pull it out first. In fact, we'll make it a little bit thinner and X, let's make it a little bit thinner. Let's pull it out S Y, so let's get more into the middle. I think actually a little bit more maybe then and zed and squish it in like so this then will be made of rock or stone. And then what we'll do is we'll have another bit. So I'll do is I'll press Shift. I'll bring this out and I'll press and Z. I'll actually put this onto object motor. I can actually see what I'm doing. And then what I'm going to do is I'm going to press and y and pull it in a little bit more. And that should give me then a good base to hang my cloth off off. All right, so now we'll put another part in here. So what I'm going to do is I'm going to come to this part here. So I'll grab, yeah, I'll grab just this edge going on here. Shift S, Coaster selected. And then what we'll do is press Tab, and this time we'll bring in a cylinder. Let's put the cylinder on 20, should be okay. So we'll spin it round so our x 90. Let's make it a little bit smaller like so. And let's pull it up where I want it to go, which I think somewhere around there should be fine. And then what I'll do is I'll grab the front of here, let's take off. Is that even on? Nope, it's not. Let's go to face, select, grab this face and let's pull it out. And then what we can do is we can drape something from here over to here. Now I do think at the moment this is a little bit thin, so I'm going to press Alt Shift click, going around the side, and then I'm going to press Alton S and bring it in. And the reason I'm doing that is because I don't want to scale it all down because I've pretty much got it in the place where I actually want it. All right. So now I've done that, let's just put an end on this. So what I'll do is I'll grab the end enter S and then what I'll do is I'll just pull out the end. So like so. And finally then what I'll do is I'll bevel this end off, so I'm just going to grab it. Control B. And then bring a couple, maybe three edge loops in. Left click and there we go. Let's right click and shade smooth. All right, so now let's think about, I'm just wondering, is that shaded smooth? I hope so. We'll see when we've brought the rest of it in. So now what I'm going to do is I'm actually going to bring in a plane. So I'll press, I'll grab this one and this one actually. So now I've got them both and I'm going just put it in the middle. So shift S kirst is selected. And we can see for some reason it's put it over there, I'm not sure why. So what I'll do is I'll grab this one control all transforms. Right click, set origin to geometry, right click, shade auto smooth. It's just because I shaded smooth on that, not shaded auto smooth. Then what I'll do is I'll grab this point and this point now. And hopefully if I press shift S, cust is selected. It should put it more or less where I want it. Shift. Then let's bring in a plane. Let's pull our plane over. And then what I'm going to do now is I'm going to pull my plane up to here. Something like that. And then I'm going to grab, in fact, I'll measure it out first. I'll put it to the ends of here. First I'm going to press S and Y. Let's pull it out. And then what we'll do is we'll pull this down now. So I'm going to grab this end and then I'm going to pull it down into where I want it, which will be somewhere roughly around here. Then what we'll do is we'll pull this part out a bit. While I've got this edge and Y, let's pull it out a little bit and we'll just put it over to that place like so. All right, so now what we want to do is we want to basically hang this on here. First of all, as we did with the other cloth, what we're going to do is we'll just save out our work just so we don't lose anything. And then what we'll do now is we'll right click. In fact, we'll reset the transformation first before bringing in our subdivision. So it's set origins geometry, and then what we'll do is we'll grab it with a right click. Subdivide 345 and maybe six. So we'll subdivide it six times. Then what I'm going to do is I'm going to come in and I'll press double tap the E. And then what I'll do is I'll come to face Lt. And I'm just going to grab the edges on here. So if I press C, I can come in and just grab some of them like so because I wanted to be a little bit. Look a little bit more organic, so I'm going to grab it from there and there. And then what I'm going to do now is come in and I'll grab, let's say let's just hide this out the way for now so we can come in. And then what I'll do is with these points, I'm going to maybe this one I'm thinking to grab two at a time. Actually. Instead we'll do it a different way. What we'll do is we'll just come in and we'll grab two, and we'll just grab two or three randomly instead. And then we'll fit our change, just make sure they're kind of either two or three. If you've gone too many, don't worry, we'll just come in and minus some of those off. So I'm just going to press again. I bring in three and then another three. So then what I'll do is I'll minus and just tie them up a little bit where I need them. So you can see here, you can see they're randomly spaced. Anyway, this one's probably a little bit too close. Something like that, I think is going to be absolutely fine. Now, the other thing is I've lost those now because I put it on face leg, so I've got to come in and redo them. But anyway, let's come to the little triangle. Click plus and then we'll put pin again. And then what we'll do is click a sign. And then what we'll do now is come to these ones at the top. Come to at the top. I'm going to grab this side, on this side like so. And then what we'll do is click a sign. All right, so our cloth sh, should be nearly ready. So let's come over then. And what we'll do is we'll come to our physics tab. We're going to put cloth on. You'll see it drops through the floor. And that is because we know that our timeline is probably going to be set for. Click on it all the way over to one side. So let it load up our timeline and then we'll see how far up we are on that. We won't need as many as long as the timeline on this one, it's much, much easier. So you can see we're at 231. Let's put it back to zero. And there is our cloth. In fact, we'll leave them there. No, we won't. We'll press voltage, bring back this pole, and then I'll come to my actual cloth. All right, so now what I want to do is I actually want to open what's going on. Yes, that's it. This one here. And then what I want to do is I want to come down and set my pin. So pin group, let's set it to the pin. And now in a press space bar, we'll see that that happens. And that actually looks quite good already, but we wanted to look a little bit better than that. So the way that you can make it look a little bit better, the easy way is just to increase this vertex mass. If you put this on four or something like that, you're going to get a lot more bend now as you can see. And it looks a lot more actually realistic. So I think that's how I'm going to have it. We could also put it colliding on this if you want to, but I think for me, I think that's looking okay. The one thing I think I would like is maybe, let me just move this pole out. So shift space poll, Let's bring the move, let's pause that. I'm just looking at this part here. If I need to, maybe think about giving it a little bit more mass just to get these parts looking a little bit better. Mm, no, actually that should be okay. Let's just give it a little bit more a look actually. So we'll come in back to our cloth and then what we'll do is we'll put this on maybe, let's try five. So let's try five. Let's see what happens when that finishes. And maybe that's going to look a little bit there. Actually, yeah, that there when you could see. What I tend to do now is I put it on object mode and we can see now just how nice that's actually looking. I'll press Space Bar, and then what I'm going to do is I'm just going to pull it back to see if I can get it looking a little bit nicer. So you can see there. This is looking actually really, really nice as you can see. You can see though, that we do have some problems. It doesn't quite go in and we've got a little bit of a kind of indentation there, but it doesn't look amazing. Let's right click and shade, auto, smooth, and there we go, that's what we're left with. So now I think that's good enough to actually use. And what we'll do now is we'll go in and actually mess around with this. Because I do recommend when you actually do cloth, once you've actually done it through the simulation, just apply that and then go in and actually use maybe a little bit of sculpting or moving around the edges. That's what I highly recommend. So what I'm going to do is I'm just going to come over this side, Press control A. Where is it on here? Press control A, and apply that. And now we have our mesh. Let's come on over then reset our transformations again. And then what we'll do is add modifier and we'll go to generate, and we're going to generate a subdivision surface. And there we go, that's nice and smoothed out now. And then I'll just apply this now. Then what we'll do on the next lesson is we'll give this a little bit of smoothing, I think, to smooth out this just a little bit. And then what we'll do is we'll pull these back in a little bit. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 66. Sculpting Additional Details Using Sculpt Mode: Welcome back everyone to the blender for ultimate guide, and this is where we left it off. Okay, so the first thing I'm going to do then is just see if I can smooth this out a little bit. We don't want to smooth out too much because we have some beautiful folds in here. So what I'm going to do is have modifier generate. And we're going to where is it deform and then come to smooth. So let's smooth it out and see if we can get any more smoothness on there. And let's turn this up maybe a couple of times. And there we go, I think that's now smooth enough. And then what I'll do is I'll just press control. Now if you want to smooth it out smoother or add in some more folds, what you can do is you can come over to the sculp mode. We're not really going to be going in this, but I will show you, you have one over here which says smooth. And then what you can actually do is you can come on and you can see you can actually smooth that out if you really want it. I'm not going to smooth mine now. But you can also come over here and just quickly add in some folds if you want, you can turn down the strength on here so that it's not quite as brutal. And then let's bring it down and then we can add some folds like this. And then what you can do is you can smooth out those folds holding the shift button. So I'm holding shift and smooth them out and just make them a little bit bigger like so if you need to, you could also then come down here as well and you can actually bring it in as well. So I press control that can actually bring it in as you can see there. So what you can do with then is you can come here and kind of help bring these parts in like so which is kind of handy. And then I can smooth that out with holding or is it that's going to smooth and let's smooth that out like so. And just make sure that you don't go too far. Whatever you're doing on this because it's you can't really mess it up, especially with the lighting, you will be able to see if you go too crazy on this. I'm just going to smooth mine out a little bit more generally. Generally you can get away with a fair amount, but just be careful. You can also, one of the handiest ones is where is it? I think it's called crease. I think this is the crease ones. Have a look. Yeah, that's the one. This is the one. So you can actually use the crease button jaws to highlight these parts a little bit more like so and really bring them out. So I did say I'm not going to use this, but actually I'm quite happy with how that's turning out, so I think I'm going to use this like this and then I'll use the move tool. We should have one which is grab, which is this one here. I'll go over the top with seven. And then all I'm going to do is just pull these out like so. And then what I can do is I can make a ring there. I'm going to pull this one out, and then I'll pull the middle of this one out like so. And then let's grab this. I'll make it a little bit bigger. It's a little bit too small. A moment. Then on each of these, I'm just wondering if I should put the ring in here. If I pull them back, let me just have a look. If I pull them back, just want to see what that's going to look like. Obviously, I need to smooth them off again, As you can see, I'm just wondering if I can pull them out and put my rings there instead? Yeah. And I think actually that's going to probably look a bit. What do I mean by the rings where we're going to make some actual little links that are going to go on these to make it look as though it's actually hanging with something. So we can see here, let's pull these back. I think actually if I smooth those off, so I'm just going to move them off a little bit. They're going to look quite nice. It's a maybe I need to bring this up a little bit where you can see. Now we've got a lot more definition of where we actually want these to be. All right, lastly then, I want to make sure that these are in place. So what I'm going to do is just pull that down like so. And then grab this one and pull it down so it looks as though it's hanging a little bit better than what it was. Let's do the same on this one also. Let's pull this one over. Just a little bit like so and smooth it off just to get that smoothness back. And then this one to pull it off. Let's smooth it off again. I'm thinking that is pretty nice. What it'll be is I'll have to pull this up a little bit as you can see, but I think the rest of that is looking pretty good. Now I'm going to do is I'm just going to come out of the sculpting so as to say, and we're not really going to go into sculpting that much in this course, It's not something that we need, but it is handy to have just the ability to go into the tools and alter them a little bit. So I would highly recommend playing around with these. There are some cloth ones, as you can see here we have got a cloth one, which as you can see, if I pull that over, we can actually make some cloth details like so. So you can actually pull it down as you can see and make a bit more realism to your cloth if you actually wanted to. I would actually turn down the strength a lot on there. And then you can see if I pull this down, I can actually start to get a little bit of ripples as you can see. So like so. And I'm just going to smooth those off now like so just so I've got a little bit more of definition on there. All right. So I'm happy with that. Let's now come back to object mode. And then what we'll do now is we'll think about moving this down a little bit. So now I'm going to do is I've done all that, so I'm going to first of all bring up this kind of pole to here. Something like that. Just a little bit high, so it actually looks as though there's something going to be hanging there. And then what I want to do now is 12. Kind of pull this a little bit together. So I'm first of all going to try pressing and X and seeing if I can pull it a little bit like so. And then I can pull this out. Now it's going to look as though it's hanging much, much better, much more freely. And then what I'm going to do now is I'm going to come in, I'm going to grab these edges. I'm just going to grab one of them to start with. I'll leave it on sharp and let's see what happens. So I'm just going to press G and move my mouse in, and then just move it into place a little bit, hang something on there, and then I'll do the same thing in here. I'm just making sure they're close enough to here, so I'm going to pull it out a little bit. And there we go. I think that's going to be fine. Okay, so now let's bring in our first chain. So what I'm going to do is I could steal a chain off of here. We might as well use these or we could make our own. I'm just thinking that if I steal it off here, then we're going to keep the same size. So what I'm going to do is I'm just going to come in, I'm going to grab this piece of chain like so. And then what I'm going to do is I'm going to press Shift and bring it out without proportional editing on, of course. So let's bring it out. Let's press P, then selection. Let's grab it. Let's press control all transforms and then right click and set origin to geometry like so. And now's the time just to kind of get it into the place that we want it. So first of all, let's rotate it on the Y, Y 90, and then what we'll do is press R and Z and rotate it around. Just get it into some kind of audit. It doesn't need to be perfect, but you can see it's more elongated on this side and that's what we want. So what we're going to do then is put this into place. Now we can see that may be it needs rotating. So RY let's rotate it down. Let's make it a little bit bigger then and let's put it into place. So now what I tend to do is I will come and put all of these going along. So I'm going to press shift D. Bring them a long shift D. Just put them in place first. And then what we'll do is we'll rotate them shift D because we don't want them all looking the same. We can see here just just, we might need to pull that one back a little bit. Shift and then shift D, and then finally shift on these. And there we go. Now let's think about this part here. I'm just going to pull this one back just a tiny bit. So there we go. Now let's actually come in and press seven again and actually go in and rotate them around. We've got this one, let's just press R and's and move it around. Just spend a little bit of time just rotating them, making them fit where they need. So you can see some of these are okay. This one might need rotating around a little bit and pulling back. This one's okay. And then we've got this final one here, which should be Nor lonsd. Looking more like this. Okay, so they're looking good. Now we'll get another one. So I'm going to grab this one here. I'm going to press Shift D and bring it up. And then we'll put it into this wall over here. Let's put it in to the wall or into here. And then and Y, see if I rotate it round and then pull it down. Then R and Z. There we go. That's that one. Then shift, let's bring it over the other side now. And then R. Let's put it into there. Okay, let's double tap the I think are looking pretty good. Now I'm going to do is I'm going to join all of these just to each other. I'm not going to join them to the cloth yet. I just want them joined to each other so I can actually make them usable. And make it easy to use them so I can actually add a material. And then what I'm going to do now on the next lesson, is we're going to add a little bit of depth to this cloth because it's actually got no depth. It's just a simple plane at the moment. And then what we'll do is we'll bring in the materials, then we'll start building around this part on here. And finally, then then we'll take a render, and we'll go into the compositor as well, just so you can see how that actually works. All right everyone. So I hope you enjoyed that. I hope you're really, really enjoying the course, and I hope it's really motivating you to actually finish this model. Thanks everyone. Bye bye. 67. Texturing Cloth Shades for Realism: Welcome back everyone to the blended for ultimate guide. And this is where we left it off. All right, so now let's come to our cloth and let's give this thumb though. Generate solidify some depth. Now I recommend that you only actually give it this. You don't need to really give it anymore. I don't see the point in making it any thicker. It looks actually nice enough. The one thing I'm worried about is just this part here, which are mine, come in and see if I can just fix it a little bit with the actual sculpting. So I'm just going to come in and I'm going to put it onto smooth. I'm going to make my brush a little bit smaller with a little brackets. And then what I'm going to do is just press and hold the shift button. And just move it off just a little bit more. I think it was a little bit too sharp on there and maybe on this bit And just turn down your strength if needed. I think I'm going to go back actually. And what I'm going to do is I'm going to drop that all the way down. And then I'm going to press Shift and start smoothing that off. And there you go. Nigh can see now it's coming along much, much nicer and I'm happy with it. It's a stylized scene, so we don't really want too much sharpness in there. All right, so what we'll do is we should apply this. So let's apply that. And then we'll come to our materials, to our, sorry, our shader. And then what we'll do is we'll put that on, we'll let it load up, and then we'll start bringing in these shaders, everyone. It seems that the recording software crashed during that part, but basically, UV unwrapped it in the exact same way as curtains on our window previously. So feel free just to check back at it for referencing. Now, I will show you something else as well that you can do just in case you're struggling with the size of your file. What you can do is you can come over to the right hand side, so where actual cycles is. And we can click this born here. Then what we can do is we can come down and we can click one that says simplify. And what we can do from there, we can change the texture limit both in the viewport and the actual render. So if you're struggling with the 2048 textures that we have, you can actually bring this down. So you can see here, we can put this on 1024 in the viewport. Now what will happen is when I come to render, now you will see that these images, now all of these textures on everything has been brought down to 1024. If I bring these down, let's say to 128, you'll see it loads up and then you just see how blurry those are and now kind of rubbish, all of these look. Well, we've brought it down to 128. We can also then bring it down on the actual texture limit on the render as well, which will therefore make it much, much easier to render something out. So let's put mine back to 2048, But you might want to put this down just so just in case you're having a problem with the texture size. I'm going to put on no limit. Actually I've got quite a good system, but sometimes it does get a bit heavy, especially when we've got a lot of things in there. Okay, so now we've done that, let's actually come back then and that's actually give these materials something. So I'm going to grab this part here. I'm going to, I think I'll grab this. We'll grab this and this. And what we'll do is I think I've got most of my materials on there. I'm going to press control L link materials. And then what I'm going to do is come back to this now. Go over to my materials and just take off any I don't need. So I'm not going to need curtains. I'm not going to need the light wood. We're not going to be using that wood props, we're not going to be using, and we're certainly not going to be using the windows. And then we just want to add one more, which will be the gray stone. So let's use that. And now what I can do is I can come into this and I can bevel them first. So what I'll do is I'll join this and this together, control J. Let's join them together. Let's come over then. And what we'll do is add in a modifier and we'll add in a bevel. And we can see there the bevels kind of weird if I put this onto object mode. And that's simply because we just didn't reset our transforms right click, set origin into geometry. Let's bring it all the way down. Bring it up one, let's turn it down a little bit more, not 0.5 so. And there we go. That's looking pretty nice. And finally, then let's unwrap it so you not like pack Smart UV Project. Click okay. And there we go. Let's have a quick look at what that looks like then. That's looking fine, except this one here wants to be gray stone. So click a sign, and there we go. And now let's come to this part here, we'll join this and this. So I'm going to join this and this control L link materials. And then what I'll do is I'll actually unwrap this again. So smart UV project. Click Okay. And then let's put on the black material, which it is. So just make sure you're happy with that. This is looking pretty nice. I think he should be going the other way though. So what I'm going to do is press 890. Let's have a look. And I think that's looking a little bit better now. And now we've got our actual chains which are already done, because we've already stole them from there, anyway. All right, so now what I can do is I can join all of this together. So I'm going to grab this, this, this, this and this. And then we're going to go to object convert mesh and then control J, join it altogether. Control or transforms. And there we go, there is our cloth actually done. Okay? So I'm happy with how that looks. That's another part down on there. So what we'll do now is on the next lesson we'll actually start on this wall here. We'll get these materials in, which means we're probably going to have to come round and do this bit here. So in other words, fix this bit before we actually give it a render, which shouldn't be too hard actually, we should be able to create that block again and then we'll create this one going out. We'll probably create this. Yeah. I'll show you how to create. We should be okay. We should be able to recreate this part. I'm just thinking, I'm yeah, I'm going to have another another block going over here. So over this bit. So it means I can just take this bit separate out from the rest of it and work with it like that. I think it's going to be actually much easier to work with. All right, but we'll do that on the next lesson. We'll do is we'll save it out, we'll go back into the into modeling. And then on the next lesson we'll start work on that. Just before I go as well, just remember if you need to save out this in your Asset Manager, keep on doing that. And then you're going to have all of those parts ready to use. All right everyone. So hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 68. Adding Texture to Main Building Structures: Welcome back everyone to the Blend, the four ultimate guide, and this is where we left it off. Okay, so now let's come in and what we'll do is we'll grab this. But you can see it's already separated out, which is really handy for us. What we're going to do is press shift H, hide everything else out of the way. And then what we're going to do is basically rebuild this. So what I'm going to do is I'm going to come in, I'm going to grab this. I'm going to press shift S Custer selected. And then what I'm going to do is press shift. And do I want to press shift? No, don't. I want to press Tab shift and I want to bring in a cube. So I'm going to bring in a cube. I'm going to bring it out then to the size that I want it. So you can see roughly, roughly around this size is where I want it. You can see it's a little bit out on the side, so let's make it a little bit bigger and we'll try and keep it square. It doesn't matter if it's a little bit forward. Like you can see here. I think actually that's going to be fine if I bring it out a little bit more. And I think that's going to be fine. I'm going to actually bring it back, the tiny, tiny bit. I know I'm messing around with it a little bit, but I just want it like that. All right, let's bring it down then. And you can see now it's fit in nearly, Let's bring it just to the bottom holding shift. And then what I'll do is I'll just grab the top like so. And bring that up holding shift as well, just so it pops in there nicely. Okay, so now what we'll do is we'll bring in an edge loop. So control, let's bring in an edge loop down to here because we already measured this up. And then what we'll do is we'll bring in another edge loop going across this way. So left click, right click. And then control B. So bevel, bring about the bevels to nothing or just two. And then let's put it in holding shift right to these parts here. And now what we can do is we can actually bring these out. So what I'm going to do is I'm going to put on my x ray. And then what I'm going to do is go to face select. I'm going to select this face and this face. And then what I'm going to do is bring them out. So I'm going to press E. I'm going to bring them out to this point here. And then what I'm going to do is I'm going to press E. I'm going to bring them out to this point here like so. And then finally what I'm going to do is I'm going to join these up. Now I'm going to actually, at this point, delete this out of the way. I'm not going to need it anymore, so let's delete it out of the way. And then finally I can come in to this point. This point, press the bridge right click and we're going to bridge faces like so. And then finally what we'll do is we'll bring in some Ge loops. Now control are along here. This point here, bring in a middle one. Always a middle one. Whether it's seven or whether it's five, it needs to be uneven. Left click, right click. And now finally what we can do is just turn off our x ray. And then what we can do now is we can try and bring this out. So we want to have a really, really nice part coming up. So what I'm going to do is I'm going to grab the top of here, I'm going to press control one to go into this kind of view. And I'm thinking, do I want to be very careful that I don't move these bottom ones? So I could use proportional editing, but may be better off just using. Yeah, just not using it. So let's grab all three of these. Let's press control one. And then what we'll do is we'll bring that up like so, and make a nice kind of slope on there. And then I'll bring this one up and bring it up, jaws to tad like so. And then finally bring these two up and bring them up very, very gently like so. And you will end up with something like this. Now let's right click and shade, auto, smooth, and that fill up what that looks like. Now this might be, might be a little bit too angular. You can see these parts here. So what you can do is you can actually come in press control, control beyond this one. And then what we're going to do is just sorry, not control. B shift, click, shift, click. Now, press control, Be on both of those. And what we can do is we can just level those off and make a much, much smoother kind of surface. And that I think looks really nice. Now what we're going to do is we're going to put a floor in just for now, just to be able to actually create this stone. Because we're going to create some stone there. So what I'm going to do is I'm just going to join it up with these three. I'm not going to join it up with these because these have too many edge loops and I don't really need them. So I'm going to press, and then I'm going to press Y. And now we'll see that all we have here is just four sides. We haven't got all of these little points. If we put this on verticlect, you'll see we have all of these points here. But if I move this part up, you'll see there's nothing on there. So it's nice clean finish and that's what we want. And then finally what I want to do is I want to probably level these off. So let's press control A or transforms right clicks, origin geometry. And then let's come in and first of all, what we'll do is we'll get rid of the top because we're certainly not going to need that. And we'll also get rid of the bottom because we're also not going to need those. So I'm just going to control click going all the way around like so. And then delete and faces like. So now let's see if we can bevel this off. So I'm going to add in a modifier. Generate in a bevel, I'm going to turn this all the way down. Turn it up one and then we go. Now we've got a slight bevel going across there. And finally now let's bring in our wall. So I'm going to look for wall, this one here. Let's get that on. And then what I'm going to do is I'm going to press A on everything and you and smart UV project. Click okay. Now sometimes it's not going to unwrap properly, and sometimes it will unwrap the way that you want it. So just make sure that you check and make sure that you're actually happy with how it's unwrapped. I think this bit here should be more on the top here. Just this bit here, I think I will turn around. I'll see if I can. So I'm just going to grab all these. I'm going to go then to shading panel and I'm going to press Tab, and I'm going to see if I can 90 spin them around. Let's try spin them around again. In fact, no, it's actually at the top like that. So let's put them in. There we go. Let's have a look what that looks like. Unfortunately, I didn't grab this one, so I'm going to grab all three of them again. I'm going to press, I'm going to just unwrap them like so you can see here, I didn't grab them all, so I'm going to press -90 and then put that in place and then make them a bit smaller. In your view of V, I think that maybe look a little bit bare. Okay, not so sure about this part on here yet. Let's have a look. If I can come in and press a, spin it around, so r 90. Spin it around again, 180. We just want something that makes a little bit more sense, make it a little bit bigger. And there we go, A little bit of dirt on the bottom, I think makes more sense. The same for this one as well, I'm not sure about these. On the wrap A -90 let's press then. I'll rotate it round again, so we've got a little bit on top like this, 180 and then just put a slight bit of dirt in there and make it a little bit smaller like, so there we go. Now I've got a slight bit of dirt in there. I actually think that's going to look good. Okay, so let's press Altge and bring back everything. Hopefully, it should fit in really nicely. Let's just wait again, if it has taken a long time, just reduce the textures. I think, you know what, I'm going to reduce the textures in the actual viewport. I think it's going to speed up my blender. No end, there we go. So let's come in and file and save. And then let's go over to the simplify over here. Simplify and just put texture limit in the viewport down to 1024. I think that's going to speed it up, especially when we're clicking on rendered view, we can still have a good idea of what it looks like. So now we can see this is what this part looks like. Come in round to this part. We have got our sun a little bit high. Let's come in and put our, put it down a little bit. Overlook where is it? Sun intensity, we have great down, you know what, I'm going to leave it on because at the moment, just turn it down. If you want to really see what it's actually going to look like, let's put it on north 0.1 Actually, yeah, there we go. Now we have a much better idea what it's going to look like. Generally though, for our render, we don't actually want to turn this sundown so much. I don't think so. Okay, So I'm happy with how that looks. Now what we want to do is we want to actually come in and we want to actually give this some wall texture as well, but we want to make sure they split off from this part and just going down here. And we want to make sure, yeah, this part is actually done. And then what we can do is build across here and then we can take a quick render and see what it looks like. All right, so let's come in and see if this bits split off. So I'm just going to put it back on object mode and I'm just seeing if this bit is split, which, yes, it looks to me as though it is. We can see there though. I've actually missed a part under there because I didn't know about it. So what I'm gonna do is I'm gonna come in, I'm gonna put it on Shader. I'm gonna grab this part and this part and press. I'm not going to worry about these. You can see here, we're going to have an end on here. They're not actually joined properly. Let's press and unwrap. Let's make it a little bit smaller. And then what I'm going to do is spin this round, so our hundred R's 180. Spin it round, G, Y, and pull it back. And you can see that's the wrong way. I don't actually want it that way. I want it to be dirt under this bit in here. So what I'm going to do is 9,180 Nope, 180 again. And there we go. There it should be. Let me see. Now I move this, there we go. There's our dirt that I'm actually looking for. But it's right in the center. And the reason is, of course it's because this is all the way in there. So I'm going to put it like that. I think that's looking pretty nice. And finally, I can actually come back to this one. So we'll do this on the next lesson. Now all we'll do is we'll press Shift Page, Hide everything else out of the way. And then I'm sure on this one I can actually delete the top and bottom. So we'll actually do that just before delete the top and bottom, delete faces, and then save out our work. So file and save, and there we go. All right everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 69. Wrapping Stone Supports Around Main Building Structures: Welcome back everyone to the Blend, the four Ultimate guide. And this is where we left. They are. All right, so now let's come in and let's actually unwrap this. So what I'll do is I want to keep all of this together, so all of these going around here. So what I'm gonna do is right click. And actually I'll put it in this corner here. That's the least place. I think we're going to see it. So right click, Mark, grab everything, and then you and wrap. And there we go, Let's put wall on there. So we're going to click the down arrow, search for wall. And there we go. And then what we're going to do is we're going to press a R 90. And let's see where that's going to be. So it's going to be at the top. I don't think I want that. R hundred 80. Let's spin it around. And then we go a thing that's looking there, all tag, bring everything back. Let's see then what all this looks like once it's loaded up, there we go. And that's looking pretty nice. Okay, so now if I double tap the A, we've got everything in there. Now all we need to do is finish this bit. That's going to go around here. This bit going around the front of the, under the wall. And then what we can do is we can get this bit in as well. That's going to be going around this piece up here, then going around to where the arch is going to be. Now at the moment, I'm just wondering whether yeah, I think I'm actually happy with the height. I think I'm happy with the height. I'll just make this arch a little bit bigger. Okay. So let's talk and let Neil and let's actually get something in here. So what I'm going to do is we grab this piece. I'm going to press, I'm just wondering actually if which pieces do I want? I think I'll use these pieces actually. So I'm going to do is just going to grab three. I'm going to hide the palms out the way. It's going to make it easier. Grab all three of these Shift D, and let's bring them over. And then let's press our Z -90 And I'm not going to do it that way because it's going to be easier to put it onto medium point Z -90 And there we go. All right, let's get these going into place. So I'm going to put this one into here and let's pull it over into here. Let's then pull this into round about the center, which is probably going to be round about there. I'm going to press and X and just shrink that in. Yeah, I can actually do that. And then what I'll do is I'll press Shift. Bring out another one. And then I'll press alternSI'll. That's not actually going to work. Let's delete it, and I'll do it a different way. Control, before I shrink this in, let's now press control transforms, right? So origin to geometry. No, let's press shift, pull that one over there, and let's shrink this one in S and X, shrink it in like so. And then this one is the normal size. Now this one, if you then want to pull it out, so shift D and you press Olds, you can see now we can get the normal size if we wanted it to be. Okay, So now we've got that. What I want to do is I want to actually bring this over to this side and I want to put this corner in. Now, being as my corner is here, I might as well put this into place and it should be the same as the other one. And then what I'll do now is I'll grab this one and shift D and bring it over and put this one then into place. And just make sure they actually fit so we can see here that this is a little bit out. So what I'm going to do is I'm just going to move it roughly into the place where it's going to be. Somewhere around there is where it's going to be. And then what I'm going to do now is I'm going to go into this one. And I will come down and I will cut it from here. Alt shift click, Alt shift click, and delete and faces like so. And then we've just got these bits here. So L if I can grab it. And then L and L and delete vertices. And there we go, that's that bit sorted. Now we just have this side to do. So I'm going to do is I'm going to press old shifting click and then delete faces. And then just make sure that we've not got any parts in there, we haven't grow a part in this side L. Delete that. Delete vertices. There we go. Now let's see if that is fitting in the wall the way that I want it. So we can see it's poking out of this part here, which we don't really want, so I need to pull it out a little bit. There we go. And what I'm wondering is, I'm wondering if this window needs to come this way a little bit. Which it does, and there we go. Okay, I think I'll pull it down a little bit as well. And now let's follow this round. So what I'm going to do now is I'm just going to follow this round into this part here. I'm going to, I think, grab this part again, so shifty. Then I'm going to press ours and -90 in fact, Oz 180 as well. Spin it around the whole way. Let's bring this into place into here. We can see it's not going to go in fully. So all I'm going to do, I'm just going to set it there. And then what I'm going to do now is I'm going to bring in this part and Z -90 And then I'll set this into the halfway point or somewhere around there. I'll set this to. Here. And then what I'll do now, I think I'll take on and I can take this part. I can press Shift D. I can bring it then all the way to the end, nearly all the way to the end. And then hide it out the way. And then with this part now I can actually cut it from there. If I press Tab, I can come in and Facelift, click, Delete and Face, and then come in and grab each of these L and then delete and vertices. And then press tab ul tag, bring back the other part. And now let's fit that into place. And there we go. Okay, so that's looking good there. Now we've got all of this going across here. Now what we need is just the top bit, so I'm going to put something under this wall, actually here. And for that one I'm thinking I will use this here that I've got here. So I'm going to be using this one. And we can see at the moment all of this is put together. All of these are put together. And these are very, you know, they're a little bit too short anyway, so what I think I'm going to do is I'm going to go to my asset manager, close that off, and then I'm going to go to sides and the ones are one is going to be the blue and red. So the blue and red, this one. So look, yeah, you can see what's happened there is it's actually closed those off, which is not actually great. Now, how do we get these back? If we come over to our actual asset manager, what we can do is we can actually bring in this one. So you can see now it's actually the full one, it's not actually split in half. We can press control C and then we can go back to our build and then just come in and press control V. And let's have a look. And there, there it is. It's in there again. So now what I can do is I can actually delete these out the way because that has not been updated and I don't want to update it yet. So it's just that take into mind whenever you're doing anything like this. And then what we'll do is we'll press one and we're going to put those into there. Now. I'm not sure whether that's going to fit properly yet, and I don't think it should be, maybe it should be that thick. Let's have a look. If we put it in place, I'm thinking it's probably a little bit too thick on there. And I'm thinking I'm gonna have it just all the way under there. So I'm going to press the S board and shrink it down a little bit into the size that I want it. I think that size there is actually much better. And then what I'm going to do is I'm going to grab this one. And this one, I'm going to press shift and I'm going to bring them up into place. And I want to keep those just under there. I think just under there. Let's have a look. Yeah, let's pull them down to there, and then let's pull this down like so. And then what we'll do is we'll bring this one over shift D, we'll bring it over and then zed 180. Spin it round, maybe too far, so Z -90 there we go. Put that into place there, just making sure it's not poking out so far. And then what I'm going to do now is I'm going to put this into place where I want it. If I pull it back to there like so, that's fitting in beautifully now, except I need to move these forward. So let's move them forward a little bit. And there we go. That's fitting in very nicely. Now I can do is I can bring this out first. So I'm going to press shift and I'm going to bring it out like so I'm going to press ours head at 90. And then what I'm going to do is I'm just going to leave that there. And I'm going to come in now and hopefully get rid of the. So I come in and then I'm going to press Face Slate, shift, click, delete, pass, and then come in L, L, L, L, L delete vertices. So now let's grab this one, shift D and see if that one's going to fit in place. Yes, it is. That's fit in. Very nice. That's that part done. And now we can actually come in with the rest of it and fit this part into place, lead into hopefully over there. It would be nice to think, actually if I put another one on here, like a little bit off from this one here, I think that's actually looking quite nice. Shift D, spin it around, so I'll say 90. Let's put this one in place, we'll try and line it up to where it needs to be, nearly like this. And then finally world is, I'll grab this shift, move it over right to the start. If you can't see what you're doing, just hide the building out the way. It's going to make it much easier for you. And let's put it into here. Now, this arch, what I'm going to do is I'm just going to grab the top of it. I'm going all the way down to here. I'm going to pull it up into place. I think actually this going into there is going to look pretty nice. Now, just finally back to this, then all I'm going to do is O shift click, grabbing all this, delete faces and then vert select. And then what I'm going to do is just grab each one of these and then delete the vertices. And then finally this one here, I'm just going to make a little bit longer S and Y. Let's pull it out like so. And let's put it into place then S and Y, bring it in a little bit into place and there we go. All right, so that's good. Now then we've got an idea of how far this is going to go. And I think on the next lesson now what we can do is we can actually, we can actually give this a quick render. So let's press al tag, Bring it back. Al, take, bring it back. There we go. Double tap the file. Save. All right. Okay everyone. So I hope you're looking forward to the next lesson. We finally get to render something out and I'll see on the next one. Thanks a lot. Bye bye. 70. Setting Up Main Composition for Camera Framing and Rendering: Welcome back everyone to the blender for ultimate guide and this where we left off. All right, so what I want to do is I want to take a view from here. The other thing is I don't really want to render my guy out. So I'll want him there, but I don't want him being able to be rendered out. So just hit this on. So what this does over the left hand side, this will make sure that if I click it off, we won't be able to see him. If I click this off though, it means it won't feature in the render. So really, really handy if you want to render things out in layers. So we'll talk about that a little bit more once we've got our actual floor. But for now what we're going to do is we're going to come in and we're going to set up our camera first. So we're gonna press shift A. We're going to come down to where the camera is, so cameras here. And when you bring in the camera, it's gonna come in again, wherever the cursor is. Now let's just go into modeling so I can make it a little bit easier for you to visualize. So what I'm going to do is I'm going to set myself roundabout here because this looks kind of a nice for you to actually have. And then what I'm going to do is I'm going to press control shift and zero control and zero. I'm not going to do that. Just give me a second. Let's go back ground. Okay, so I'm going to press control alton zero, not control shift and zero. That's then going to set my camera near enough to where the view actually was. So what I'm going to do then is I'm going to come to view Camera to view. And then what I'm going to do is, so if this is not open, just press the end button to open that. Click on Camera to View. And now wherever you move your mouse, the camera is going to move to, so you can see who can move all the way around here. Now the thing is get yourself set up and then what you want to do is you're on a hold shift to pan. It's the same as basically moving around the viewport, but with one exception where we've got control shift and then middle mouse, and you can actually zoom in much, much slower so you can get a really, really nice view, whatever you want. So I'm going to zoom it in something like here and just get a nice view of what I'm looking at. And I think I put it round there, that's going to be a really nice view that we can use to actually render it out. Okay, so one shifts out the camera. What you want to do is you want to come over, turn the camera to view off so we don't have to worry about that anymore. And then you can actually just middle mouse and there's your camera actually set. Now I recommend if we go back to our camera if you want to zoom into a part. I do recommend that instead of zooming your camera in, so instead of pressing control shift and moving, I recommend just changing the focal length to actually zoom in. I think this looks a much better shot when you do it like this. The only thing is you can't go too far. If you go really, really far, you'll see sometimes it starts as you can see there, it starts actually bringing it out in a weird way. So just be careful, you don't want to go too far with it. All right, so we're going to leave that. The other thing is you can change the perspective to alto graphic as you can see if I zoom this out now. So let's zoom out a little bit. Oops, let's put it camera to view, then zoom out a little bit. You'll see I can't actually zoom out. And the reason is because I need to use this to actually zoom out so you can see now the different shots you can actually get. You can see how it's kind of funky on here. And it's changed, completely changed the angle of what we're looking at. And sometimes this actually makes for a good render. Now we're going to put it in perspective. You can also use panoramic as you've seen there as well. Let's then zoom this out a little bit. So I'm just going to hold shift, bring it out a little bit like so. Okay, so now that's actually sorted. We're actually going to go into, you know, you know, a lot of the other features on there because I want to keep it quite basic for the actual camera. Now. The main thing is that we're going to be rendering out in cycles. You can render out in V if you want to. We will discuss V a little bit later on. There are a lot of differences in V and basically you really want to decide whether you want to render it out in V or whether you want to render it out in cycles. I think with cycles you're going to get a much, much better render. Especially for something like this, it's much harder to actually get the EV to match the cycles because EV is basically a real time render engine like you would have in real or something. So it's never going to be as good as something that's traced or something like that. What does that mean based in basic terms? It means that basically when you render it out in cycles, you're actually rendering it out all of the shadows, all of the light bouncers. You can control all of those. Whereas when you're rendering it out in real time, you've not got as many light bouncers coming off there, of course, because it has to calculate in real time, which means that it can only calculate so much. That's basically what it does, dumbing it down as much as I can. So things like shadows, things like textures, things like light bounces, things like sunshine. All of those things have to be rendered out instantaneously. Which of course, if you render it out in cycles and you've got a long time to actually do that, it's going to give you a much better result. Okay, so saying that then now what you want to decide is I would first of all come down to simplify and just set the render just for now. Let's set the texture limits to 1024. We will come back and change that once we have finished this render, but it's going to make it quick, but it's not going to be as good a render as what we could possibly have. The next thing I want you to do then is I want you to come down to where is it? Let's have a look. Performance. This is one that we do need to talk about. So first of all we want to have, if you've got a high end machine, then you can turn this used tiling off. It will be quicker to actually render out. So we'll turn that off and then what it'll do is it'll just actually render the whole thing. So if you tick this on, it means basically you need to tick which actual tile size you want to do. So generally speaking, if you're using your graphics card to render, which we're going to show you in a minute, you want to have this higher, so 2048, If you're using your CPU to render, then you want to have this lower and I recommend putting it on something like 64. It did used to be the other way round and now it's changed. And still there's a lot of data out there depending on what graphics code you're using and all kinds of things. But generally, if you follow that rule, you should be absolutely fine. Next of all, we want to look at spatial splits, you can see it says longer build times faster render. I recommend taking this on. I always find it speeds up the actual render. Next of all you can see the next one is use less Ram, but renders slower. If you've got a problem with Ram, of course turn this actually on. And the last one is you want this ticked on because it does increase the memory usage, but it just keep the renders around. So the first time you render something out, it's going to be much slower, but the second time it's really actually going to speed up how fast it actually renders out. Okay, so that's all of those done and now we need to come up and we need to make sure that we change this device onto GPU. Now there's a few things to remember. First of all, let's go over to Edit, come down to Preferences, and what we're going to do is go over to system. Now on the system, you will have all of these options on here. Some of them you will be able to tick on, and others you won't be able to use. And it's simply down to what graphics code and what CPU you're actually using. So you can see here I've got an optics, X optics. X is basically cycles X. So previously in blender, previous versions use cycles, Now we have cycles X. And this is the new render engine. So this should be much, much faster than the old one if you've got this available. If not, you'll have to put it on cuter or even none if you're using a laptop or something or a lower end machine. But generally put it on optics x. If you find that available, then all you want to do is just tick on which graphics card you're actually using and which process you're using as well. So you can see these are the ones I'm using. I think actually this graphics card is actually an amazing graphics card for doing rendering. Actually, it does seem, I do also have a 30 60 and this actually seems faster than the 30 60. So just that to bear in mind. All right, so now we've got those on. What you want to do is close that down. And then what you want to do is come over here and you can see at the moment I'm using my CPU. I don't want to be using my CPU, I want to be using my GPU lip. So Okay. So now working our way down then, before we actually give this surrender, you can see at the moment that we have a noise threshold. Let me just take my camera view off for the moment and we put the noise threshold so you can see we've got noise ticked on hear noise ticked on here. We already saw that when you don't have these ticked on, it's very, very noisy. And what this does is it tries to work out as quickly as possible to get rid of all that noise. So it basically cheats. It basically takes a noisy image and it gets rid of all the grain and things like that, Saving us a lot of time when it comes to rendering. We used to have to bring in a noise node, but now we can actually tick this on. Not only do you want this ticked on in the viewport, you also want it ticked on in the render. Now we've got here a maximum samples. Now, honestly it doesn't matter what you put this at if you've got noise on, because it only goes to a certain level. If you put this at 100, of course it's not going to have time to really do anything, but it will only go up to a certain level before the denoising kicks in, and then it'll just render it out. So if you really want a true 4,096 samples, you need to click off denoising or reduce the denoising threshold, Probably better off reducing this threshold. And then what'll happen is it'll be much later on in the render before this actually kicks in. So what we're going to do then on the next lesson, we're still not going to render it out. In fact, yes, we will, We'll render it out. And then after that we'll go through a few I think we'll build a bit more and then we'll split it up. So after that we'll go through things like Larry and the comps here. But for now we just want to get a nice image of our actual scene out. All right everyone. So I hope you enjoyed that and I hope you're looking forward to rendering out your first render. It's gonna be nowhere near as good as what it's going to look, you know, later on in the course. But for now, let's just actually get something rendered out. Alright everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 71. Resolving Texturing Issues in Rendered Material Shaders: Welcome back everyone to the blend of four Ultimate guide and this where we left off. Alright, so we've got all of this set up now. Now what you can do is you can actually come round. I would always save out your work before doing anything. So save out our work and let's also, before we do anything, let's put the maximum samples to something like 1,000 We don't want to have it high because the thing is we want it to render out fast. We want it to render out fast so that we've just got an idea of what it's actually going to look like. The other thing is I recommend before doing that, we come to our floor and what we do is we give this a material and it's the floor is actually so important for the light, the floor bounces off a lot of light. Now, if you've got the floor as you know, this whiteness we've got here, it's not going to really, it's going to bounce probably too much light off. So I don't want to do that. So what I'm going to do is click new. And then what I'm going to do is I'm just going to pick ground plane. And the reason I'm not going to call it floor is because I'm going to bring in a floor after. And then what I'm going to do is I'm just going to put this to something darker and then I'm going to change the roughness down a little bit and then put the metallic up a little bit so we get a nice shine on there. As you can see up to you whether you want to make, this may be a little bit darker, right? So double tap the, and I think that's going to be a very, very nice flaw just to render this out with. All right, finally then, before we hit that render, boom, very important if you want to save on, you know, your GPU, you don't want to have this in the shade of view, you certainly don't want to have it in the render view. What you want to have in is the lowest possible one which is going to be our wire frame. So put it in wire frame and then go over to the left hand side and hit Render Image. And now it'll start calculating everything, and now it'll start rendering it all out. And you'll see it won't actually get to 1,000 or as it gets close to 1,000 you'll just start speeding up. I think I'm hoping it will be that way. We've got 1,000 samples at the moment, so let's just see how long this actually takes. And if it actually goes to 1,000 if it'll start speeding up when that noise kicks in. So let's see what it gets to. All right, it looks with a new blender, like it's going to pretty much try and get to 1,000 Maybe we had it set too low, so maybe if we say to 4,000 or something like that in mind to kick in, then maybe this is set too low for the samples. Yeah, it looks that way. Let this finish and let's see what we actually get. But you can see already, Dad is looking pretty nice. You can see we've got beautiful shadows on here. You can see that we've gotten some nice reflections down here. We can actually zoom in as well. We can see the plants look amazing. Everything looks really, really nice. The only thing it's missing, as you can see, we don't have any ambient occlusion. We don't have any real light coming off the windows or anything like that. We do have some beautiful light coming off of here, hitting this top here as you can see. But you can see, it's already looking to be a really, really nice building. The one thing I do notice, actually, is this in here. I don't think I've actually set this on the right material in my door. So I'm going to have to go in and change that. It's always good when you're taking a render and you're seeing things that you've messed up a little bit on. You can also see on here that this is way, way too high. You can see the stone from this to this looks completely different. So I'm going to make that stone smaller. So there are a couple of things that I'm going to change now before I actually carry on. So let's actually close that out now. So let's close that down, let's put it onto shade of mode. And then what I'm going to do is, and I'm just going to come in now remember as well because we turned our textures down, in other words because we use simplify and we turn them down text limit to 1024. It also means they will kind of look a little bit bleary on the texture, so you just got to bear that in mind. So what I'm going to do with this is I'm just going to press A to grab it thin, go into my shading where I'll have to press Tab again. And then I'm going to press A and S and bring it out like so. And then what I'm going to do is I'm just going to look at this door and I'm wondering, it must have been the light that's going on there because you see that I have got my textures on there. I'm just going to look if I move that. Yes, there's nothing behind it or anything like that, so I'm wondering why that looks like that. So what I'm going to do is I'm going to now put this on a little bit lower, so we're going to put this on 500. I'm going to then go back to modeling. And then what I'm going to do is I'm going to come to my camera and I'm going to set my camera again. So I'm going to tab out of that door, double tap the camera to view. And I'm going to set it lower just so it's going to be a little bit quicker. And then what I'm going to do now is just going to put it here, and what I'm looking for is this door. And I'm also looking for this top here just to make sure it looks right now. Let's actually turn this off and then we'll put it on wire frame. And then what we'll do is we'll come to render and render image. And this time, of course, it's not going to take too long and I'm just wondering. If those are going to be the right color. I'm not sure why they're actually like that, I think. I'm not 100% sure why they actually look that way. Now, let's let it finish rendering. We'll look at this part on here that looks much better. We've got, I'm just wondering why these aren't looking right. We might have to come in and we can see we've got some wood grain on there, just the colors aren't coming through. For some reason, it looks as though it's got a different color on there. We can see the colors are coming out here really nicely. It's just these ones on here. So we'll have a look. What I'll do is I'll just to try this out, I'll put this on a lower sample level to make sure it renders that faster. But I want to make sure that my doors are okay because you can see over here. These are also not right. So we'll have to go in and check that. Check this though. Just make sure that's looking right. Make sure all the wood is looking okay. Which it is. Everything's looking really nice on there. It just looks to me like it's just this door here. I'm just checking on the rest of it and making sure I'm happy with it. All right. You can see as well that these here yeah, that's coming off the shine off the metal. That's just all that is. You're just checking the rest of it. All right, let's go to actually have a look at those doors and see what's going on with those. Let's put it onto shade mode. We'll also set this sample down to 100, and let's see what is going on with these. So if I come in and I grab these, I'm going to grab this one, press G just to make sure there's nothing behind it. And then I'm going to come over to my material and we can see at the moment it's on light wood. We haven't got red paint or blue paint. Let's see. Yes, red painted wood. Blue painted wood. So what I'm going to do is I'm just going to bring in another cylinder. So cylinder, I'll bring in a cube because I want to see what's wrong with it. So I'm going to press G Once I brought in that, in fact, I brought in a circle. That's not very helpful, is it? Let's circle in, press Shift S goes to selected. Now what I'll do is we'll bring in a cube. Then what we'll do is make the cube smaller. And I just want to put the cube in front of it and give it a material. So I'm going to look for painted wood painted, painted wood load paint. Where's the blue red painted wood? This one here. Let's give it this and let's put a camera right here. And we'll see straight away if it's actually working or not. So I'm want to do is press control Alt and zero, put my camera there, put it onto wireframe. And let's go to Render Image. Let's see what's actually happened with that. And there we go, we can see that's actually working. So for this, we might need to just, I think, remake them again. So I'll close that down because I don't need to see anymore. And then what we'll do is now I'll bring in another one. Not that I want to come into. Shade panel. So shade in, let it load up, move that, my camera away. What I'll do now is I'll make another one shift. Let's make a cylinder. We'll keep it on 20. That should be absolutely fine. So R x 90. Make it a little bit smaller. And then what we'll do is we'll make it the same size as this one that we had. And then I'm just going to press S and Y and bring it in. And then what I'll do is I'll just put it over here. So for now I think I'll pull out the top of it. And then I'm going to press, I bring it into something like that. Then we're going to press E and then I, and then and just bring it out and maybe round it off a little bit on this one. All right, so something like that. That's right Click, shade, auto, smooth. And then what we'll do is we'll now join it with this one. So this and this contro Lel link materials. And now we'll see if actually that renders out. Let's come up, put it on white frame once more. Now finally let's come up to render and render image and let's see if now that turns out. So there we go. Now it's actually there. I don't know why it didn't work on that one, but now we can see it's actually working. So now let's just replace that. We can see we have some problems. It could be down to the UV map, actually, that's what could be causing this. So what we'll do is we'll first of all, go back to our part. I don't know why it looks so red on there. Actually, it doesn't look right anyway. So let's come in and what we'll do is we'll just come into this one. I'm going to press tab a smart UV project. Let's try that first. Let's see what that's like. That looks fine. And then what we'll do is we'll come into this one press control. And then blue what we're looking for is blue painted wood clicker sign. And then what we're going to do is we're just going to give it one more final render, make sure it works. And then we'll just replace these doors. So we'll just come in to put it on wire frame. And let's go to render image. There we go. Now it's actually working. What I need to do now is I can close that down and then I can come back and replace this. I'm going to do is just press one. I'm going to bring it up first of all and put it in place. I'll just delete both of these if I can, so you can see this is on my door. And then what I'm going to do is just delete all of these. I'm going to come into edge, slip L and L, delete vertices, press Altge to bring back the rest of the wall. And then what I'm going to do now is I'm going to put these into place. I'm going to delete this cube, don't need that anymore. And then grab this one here. And I'm going to press Shift and bring it over to where I want it. I want them roundabout like that. Let's pull them back a little bit like so double tap the A and there we go. Now let's join these to these doors. So I'm going to press control J. Join it altogether. Like so press control all transforms, right? Clicks at origins, geometry. And now I'm just going to make sure you can see it might have updated those doors. I'm not actually sure. So what we'll do then on the next lesson is we'll actually bring this over and swap the doors. One final render then just to make sure they're both looking good. And then we can actually carry on with the actual built. I think when we carry on we'll actually make this arch over here and then we can actually work our way round to this part round here. Alright everyone, hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 72. Modeling a Stylized Archway: Welcome back everyone to the Blender Four Ultimate Guide, And this where we left off. So what I'm going to do is I'm going to grab my door. I'm going to press shift D. And then what I'm going to do is I'm going to bring this over here. Delete this door out of the way. Pull this door down so I can press one. Pull it down into the place where I want it to be, which is just a thing at the top up here. And then let's pull them back into place. So then what I'm going to do is I think I've got another door. I've got another door. Actually they're the only two doors, so that makes it easy if they're the only two. So what I'm going to do now, I'm going to come to my palms. And what I'm going to do is I'm going to press the little dot bomb. I'm gonna hide them out the way on this rendered view. And then what I'm going to do is I'm just going to go into my camera and I'm going to come and move my camera to here so I can actually see them both. Now the render obviously of the palms won't be in the way, so we should have a good view of what that's going to look like. Let's say that I'll work then and then what I'll do is put this on wire frame and then finally we'll come to render and render image. You may not have had the issue, by the way I had. I'm not sure why I had it, but you can see now it's actually working as intended. All right, So again though, don't worry about the render. It's gonna look so much better when we actually get all of the layers in and things like that. So at the moment though, you can see it's looking pretty nice. Okay, so let's close that down and then what we'll do is we'll come to shading panel. And then what I'm going to do is I'm going to take this off camera view. I'm going to come round now and I'm going to start on double tap the on this arch around here and then carry on building brown. So I want it to be an arch in here. Now we could use this actual piece of mesh because we know it's going to be the right height. So let me see if I can just come in. First of all, reset all the transforms. So control all transforms, right click, set origin to geometry. And what I'll try and do is come in and I'll try and press control B, control B. Let's arch that over. So what we're going to do is increase those like so, and there we go. We've got an arch just like that. Let's shade auto, smooth. And then what I'm going to do is I'm going to grab my guy, just make sure he's still going to fit there. So I'm just going to press G and then just bring him over, press control one, just so I can see where he's going to go. Press G again and put him on top, hopefully, of this step. And there we go, is easily, easily going to go in there. So now let's put a top on this arch, because I want it to come probably down through here. So I'm going to bring it down, just touching those parts on there. And then what I'm going to do is no, I'm going to I'm going to bring it up actually I'm going to press and bring it up to where I want it. Something like that is where I want it. Then what I'm going to do is now I'm thinking I'll bring a little bit on the front out and then the top out. I'm going to grab this one. And this one, I want to make it look a little bit different is what I'm saying. And then this one and this one. Then what I'm going to do is going to press I again just to make sure they all come in. And then and X, then enter, and then and Y and pull them out both. Then what I'm going to do is just grab the top. For the top, all I'm going to do is enter, I'm going to bring it out and then pull it up. And that's how I actually want it. That is looking pretty nice. Now what we can do is we can just press control or transforms right clicks the origin to geometry. What I want on this is brownstone, so I'm going to grab it all. First of all, And Smart UV. Not like Matt. Smart UV. Okay. And then what we'll do is we'll change this from stone to sand. I think it's called sand. Is it called sand? Let's have a look. Brown stone, there we go. This is the one brown stone, there we go. And then we'll just come to the front of this and we'll change the front. So I'll grab all these three. Come around the back shift control and then I'll press control plus. Click new down arrow and then red. So all I want is red, I think it's red paint. Click a sign. Yes, and there we go. And then finally the top. So I'm going to grab this one control. Click this one control plus control plus red paint. Click a sign. There we go. Yes, that's looking really nice. That's exactly what I want. Now the one thing I'm wondering is, if I need to pull this back just a tad just into there, like I actually think, that's probably going to look a little bit bare. Now, what I just need to make sure of is that these bottom parts on here come all the way down. We don't want stuck in the air like that. So I'm going to grab this one and this one and just pull them down into the floor. And you can see now that's really, really a nice walkway up there. Okay. So that's looking good. Now what we want to do is I'm thinking that we just want to level this off, so I'm going to press control again just to make sure. Then add modifier, generate and bevel, and we can see that it's not working out. And the reason it's not working out is because this has got an arch on here. In other words, sometimes when you've got a lot of triangles or engons in there, it's going to really struggle using the bevel. You can sometimes come in and fix that by right click, triangulate faces, sometimes that fixes it. But you do end up with some issues like what you can see here, generally I don't do that. And what I do instead is I'll come in and come down to geometry, Click a clamp, overlap off, drop it all the way down, and then bring it up. We've still got some issues. I'm wondering why we've got issues. Let's see if we can actually fix these issues because that's not something that we want. I'm just looking. The issues seem to be caused because it's devil in them. I'm just going to check and make sure. Yes, it's just because they're a little bit too close to the edges as you can see here, this is what's actually causing it. I'm wondering if I can probably come in. I'm going to just actually, before do that, I'm just going to take this off a minute, this bevel. And what I'm going to do now is we're just going to press A and I'm going to retrangulate the edges. I'm going to triangulate faces like so. And then we're going to do is press control all transforms and then one going to do is add in the bevel again. Now what I'm going to do is turn off the clamp overlap and see if that's going to help. Let's turn it all the way down. Turn it up, one that might actually help set auto smooth. We can see we do have some issues around me. I'm just looking if I can turn it down a little bit, n 0.5 We've still got some issues on this side. That's not what I want. We can see that this side seems to be okay. It's just this side. Let's put it on object mode. Oh yes, we have got an issue on both sides. All right, so it looks like I'm going to actually have to fix this. So what I'm going to do is I'm just going to press shift H. I didn't want to come in and fix this, but ah, we're going to have to fix this. Let's think the easiest way we're going to fix this is probably delete fact, we'll try first of all, right, Click tries to quads and there we go. That's fixed it. Okay. As it fixed it, we've got another break in there. I have no idea. Well, I do know why, what's causing the break. All right, instead of that, let's come in and grab each of these like so. And then what we'll do is we'll just pull these out slightly. And then and X, let's try just pulling them out very slightly. And there we go. Now we fix the brakes. So that was quite an easy fix. So at least for a great fix. The reason is that this for the bevel was coming into three points and causing a bit of an artifact to long gear. So to fix it, all we did was we pulled it out. So the edge of the bevel now is not right next to those three points. So that's what we actually did to actually fix that. All right, so let's press Alt, Bring back everything. Let's then go to our shading and have a look at what that looks like. Now let's double tap the, and let's just make sure I'm happy with the bevel on there. Can I turn it Let's turn it down to zero. Turn it up one, and there we go. I think that actually looks a little bit better than what I had it before. Okay. So I'm happy with that. And now what I might as well do is work my way round to this part here. So what I'm going to do is I'm looking to see, yes, this is the pillow, so I'm going to use this pillar here. So I'm going to press shifty. I'm going to bring this pillar over, and then I'm going to put it over there. And what I want to do is obviously make it much, much smaller than where it is. So I'm going to press S, I'm going to press En's head then and I'm going to put it under this door here. So light so and then essence head. Let's get it to the right scale. Press control one so I can see what I'm doing like so and then essens D, let's pull it out, pull it up. I'm wondering if I want it any thicker. If you want it any thicker, just press the Sp and then essens ed and squish it in that way, and that might be a better way of doing it. Let's put this in, we'll get rid of this and this. So we delete. Then what we'll do is we'll pull this into place under here, and then we'll put it into place over the other side. So then what we'll do then is we'll actually use this. All I'm going to do with this is press tab face select, grab the top face, press the bond to bring it in. And then along is press. And then we're going to press, then we're going to press and a little bit thinner on the top. Just something like that. Simple but effective. Now let's press control all transforms, right? Click, set origin to geometry. Now the one thing I'm going to do, I think I'm going to actually pick this up. I'm going to pick it up to there. Because I want these parts here to actually cover this, these parts here as you can see. In other words, I want this part five, press shifty and bring it round, so I'll ed 90. Let's put this into here. You can see now that if I put that just slightly up, that then is going to look very nicely in there. And then we can have a corner piece and we can see how nice that's actually going to look. Can I get away with pulling it down and putting a centerpiece on there? Is it going to look better like that? I actually don't think it does, so I'm just going to leave it like that, I think. And then I'll just make these a little bit bigger and I'll put one in the other side. Let's grab this shift and put it into the other side. So going into there. And then what we'll do is we'll just lift this up very slightly just to make it all fit. Have double tap the and there we go. All right, so we made a start on that then. So what we'll do then on the next lesson is we'll actually go in, we'll fix this part. And then what I think we'll do is we'll start building this part out, ready to actually put on our marble floor over here. All right everyone. So I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 73. Creating Fancy Stylized Balcony Railings: Welcome back everyone to the Blender Four Ultimate Guide. And this is where we're left the off. All right, so what I'm going to do is I'm going to come into each of these, I'm going to make sure that I'm on individual origins, and then I'm just going to pull them out a little bit, and then I'm going to pull them up and see if I can get those to fit into place very nicely, just under there. Now I can see that I'm going to have to pull these back and back this way a little bit, which means probably easier to delete this one, grab this one shift, and then bring it over into place like so. Okay, so I think that part is looking pretty nice. And now what I want to do is I want to bring in the other part now. So I'm looking at this part down here, so I think I'll use these parts in here or I could make a new part. I'm just wondering what I'll do. First of all, I think I'll bring in a corner. So I'm going to bring in one of these corners. I'll grab this one. In fact, the mirror is still on there, so I'll use this corner. Hopefully this one, I've got one shift, bring it over and we'll put this in the corner, just just under, and we'll make sure that it's not too big because it may be too big. So I'm going to put it just in the corner here, something like this. Making sure as well that it's around the same as you can see. If we go over the top, you can see that it's the same gap there to there. And I'm just going to think, I'll put it just under I'm just making sure as well that this bit here as you can see, it's going all the way back to there into here. I don't think I want it going lightly. So back I'm actually going to leave that. I think that's going to be fine actually. So what I'm going to do is now I'm going to actually bring in a, another piece, which should be this one here. I want to make sure though it's the right size for here. So what I'm going to do is I'm going to grab this piece. So shifty, pull it over. Then what I'm going to do, spin it around, so sad, hundred 80, press control one. And then I'll just measure these up to see if the right size and you can see there the right size. That's good. But then what I'll do is I'll pull it back. I'm going to put them in line just with these two. So I'm going to grab this one and then grab this one shift. I'm thinking the one, I'll use this corner, I'll grab this corner shift, bring it over. And then odds 90 and put this one in this corner. Like maybe because I'm not, not so happy about this one, I'll just pull them all out a little bit just to leave them, you get that little bit of stone in there. All right, so now we've done that, let's bring out this part. So I'm going to press Shifty, and I'm going to bring it out like so. And then what I'm going to do is I'm going to spin it around, so sorry y, We'll get there. 93. And let's put this into place. So I'm just going to bring it down to there. Going to shrink it in. And Y shrink it in just enough where I'm probably not going to affect the UV map. And then what I'm going to do is just put it in. Now it's up to you whether you want to pull it out a little bit further, A bit too far there as you can see. Because I'm actually clipping near enough. Clipping this. Yeah, something like that. Thinks good then what we'll do is press shift D, bring it around, and then odds 90. Let's press control one then we'll keep in the same level. And then all we want to do is press and X, then shift D, bring it in again. And then let's pull these out, S and X, pull it out a little bit. And then shift D, final one, then X. Okay, let's grab all three then. And then what we'll do is pull these back into place just in front of these, double tap the A and then we go, that's that bit in. Now with the next bit, let's come in and first of all, control a all transforms. Just want to make sure that the bevels on there and what we'll do is we'll come in generate in a bevel, let's bring it in a bevel. Turn it down. Turn it up, maybe one. That's just so we get this bit in here and this bit on top of it. It's quite important actually to get that we are going to be replacing this floor. I think what we'll do now is we'll put this down a little bit. What I mean by that is I'm going to press Tab. I'm going to come to the top of it. I'm going to press the eye button. I'm hoping this bit here, this is the bit that I actually want to bring down. I'm probably better off just putting edge loop this way. In an edge loop this way, and using that then for this banister, because the bannister is going to come down here. What do mean? It's the marble effect that we've got here. So what I'm going to do is I'm going to press control. Bring in an edge loop. Bring it over to something around there. And then do the same thing now with the gap we've got on here, control. And bring it over to something like that. And I think that will be enough. Now what I want to do, before I actually do anything else, I just want to obviously give it a test to see if it's actually going to fit in place properly. Because we don't really want to start building on here if it's not going to fit in. So what I'm going to do is I'm going to come into here, I'm going to grab this bit. I'm going to press Shift cursor selected. And then what I'm going to do now is press shift A. And let's bring in a cube. Let's make the cube a little bit smaller like so I want it that size. Let's pull it up then. And then what I'm going to do is I'm going to grab the top of it and pull it all the way up like so now I do want to bring out my guy to see how high this is going to be. Remember this is going to be dropping down. So he's going to be probably down to that level there. And then some stones over the top. Just remember, it's going to be a little bit lower than this. As I said, you want to spin him round When you're thinking about a banister, you always want to imagine him pointing his hands on there. So in other words, if I put a top on here, if I press shift A, bring in another cube, press the S bond, make it a little bit thinner, and then let's bring it out here. What I'm going to do is I'm going to press and X and pull it all the way out, going all the way over to here and X like so and fit in that wall there. You can see first of all, this is way, way too thick and it is about the right height though. Let's make it thinner. So S and then what we'll do is we'll press S and Y. There we go. Now we can see that's about right. So you can see him pointing his hands on these, hands just on each one of these and looking over and I think that's going to be about the right height. Okay. So what I'm going to do now is let's first of all grab this top, because we know this is right now, and let's actually make these posts. So what I'm going to do is I'm going to come to this part, I'm going to press control, bring it up, do something like, yeah, so quite chunky. And then what I'm going to do is going to press Alt Shift and click Enter, Alter Ns and bring that out like so. And then what I'm going to do is make sure that we've got offset even on. And then again, we need to make it smaller now, or if you're happy with it. I think actually I'm happy with that. One thing I do need to do, I think is just drop this down slightly because I'm going to put a little bit of a bevel on here, I think. So what I'm going to do is actually I think I'll pull out two of these sides. We're dealing with models, so we just have to remember how that is. Control, bring in an edge loop and then what I'll do is I'll pull these out, so I'm going to grab this side and this side. And then I'm going to press Enter AlternS and pull these out very slightly. And then what I'm going to do is I'm just going to make this a little bit thinner and y pull it in. And then finally I'll put a little bit of an edge on there, so I'm going to grab just these two tops. Before I do anything, I'm going to press control, lay all transforms just to reset the transformations. And then I'll press control, level this off like so now I probably do want it straight or probably something like that. Let's see what that looks like. Let's write click sheet or to smooth a thing. That's going to be about right. I can also now because I've got that, just move that up very slightly like so we can see now that this is fitting into place. And what we want to do now is we want to make sure that this is looking a little bit different. We want it to look in that kind of style that we've actually, that we're looking for. So what we're going to do is we're going to come to this post. We're going to press control. Bring in some edge loops again. You want one right, probably in the center. We've got at the moment, left click, right click. We've got seven. So you can see now 123123. So grab the center on. Let's try it on shot first I'm jaws going to press control one. And then what I'm going to do is press with this on, that's probably going to be a little bit too sharp. So let's come in and use inverse square. There we go. But what we don't want to do is we don't want to affect the top. So you can see how far it's pull that, even though I'm pulling this all the way out, it's not affecting this, this or this down the bottom. So now you can see it's jaws the right side where we can actually get it to actually work. Okay, so that's looking pretty nice. So what we'll do now on the next lesson, is we'll put these posts going all the way over. We want to split this up. We don't want to be using this as a full length. And the reason for that is because it's going to make it much, much harder to actually unwrap it. What we'll do is we'll make this thing and then put it into parts, and then we'll put this post over. And then finally we'll make some struts that actually go down here, and then we'll actually texture this with the marble. And then finally we'll bring in the floor here. Yeah, that's what we'll do. All right everyone. I hope you enjoyed that. I hope you're looking forward to the next one, and I'll see you on the next one. Thanks a lot. Bye bye. 74. Adding Materials to Marble Railings: Welcome back everyone to the Blend Four Ultimate Guide, and this where we're left the R. All right, so now then these posts, let's actually come in and what we'll do is we'll unwrap one of them first. We'll also unwrap this floor. And we'll split these off because I think it's going to make it a little bit easier. So what I'm going to do is I'm going to press L. I'm going to press P and Selection and just make sure that you're actually happy. You might want to put another band on here or something like that. I definitely think on the top of it we're going to actually put, you know, a kind of egg shape or something. So let's deal one thing at a time though. Let's first of all come into this part here. And what we'll do is we'll press And U, and then Smart UV project. Click Okay. And then what I'm going to do is I'm going to go over two man materials and I'm going to put this onto wool like so. And there we go. That's really, really brought that to life. Now as you can see, I think I'm happy actually with this bit of dirt being over there. I'm quite happy with that. And now we'll come to this part. We'll press U Smart UV Project. And then what we'll do with this one, we've already got beveled off as you can see. Maybe though that bevel is a little bit too much on this, it's okay on the wall, but on this maybe it's a little bit too much. So what we'll do is we'll go over it and we'll turn it down to 0.5, like so. And I think that looks much better. Now what we'll do is we'll come in and we need a marble. I don't think at this point we actually brought in our marble. So let's have a look. No marble in there. So what we'll do is we'll come to our asset manager, then we'll go to our materials, and we're looking for marble. There's this one here. And then what we'll do is we'll just bring that in like once it's in, I can delete it out of the way, and then I can come and bring in marble. There we go. Let's have a look what that looks like. You can see it's looking pretty nice. Let's put our Renderview on. Let's have a look at what that looks like. And there we go, really, really nice. Okay, so let's go back to shade a panel, and then not shade a panel, let's put it back on shade. Let's hide these palms out the way They're always getting in the way of these palms. Sometimes I wish not put them in there, but if you really want to hide them out, what you can do is you can press Oltage. And then you can hide them in that way. And what that means is if we hide out this part, for instance, press Oltage. You'll see, yeah, the palms still come in, so I'm going to hide out the palms. What I need to do is actually hide out the collection. So if I hide this collection, now you'll see if I press Altage, nothing actually happens. So what I could do instead is I could grab these palms and what I can do is put them in a new collection. So I'm going to press the M Key New collection. We'll put palms, and we'll do it that way instead. So palms click, Okay. And now they're in their own collection. If I close up these, we can see now collection is palms. Let's hide them out of the way. Ol tag, nothing happens, so now they're actually gone for a bit. All right, so now let's think about this part. So this part, first of all, we need to make it a lot thinner, so S and X bring it down to there. And what we need to think about is if we're going to have another post over here, so let's press shift and then our 90. And we'll just bring it in an overlook if it's going to look okay. Let's press seven to go over the top so I can actually see what I'm doing. I'm just going to put that in the middle there as you can see. And then what I'm going to do is I'm just going to pull it this way and in mine just okay that. What I'll do now is I'll come in, grab all this, and I want to basically bevel it the same as this as well. So I'll just put an object mode, turn off my x ray. And what I'll do now is I'll come grab this one. I'll press control L, We'll link materials. We'll press control L, and we'll also copy modifiers. And there we go, that's beveled off now. Now what I'll do is come to this one, we'll press a smart UV project. Click Okay. And now we'll just take a quick look at what that looks like. I'm thinking that this is probably going the wrong way round, actually. So what I'm going to do is I'm going to come to my shading press tab and then I'm going to just spin it around R 90 without portion non R 90. Let's put it back in place. Let's go round now and never look if that looks any better. No, I don't think it does look any better. I think the reason is because it's not looking like one piece. All we'll do is we'll press shift H to hide all out the way. Then what I'm going to do is I'm going to, I think, delete the back edges. These here, no one's ever going to see them. Have we got a back edge in there? Let's come in and delete these. Let's come round the other side and delete these ones. Delete bass and then what we'll do is we'll come on the underneath now and we'll basically grab the underneath here and here or outside. Can I grab that right click mark seen? I've marked a seam on top of here and I don't want that. I'm going to come in this 01:00 P.M. The other thing is it's rounded down the N. I want an actual shop in there. Keep that at straightness there, so I'm going to right click mark a shop. There we go. And then what I'll do is I'll press A now. And instead of that, just click on Wrap. Then what we'll do is we'll spin it round 90. Let's see if that's going to look any nicer. Yes, I think it does. Let's see if I stretch it out a bit, so S and Y. And there we go. I think that's looking much better actually. What we'll do now is we can use that now on our other part. So if I press Lth now bring everything back. There we go. That's what it looks like. Let's delete this part of the way then. Now let's bring in our next part. I'll actually, yeah, I think I'll put a top on this first, so we'll do that first. I'll come to this part. I'll press Shift Date, and we'll bring in a UV Sphere. 32 is a little bit too high, so I'll put this on 20, and we'll keep this on 16 because it is they are focal points. So what I'll do is then I'll come in and make this a little bit smaller like so. And then what I'll do is I'll bring it up to there, elongate it out. So S's elongate it like so. And then what I'll do is I'll press S, make it a little bit smaller. Now what I want to do is I want to bring it down right click, shade, auto, smooth come in, and then we'll take off the x ray. Then what I'll do is I'll bring it probably down to here. Shift and click round. This one there, it's third one, delete faces, L deletes. And then what we'll do is we'll come in, Shift click, press control one. And then what I want to do now is I want to bring it down, bring it down then along that axis and then S following that along and then bring it down and then, and then to bring it slightly out. So then what we're going to do is we're going to put a band on here. Now I'm going to press E, Z and bring it down to there. Then what I'm going to do is I'm going to press Ali. Click along here, press the on to zoom in. So I'm moving around the orientation. And then what I'm going to do is press Enter, alternS, pull that out. Finally, let's put an edge on here. I'm going to grab this. Edge control B. So there we go. That's looking pretty nice. Now, finally I want to actually not have this. So you can see it's very sharp there. Do I actually want there? Don't think so. I'm going to do is shift and click control. Bring it out to make it nice and smooth. And then finally I think I want the blue band going across here. So what I'm going to do is I will come and grab this one. Shift click control, mouse, scroll back so we have it quite thin, something like that. And then what I'll do is I'll press Enter, alter Ns, bring it out just a slight one and then offset even on. And there we go. I think that's perfect. Now we want to sharp just on this bit on the bott so it doesn't get beveled off or anything. So this along here, right click, mark sharp. And there we go. And we probably also want to shop at the bottom of here, so ol shift can click right click, mark sharp. There we go. And I'm just wondering because we've got a little bit of, we could put in a sharp here and a sharp here. Let's have a look, Mark sharp. And I think actually that looks bare rather than being fully rounded off. All right, let's put this into place then. So we'll put it just on top of here. Now we just need to decide, is it too big so we can make it a little bit smaller. So there we go. I'm thinking that looks pretty good. Now I'm going to do is I'm going to grab the whole thing. And we have to be careful here because it's an egg shape. And egg shapes are very, very hard to unwrap normally. So we just have to be careful of how we actually unwrap this. Let's see. At the moment we can see it's wrap like this, which is not going to be good, trust me. It's not going to be the way that we want it. So what we want to do is we want to come to the back. And what I'm going to do is I'm going to, because I know I will show you. Actually, let's see. So we'll Smart UV Project. Click Okay. And then we'll grab this part and this part, and we'll press control out. And what we'll do is link materials. And there you go. That's the mess that you can see. So you've got all of this mess like this. And that's not something we want. So what we want to do instead is we want to make sure this is done, wrapped properly. So shift H, let's just make sure that we don't have this bottom on there because we're really not going to need that. And then delete and faces and then what I'm going to do is I'm going to actually unwrap this bottom part separate, so we'll mark a scene going around there. And then what we'll do is we'll come to the back and shift click, right click, mark scene. Now what I can do is I can come in and at least unwrap this part L U and unwrap. And there you go. You can see now that it's unwrapped pretty nicely actually, So now we just need to do the same thing with here. Now this bit here, so let's have a look. This bit on here is going to be a gold trim, so we don't have to worry about that so much. So what I'm going to do is o shift click control plus. And what I need actually is I need to bring in. So let's go back to asset manager. Let's bring in that gold, because we haven't brought it in yet. So gold, there we are, gold material, bring it in. Delete it out of the way. And then what we'll do now is zoom into this. Then we're going to go back to shading panel, press the tab button. And then we're just going to bring in the gold. So plus down arrow gold, bring it in. Click a sign. All right, so there we go. Okay, so there's the golden. Now we want to make sure that this is actually unwrapped. Okay, now we will be able to unwrap this one really, really nicely as you'll see. Because this one, now if you look here, is just basically round here. So if I press L, in fact I want press L. What I'll do is I'll mark a seam here and a seam in the top right Click Sam. And then finally, before the end of the lesson, we'll just unwrap this part now. So if I press you wrap and you can see now that's unwrap really, really nicely. You will always see a seam on here, but it still looks at a ton better than where it was before. So now all we need to do is unwrap this part, which we'll do on the next lesson. All right everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 75. Creating Stylized Décor for Railings: Welcome back if you want to blender for the ultimate guide, and this is where we left it off. All right, so let's come now to our egg. I'm going to press seven to go over the top you. And I'm going to press where is it? Sphere projection. And let's have a look at that's some wrap like. And there you go. That's rap pretty nicely as you can see. So there are ways to do things, there's many ways actually to wrap this. You will see that we have got a, a line on here. So what we could have done instead is we could have just pressed L U and you can see there's many ways of doing it. And it's all about figuring out which is the best way. And actually I think that way actually looks better. So there is that, let's press Celtics then bring back everything. And that's looking pretty nice. Now what we can do is we can actually create these little parts that I'm going to go across here. So what I'm going to do is I need a top and I need a bottom. I'll first of all use this. So I'll use this to actually create it cube. Let's press bring it in. I want it pretty much to be slightly thinner than this, which that one is. And then I'll pull it out and Y, So then what I'll do is I'll pull it in and Z, pull it in. All right, so now we've got a top, and we've got a bottom. So we might as well pull this up a little bit. And then what I'll do is I'll press shift, I'll bring that up to the top here like so. And then what I'll do now is put something in between them. So if I grab both of these, I can press Shift Us to Selected, and then shift A. Let's bring in a cube. Let's make the cube smaller. And you know what, that might not actually be the best way to do this. What I'll do is instead of doing that, I'll grab this one. And what I'll do is I'll press shift D, and I'll bring it down. And then instead what I'll do is I'll just make this a little bit smaller. So make it a little bit smaller, bring it into place. First of all, we'll delete the bottom. So delete faces. So we're going to pull this down now into place like so. And then what I'm going to do is I'm going to pull this up, so I'm going to grab this top of it and I'm going to pull it up into place. So now I want to do is I want to bring some edge loops in. So I'm going to press control, bring in some edge loops. Again, we want an uneven amount, so let's put it there. Left click, right click on five old shift and click. And then what I want to do is put my proportional editing on this one here. And then I want to bring these in, so I'm going to pull it all down. Then eight, grab it all, pull it all down without proportional editing on. So pull it all down. And then what I want to do is I want to put a nice kind of in the center of it. So what I'm going to do is we're going to press control. Bring in one edge loop, left click, right click. And then what I'm going to do is we're going to press control B and bring in, let's say two like this. You want them basically like this. Now we're going to do is we're going to give something to try. So what I'm going to do is I'm going to come in, I'm going to grab all four of these. I'm going to go around this side. All four. Then what I'm going to do is we're right click. I need to put back on because I've not grew on here. Let's have a look. Right click. I need the Loop tool. So let me go to Edit Preferences, Add ons Loop Tools. For some reason it's been taken off. And then what I'll do is close that down. And then is now loop tools are here and I can put it on circle and you'll see that we don't want anything like that. So what we want to do now is bring down the influence, Bring it down, bring it down, bring it down. Keep going all the way down. As you get closer to the bottom, you should start to see what we're actually trying to do here. Now you can see we've got this in here. What I want still, not exactly what I want. So I'm going to change it a little bit. What I'll do is I'll bring it in myself and y, let's bring it in just a little bit, then. What I'll do is I'll come in, I'll grab this one and this one. And we can see also, it's took off the back for some reason. I don't know why that is. You know what? Instead of trying this out, then what we'll do is we'll do this a different way. So I'm going to come in with, it should make a circle on there. Boy, it doesn't seem to be wanting to do that. Let's come in, grab both of these. And then what we'll do is I'll press S and D and pull those out on medium point and like so. And then we'll press Is Control and shift and B. And just level those off a little bit. So now we've got that nice roundness on there. And then finally what I'll do is I'll pull these out. I'm going to pull these out on this one and this one. So I'm going to press S and Y. Let's pull them out a little bit like so. And then this one. This one. This one. This one, and the same round the other side. Let's pull those out as well. In fact, you know what, it might be better if we pull all these in. Actually, let's pull them all in. I think it's going to bear all in. So let's press S and Y and pull them in like that, and then grab these two. And then pull these in as well. So S and Y like that. I think that's looking much, much bare. Like this. Much bare. Okay. Now let's see if it's going to look bare. What we're going to do is we're going to press C. And then just left click, middle mouse if you click the wrong ones. So we're going to press C like so. And then I'm going to come round here, I'm going to press C again on this side, going all the way down here. And then we're going to do is right click, Loop Tools, bridge. There we go. That's looking exactly as the ones right click, shade, auto, smooth. Yeah, I'm really happy with that actually. I didn't think it would come out like that. Okay. The next thing I want to do is make them then just in the middle, slightly like this. And then what I'm going to do is just put on my functional editing, and then I'm just going to press and X, bring it in and make them thinner like. So there we go. That's exactly what I'm looking for. All right, so now what we can do is we can put these on the next one, join them all together, and then we can actually bring in on material. Let's first of all check out what this looks like when it's wrap, because we're going to have to do a little bit of work on this shift age because we know already that with the marble it doesn't wrap very well. Let's come in and grab all of these going on the top, and we'll just delete those out the way. So delete bases, then we'll come down to one side. So right click, mark scene. And then we'll come to the front shift, click, shift click and just go all the way around it. So right click, mark scene, then come up to the top. In here you're going to right click mark seen. Then we've not grown infinite loop going down there. It's going to wrap, then it'll open up like a present and just have these holes in it. So then we'll come to this one and then all the way up to here. Right plate maxine, and there we go. Now let's try unwrapping it. So you unwrap and there you go. It should have unwrapped like that, which is not right, because we need to set all the transforms. And now we'll try that again. And there we go. Now it's unwrapped nicely. Now let's press al tag, Let's join this and this control L, let's link materials. And there we go. It's open beautifully. Let's grab both of these then, And we'll link materials as well. So I'm going to grab this one last control L link materials. And then what I'll do with each of these is I'll just unwrap these now. Smart UV Project. Click okay. Let's see what the wrap like and they're okay. And then what we can do is we can join these. In fact, you know what? Let's share a look at that. It's not on wrap y. Well, and the reason is is because we need to join these together. Control all transforms and then origin geometry. And then Tab smart UV projectickay. Now they're going to wrap much, much barriers you can see. All right, let's join them all up then. Then what we can do is bl these up as well. So I'm going to join all these together like so. And then what I'm going to do is going to select this part control l, and we're going to copy modifiers. Let's put on object mode just so we can see. And that's come in, that's coming in pretty nice. We've got some artifacts on there and it's probably because we just need to write click mark a shots. Have a look. I'm just wondering if I can actually fix those parts. It's because this part on here should be a little bit flatter is where it should be. That's the reason it's doing that. You can come in, grab this face. Then what we can do is we can shade flat instead. And you'll see now that, that fixes it, it's just because it's slightly bent there. If we really want to go in and fix this by just beveling it off so you could come in and bevel off these ones here. If I click control now pull it out, you will see that actually starts to fix it, albeit it's not done as well as I thought. So let's try that again. What I'll do is I'll press control and pull them out all the way. There you go. Now you can see, but we've actually starting to break the mesh on here. That is, because we probably need to reapply it. Let's come in and modifier, in fact, I'll reset transformations first and then we'll do is add modifier and we'll do a devil. And then what we'll do is turn this down zero, turn it up to naught 0.3 like so. There we go. Still breaking those. And the reason we know is if we come in now and right click. In fact we'll just grab this. Let's just grab this one L, right click. And what we'll do is need to be on face. Let right click. And we'll triangulate faces. And then we'll come to tries to quads. And there we go, we fix that issue. And it actually looks tons bare. It looks nice and crisp. And that's what we're looking for. Okay, so now let's have a look at what that looks like. Double tap the A and there we go. Now the last thing is now we need to make sure that I'm thinking that we might be better off putting a bottom on here. Just a bottom on this part. So what I'm going to do is I'm going to grab all of these before finishing. And I'm going to lift them up slightly. And then I think I'll press shift on this one. Curses selected. And then what we'll do is I'll bring in another cube cube. Make it a little bit smaller like so. And then we'll just bring it down to here and Ed. And then what I'll do is I'll put it right on the edge there. And I'm just checking if this is going to look nice or not. I'll see. So I'm going to grab this face, pull it all the way over without a portion. It's non pull it all the way over this edge, along here. And then what I'll do is I'll pull it all the way towards the edge of here. And then let's pull it back towards the edge of here, just in front of it. And then finally what I'll do is I'll press control. Bring in another edge loop right next to it. So finally what we'll do is we'll bring another one going all the way over to here. Pull it all the way over. All right, now I want to do is I want to actually unwrap that. So I'm going to press Smart UV Project. Click Okay. And then I'll join it to this control L link materials. Gobble, tap the A. Yeah, I think if I now bring this up a little bit, so if I grab this one going round to here and then just pull it up into place now, I think that's going to look pretty good. Okay, so finally then what we'll do then on the next lesson is we'll actually, you can see here, this line that was talking about, I need to bring this in a little bit. This line going along here, I need to pull it in a little bit. And then this one here, basically. And then what I can do is I can drop this down, ready for the stone that I'm going to put in there. All right everyone. So that's looking pretty nice. I hope you're really enjoying the course and I'll see on the next one. Thanks a lot. Bye bye. 76. Working on Balcony Flooring Designs: Welcome back everyone to the Blend, the four ultimate guide, and this is where we left it off. All right, so now we've got in this part here. So what I want to do with that, absolutely fine as well. So what I want to do now is I want to grab this one and this one, and I basically want to put it over here. So what I'm going to do is I'm just going to press, actually let's press control one and let's join these together. There's no point in actually keeping them separate. So all I want to do is join these together. But before we do that, obviously we want to come down, convert mesh control J, join them all together. And then what I can do now is I can just press shift D, bring them over, and then I can press shift D and bring it over. There we go. And I don't think I want another one on there. And then what I can do now is I can grab this one, shift 97 to go over the top. And then what window is just press and drop it right in the center of there. Then just zoom in a little bit, just make sure it's centered. Have a look round, make sure that one is okay. Which it is. Control one, Shift D, make it a little bit bigger and X, pull it out. And then shift, bring it into the wall there. Now with these, it'll be a little bit different. What I'm going to do is I'm probably going to bring it over here first. And then what I'm going to do is I'm going to add in this bevel. So what I'm going to do is adding another modifier. Bring in an array, Turn down the x to zero and turn up the Y. And then place them wherever I want them. Let's see if I can get them just about right where I want them. I'm holding the shift born, double tap the eight. It could be too many, it could be too many. Let's try three. Let's then move them up. I'm just wondering, that might be we're stuck between too many and too few. The thing is we can actually come in though and press S and Y and just make it a little bit thinner and then pull this one, put it onto four and then pull it back a little bit. I think actually that's actually about right. I think that they look in actually a bit. What I can do now is I can press shift, bring them over said 90. Just make sure that these now fit into place into here. Obviously these will need, I think we basically want to have this same gap here as you can see. It needs to be a little bit more that way. We also want to make sure that they actually go under, not poking out the back there. We definitely don't want them poking out the back. I'm just looking at these. You can see that these are also poking out the back. They're messed up there. So what I'll do is I'll press and X pull them in a little bit. Then let's move them over. Let's move them over. I'm just going to come underneath just so I can see where they are holding shift and I'm looking at this side still a little bit too much S and X pull them in, let's pull them over again. And there they go. Now they're fitting in place, which means now I'll just delete these ones. Grab these ones again, shift D, R, zed 90. The reason why we're spending so much time on this part, by the way, is because it really is a focal point of the whole building. We want to make sure it looks right. We don't want to half past this bit then we've got that. Then what we'll do is we'll pull them forward then. I think they're actually fitting into place absolutely fine. So then we'll bring them over to this one like so. And then I'm just going to put in another one and we can see they're not fitting properly, so we should be able to pull them back just very slightly and they should then fit into place like so. Now let's bring them to the next one shift, put them into place like so. And here they're actually fitting absolutely fine. Okay, there you go. Now the one thing you can see, the problem we've got is all of these are exactly the same on the UV map. So all I'm going to do is just grab all of these first press tab to grab them all. And then Waldo, I'll come over to the left hand side and I'll go to my little three dots, UV and Waldo's pack islands. We don't want to scale on, make sure that's ticked off. Then what we can do now is see that they all should be very different from each other. Now we need to do the same thing with these parts as well. So all I'm going to do is tab A, make sure I've grabbed everything A to grab them over this side. Three dots, UV pack islands. Click Okay. Then what I just want to do is make sure that these, just figuring out why this one is like that. I'm not happy with how that one looks. I'm just looking at the others. I'm wondering. It seems to try to re unwrap them. Let's have a look. Let's have a look. This one looked like. Before doing that, that one actually looks quite nice. Let's have a look. Yeah, this is this one instead. All I'm going to do instead is I'll just move this. If I move this this way, and then I'll grab this one. Do the same thing, move this this way. And then that one then should look different. Then all I need to change is the eggs. If I come in like this, I can grab this egg and just move it like so. And then grab this egg with L and move it. So that's the other way you can fix it. If that happens, then finally we're onto these. Now these have got the array on, so we need to apply the array first, so I'm just going to grab them all. Then object, where is it convert to mesh. And then press control J, join them all together. And then one way is grab them all. They're all in the same UV at the moment. Let's see if it works. If a Pac island, UV pack islands. Click okay. Let's see if that works. Now I'm going to press A to grab them all. Pull them out, let's have a low what they look like. And there we go. Actually they've ended up a mess as well because of this over here. All right, so let's put them back like this. And then all we're going to do is we'll just go in to everyone and just move them a little bit and then just make sure that they all look okay. Now we're going to have to as well go into the tops, but the tops are going to be much easier to deal with. You can see now they're looking really nice. The tops are going to be much easier to deal with because we can just grab them all at the same time because there's no complexity to them or anything like that. So they're going to be easy, but let's just make short work of these. I'm going to do them one at a time. I don't want to risk doing two at a time or anything like that. All it needs really is a slight just movement over from where they are because it will change the whole of the way it looks. Anyway, no two will be exactly the same. The mind look similar, but you won't be able to see the pattern. That's the main thing we're going for. We just want to break up this pattern. We don't want to look in the same. Now we've done that. All we can do now is just come in and grab all of these. Just the sensors we're grabbing. So we're just going to grab all of these. Hide them out the way with H press. And now you should end up with these parts. We've got this part in there, actually let's hide this one out the way as well. And then press A. What we can do now, hopefully be able to UV and pack islands then make these much, much bigger. So now we should end up with double tap with something like that. All right, that is looking pretty good. I'm happy with that. Now what we want to do is we want to come in and move that edge, which is what we talked about, old shift and click. Now the thing that you've got to remember is when you're bringing in an edge loop, it's fine. But when you're moving it, what will happen is you'll move the UV, so you have to be careful about that. So what I'm going to do instead is I'll dissolve the edges. Press control and bring in another UV. And then what I'll do is I'll try and line it up with this one. As you can see there, I got pretty lucky actually with that one, it's a little bit out control. Let's bring it in to be round about the same as that one. And then finally what I'm going to do is I'm just going to grab the inside of here. I'm going to pull it back down. Now if I press, should be able to pull it back down to, then I'm going to go a little bit lower than what I really should be. Then I'm going to actually use this on the next one. If I press now shift, I should be able to then bring this up. This is what I'm going to use to make my really, really nice towel. I'm going to press P selection. Split that off control Yl transforms right click the origins geometry, and now on the next less. And then what we'll do is we'll actually make the tiles at, out of there. Let's first of all though, take a look at what it looks like. And there we go. That's really coming together now. I'm really happy with that, and I think after we've done the tiles, we'll carry on working on this part. And then we'll work our way up to this part here. But it's really, really coming together now. We have lots of the parts already built, which makes it really, really easy. I also, we'll come around and fix this. In fact, once we've done this, I think we'll fix this bit here because it's the only bit over here which we've not actually done anything with. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 77. Creating Stylized Tiles Using a Material Atlas: Welcome back everyone to the Blender ful ultimate Guide. In this way, left off, all right. Just make sure you save out your work, just so you don't forget. Then we're going to come back to modeling. And now what we're going to do is I'm going to come in and I'm going to press Alt H. I'm going to bring that floor in. I want to really leave my floor here because I know this is going to fit exactly. So what I'm going to do then is press shift H. And now I can actually come in and mark some edge loop. So I'm going to press left click and I'm going to mark some this way like so now I want to make them pretty much a square, kind of look. So I'm going to press controller. And we can see there if I do it that way, they're pretty much square. So I'm going to be happy with those now. What I should have done is I should go in now and mark the seams. So I'm going to press control. I'm going to mark some seams like so. And then what I'm going to do is now I want to split them off so in fact I can grab them all, can't tie, and then just go to mesh. Where is it split faces by edges and A should have them all split off. That's great. That's done. And now I'm going to do is I'm going to unwrap one of them. So I'm just going to grab, in fact, what I'll do is, first of all, I'll grab them all and then we'll unwrap one of them. And hopefully we should be able to then unwrap them all. So if I press control E sorry. And bring them down getting the right size that I need them. So something like that. And then what I'll do is now I'll grab all of these edges. So I want to grab all of these edges. So the easiest way to actually do this is to double tap the. Let's see if I can come in then and select Select here. And we want to select sharp edges. And you can see it's selected the edges going all the way around there, which is great. So what I can do then is I can write click. I can actually come into this. Sorry, I can write click then. And Mark seems like so now what I should be able to do is I should be able to come into one of them, pressure you and unwrap. Also, I don't need the bombs, so I did forget about that. So what I'm going to do is I'm going to see if I can select just the bombs. Let's see if I can do that. Select similar bi normal. There we go. We've selected all those bombs. Let's press Delete and Faces, so we don't need to have those now. I should be able to unwrap them. So what I'm going to do though, I'll unwrap them all first. But before I do that I'll resell the transformation control. All transforms right Click says in geometry. And then what I'll do is now I'll come to one of them and unwrap it. So make sure you're an edge. Select Unwrap one of them, so L, then what you're going to do is press U and unwrap. Okay. Now what we want to do is we want to copy basically how this is unwrapped into the rest of them. So what I'm going to do is I'm actually going to come over to UV editing for this. It's going to make it a little bit easier. The other thing is, before I do that, I need to go to Asset Manager because what I want to bring in is tiles. So we can see here Point tile. I want to bring this in called Fancy tile. Let's press Tab and bring it in. And there we go. This is what they look like. Don't worry about that at the moment. So let's come over now to this one. And then what we're going to do is we're going to assign just this one. So we're going to click plus down narrow. And we're going to go for fancy tiles like so. And click assign. All right, now what we can do is we can go over to our UV. And what I'm going to do is I'm going to Jaws come over to this one. So press the dot bomb. Then what we're going to do is I'm going to press A and I'm going to put it onto material, just so you can see what I'm doing. Pull this all the way out and put it on, and then I'm going to pull this all the way across like soap. Now what we want to do is we want to measure up and we want to get this square part to be the same size as this. If I press, I'm going to press G. And then what I can do now is I need to grab these edges going around. So you can see, I need to grab them all. But the problem is I'm not going to be able to grab all those because of the moment. These are blue on here, but they're not going to be blue once we've brought some other stuff in. So we don't want that. So what I'm going to do is I want to press Alt Shift click, and now I should be able to put those much smaller in the blue place where they're going to go, something like that. As you can see, now they're looking much, much better. All right, the next thing then I want to do is I want to copy now this to the rest of them. I'm going to do is I'm going to grab all of this. I'm going to press L. Now when you press, you're not going to have the thing that we need. So what we're going to do is instead we're going to go to Edit Preferences. I'm going to put magic, and hopefully UV magic is here, and that's the one we want. Then we're going to press you and we're going to go to copy, Copy, and default. So let's copy all those and then we're going to do is press A. And then, and we're going to go to where it says copy paste default. Now what's happened is all of these tiles are actually the same as this one. We're just going to make it really easy to move all of these tiles around, but we're going to have to spend a little bit of time doing the work, but what we're going to do is We're going to go over and we're going to decide which ones we want with the gold on there and which ones we don't want on there. So you can see, I'm actually hoping. I'm hoping this has actually moved. Actually, I'm just wondering why I look, why does that one moved? There it is. It's over there. It's actually moved. And that's not what I wanted. That is not what I wanted. It should, I think, let me just see if the rest of them have gone right. So we'll do this again. We'll put this one on fancy tiles as well. It is a bit iffy, to be honest, the UV magic. So let's just try material. Click a sign. There we go. That's one's actually work, so that's good. Let's try this one sign. Yeah, as you can see, some of them will work. Some answer, let's try this again. A U. Let's go to unwrap, and then let's go to U. And let's go to tan, Transfer, Paste default. We can see we still have a problem with these, why the wrap like that? So I'm going to do this a different way. I'm going to select this one. And then what I'm going to do is I'm going to press you, I'm going to copy and default. And then what I'm going to do now is I'm going to select all of the others. So I'm going to come in to select, I'm going to go to select similar by normal. That then is going to select all these. I'm going to press you and then I'm going to try Paste in just the top of here. Paste in in those, and now it actually works. What was happening is it was just making it too complex the way that we was actually trying to unwrap all these. Now what I'm going to do is I'm going to, I think, grab all of these. I'll just grab four of these. So then what I'll do is I'll press you and unwrap. And then I'll put these back into the place. And hopefully now I'm hoping this will work. So I'm going to put these into the blue area, like so. And then what I'm going to do is I'm going to press you and I'm going to click a Copy, Copy, and Default. And then I'm going to press A on everything you paste, Default. Now I want to see, is all of these looking exactly the same as they are? That is perfect. That is what we want. Exactly what we want. Okay, so now we can go over the top. Now we've done that. And what we can do now in each one of these is place them all as fancy tiles. So I'm going to press minus here, and there we are, all the same. That is exactly what we want. Now what we want to do is we want to decide where we want our blue tiles. Where we want these other tiles. So what I'm going to do is I'm going to come press voltage and I'm going to grab this one. This one, and this one, and this one. What I'm going to do is I'm going to press and Y and move those up to there, thinking I might as well do these all at the same time. I'm going to do them all at the same time. So I'll put them back. I'm going to grab this one. This one. And then we'll go everyone in between. It's the checker, what we're actually doing here and everyone in between. And making sure we don't miss this one. Now we should be able to move all of these up and Y, move all up. So now we still don't want it completely like this. What we want to do now is come to our other ones. So I'm going to do now is I'm going to grab all of these. And then what I'm going to do is I'm going to press and x x, move those over. And that is what we're actually looking for, something like that. Now this looks a good in that, but you can see there's a lot of repeating on here and we actually need to fix that. The gold ones, we can actually spin those round as well. So what I can do is I can come in now to this gold one, press 180, and you'll see now it spins it round, makes it look different from this one. We can come to this one as well and we can press R 90, spin that one round and then 270, spin that one round and then 90 and then come to this one Re hundred and 80. Spin that one round and then I'm just making sure these are different. Then R 270 and then R -90 and we just spun those all around. So now you can see all of these ones at least look different from each other. Now, pretty much all of these ones here at least are done. We can press control and we can hide those out the way. Now we need to do is work on the next one. So all I'm going to do is I'm going to pick a few random. So I'll pick this one, this one over here, this one here, and maybe this one here. And what I'll do is I'll press R 90, and then I can hide those out the way. And then we'll go to this one. This one. This one. This one and this one. And I'll press R 180 and then hide those out the way. And then we'll pick this one. This one, this one, this one. And I'll press R 270 and then hide those out the way these now are all done. Now what we need to do is we need to separate these out. What I'll do with these ones is I'm going to grab this one. This one, this one, not that one. Just split them up. And then what we'll do is we'll press A and then X, move over and then 90 like so. And then hide those out of the way. Then we'll come to our next ones. We'll actually do that on the next lesson because you can see it's going to take a little bit of time just to get these right. Alright everyone. So I hope you enjoy that we only have to do this once so we don't have to do it anymore. So once we've done it, it's fine. It's done and we're good to go. Alright everyone. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 78. Applying Fancy Tiles to Marble Balconies and Reusing in Other Spaces: Welcome back everyone, to the Blender Ful Ultimate Guide, and this is where we left off. Okay, so now let's grab this one. Let's grab this one. This one. This one and this one. And then what we'll do is Guineas, we'll press and X, move it over, but this time we'll spin them around 180. So spin those round and then press hide those out of the way. Now we'll grab this one. This one? No, we won't. We'll grab this one. Yes, this one. This one. This one. And then all they'll do is press 90. Spin those round, hide them out the way. Now I'm going to grab this one. This one, this one and this one, and then 270, and spin those out the way, and there we go. We're basically done with those. Now apart from these, we can see they're the same. But that's okay, because we're going to have some of them looking the same. And now we should have a little bit of difference, as you can see in the variations of how these look. Now the next thing we need to do is we need to come in and we need to change the ones going around here. In other words, I need to come in and I have to hide these ones out of the way, because these blue ones, that is, I need to come in and try and hide these blue ones. These are the ones that I want. You can see at the moment I'm not doing a good job. So what I'll do is instead I'll just come in and select all of the blue ones. The reason I'm going to slate them is because the other ones, the white ones like this, so you can see control. Plus hide them out of the way. All of the white ones have blue things going around them. And we don't really want that. I want to do, if I press A now I can just come in and grab just the, grab just these and then press and put them up and now they're all white as you can see. They're done. Okay, well, nearly done. Let's now go back to modeling. They're looking really nice. Now what I need to do is I need to level them off. So let's do that first. Control Yll transform, click Origins, geometry, let's say. That will work. And then what we'll do is we'll come over to here. And then what I'm going to do is I'm just going to turn this segment up. Let's just turn it up one, and there we go, they're looking a little bit more now, like stone. Then finally what we'll do is we'll press Alt, bring back everything. What I want to do now is come to mesh, transform, randomize. And turn this all the way down to maybe not 0.1 and then we're getting a little bit of randomization in there, as you can see. Now, honestly with these tiles, on my old one, I did go a little bit overboard on this. I don't think it should be like that, actually. I think this should be fairly flat to the ground. You might end up with a little bit of variation as you can see in there, but I honestly think this is enough. Really don't go overboard with those. Let's press holtates, then bring everything back. And here we are. It's loaded up. Let's save that our work as well. And then what we'll do is now we can put that into place where it's going to go. And what we wanted to do is we want it to drop down just below this part. So we can see if we zoom in this wall that we actually made. So at the moment you can see it's not behind there and there it is, dropping down. So we've got a little bit of an arch going up there. And then it all fits under nicely. We're making sure our door fits nicely. Double tap the, and there we go. Now we can see these pillars, probably not quite down on there. So let's pull them down into place. You can see moving just one of them. Double tap the A, and then this part. Let's make sure that's also down enough. Double tap the A and there we go. All right, let's take a look on our rendered view. There you go. You can see that looks really nice. You can see that gold is really shining through there and it's really coming together now. All right, now let's think about this part here. I don't think I'm actually going to do too much with this. All I think I'm going to do is I'm going to press control all transforms the origin geometry of course. And then bring in a bevel, turn the bevel down, turn it up one and then just copy this material. Control L link materials. And then finally let's come to this, a smart UV project. Click okay. Then let's just make sure that we're happy with how that looks. I'm making sure it's not too chunky or anything like that one, and I think that actually looks okay. Now we need to put in this corner as you can see. So what I'm going to do is I'll steal this corner over here. I'm going to press shift, bring it over. And then what I'm going to do is I'm going to spin it around, dead 90. Let's drop that into place in that corner there just so it fits in nicely. And then what we'll also do is pull this up so it's fitting in. I think what I might do is I could either pull this up. I'll make this a little bit smaller. I'll try making this a little bit smaller. First, let's pull it down. Or I'll make it, I'll make it smaller with the S, so it's making it all a little bit smaller. Will tap the eight and then I think I will pull this up, so I'm just going to grab it from there to there. Control plus. Control plus. And then I'm hoping that I will be able to pull this up inplace. So I'm also hoping that that goes in there nicely. So we've got a little bit of a red part on there. I'm looking on the other side and we don't seem to have that. Let's actually look water actually grab. Can I press control? Plus again, No, I can't. What I want to do is I want to make sure that this part in here, let's just hide this part. And then what I want to do is I just want to, first of all, you can see this is the wrong color. And then let's just pull this part, just this part in here, just out the line up like, so there we go. Now press Alt H, double tap the, and there we go. Everything's fitting in perfectly now. Okay, so that's all that done Now let's actually move up to the top of here then. Before I do anything, we can see that we need a floor in here. We might as well just grab this floor. And what we'll do is we'll put that in first. I'm going to press shift, like I'm going to bring it up. Then what I'm going to do is try and fit this in here. It's nearly fitting, nearly not quite right. We can see it just needs to go a little bit smaller to fit in there. I'll hide this part out of the way, so I can actually go over the top of it. Seven, go over the top. And then what we'll do now, we can see how far I need to pull it back. If I pull it back, let's hide this as well. And then I can really see where I need to pull it back to see it needs to be pulled back to there. We're going to press S, bring it out a little bit. So bring it over a little bit and now you can see it's fitting in perfectly. Okay, That's looking really good. Now what we can do is we can actually delete most of this off. So I'm going to press seven to go over the top durable tap the. Then I'll press, grab all of these. Press, grab all of the press control plus. And then you should be able to press Delete. And there we go. Now we just want to see how high up this is because it looks a little bit high. So I'm going to jaw drop it down, holding shift, then bring it up, bringing it up to that point there. And then I can press ol tag and bring back the rest of it. There we go. That's looking perfect. Now let's look at this part here. I might as well use this part seen as I've actually got it. It's out far enough. All I want to do is make it a little bit taller, so I'm going to pull it up. And then what I'm going to do is I'm going to pull it in a little bit. So, and then I'm going to press and bring it in and then I'm going to press and drop it down. So that's all I'm really going to do with this. Then I'm going to do is I'm going to press a, I think I will just press U UV project. I'm hoping actually, I should have reset the transforms first. Now I can pressure you. Uv project. Click okay. And then what I can do is I can change this to my stone, I think it is. Yeah, brown stone. There we go. We can see it's way, way too big. We need it more like that. All we'll do is we'll just go to shade in. Let this load up. Let's put it onto shader. Let's press Zoom in, and let's press a, pull these out, and that's looking much, much better. Now, just this top part, what I'll do is I'll press Shift S. I'll bring in then a UV Sphere. Then what I'll do, 2016, I'm thinking that's probably going to be fine. We'll actually have a look at, see what that looks like. What I'm going to do though, first of all is I'll just delete the bottom. Going across here, the delete faces and then the bot L delete and then L. Let's put it in place. So if we go over the top seven, let's press to make it the same size. And then let's bring it down like so. The other thing is on this one, I want to get rid of this. First of all, we're not going to need it. I also want to smooth this off just so we can see what we're doing on this one. What we want to do is I want to put a band on the bottom of it. What I'm going to do is I'm going to come in control, drag it up a little bit and then shift, click, enter, alternate. Then we're going to bring it out just before it touches these walls like so. And then I'm just going to make it a little bit smaller, I think. And pull it back into place like so. And I think then I'll make these a little bit bigger so all tests bring them out just a little bit more like. So now with the top of this, let's come in and what I'll do is I'll just grab the top. Just these on here. I want to press one to go into front view. And then what I want to do is I just want to shape this a little bit different. So let's come in first of all, and try this shape. At the moment you can see I've got all of this selected and I don't really want that. So I'll come in again, grab one of them, press select it. Press one. And now I should be able to come in and shape this, whatever I want. Do I want it like that? I don't actually think so. Let's try the shop. And I think actually that mind that might actually look bare. Now what I'll do is I'll come in because I don't really want to point like that. So what I want to do is bring it down. Something like that I think is going to look much, much bare. Then what we need to do is we need to probably think about Beverly in this part of how will it bevel this part. Let's press control off. First of all, we can't actually bring in an edge loop as you can see on there. Let's press control be on here and see how far we can bring that out. You can see if I do that, it's going to bring in a nice smooth edge on there, which is what we want. Then what I can do is I can come in and actually grab all of these going around there with select them all and then delete bases, then I'll just grab the top. Now what would be really nice press F, to put that on there is you could come in and put a top on here, like with a flag or something like that. That would also look pretty nice. What I'm going to do though is on this bit, I'm going to press Fall. Click AlternS without portion ling alternS bringing out. And you can see that's not coming out properly. So just press if that's actually not working, there we go. That's how we want it now. Then what we'll do now on the next lesson is we'll actually get our textures on there. And then I think we'll come over to this balcony. We'll finally get around to fixing this balcony, and then we're onto this wooden slats along here. I'm just wondering if we should do some more cloth as well. I think what we'll do after we've put our materials on there is do this balcony. And we'll do the other cloth that we've got there and we'll get those out of the way. All right, everyone, hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 79. Creating a Stylized Rounded Roof: Welcome back everyone to the blender for ultimate guide, and this is where we left the art. All right, so now let's actually come in and what we'll do is I think we'll put some materials on here. So what I'm going to do is I'm going to come in and grab this one. In fact, we'll just actually join it to this control L link materials like so. And I think the only one we needed on now is blue paint. So let's come in and look for blue paint, this one here. And then what we'll do is we'll press and smart UV project. I'm just wondering if that's going to be the best option, especially being as it's kind of a dome. So let's have smart UV project. I don't think so. As you can see that it's made a little bit of a mess of it. So what we'll do is we'll do this separate. So what I'm going to do is I'm in fact I'll come in, we'll mark a same along here. We'll mark a seam along here. And then we'll mark a seam along here. We'll right click mark seam. Then what we'll do is we'll come to the back or the front and we'll mark a seam along here. And then we'll, I'll unwrap these parts first. If I unwrap this part, this part, press you unwrap and we can see, let's see what they actually look like. First, I'll come in the blue paint. For some reason, he is not on here. I think I did it. Yeah, I added it to this one. So let's just press control L link materials and there we go. All right, so let's come in now. Will do is the red paint to the bottom. So let's press L red paint a sign. And let's come up to the top L blue paint a sign. And then I'll just grab them both and will do is I'll press and make them a little bit bigger, especially on this one suppress like so. And that's looking much, much better. All right, so now we need to do is we need to unwrap this one. So if I press L on this, I should be able to just click on Wrap. Let's see if I spin this round. So let's spin it round R 90. Let's see what this is going to look like if we put that there. There we go. We can barely see a seam there. We're going to see some seam. We just have to be careful if you press and Y and just move it up a little bit more. Yeah, now that's too far Y. I'm just wondering if instead of doing that I should map pack. What I'll do is I'll grab this part here, I'll press L. What I'll do is I'll press U and Pac. Click Okay. And then you follow active quads. Click Okay, and then 90. Spin it round, and then there we go. Now we can barely see that seam there. That is absolutely fine then we've just got this part here now, and I could probably get away with this one just pressing U, where is it projection from view. Let's have a look at that. And there we go. Now you can see that's looking pretty nice. Let's actually just have a look in our rendered view before we carry on. There we go. You can hardly see any seam on there whatsoever. And the top looks, looks really nice. Okay, that's that. Now we can see from here, this is what it looks like. I'm happy with how that looks. Now what we can do is we can move on to this part here. I think actually with this part of balcony, I will take some of the towels. I'll actually I think use some of these towels and actually put those over there, but just make them a little bit smaller. First of all though, let's make this part here. What we'll do is we'll just move our door up a little bit just to have a bit more room to work with. And then what I'll do is I'll grab the top of here, if I grab the top of this one, and I'll pull it up just to be under there like so. And then what I'll do is I'll press the, I bring it in and then what I'm going to do is I'm just going to pull it back into place like so. And then press and X and pull it into place. Now while I'm hoping from this I can pull this in now, I'm not going to do that right now, but I'm hoping I can take this part here and use it on the other side rather than actually making a brand new one. So what I'm going to do is I'm just going to come in, I'm going to press L, L, L and just grab these parts. I'm going to have to make it a little bit smaller, I do know that. I think instead of doing that, I'll just take these parts. Just these parts here. Yeah, we'll use it like that. And then we'll do is I'll press Shift. I'll pull it over and then we'll do is I'll press Selection, just to separate it out. And then I'll press Control all transforms, right Click origin geometry, spin it around our 187 to go over the top. And then, and let's put it into place or see if it fits in place. What about that? Actually, near enough fits in place, That's pretty handy. Let's put it into place where it's going to go. Then let's just make sure it's high enough. I think actually, if I pull this up, that's going to be relatively high enough. The only thing I'm checking now is if it needs to come out a little bit further and I'm thinking maybe a little bit further. All I'm going to do is I'm just going to grab this and this and I'm just going to pull it out, maybe just to level with that. And then let's pull this back and see. Yeah, that's going to look a bit better. I think that'll be Look better. Okay. So now what we'll do is we'll grab this inside. Now. We can see now this is the inside. So what I can do is I can press and pull it in like so ready for that flooring. The other thing is, do I need this on the back? I don't think so. Delete faces, And then I've got another top in here, which I'll delete. Delete faces, I don't need that. Then finally what I want to do is I want to come in, press control R on this, left click, right click, control B. Scroll my mouse wheel in a little bit and then just put it like that. And then finally what I'm going to do then is just bring this out a little bit. So I'll come in face L, click Enter, alterns, pull this out. I don't know why that came up, but alters some Windows thing. There we go. And then let's just make sure offset is even. Then it goes right up to there, which is really nice. Let's press control. What I'll do is I'll change this to stone, I think it is brown stone. There we go. And then I'll change this to red. If I put in the down on point red, I should be able to bring in red paint and then I should be able to assign that to there like so. And then be able to unwrap all of this smart UV project. Okay, there we go. That's looking pretty good. Then finally, the last thing is of course we need to just add in a nod geometry. No, add in a Generate and a bevel. Drop that down. Turn it up maybe one or a little bit less. Not 0.5. There we go. That's that. Okay. Now, because we need our stone floor, we need the piece of wood that are going to come each on here. We could have to these pieces of wood here. I'm just wondering whether it's whether it's worth taking those and putting them in those sides probably is probably going to make it easier for us. So what I'll do is we'll come in because they're already unwrapped in everything. I don't really want to create myself too much work if I can help it. I do want them to look a bit different, which I can make them look if I grab these anyway. So I'm just going to grab those. I'm going to press Shift, bring them out, and then press and selection because it nearly fit anyway. So then I can press as Ed 180, I can pull them over. Well I can first of all press Concholell transforms, right? Orogen geometry. And now I can actually put them into place. If I press, I should be able to get them roughly if zooming, once I've got there into place right in the center, like so let's have a look. Once I've pulled these down, then if they're going to all go into place now, you can see they're not quite long enough, so I'm going to press En's Ed and pull them out. We can also see, do we want that? Yeah, actually, yeah. This last one. Yeah. They actually look good. I mean, if I put my guy there, I think actually he's got enough room to just come out there because they're going to open on the inwards and stand on a little tiny balcony that he has. Maybe this is for people is not as important. Maybe let's put him over there. And then what we'll do now is we'll grab these tiles. I'm thinking I'll grab this tile set up here. And then what I'll do is I'll press Shift D, Steven, to go over the top. And then what I'm going to do is I'm going to press control all transforms, right? Place the origins geometry. And then what I'm going to do is I'm going to make it smaller and I'm going to try and fit those into place. I'm going to bring it down and just see how it's going to fit in. First of all, before I do anything else, let's shift drop them in so you can see I must be getting lucky because they fitted in really nicely. The one thing is I need to pull them out. Of course you can see they're a little bit, not quite long enough and X pull them out. There we go. Then all I'll do now is just grab, go over the top. I'll just grab these ones if I can. These ones both for these, not this one. It would be grabbing one of those, wouldn't it? Let's come in, grab this one. This one control plus, then all I'll do is I'll move them over. Well, I'll move these over. If I grab these, I'm going to press NX. Move them over. Because I don't want those gold leaves on this part here looking like that. We can't see the gold leaf under there. Anyway, then here's the next balcony. Done. All right, so that's looking good. Now our thing we should do is we should work on a little canopy that's going to go over here. We'll actually create that, Let's actually make a style on that. So I'll do is I'll grab my door. I'll press shift desk to selected, press shift A, Bring in a cube, make the cube smaller, and then bring that up. In fact, do I need that cube? No, I'll use this. I'll use this rock here. You can see this rock here. Let's split it off, L selection, then control all transforms. Right click the origin, geometry shift D. Then yeah, we'll use this rock. That'll make it a little bit time saving. Control one, let's put it into place, let's squish the rock in a little bit. And X, let's put it into place where it's going to go either side of this top part here. And then I can just press Shift D and move it over and then spin it round, so 180 control one again. What I'm looking for is where does this line come up? And they look about even to me that I'll do. Then what we'll do is well on the center of these shifts selected, we'll bring in now a cylinder mesh cylinder 20 is absolutely fine x 90. We're going to make this a little bit smaller. What I'm going to do is pull this out. I want it round about in the center of the. I want it in the center. If I can, I'll press Shift Us selected. Grab this one, then Shift S. Selection. Cursor. Now it's in the center. And then what I can do is I can just pull it back now. And then what I can do is I can press I and then bring this out. Bring this out just probably in front of there. Then on the end of it now I can press Enter, pull this out, and then pull it out again. And then finally I'll just make this a little bit smaller. Finally, I'll just level this control B, like so. And then right click. And where is it? Shade, auto, smooth. Now I just want to put it on the other side. I'll just press control one. What I'll do is I'll press control or transforms right click, origin to geometry. Then what I can do now is I can put it over this side. So I'm just going to press shift, grab this one, shift the selected, grab this one. And then shift and selection to cursor. And there we go. Now the boat in the middle, apart from it, is pulling out a little bit. Let's pull it out a little bit. Lining it up with this one here, Roughly lining it up. Doble, tap the, and there we go. So now we've got that. What we want to do then on the next lesson is we'll actually bring in some more cloth here. And this will be near enough to fight. I think this will be the last piece of cloth we have to make. So that will be good because you making cloth is not easy. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 80. Adding Roof Attachments to Stylized Balconies: Welcome back everyone to the Blenderful Ultimate Guide, and this is where we left off. All right, so now let's think about our actual cloth that's going to go on here. So all I'm going to do is grab both of these shift S Ursa selected and then I'm going to bring in a plane. So shift A, bring in a plane, I'm going to make it smaller them. And what I'm going to do is I'm already going to do a little bit of the work on this actual plane before I actually put it into place. So I'm just going to put it round about there like so. And then what I'm going to do is now I'm going to bring in some edge loops. So let's come in, and instead of just bringing in edge loops, let's just first of all, control or transforms. And then what we'll do is tab, right click, subdivide, subdivide, subdivide, subdivide. And maybe one more subdivision like so then what we'll do is we'll go up to over the top. And I'm going to come in with proportional editing, which I've forgot my proportional editing on. You know what, Here it is. There we go. All right, let's come in, grab the center here, and then let's pull it back. And you can see we don't really want it like that. Absolutely not. Let's come in and let's try the sphere, see if that does a better job. The problem is the drop off on the sphere is probably a little bit too harsh. You can see it's dropping off like this. It might work. It might work out, let's pull it all over. Or it might not. I think that's too much. So what I'll do is I'll come to smooth. And you can see how the smooth is the way to go. All right, then what we'll do is we'll do this side. And then what we'll do finally is this side. There we go. We've got it pretty much. Let's do the back as well, actually, while we're here. Then we've got it pretty much in the way that we actually want it. All right, so now we need to do is pin them as we normally do. But before we pin them, let's pull them out a little bit. So all I'm going to do, I'm just going to really bring in my smooth. So I'm just going to bring it in there and I'm going to let the cloth do most of the work anyway as you know. We're just helping it along really is all we're doing. All right, that's absolutely fine. Now let's come into each of these corners. So let's press control plus just once. And then what we'll do is we'll come hit a sign and we'll just call this pin. Let's go then over to our layout, which we'll have our timeline, and let's set the timeline to zero. Let's press dot to go over there. Then let's come in now. Let's press Tab. Now what we're going to do now is to do the same thing as what we normally do shape. Let's click on Pin. Now the other thing about the actual cloth is that we've only just scratched the surface on the cloth. There's so much more you can do with it. For instance, you can even change what the preset is. So you can see you've got all of these as well. They do interact really differently with how the cloth actually falls. So I recommend really playing around with this. Of course, you know, this course can only be so long and there is only so much we can point in it. So we're just basically covering the basics of how to get some decent cloth in there. All right, so let's come down and we've got a pin on. So now we need to do is just change the vertex mass. And we'll change this to something like three. And then we'll do this press space bar. There we go. That's probably all we're going to need for something like this is a very small piece of cloth. Even saying this higher up, it's probably not going to make so much difference. So we can try though, let's put it onto six and you'll say it makes it more droopy, just like this. Do you want it like that or do you want it actually, I think actually that looks a bit better, maybe not quite as much. So operation five and operate back, there we go. I think that's looking absolutely fine. All right then what we'll do is we'll come in, we'll apply this on there. So I'll come to our modifiers, press control late and apply that. Now what I'll do is I'll go over to, it says object. I'm going to go to sculpt, I'm going to make sure I'm on my smooth. And all I'm going to do then is just smooth out these just a little bit, making them a little bit more smoother than what there was like. So. And there we go. Now finally, then let's come over and put it on object mode again. And then what we'll do is we'll add in a modifier and this time it's going to be a solidify. Again, don't add a lot of thickness even this might be a little bit too much. Let's turn it down to not 0.5 Let's try that. And I think that's looking a little bit better. And then what we can do is we can actually apply that. Finally, then what I need to do is I need to bring in some materials and my chain. To bring in a chain Again, I'm going to come over and just steal a piece of chain over here. So what I'm going to do is just going to press shift. And D. And bring it over. Not with proportional editing on, let's just bring it over to here. And then what I'm going to do is just go over the top. First of all, I'm going to press R X and just straighten this up. And then I'm just going to put it in place, so I'm going to rotate it around, so I'm going to make it a little bit bigger. Then let's just put it in place there. Then what I'm going to do is I'm going to press shift, bring it over, rotate it z hundred 80, 90, and then get it into the right shape that I want it. Then what I'll do is I'll grab both of these and I'll just bring them over and then rotate them around. Hopefully it will. If I put this onto median point Z hundred and 80, then I should be able to drop those in place like so. Now finally let's actually put them into place because they're not in a very good place there. What we'll do is we'll bring them down in place like so. Then finally what I'm thinking is I'm going to just come then to these edges. Just to these edges. I'm going to isolate this out. Shift H, isolate it out. Press a little question mark, so it can actually go around there. Right click, shade, auto smooth. And then all I'm going to do then is just want to come to these edges here. Just these edges around here, here, here, and the other one. Finally here, I'm just going to be level them off because they're way, way too sharp control B, bevel them off. Just make them a little bit more rounded. There we go. Now we can see that's looking pretty good. Now, while I've got this here, I may as well go over the top. And then what I'll do is I'll press A and I'll project from view. I'll bring in my cloth. I'll level lot what that looks like and actually that's probably going to look okay as it is. If you don't, then just go in, move your cloth around. Let's press all tapes then bring back everything then. All I'm going to do now is I need some metal on these. I'll do is I'll grab them both, press Conchal J. Then I'll grab my metal. Which is this? It's black metal. Let's come in black metal. And there we go. And let's wrap these properly. A smart UV project. Click Okay, there we go. Then what we'll finally do is we'll join all this together, I think. Let's join all of these together with my cloth object, convert to mesh. Then what we'll do now is I've joined all of those because they're the chains. So I need to split the chains up. Yeah, the chains are over here and I really don't want that. So what I'm going to do is I'm just going to grab all of my chains. So these four press P selection. And now I should be able to join all of these up. Let's hopefully make sure I've got nothing else joined to there. Then I should be able to press control J. Join all of those up. Right click, shade, auto, smooth, double tap, the Then let's just have a quick look at what that looks like. Yeah, and that's looking really nice as we can see. All right. So that's that bit done. That is the last bit of cloth that we're going to be doing, and basically we're going to put some cloth. In fact, is it the last bit of cloth? No, it's not. We have one more bit of cloth left, a trick to you guys. It's going to be this one down here. Luckily though, for us, we can actually use a lot of parts we've already used on there. So I totally forgot about this part, so I' sorry about that. All right, so what we'll do now is on the next lesson is I think before actually coming to this part, what I want to do is I'm going to put in a plant pot down here. And we'll put in, yeah, we're putting a plant pot down here, I'm thinking we'll also make a vase for this part here. We'll make some barrels as well, just before starting this, just to kind of, you know, bring it out a little bit. So we'll just make a couple of props because I don't want to come to the end and have to make a ton of props. That's not going to be fun. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 81. Modeling Plant Vases for Enhanced Aesthetics: Look back everyone to the blend for ultimate guide. And this is where we left, there are. All right, so let's now put this back onto our shade it. And then what we're going to do is we're going to take the same plant pot which we have around here. And all I'm going to do is just press shift D. I'm going to bring it over here. We might as well use this again. And what we'll do is we'll just make it a little bit bigger, it's a little bit too small. And then all I'm going to do is put it down and put it down near the entrance around here to this part here. Then what we're going to do is going to go to Asset Manager and we're going to show you the other plant, some foliage. Let's turn that off. The other plants we've got here, we've got these four plants in here. So let's have a look at what they look like. We've got this one more. Let's do this a little bit slower. This one, this one, this one. These again were all made by three D tutor. You are free to use these in your own projects. What we'll do is I'm going to use this one. I'm going to delete this one, and this one, and this one. And then I'm going to bring this one over, make it a little bit smaller, and put it into this corner around here. I don't want too much of it going in the wall. I'm just going to press arms, just move it out. I'm going to pull it up. Let's pull it up. And then pull the plant part across and have it sat in there. That's look in, Is it fitting in there? Yes. Go this way a little bit. There we go. Now it's more centered. One problem of God is this leaf here. I'll just come in and I'll just move that leaf other way. Let's pull it out. If it's not going to move, don't worry, you can just grab it all. Take off this and then press, move it into the place where you want it, then G. So there we go. All right, that's looking good. Everything's in fact, you know what? It's actually moved away from there. Shouldn't have done that. I'm going to actually put it back. Let's put it back. Let's press Alt tag so I can actually see what I'm doing. And then what we'll do is we'll put it back to where it was, then L. Now what I can do is I can grab this and this. Then what I can do is I can move it now properly, there we go. And then move it into place. So, there we go, much, much better. Let's do it properly. All right, so that's looking great. Now let's, let's make another one, so we'll make another pot over here. So what I'm going to do is just shift right click, drop my cursor there. I'm going to then press Shift, and I'm going to start with a cylinder. I'm going to make it a little bit smaller then. And then what I'm going to do is a little bit smaller because I want it to go roundabout there. So then what I'm going to do is press and bring it in and that looks a fairly nice side base. And then we'll do is press Tab. And I'll press, I bring it in and then we'll do it is, I'll press E, press the Born to pull it out. Now we just want to get a nice, beautiful shape to this. All we going to do is just press controller. Always a center one in there, unless you really want to bend it out. Left click, right click. And then I'll grab this center one. And then press then, let's see what, what style do you actually want it to have? You can have something like this, for instance. Let's right click and shade. Auto, smooth. Actually, that might be okay. What I'll do then is I'll come in, I'll press the eyeball. So then we do. I'll press E, and then without proportionality non, then do is I'll press E. And then again, and then, and then, and then, and then finally pull it up a little bit. And then I then, and then finally to bring that in. Now I do, once I've got the actual shape that one is, I come in, I actually bevel off the edges myself. Now, before you do that, just press control and all transforms. So press control, level those off, and then let's come down and we'll leave this shop on here. I think we'll level this one off, just very slightly like so. And then we'll level this one off and maybe the inside of this off so we can press control B and level them off, so. Okay, that's looking pretty nice. Let's just now, do want a little band on this part, I think I do. So I'm going to do is press control, bring it in. One, like so. And then what I'll do is I'll come in, shift click, alternS, pull out a little bit. There we go. I think I'm happy with that. I'm just going to check now the size of it so we can get into place. It's just going to go here. Feel free, by the way, to really go nuts and put in lots of your own foliage. Just be careful you don't make something too ridiculously big or small. So you can see here, it's probably a little bit too big, this, so I'm going to shrink it down a little bit so, and I think that's looking much, much better. Now let's look at what clay we have. So I'm going to click new. I shouldn't have done that. I should click down Clay. And we've got clay, blue and clay. Let's bring clay in first. Let's press Tab Smart UV Project. Click Okay. As far as I know, the clay hasn't grown material on. If we go to our shading panel, you will see that if I zoom into it and zoom out, you can see it's just basically a principled with a color change. And I think that's all there is, there's nothing else to there. And then what we'll do is we'll just come in with the blue. I mean, you can just make that yourself very, very easily. And blue, blue. Let's bring clay actually, because then we'll be able to find it. Blue clay. Click a sign. There we go. Now I'm thinking, let's bring in another plant. Do I want to plant this big? Maybe. Let's go to our asset manager. We've got a fern we can bring in there, so we can bring in an I've turned that fern wrong way around. Let's spin it around. X -90 and then X -180 There we go. We could have a fern in there. We'll just have a look at what the fern looks like. Let's put them in burns, though normally are going to be used more throughout the scene as plants. You're going to see what that looks like. Actually, you know what? I think that looks pretty good. I'm just going to rotate it a little bit though. Why rotate it? I think because we've got that in there. We should put in another loop, control law. And then put in some soil. So I'm just going to press F and then I'm just going to click plus down arrow soil and then a sign, There we go. Yeah, that's looking qua, I'm not even going to worry about what the others are going to look like because I'm pretty happy with how that looks. Let's just put on, let's move our guy out of the way and there we go. All right. Happy with that. Now what we'll do is we'll actually create a barrel. And the barrel we can use, always keep your barrels. Just always keep them in the asset manager. You'll use them time and time again, if not in every scene, depending on what you're building. But even if you're working in sci fi, you want some type of barrels. They just all look different. So you're going to end up in your journey in three D modeling. I've probably created maybe 300 barrels in the whole time I've been three D modeling 300 of them, something like that. Most of them I've not got, I do have a fair amount of them and you know, they're all slightly, slightly different. So we're going to create a small simple barrel and I'll show you a really, really easy way of actually doing that. All right everyone, So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 82. Creating a Stylized Barrel: Welcome back everyone to the Blend Four Ultimate Guide. And this where left off, so what I'm going to do now is start with my barrel. I'm first of all'm going to put this on shader. I'm going to press shift S, and Custer selected just on my guy. And then what I can do is I can bring in a plane. So not plane, sorry. A cylinder won't be very good starting with a plane. Now remember when you're creating a barrel, you need to think about how big each of these is going to be. So if you have three, you've got to make sure that it's divided by three. In other words, if you want ten of these, you need to have it 30 vertices and not 20. Generally, 20 is good for two because obviously two divides into 20 rather easily. So you've just got to make sure if it's four, you've got to make sure it's times of four that will work out in whatever you're trying to do. So what we'll do is, first of all, we'll work out the size of the barrel. I'm thinking probably a little bit higher than that. This is the first thing you should always do when you're actually developing your barrel, is look at the size of it. We want a fairly, fairly hefty barrel. Next of all then you want to work out how thin the barrel is going to be. So what I'm going to do is I'm going to come in with Olt shifting click and then I'm going to press alternS. That then will allow me then to keep the height but develop how actual thin the actual top of this barrel is. I'll think with this because we're going for a stylized Arabian theme look, I'm going to keep it relatively thin and then what I'm going to do is I'm going to press controller and we're going to bring in three edge loops. So three edge loops. Mind do it. Let's try five edge loops. Actually five edge loops. Left click, right click. And then what I'm going to do is old shift and click around the center of it, put on proportional editing. And I think the root is probably going to be the best one if I bring it out with the root, we can see now we can actually get a nice barrel shape like so. And you can see already just how easy that is to do. Let's right click then. And what we're going to do now is shade auto smooth. Just make sure it's all nice and smooth, which it looks like it is. The next thing now you want to plan out is you want to plan out these edges here, this one and this bottom one. Where do you want the actual bars that are going to hold the barrel come in together. In other words, hand, Do you want, do you want one, do you want three in there? Let's, let's make three. What I'll do is I'll grab the top and the bottom. And then what I'm going to do is press control. And I'm just going to pull those out into the where I want them now. You can see do I want them, these parts here or do I want them lower down? I think actually I'm happy with how these are. All I'm going to do now is come to the bottom. I'm going to press control B and bring this one now and make it a little bit thicker, just so it's looking a little bit different from these. Now what you need to do is you need to come in, shift, click, shift, click on these parts. And then what you're going to do is you're just going to duplicate them. Shift D, press the end to button, and then we're going to press selection and separate those off. Why we're doing that is it's just going to make things so much easier for us when we come to creating the rest of this barrel. If you just think a little bit of head now, what you can do is you can actually select these parts on the inside. Well, if you can't select them, just press shift H and then isolate everything out. And then you'll be able to select the top, and you'll be able to select the bottom. Now what you want to do is you want to split these off. So you want to press Y, and then you want to press without proportional to N. Split these off. But we don't want them going in, we only want them on the individual origin. Bring them in next of all. Then what we want to do is we want to now separate this off. So we want to separate these by two. On every one we should be able to press control shift and plus, nope, that's not going to work. So I'm just going to go to the next one round like so and we should get back round. Nice even to because we gave it 20. Now we've got that. What we want to do is we're going to right click and we want to come in and mark a scene. Then what we can do is we can now split these off. Now you can either split them off, first of all, you can split them off like this and then you can be level them and you'll end up with, sometimes it makes it easier. The problem is once you start giving this depth, it's going to really pull out the sides of it. These sides, I let me show you what I mean. I'll quickly try and show you what I mean. If I select all of these, we are going to go back. Just let's save that our work before just watch Y. I actually mean if I select all of these, press Y, and then what I'm going to do is I'm going to come in and bring in a solidify. Let's bring in a solidify, let's bring them out. So you can see already, the problem is that we've already got a massive gap down there. And then what we have to do, we've this as we're not leveling up and things like that. So I don't recommend actually doing that way. What I recommend doing instead is keeping it all together for now. Just separating out these two though, because we don't actually want those in there. So P selection, hide those out the way. Hide them out of the way. And then we've just got our barrel, now I recommend that you bring this barrel in. Instead we're going to press control all transforms. And then I'm going to press Add and I'm going to bring in a solidifying. And then what I'm going to do is bring it in. We want to make sure, Not how bring it in. Something like that. And then how thick do you want these parts? Then what I recommend we do is we actually apply this solidify. Apply the solidify. And only now we need to just go in and we need to these seams again, mark the seams. So going all the way around. So then what you're going to do is you're going to right click and mark scene now is where you should be splitting them off. L, L, L, L and L, split them off like so. And then what you want to do is now you want to press A and then you want to make sure on individual, and you want to bring them in. Just a little bit like that. And the reason we want to do that is just so we can actually fill all these in. Now unfortunately, unfortunately there's not an easy way to fill these in. So what we need to do is we need to come in with Alt Shift and click. And then what we're going to do is right click. And we're not going to bridge edge loops, we're going to use Alt, and Alt and F will join those altogether. So now what I can do is I can come in, I don't think we can do two at the same time. So Alt, no, we can't do two at the same time. As you can see what we might be able to do, the let's press on them. Yes, we can press F, and then what we can do is instead is can we do two at time? Yes, we can. So what we can do is we can go like this, grab them all, going all the way around like so all the way around here, all the way up to there. In fact, those two have already been done. I don't want to do those again. And then what we can do is press and there we go. Now I can grab them all. And what I can do now is I can right click and put, where is it? Faces, right click. Triangulate faces, right click. There we go. Now we've got nice going all the way down there. And it's filled them in really nicely. The reason I want to do that is now because now I can actually bring them back together. I can come in now and give them a nice bevel. So add modifier, generate bevel. Let's turn it all the way down then. Then turn it up maybe naught point naught three. So then what we can do is now we've just got the inside which we don't want to see the inside, we really don't want to see this. So what I'm going to do is I'm going to press Alt Shift click, and just mark a seam on just all of these parts. Like this then is going to make it really easy to actually finish this barrel because we want to see some gaps on the outside, but we don't want to see through the barrel. That's the problem we've got. We're going to finish this mark seam. So then what we can do now is we can come in to the inside of the barrel. All you're going to do is press L, and what they'll do is select all of those islands coming all the way around. Press seven to go over the top. And now we just want to bring all of these in. The way to do that is you're going to put it on normal, you're going to make sure it's on individual origins. And then when you press and Y, you'll see that you can actually bring them together. Hopefully, let's press and X. Y and X. Is that going to work? I'm hoping instead of doing that, if I can't do that, I'm just going to press S and bring them all together, like so. All right, normally S and Y works. Maybe it's because I got an even number on these. But either way, let's bring them in a little bit more. And the other thing is, because we've done that, now you can see that we've actually flattened this up on the top and on the bottom. Which makes it really, really easy now to actually deal with. Now what we'll do on the next lesson is you can see we've already got a really nice barrel. We'll actually come in and just randomize these now on the actual side of here. So we can randomize just these sides because we're going to put in another seam going down here, which means that we'll leave the back parts alone. All right everyone. So hope you enjoyed that, and I hope you take this forward when you're actually creating barrels once you've actually learnt how to do it and use it in your own, you know, your own projects and things like that. Alright everyone, hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 83. Finalizing and Texturing the Stylized Barrel: Welcome back everyone to the Blender Four Ultimate Guide. And this where we left off. All right, so let's come in now and we'll go old ship click. And just pretty much do the same thing as what we did with the inside. So we're going to grab the outside now on the top and the bott, let's come in. That one going around there and then right click and Mac. Okay, so now what we'll do is we'll come in and we'll grab all of these. L just going all the way around. Just the outside. I don't know how I've managed to do that. I'm just looking before I actually grab them all, I'm just going to come in and take away these seams. I think what it did was, but you know what? I don't know what it did there. Right click. Let's clear that scene now. We'll try that again. As long as we can grab them Going all the way around the outside, we're going to be fine. Let's bring them all. So then what we want to do is now we're going to go to mesh transform. Where is it there it is, randomized. Let's turn it all the way down then 0.3 maybe 0.3 Try that tab, there we go. And let's do that again. We'll do a little bit more now. Mesh transform, randomize. Turn it down, and this time we'll turn it to not 0.1 And then what I'll do is I'll mess around with a couple of these. Maybe not so much. I'm going to have to turn it down to not 0.5 Still think that's too much. Let's bring it down n 0.3 And there we go. Let's try that. That's looking much, much better, we can see now we've got a bit of variation in those. All right, so far so good. Now we want to do is want to press Altag. Bring back everything. What we're going to find is when we brought back everything, we've actually got those bars that we need to use to create the outside of the barrel. And they're going to be the perfect size because that's the thing that we fought ahead of doing. Here you are, here's the actual bars. Now you want to do is with these bars is you want to press control or transforms, bring in a solidify. And then what we're going to do is pull that out a little bit. Pull it out, out, Pull it out to wherever you want it. And there we go, there are those barrels. Now the thing is, let's see if we can make them a little bit smaller because making them a little bit small is normally what's needed. And we can see that's looking pretty nice. Then what we're going to do is we need to bevel these off as well. Controltrolll transforms right click, surgen geometry. And then we're going to do is we'll apply the bevel add modifier. Let's bring in where is it a bevel we want on this to probably have 22 also we can see probably say a little bit too high on this. I'm going to turn it down. I'm going to turn this up to two, and then I'm going to turn that up a little bit. Double tap the eight. Let's look in the object mode, just so I get a good idea. Let's turn the two down to just one and see what they're actually looking at. This is not working on this, so I'm just going to come off and add it again, so I don't know why did I reset and more. Let's sevel up, there we go. I might be beveling off something else, so I'm not sure. Let's generate a bevel there we go now. That's what I'm looking for. Turn it all the way down. Turn it up. Turn it onto two. Yeah, I think two is not going to do what I want. So I'm going to turn it down to Nor. 0.3 Let's try a bit higher, 0.05 Yeah, there we go. Yeah, that's what I'm looking for. Something like that. All right, now we've got this part here. What we want to do finally then, is we also want to come up to mesh, transform, randomize. And turn that down a little bit. We can see maybe that's too much, 0.05 Let's try that. Let's try pressing Tab. There we go. Now it's a little bit uneven, okay, so the last thing then you want to do is before finishing this bit, you want to come to these parts and you want to grab maybe this one and this one. And then what you want to do is you want to go to your proportional editing and put it on random. And then all you want to do is you just want to pull these up. When I pull those up, you can see it actually bends in, in a really, really nice way, as you can see. All right, so that's looking pretty good. Now let's think about our bottom now. The bottom on the top, you might as well get rid of the bomb because you're not going to need the bomb. We're only going to do this on one of them because you're only going to see one of the barrel at one time. Let's come to our top then and go over the top. What I'm going to do is I'm going to come in, put this on vertex, and then I'm going to grab this one and this one, press J, and then I'm going to grab this one and this one. And then maybe this one and this one might have gone a little bit too thin. We might be dealing. I'm just thinking, is that too thin for the top? We could have it 121.1 We could do it that way. I'm thinking whether that would be the best way to do that. I think we'll actually go with a little bit thinner. So I'm just going to grab all of these. Then I'm going to do is right click and I'm going to mark scene. Then what I'm going to do, I don't really want to randomize. You could also randomize this, putting some more edge loops going across there. I don't think I want to do that. What I'm going to do is instead I'm just going to split these off like, so I'm going to make the top of it just simple and see that I've got to randomize on. I don't really want that. I do want it on in a minute, but not quite yet. So I'm going to pull it up like so. And then what I'm going to do is I'm just going to select this middle, put it back on, and then just randomize them like so making them uneven. Finally, then control A all transforms. I didn't modify, let's generate a bevel, turn it down, turn it up, 1.3, Try that, and there we go. There is your barrel finished. Now, let's put, if I grab this and this and this shift H, isolate everything. Let's grab the top. And what I tend to do with the top is I'll bring it down, I'll spin it round to Y hundred 80. And then what I'll do is I'll rotate it, I'll put it there and then just rotate it on the Z, just round so it's faced in a different way that way then if we, you know, roll the barrel over, you'll see it's a different top and bottom. And I think now that is looking pretty much like it's finished. So what I'm going to do now is just select it all. We're going to come to object, convert to curve. Nope, don't want to convert it to a curve, object convert mesh, adjoin it altogether. And now what we should be able to do is bring in some materials. First of all though, let's come in and UV, Smart UV on wrap. And then let's come in, add in wood. Let's add in the wood first. I think we have one that says wood and props. Let's bring that in. Let's put it on shade in and let's have a look what that looks like. Let's also come in to our UV editing. Let's zoom to our barrel. Let's press a, let's press without proportional editing on. Let's press S and pull it out. And let's look. Well that's looking like. Then let's come into this one, and this one, and this one plus down narrow black metal. Click a sign. There you go. How nice does that look? How easy was that? Maybe this is a bit, maybe these are a little bit too high. Actually. I think it's okay. You could just grab these and drop them down a little bit, but there you go. That's a really nice, easy way to create realistic, stylized barrels. I don't know if realistic and stylized go together, but you get row, meaning it looks like a barrel and it looks highly stylized. So let's go back to modeling. What I'm going to do is press all Tage, bring back everything. What we'll do is we'll put these barrels into place, so we'll let it load up. And then once it's loaded up, we should always save our work before doing that, actually, but I always forget. So let's go to file, Steve. And then also what I'll do is I'll press control on my barrel, right click origin geometry. And don't forget, if you want to put this in your asset manager, then please do. I'm going to put one barrel over here. I'm going to make sure it's on the floor, so control one not floating on the floor like so. And then we'll do is I'll press shift D and I'll bring this barrel over here and then of course I'll press RNs are just so it looks completely different from this one and you might want to make a different size or something like that. All right, so there are two barrels done. What we'll do on the next one, then here we'll create our little basket. So, we have some baskets around here, so we create the little basket. We also have some crates around here, and we also have some Saxon grain and things like that. So I think pretty much though, for the back of it, I'm just checking my reference actually. Pretty much for the back. We're actually done. Pretty much for here. We're actually done. I think we'll create that, you know, the wicker basket. And then we'll actually move on to creating this bit up here. And then finally, I think we'll move on round to this part of the building. I don't know why I've been pointing that one off, but it seems like that. But I'm not trying to do that on purpose. Alright everyone. So I hope you enjoy that and I'll see you in the next one. Thanks a lot. Bye bye. 84. Crafting a Woven Basket for Scene Detailing: Welcome back everyone to the Blender Four Ultimate Guide, And this is where we left off. All right, Just a couple of things before we start that though. We'll grab this brick and what we'll do is we'll just bring it over and what I'm going to do is just spin it around so Y 90. Just to tidy things up a little bit. And I'm going to just put it over here just so it looks like this thing is actually being held by something so essen and doesn't work. Because I need to be global essensed. And there we go, that's looking better. I just want to make sure that that chain is not stuck in there or anything like that, which it's not. Now what we'll do is we'll bring these two, actually we'll bring these three over. And what I'm going to do is I'm going to bring them over here. So I'm just going to duplicate them. And I'm going to bring them over to this part. And I want to put them into this part here, like so I want them on top of the wall there. Let's have a look if they need to come out a little bit more. So then I want to put this one over here. It is a long distance that I just need to be sure that I can actually pull this out so much. Let's press S and X, let's pull it out. What I'm looking at is a stretching on there, but it looks absolutely fine. Apart from, I think I need to pull it out more, Not quite that far. Something like that. Okay. So that's, that part finished off and that looks very nice now. Now all we can do is we can make a start on our wicker basket. So let's bring our little guy over very simple wicker basket. When you've got the texture, all of the work will be done with the texture. Let's press shift selected. Let's save that, our work as well. And then what I'll do is I'll press shift, I'll bring in a cylinder. We'll keep it on 20. That's absolutely fine. Let's make it smaller. Let's pull it down into place, let's move it to the side. And then what we'll do is we'll pull it up. You could create pretty much anything at this point. I think with all the vases and things that I've been creating, I'm going to make it something like that size. Then what I'm going to do is I'm going to come under the bomb. If I can't grab the bomb, all I'm going to do is press shift, Hide everything else out the way. We've got the right size in Now let's grab the bomb. Press control B, maybe bring in two edge loops like so. Then what we'll do is we'll devil off the top, control B, bevel off this top. And then all I'll do is I'll press, I just to come in a little bit more like so. And then pull it down and then bring it in slightly. So now finally just make sure when we go to shade auto smooth, we haven't got this really sharp edge on here. And also make sure that it's not too wide. At the moment this might be a little bit too wide and I don't think that's going to work. So what I'm going to do is shift click control plus delete bases. And then we'll try that again. So I'm going to o shift click, bring it down and then bring it in. And then to put that bottom on there. And then finally grab this one. Press control B, just a round that off. And that's what we should be looking for, something like that. Now again, you might want to, because of the scene, you might want to come in left click, right click. Grab the center one, Then put this onto root. And then press and just bring it in a little bit, making it look a little bit more suitable for the theme rather than just straight up. Then what we'll do is we'll make the top. Now all I'm going to do to make the top is I'm just going to grab these going on around there, press the press Y like, so pick it up without this on. And then when we do press, pull it up. So we should be able to come in now and grab the top and bomb face, press control and just bevel it off. So there you go. You can see that's going to be a very nice top. Okay, Now let's just split this up a minute and what we'll do is, well, we'll actually put a top on this. Did a split it off selection. There we go. Split it off, Now we just want to a little bit of a handle on there. The easiest way, honestly, to do a handle like this is just to use probably a Taurus or something like that. Or you could use a curve board. You're making it a little bit more complicated than where it needs to be. If you're going to do it that way, what I'll do is I'll just bring in a Taurus. Now the thing with Taurus is when you use them, you need to make sure that you really, really bring down the segments as you can see here, really, really high amount of polygons on those. And it's only a tiny handle, so we don't want that at all. So what we want to do is want to bring this down to something like, I don't know, 18 maybe. And then what we'll do is we'll bring this down something like eight. And we should be able to get away with actually using that. It's a very small handle, it's got a very dense kind of texture on it, so we shouldn't need it. So what I'm going to do is I'm just going to pull it in, pull it up, and just put it into place. R Y, 90. Let's drop that into place then. That's making it much, much smaller. And you can see now how easy that was. Just to make that, of course, you can press sensed and pull it down a little bit. Now let's hide out the rest of it. So we can see round from here, if we press Alt Shift and click just on these top bits here we press Delete and Faces. And then we can hide this out the way with H. Grab this then and delete, test, bring back everything. And then that's just finally drop it into place like so. Now if you want some handles on the bottom of there, something to actually looks as though it's actually strapped onto. You can just make an edge loop in there and then select it going around and for extrude and then I'll test. You can do it that way if you want. I think though, for mine I'm just going to leave it like it is. All I'm going to do now, controla or transforms that origins geometry and then just rotate it that way. Rotate it on the X. Just make sure that it looks. I think I've gone a bit too crazy on the rotation. So I'll just rotate it one way, which will be the X. Then what I'll do is I'll make it a bit bigger. So there we go. Now one thing I do want to do actually is I'm just going to pull this in. So I'm going to press and bring it in and then what I'm going to do is just lift it up because I think that makes it look much. And then control B bevel off. Then finally I'll make sure normal when I'm pulling this up. So there we go, That's looking good now. Right. Plate shade, auto smooth. Now the thing is about this, because of the texture we're going to be using, we'll probably have to be marking a scam. We're not going to be able to get away with what's it called. Let's pressure you and find out if I grab this smart UV project, we're not going to be able to do that. All we'll do is we'll come in and we'll grab the edges of this going all the way around onto the inside probably. We'll definitely be able to get away with doing it on the bottom. And then what we can do is we can come to the back of it and mark a seam there as well. Mark seam. And then what I can do is I can press L, and then I can press U, and then I can press Wrap. Now let's see if we bring in our texture. We haven't actually got our texture here. So what I'll do is I'll just come over to my asset manager and I'm going to go to materials. I think it's on the weave. Yes there is weave material. Let's drop that in. Let's actually delete the other way. Now let's come back to our basket. Press dot and let's also go back to our shading panel. So I'm going to press dot, I'm going to press, here it is. This, it's unwrapped, that hasn't wrapped very well. And the reason is because they didn't pour seam on the inside. Right click mark. Grab it all again, wrap. And there we go. Now let's bring in the material which will be we. So there you go. You can see Jaws down nicely. That's unwrapped. We can see where we actually, yes, we can see where we marked our scam. Now, if you want to make this look a bit better, what you can do is try and line these up. If you get the one that's going on the outside, I think it's this one. I can press and Y, and you can see I can line them up. If that doesn't work, what you can do instead is you can press and Y and pull them together. And now you can see we've nearly lined them up and Y hold in the shift and just try and line them up just a little bit bare, something like that. And you can see they do line up a little bit bare. They're never going to be perfect though. It's a very dense kind of, you know, texture this, the other thing you could do of course, is you can grab them all and pull them all the way up. And then what's going to happen is you're going to end up with a less obvious seam on there. So it's up to you which way you do it. Actually, I think for me I'm just going to put it back a minute and I'm going to check with old tage, bringing everything back just to see what it looks like, if it's all going to go together properly. In other words, does it look too stylized? Is the texture too big and things like that? So I'm just going to bring it back, everything, check that first. And then once I've done that, then I can actually proceed with the handle on the top of it. Okay, so it's loaded up. Let's now, I think it's a little bit, a little bit too big. So I'm just going to come in, grab it all, press the S, there we go. I think that's a little bit better actually. All right, so now then what we'll do on the next lesson is we'll get this finished off and we'll create these two little sacks that are going to go in here. And from there then we can come round and actually make a start on this part of the building here. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 85. Modeling Fabric Bags for Scene Enhancement: Welcome back everyone to the blender for Ultimate Guide, and this is where we left off. All right, so now let's do this bit. So what I'm going to do is I'm going to try and unwrap this from the bottom. So let's come in and we'll grab the edge here. Right click Mark Scene, and we'll do this one first, or press L. Unwrap. And let's actually grab this and press control L. And what we'll do is the link materials like so now we just have to kind of grab these and bring them down to make them the same size as the other ones. So if something like that looks fine and you can see now that that's actually, it's actually not too bad. I mean, there's a little bit of stretching on there as you can see around here, but not too bad at all. The one thing I would do is probably put this on normal art and Z and just rotate it then, so it's not so obvious on that bit. Something like that. All right, so now let's come in and do the handle. So if graba handle I should be able to, you can see already actually we've got these on, you're going to have an infinite loop. So what I'm going to do is I'm just going to shift click, right click and Marco Sam. And then what I'm going to do is L U and unwrap. And then what I'm going to do is make it smaller, smaller, smaller, smaller. Now there's no way it would be the same weave as this on the outside, so it would be slightly smaller anyway, that would be the way it is. All right, so that's that done. Let's press control J then and join it altogether. And then we'll press control or transforms right click, set origin to geometry. Now the thing is with the basket is you can add it into, into your asset manager if you want to. Okay, so now let's actually start work on our sacks. So we're just going to make some very simple sacks. All I'm going to do then is just grab my guy, press shift A. I'm going to come in and bring in a cube. And then all I'm going to do is press and z and then sorry x and pull it out to the size that I want it, something like that. You know what I'm thinking? Yeah, I'm thinking I'll just use all transforms set origin to geometry. I'm the best thing to probably use here will be my cloth generator. So what I'll do is I'll come in, I'll add one, go in across this way, so left click, right click. I'll add four or five going across this way. Left click, right click. And I'll add a few going across this way. Left click, right click. And then what I'll do is I'll come in, I'll press control lay, you'll transforms, right click, sell origin geometry. And then what I'll do is I'll come to my cloth, which is this one here. Add in cloth. It'll disappear because we need to be in layout and put it down to the bottom. Zoom in like so. And then all we're going to do is we're going to come back to our cloth and I'm going to come down. And what I want to do is I want to make the vertex mass probably one. Let's try that. I want to also come in and put pressure and we'll put that on 20 like so. And then what I'll do is I'll come down and turn my gravity down to zero. Now let's press Space Bar and have a look. And there we go, We're starting to get something, not exactly what we want. And the reason is we need to give this a little bit of a hand with subdivision surface. There we go. Now we've got something, so let's put this back to zero. And there we go. That's looking a nice cloth bag already. Okay, so now we've got that. Let's actually apply all this. I'll go to object, I'll come down to convert mesh, right click shade or to smooth. Now obviously it's not actually got that many polygons in, so that's actually okay. What I'll do is then I'll just flatten this bit out. The way I'll do that, I'm thinking I'll just grab this and I could use the sculpting tools as well on here to do a little bit. Yeah, I think I'll use that. I'll come to object and we'll go to sculpt mode. And we have got one in here, which is where is it? Could be called flat, inflate, blob, crease. Flatten. There we go. That's what I want the plan and then what I'm going to do is just pull that out. I'm hopefully going to flan that off. I'm going to put it on much higher. And there we go. Let's see if we can flatten this off. I think fling it. I'm going to actually press shift H and try and hide everything else. I'm going to go to object mode, shift H, hide everything else out of the way. Now I can go back to sculpting mode. Now I should be able to come in and press, there we go. Let's fly it off. Just keep flying it off. Turn up your strength if you want to. A look at what we've got here. Maybe I'll have to move it in first because it doesn't seem to be doing a good job of planning it. So what I'll do is I'll just grab it and just move it in place, don't worry, because I'm going to smooth it up as where you can press the ship key, just to smove it off. And now we're starting to get somewhere. Let's just basically just want this to look like like some sort of sack. So all I'm doing is just Sv in and just bend it in so you can see already now it's looking that way. And then all I'm going to do is just going to pull these in like you'd see on the sacks. Then now we'll just have some little parts going down there I could probably use where is it clay strips. Let's turn it down a little bit. Let's, let's put it on object. Going to actually see what I'm doing. Put that on too low, let's say a bit higher probably. If I want to bring it in as well, I'll use control and then control and control. And then finally, let's just so it off a little bit more, getting rid of those bits. Let's go around this way and make sure, there we go, that's looking pretty good. Just any other bits that you want smoving off? Yeah, I'm happy with that. Now I've got that. What I'm going to do is I'm going to come in and go to object mode, and then I'm going to press search D. What I'm going to do is I'm just going to pull this up and you can see I've still got some bits that I need to smooth off. Let's go into this part first and what we'll do. Yeah, I've still got a few bits that I need to smooth off, so we'll smooth those off as well. What I'm going to do in the meantime though is I'm just going to grab the middle of it. I'm going to come on to smooth. And then what I'm going to do is I'm just going to put this on global. And then finally I'm just going to move it up to make it look as though it's just sat on there. So now let's join them together. So control J. And then what we can do is adding another modifier, and this time we'll add in a deform and we're looking for smooth. And let's turn it up your sister tad like so. And let's also then turn up the repeat. What we don't want to do is make these so smooth that we can't see any definition anymore. We have to be careful with that. I'm going to actually turn that off. What I'm going to do instead is I'm going to try a different method, which is vertex and smooth vertices. Now what you can do is you can actually open this up and now you can turn this up or repeat the process again. We might end up with the same thing on there, but we can actually turn it off now on the Z, for instance, and have it just smooth off these parts again. Now you can see that it's still not works. So what I'm going to do instead is I'm going to come in again with my sculp mode. The problem you have with the scop mode, as you can see, it doesn't really show you all the time where the parts are you need to smooth, you just have to just pop in and out of it. Just make sure you can see. Now this is looking bare. Let's come in back to sculpt mode, let's move off these edges. The other thing is not great enough subdivisions in there. All I'm going to do is add modifier, generate subdivision, and there we go, It's smooth that off, probably too much. What I'll do probably a little bit messing around just on this little thing, but I'm going to probably come in actually. I'm going to turn that up again. Look if we can actually get something that we actually want. Let's try. I think what's happening here is I'm not actually smoothing it off, so I'm going to turn that off a minute. I'm going to come in adding a modifier, and this time we're going to use a multi resolution. We're going to subdivide. Subdivide, subdivide. And then what are we going to do now? As should, as you can see, drawing in much bear. All right, so let's come in and what we'll do is we'll operate like that. We'll turn this down a little bit and then what we'll do is we'll press control and bring it in. And then I'm going to smooth that off as well, so smooth it off. So I reckon now once I've done this once I've planned it off a little bit, you'll see that this will look much better than it did before. So I'm jos going to come in, it's moving these parts off like so then on the edges, on here, on these edges, again, probably spending too long on the sculpting, but it's enjoyable. Sometimes I'm doing it with a mouse. Generally, you should be doing this with a tablet or something, and then all I'm going to do is just come in and smooth them off. And I'm hoping once they've done this, they're going to keep their shape a lot more. And the reason is obviously because we've got that multi resolution on, once we apply that, we go back in and you can see it can really start to make these look like something really nice. If you want to take your time and make these look really amazing and you can do think for now, pretty happy with how they look. All right, let's come over now and see if I can apply that. I can't apply that, so I'm going to do his object. And there we go. We should be able to now apply this. And that's not worked, let's turn it up in Viewport. And then three. And there you go. Now we should be able to press control and apply that. And there we go. Now they're looking tons bare. Only problem is we've got a ton of polygons which we don't actually want. What we'll do is we'll just come to, sorry, add to modify it, Decime. We've got 69,000 polygons on these. We don't want that many 0.1 Turn it down. Let's press control. And I think we'll do that again. Decime, let's put it onto 0.3 Let's try that. We lost a lot of the depth and things there. How far do you want to go with it? Probably something like that, 7,000 Alright everyone on the next one, what we'll do is we'll actually get the linen into these. And then finally, I think if I press old tag and bring back everything, we should be able to put these in place and I think we all do. Then we're going to start over here. Rather than making the crates and the carpets, we'll actually make a start on this building over here. All right everyone. So hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 86. Unwrapping Decimated Mesh with the Bisect Tool: Welcome back if you want to blend the four ultimate guide, and that's where we left it off. All right, let's put it then on shade in and then we'll do, I think we'll go over to our Asset Manager once this actually loads up. And then what we'll do is we'll grab the linen for these sacks, we'll get that on there and then I'll think we'll start work along this side. Let's go to Asset Manager now let's come round and then what we'll do is we'll grab these and we're going to look for linen linen. And let's bring that in. Drop that in, and then I can delete it other way. Delete. Then what I can do is I can come to these. Now I can press a, I think I'll probably have to unwrap these, but we'll see how it turns out. Because normally when you try and do these, they're going to unwrap very well. I'm absolutely certain that won't unwrap. Well, let's click on the Wrap then. What we'll do is we'll go and give them Len. Len. They're not unwrapped. As bad as the thought, but still they're not very well unwrapped. So what I'm going to do is I'm just going to, I've got another little trick on my sleeve which I'll do, it's L and what I'm going to do is just separate these out just for now. And then what you're going to do is just going to press Tab and Front View. And then I'm going to press A. And what I'm going to do is I'm going to, we'll bring in a Bs. What we'll do is we'll bsraightw something like that. You can also press the Spacebar and actually move the bisect round as well, which is really, really handy. So once we've got that there, what we can do now is we can right click and mark a sine. And then what I can do is I can come to this one and I can basically do the same thing. So a mesh ***** cut it straight across like so I'm not going to worry about gaining a level or anything like that. I don't need to do that. All I need to do is right click and mark. Same. Now I can join these both together. So control J, tab A and a compress wrap. And there we go. Now you can see how well they've actually unwrapped. And I actually think that is pretty much how I actually imagine these to look. Now we could turn them around the other way. So let's just see if they look pair that way while we're here. So all I'm going to do is press tab A, R 90. I think they low. Let's have a low. Let's just press control said. Which way do we think control shift said? Which doesn't work for some reason. Let's press tab 90. Spin them around. I think you're going to leave them that way. I think they low bear that way. All right, so now we've got those, let's put them in the floor then. We're just going to place them near here, somewhere like that. Of course, if you need to make some more of those, then you can easily do that. Now, I'm just going to place one there over here. Then we're going to have, we've got a palm here, we're going to have some, what they called some crates over here as well, and then some carpets around here. But now let's actually come round then to this part here. Let's go over to modeling. All I'm going to do for this one here, I just want a piece of wall that's going to come out here. So I'm going to grab my steps. Press Shift As Krista selected shift, let's bring in a cube. In fact, can I? Yes, shift? Let's bring in a cube. Mesh cube. Let's make it smaller. We'll bring it up in height. I'm just going to press and's head now and bring it up to something like that. I'm going to press and X, bring it in. And then what I'm going to do is just pull it back. I'm going to think, bring it down to, I'm going to take off portional editing, don't need something like that. And then all I'm going to do is I'm going to probably bend this as well. So I'm just going to make sure though that you can see here, it's a little bit further than that wall. We don't really want that, we want to pull this out a little bit. So then what I want to do is I just want to have this bend round a little bit. All I'm going to do, I'm just going to make sure it's in the wall control. Bring in a few edge loops, left click, right click control. Then all transforms. Right clicks, origins, geometry. I think the height of the wall is going to be fine. I'm okay with that. All I'm going to do, I'll just bring in a simple deform, deform, simple deform, bend. Let's put it on the Y or the Z. It's not going to work with either of those. Put this on, but anyway, let's put it back on the X. And all I'm going to do then it's A, and I'll rotate it on the Z. So let's try zed 90 and then Z -90 And let's see if any of these work now. Yes, that's the one that we want. So all I'm going to do now is bend it back into place like so. And then let's get it into the place where I want it, somewhere around there. Spend it back. And then and said just a slight bend on it and then pull it out like so. And then finally pull this one over. So I think that looks pretty good. All right, now what we'll do is we'll just apply that with contro. Then we'll bring in another modifier which will just be the bevel, we'll turn that all the way down to one and then we'll go a little bevel on there. And finally then we'll just give this the material which will be the wall like so. And then finally we'll wrap it. So smart UV project. Okay, there we go. There's that part on. All right, so now I want to work my way round here, so all I'm going to do is I think this one's out a little bit too far as we can see. So let's pull that one back then. What we'll do is we'll grab another one of these. I'm looking at the longest piece I've probably got, which probably going to be one of these pieces here, I'm not sure. Yeah, this one here is probably going to be the longest one. What I'm going to do is I'm going to grab this one. And this one I'm going to press shift D and just drag them over them. And we'll start putting these into place. I'm basically going to put this one into the door with the corner. I'll put it going into here the same height as what these are as well. That's fine. Let's put it going into the door into this bit here just so it's in. We'll put it right away and then then we'll use that. I'm going to pull this one out and we'll put this into there. And then what I'll do is I'm going to press Dart just to zooming. It's getting a little bit hard to see what I'm doing there. Let's zoom in, make sure this is in far enough. And then we'll pull this one in a little bit more, all the way to the end. So I'm not going to cut that down or anything. I'm going to keep that in. Not only that, I can actually see what I'm going to do as well. So I'm going to bring this one out, shift D, and then I'll 180, and then I'll 90. Let's pull it out. And then what we'll do now is grab this one shift. Hopefully we'll nearly fit in place. -90 Control control 11, will it fit in place? Yes, it's going to fit in place. So that's good. We just need to pull it out a little bit. All I'm going to do is I'm just going to put it back into place. First, little bit further like so. And then make sure that this one and this one a seam, so that's good. And then what I'm going to do is just work my way around this wall. So I'm going to spin this ramp fer, so zed 90 and then 90. I think if I press three, no control three, I'm going to need this probably one there and then another one something there. I think what I'll do with this is we'll have the balcony. Round balcony. And then we'll have these parts where it'll be actually holding in place because actually I think round here, let's just have a look. Yeah, round here. I actually forgot to put some parts that are going to hold that in place. We'll make those in a minute anyway, we'll just carry on working round first. So what I'll do is I'll just grab this shift and then R, Z -90 control three, and let's see if it will go into place. So I'm going to put that into there and it does near enough fit perfectly. Then what I'll do is I'll bring this one over shifty, then Z -90 -90 So put that in the corner. Then we can see like literally the corner. You can see this angle here. That's where we want this one. So we can see now to pull this over, that's where that angle is. What I'll do is before putting this one, I'll just put this one back into the wall first, put it back into the wall, and then put this one back into the wall. Then what I'll do is I'll just move this over and then I'll move this one over, both of them together. So there you go. You can see what I'm going to do then now is delete this one out the way. Delete, grab both of these then. Press Shift and press controls it. And I'm hoping that this might work for what I actually needed. I'm thinking that realistically if I can get another one in here, I press Shift and bring another one in without this or delete this one. Put this one in like so. Then I'm hoping that I could just put one in this part here and then the other one in this part here. Now what I need to do is I just need to find the center of this. All I'm going to do is I need to grab this one and this one and shift S cursor to selected that, then we'll grab Willie, grab the center. Yeah, that doesn't look like the center to me. I don't think that's the center. Let's have another look if we can find the center of this. I'm not sure why it's actually done that I'll do is I'll just press Shift D. I'll do a different way. And then what we'll do is I'll press Delete and Limited Dissolve. Then now we can see that the center is here. Now if we press Shift selected, there we go. There is the center that is bang on. You can see just about there. Now we know that this is roughly in the center. So what I can do is I can grab this now and pull it into place, press sex Y sorry. I bring it in jars, fit it in nicely in between those like. So I'm going to do it a little bit more and y holding shift and there we go. That's that one. Now let's fix this one so we can see it needs taken away here. We'll put our little x ray on. And then what we'll do is we'll actually do this on the next lesson because we're running out of time. We've also got our well to fit as well, which I completely forgot about. All right everyone. So I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 87. Recentering Structural Decorations for Symmetry: Welcome back everyone to the Blend Four Ultimate Guide. And this is where we left the. All right, so what I'm going to do now is I'm going to just come into this and I'll come in with base select, Lt shifting click, and then delete faces. And then verticl, basically the same thing as what we've done probably hundreds of times right now. So then just make sure this fits in. Pull it out if needed. So S and Y, pull it out a little bit if we need to. Just making sure that it's in there. And then we'll do this one. And this one is nearly right as you can see, so I can just process and Y bring it in to where I need it, Js going to hold the ship. Bun down like so then I'll just delete this out the way. Just this one in here. This one here. Delete versus the way double tap and then Sure, be able to just move it over very slightly like so. All right, so that's looking good. Now we can work our way round. And what we can do is we can just work our way underneath here, all the way to this one. And then it'll look like actually this is being supported a little bit by that. The only thing that we actually might need to do, I'm just wondering if we need to move this up a little bit or if we can somehow make these meat maybe. Or if we can do something else. That's the only thing I'm thinking. So let's have a look. Let's get in first. So what we'll do is put pressure sift D, bring it over and then Nz -90 Let's put it into place. I'm thinking it might actually be better if we move them all up, but we will see how we're going to do that. We can see we've got one missing out there. I'm going to bring this one here and then shift then Nz -90 This is the hardest bit, actually, because you're trying to get everything into place from all of these different parts. I'm going to put this here, so then what I'll do is I'll bring out this one shift, bring out this one. And mind then pull them all up. But the first thing I want to do, let's fix this one first. So if we go in and we press old shifting click, going all the way through, delete faces, and then come in and we're going to delete L, L, L delete versus then now we'll pull this one into place along. Now if we pick them all up, you can see if swap this out for one of these, they're going to fit actually quite nicely. Let's see if we grab this one. We grab all of these, including this. We'll just give it a try and see if we can lift them all up lightly. We can see this one never got finished, but we'll come around and finish that one anyway. So what I'm going to do is I'm going to come in and lift them all up onto there like so. And I'm looking, the most important thing I'm looking at how much room I actually have on here. And I'm also looking see how much room I've got below. Actually, I don't think that looks bad. I think that's actually looking quite good. The one problem we might have is where we're going to put our supports under here. We may need to just get rid of this, I think. But we can do that no problem. All right. We'll leave that as it is. So I'll do now is fix all these. I'm going to delete that one out of the way. Bring out this one shift, bring it over and put that one into place like so. You can see now it's a nice flow double tap. The A going from one to the other round, that's looking good. Now I need to do is let's come in and fix this then. We're going to be, not that one, a shift click, delete faces and then L and L delete. L delete. All right, there we go. Okay, now all that's left is to come in and first of all, delete this. Delete T. Then what we need to do is now we need to think that we need to unwrap this. So what I'm going to do is I'm going to come shift, click, shift, click, going down. In fact, is this two parts or is this two parts? In fact, I'll just do it there and then I'll go shift click, right click, mark seen. Then I'll mark a seam. This one right click mark seen. I'm going to take this one off as well. Just this one here. You can see here. I was hoping they would go down to there, but it doesn't seem to. What I'm going to do though is I'm going to right click and clear Now I've got basically see a seam coming down here. I'm hoping that if I grab the top and just mark same on there, I'll see going all the way around here. I think this is in two parts. It doesn't look like a two parts, but I think it is. I'm just wondering if it'll be easier actually to just take the top of this. Take the top like so we can see we've got a top there. Shift. I'm going to actually just make sure that's all together. Mesh, where is it? Let's see, mesh. Cleanup and measure by distance nor vertices to move. It looks like it's all there. Let's press then separate it out. What we'll do is we'll just make this a different color. So I'll put this on wall. And the reason I'm doing this is just to make sure that all of this is going to be one piece. If I come in and I grab all of this and pull it down to there, just to the top of this roof. And then what we can do is press, pull it down. So now I can do is I can just minus this one off. And then I can press and pull it down again, all the way down to the floor. So now I can do is I can come in, hide the other way, and then delete this one Tate to bring back this one. And then I can grab it. Press Shift, And now I'm going to do is just delete the bottom of it. We're not going to need the delete faces. So now actually I should be able to come in and I should be able to mark the seams where I want them. So you can see now I can mark these seams and now it's a better mesh than what it was. Right click, mark, Same. Now I can come on on the top as well. And let's go Olf click, Olshift. Click going all the way around. Right click, and mark scene, finally. Then let's come in and press a smart UV Project. Click okay. And there we go. Now I'm not sure whether I want the dirt at the top here. I'm not sure about that. I don't think I do. I think I just want to come in and go to my UV editing and one we're going to do is just spin them all around our 180, spin them all around, press to zoom into it, and then we've got the dirt at the bottom. Okay, so let's press all tag, bring everything back. Double tap the A, and let's have a look at what that looks like. Now. We can see we've here, we've got dirt here. Let's make sure this one is a little bit dirty, I think. I don't think I want it that dirty, so I'm going to just move it up, so G Y. And then I'm going to check this one and this one. And what I'm going to do is I'm going to bring this down a little bit so you can see. If I bring this down, where's the dirt? There it is. That's what I want. I want this to be more dirty because we've got well there as well. Don't forget. Okay, so that's that bit done. Now if we go back to modeling, we've actually nearly completed the actual building. The only thing is, I don't think I want this one like that either, so I'm just going to take that off. I'm going to grab all three of these. And what I'm doing, I'm going to make them into a clean zone. So I'm just going to put them over there and have that, maybe I'll make it a little bit bigger like, so we'll have a little bit of variation on there. Yes, I think that is looking pretty good. Okay, now what we want to do is we want to create a round part for this and some bits that are going to go underneath. So we'll do that now. I'll come into this bit. I'll press Shift S Ursa selected. And then I'll press shift. And let's have a look. Let's bring in a cylinder. And I think this cylinder will come in at 32, so let's put it on 20. That seems to be a good number. Then what we'll do is I'll press and Z and squeeze it down, shift space bar, move something around there. Let's put it around there. And then what I'm going to do now is I want it in the halfway point, so we have to imagine it's going to have to come to there, and it's also going to have to come out of there. I'm going to press and X, pull it out a bit, and then and Y pull it out a bit. I'm thinking that, that is probably going to be okay because I then want to just a small, small balcony on here going round. I want to keep it rounded as well, and I don't want to go too far over those. I think I'm going to wit with this, I'm going to delete this one out the way now I think I'll make it a little bit thinner. So what I'm going to do is I'm just going to press Shift space part move. Then what I'm going to do is going to press the band and then finally I'm going to press, and then again, just down to the top of the. Yeah, that's looking much better. Maybe going a bit too much there. And then I'll come to this part shift click and then enter Alan S, I don't think I press then Enter Ol, there we go in shift. Something like that. Okay, now I've got that. What I can actually do is I can actually cut this away. If I go back to modeling and then we go over the top seven. To go over the top, I basically want to cut it down. So I want to cut past past this point here. So what I'm going to do is I'm going to come in, put it on next ray so I can actually see what I'm doing. And then mesh bisect and I want to cut it right across here like so make sure this is set to zero. And then what we're going to do is we're going to clear the inner or the outer. I'm not going to fill it in because we really don't need to fill it in. And there we go, something like that. Right click, shade, auto, smooth. There we go, that's ready. Then for the next lesson. On the next lesson, we should be able to get this mostly finished. And then after that, we'll put on the blocks that are going to come underneath each of these. Then what we're going to do, we still haven't done this bit up here. I'll, I'll also use a canopy over here, so I'll get all that done first. And I think then what we'll do is we'll make the crates, then we'll do the top of here. And then finally the carpets. Well, actually come to do the carpets. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 88. Adding Structural Supports to Balconies: Welcome back everyone to the Blender Pre Ultimate Guide. Now let's think about making these parts go under here. So what I'm going to do is I'm going to come to this, I'm going to press shift S, coast to selected. And then what I'm going to do is I'm just going to press shift, bring in a cube. Make this cube much, much smaller. And basically we want to make sure that these are going to be thick enough to hold all this. If I press S and and then put that in place, is that going to be too wide, maybe? I think I'm going to put it from there. And then what I'm going to do is just put it next to the wall like so as we build out this, we'll see if it's too big. Then what I'm going to do is I'm going to come in, pull this out. I'm going to turn my x ray off. I'm going to press control and just bring it up to something like that. And then I'm going to grab this edge. Press control B, Bevel it off to something like that because I actually put that edge in there. You can see I will be able to keep this flat part on that. And that's exactly what I'm trying to do. All right. Already I can see this is looking a little bit too wide, so I'm just going to squishy down on the slide. And then I'm thinking that it's probably also a little bit too thick because we have grow another beard that's going to come off. And then finally let's have a little bit of control over this as well so I can bring that forward. Now we'll bring in another block. What I'll do is I won't bring in the new primitive. I'll just press Shift D and then I'll press and X and then and Y like so. And then E probably down, something like that. And then what I'll do is I'm thinking I'll come in and I'll press control B and just level that one off then. I'm just wondering if I need one more part in here. One more part over here, I think I will. All I'll do is I'll grab this bomb shift, let's squeeze in and X, then we'll pull it back towards the wall, grab this edge, pull that back. And then grab it all and press like so. And then L on everything and then pull it into place like so is that too much or did I just need one of those? Actually, I think that might look okay. So I'm thinking it looks a little bit, might need to be a bit wider and ex I just want to make sure it looks as though it's actually holding up something. If I put that in there, what I can do now is I can actually grab it all. Smart UV Project. Click okay. And then I can press control, transforms, right click, origins, geometry, right click, and shade, auto, smooth. Then what we'll do is we'll grab this press control and we'll link materials. Double tap the aid, and let's have a look. And that looks absolutely fine now let's now bring it over here. So shifty, we'll bring it over here. So you can see now that, that's looking a much better support. Now I'm going to do, I'm just going to move this over here. So I'm going to grab this, duplicate it. I'm going to put this over here. That this post is actually stood on something. I need to put it over here. Can I fit the windows in now that is the question, or is this going to be a little bit? You can see my post is fitting there. Let's see if I can actually get all this to fit in place. I'm going to pull it out now. It's actually stood on there. Now what I'll do is I'll make this sole window a little bit smaller. And then finally what I want to try and do is if I can actually put this under here, will it look there? Let's give it a try. I'm going to press our sad 90 control. And one, let's see if I put this in place behind this. In other words, will it look good? Fit in behind. There you can see I need to pull it forward so that it comes in properly. Yes, I need to pull this out. Now, as you can see, how far forward do we actually need that? Probably going to be around there. So I'm going to bring both of these out. Now I'm jaws going to move this over very slightly, and I'll have to make this a little bit bigger. And y, there we go. And I'm going to have to pull this out because it's not in the position that we want it. And then that means I'm also going to have to pull both of these out, like this one here as well as in the wall. As you can see, I don't know why I left them all in the wall, but let's pull them out and make them right. So let's pull this one out like so there we go. Now they're looking tons, tons there and working our way around. And then we've got this part here which is going to have to be a little bit smaller even. Let's put it more in place. Let's lift it up a little bit, and let's pull this out now, just a little bit, because it's just a sliver out then. We don't really want that. Like double tap the A. I might have to just pull these up or down. Can I make them a little bit thinner as well? I don't want to lose too much of the sizing on them. That's the thing I'm worried about. So I'm going to press and X. We could bring in another couple of windows instead or we could just deal with it like that. Actually, Yeah, thing that looks just tons. Tons bare. Yeah. Okay. That's looking pretty nice now. Okay. So we've got a line going down here as well. I'm thinking that we're probably going to have to come in and grab all of these like so. And then all I'm going to do is press Shift and I'm going to then drop them down. I'm going to actually join all these up. I don't think I need to do anything else. Control J. Join them all up. Press control. And one at first of all, we need to just put them in place so they're going to be roughly here. You can see I got lucky. They all in place really, really beautifully double the A. And there we go. I don't think I need to do anymore with that. I think now that looks great. If I come under here, can see we've got a beautiful arch going over. Yeah, I think that looks really nice. I think this bit really has come on now. We don't need to do anything else. The one thing we do need to do though is we need to grab both of these. Press control J control or transforms, origins, geometry, add modifier, Bring in a Generate, and bring in a bevel, just to bevel those off. Bring it down. Put it up to maybe one like this. Let's just have a look. Maybe that's a little bit too high, so No, 0.5 Yeah, and a thing that looks bare, like so. And then I'm just wondering, because I feel like this maybe needs some wrapping again. So smart UV project. Click Okay. I think that actually looks better like that. And let's just take a stock step back and there we go. All right, so that's looking good. Now I think we'll do is bring that round to here. I'm going to grab this shifty, Let's bring it round. Let's put it over here. 90 control three. Let's put this under this one then. And fit it into place. Then we just need to decide whether we need to make this a little bit bigger. It's fitting in really nicely on there, but you can see it's not quite fit in this. I think what we'll do is, well, in fact, we'll get rid of this first because we're not going to need that. Then what we'll do is we'll make this a little bit bigger. There we go. They're still looking as though they fit it then. I'm just wondering, can I actually bring this in back in, Let's have a look. Shifting if it actually should fit in there. I really don't know whether we should put that there still out the way. I'm just wondering. Let's press controls, Ed. And bring back the other one that we had in before we made this bigger. There we go. Let's make it bigger now then. And then what we'll do is we'll see if we need to make that a bit bigger. We can, actually, I think that if I pull this two to this side, put it in there. And then put this one more over here. Let's put this one more over here like so. And then press tab, double tap the A. I actually think that looks bad, Like that. All right, so that's looking good now. Then let's think about this round part here. Let's, first of all, before we do anything, let's get some materials in here. So I'm going to press control a al transform Rilke origin to geometry. And we'll also bring in a Bevel. Generate a Bevel, let's turn it down. Turn up one, turn it up to 0.5 and then what we'll do is we'll grab these parts here. So we're going to grab this one. In fact, no we won't. We'll grab this one here. This control L link materials. There we go. And then we'll do is our long wrap it, a smart UV project. And then what we'll do is we'll go around here and we'll make these blue grab those going around. The control, double tap the A. Yes, that's looking good. All right, so what we need to do now on the next lesson is we'll first of all put this in some other places. And then we've also got a bit of cloth that's going to have to come down here as well. What comes down here, we're near enough finished with this. Now we've got this little bit to do up here. It's just basically tiding up the things. So let's just carry on, we'll just carry on seeing if we can get all these parts in. But we're nearly actually done with the main building, and we've also made also a lot of props as well already. All right everyone, So I hope you're looking forward to the next one, and I'll see you then. Thanks a lot. Bye bye. 89. Creating Radial Balcony Railings for Unique Designs: Welcome back everyone to the Blend Full Ultimate Guide. And this is where we left off. All right, so let's come round first and we'll just grab this one. And what I'm gonna do is I'm just gonna press shift. I'm gonna bring it around here then. And then what we'd do is I'm gonna press said 180. And we can see didn't really spin around the right place because the orientation isn't set right. I don't know why I didn't set that right body way. We can get that in no problem. We're j gonna then put it in here. Now what you best stop doing as an artist when you're creating buildings like this, is really thinking about space. And when you think about space, what you're doing is you're breaking down each of these spaces. So whether it's, you know, some kind of rocks down here, whether it's the space here or any of these spaces, you want to basically break them down and put things in it. So in other words, around here for instance, it would be better if I put another plant pot maybe. So another plant pot over here would probably look good. But the one thing that we do need to remember is we do have palm trees. So you can see that there's already a palm tree going to be in there. And this is what I've done when I've actually built things like this. All of these spaces, as you can see, are taken up by something. And that's what really, really brings life to your scene and things like that. Now what I'm also going to do is I'm going to grab this plant pot. I'm going to press shift Y them. I'm also going to put it over here. I'm going to press seven. I'm going to press and I'm going to drop this one over here into this area. Again, filling up a little bit more of that space. Now one thing I just have to be careful of is that it's not going to be in any of those parts. You can see like this part here. I'm going to come in with L and L and grab this stalk, and then Z. I'm going to rotate them round on medium point. That's where I'm going to put it, maybe the other way, I think this way here, let's put it in to that plump part. Let's double tap the A. There we go. You see now we've filled up that space. You can see all of this as space which has been filled up. You can just see how nice that all looks because of this reason up here. You'll see that they'll be vines and grapes and things. Basically, what I'm saying is, take every single part, make sure there's not anything really like this. You can see even down on this bit. At the back, I'm going to put a light here so that I'll fill up that space. I'm going to have a canopy coming down this bit. And then of course, going around here, we've got a, we're going to have some foliage here. We're going to have a well here. And it's really important that you learn to do that. The other thing is on the top of this roof, instead of it being flat, we're not going to just have it flat. I just forgot to do it. Or what we're going to do is we're gonna grab all of these and I'm going to press the Eban to bring it in. And if it's not coming in properly, as you can see, not to worry. What we can do with the top is you can just press Delete and we can limit it. Dissolve. And then we've got this here, and it means that this come into here isn't actually joined. So all I'm going to do is I'm going to come in, grab both of these. Then one way to do is I'm going to right click and I'm going to merge. Let's merge at center. There we go. Now we just need to merge the bone ones. Grab this one and this one and I'll merge them at last. Let's merge them at last. There we go. Now all I need to do is delete. Delete. I'll delete vertices. I should be able to come in and then press the Eyborn to bring this in like so. And then what I should be able to do now, just make sure it's coming enough that might be a little bit too less, so something like that. And then what I can do is now I can come in old shift and click. And then what I can do is press and just pull that up like soap. Now, I was hoping that I wouldn't have to re unwrap this, but it seems like I'm going to, So I'm going to have to re unwrap all of this. Not to worry, we'll just get this done really fast. Let's press U and Smart UV project. Click Okay. And then what we'll do is we'll turn this around like we did before. Now we can see that we do have a problem in that it's basically unwrapping all of this and we don't really want that. What we want to do is press control, going all the way around to here. Then what we're going to do is we're going to right click or control and clear seam. And then I'm going to do the same thing again. So Smart UV Project. Click Okay. And there you go. Now you can see some much, much nicer. Albeit it's got like this dirt on here, which I don't really want. So what I'm going to do is I'm going to come over to UV editing, press the tap on our 180, spin it all round and let's see what effect we get now. And now we've got some dirt down here. We've got some dirt going around here now. I'm just going to grab all of these and see where they are and I'm going to spin them around. In fact no, I'm not. I'm going to just press there they are. There's where the dirt should be, somewhere around there. Let's look at this one. We press L and G. Press Tab, there we go, that's looking really nice. And then round here that's looking good. And then I'm looking at the room around here. This top bit shouldn't be any dirt on there. So I'll just make sure there's no dirt on this. It's going to be fairly clean up there. There might be some dirt on this bit. So I'm going to press G, bring all that in, and then this bit here, 90. And we'll just put it in place. And there we go, that's probably going to be some dirt from the vines. And then as you can see now all of this has got something going on. And that's exactly what you want to think of when you're building these buildings out. That will help you more than anything else. Because you don't have to fill the buildings with just junk. You don't have to create loads and loads of things. Although this course has took a long time, we've not actually created that much really. We're not creating hundreds of parts here, we're just creating a few parts. And you can see that the actual, you know, the, this palace or whatever you want to call it is looking like it's full of life. And that's the idea of what you're trying to do here. All right, so now we've gone through all that. Speel, let's actually come round and what I think we'll do is we'll actually start now creating this out so we're still not finish this. So what I'm going to do is just create a balcony on here. I don't think I'll bobble with any stones or anything like that. I think I'm just going to come in and create pretty much a simple balcony. So I'm going to do, I'm wondering just the best way to do this. Yeah. I'll come in and I'll I'll bring a piece of wood in first. So what I'm going to do is I'm going to come in and grab it, going all the way around here. So control, click, control, click, And then control, click, shift the. Let's bring it up then to where we need. We're going to need our guy here. Actually, let's bring our guy over to here. Let's bring him up. We'll grab this and just press Shift cursor selected. Grab our guy. Shift selections. Cursor. Then I'm going to bring him again to see where I need this. 90, 90, 90. There we go. So you can see that, well, that would have been way, way too low. Let's bring it up to where it needs to be, which is going to be roundabout there. Then we press and pull it down like so. Now I'm going to show you another little trick that you can actually use. Maybe this is a little bit too thick for now, so let's press and pull it down. And then I'll show you another little trick which you can use when you're using the Solidify Add modifier. And what we'll do is we've got a devil on here at the moment. I will leave that on. I'll just add in fact. No I won't. I'll just press P selection. And the only reason I'm doing that is because I want to minus this off, because I want to bring in a solidify control. Yl transforms right click Srogen geometry, add modifier, generate and solidify seven to go over the top. And then what I want to do is give this some thickness like So what I'm going to do is I'm going to change the offset. And what I was going to do is it's going to make a nice distance between each of these. If I put this, let's say no 0.5 it's then going to put it halfway between. So we can see, now if I bring that down, you can see now it's brought to two for press seven to go over the top. It's brought it in halfway in between. I can even move it in now, so that is halfway. And then I can pull this out and you can see exactly the effect we actually get there. So that's a nice easy way to actually do that. Now of course, the only problem we're going to have is if I bring that up, I'm going to make it a little bit thinner because it's supposed to be an actual banister. The problem we're going to have is once we bring this wood, and then we'll be able to see where we actually need to put that. So I think what we'll do is on the next lesson is we'll start bringing these wooden slats in, and then we'll see where we actually need to put this banister going around. All right everyone. So not too much more to go as far as building goes. We're on the home straight for sure. And I'll see on the next one. Thanks a lot. Bye bye. 90. Adding Support Elements to Railings for Stability: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we left it off. All right, so now let's press Shift. In fact, let's go to modeling because it's very hard to work with in there. Let's have some space so we can actually work. Let's press Shift S, Usa selected. Let's press shift A. And then what we'll do is bring in a cube, make it smaller, pull it out, and then we're all to see if this balcony needs a little bit wider. So what I'm going to do is I'm going to fit this into place. I'm just going to put it in there and I think it's definitely going to need to be a little bit wider for sure. I'm going to pull this down then we can see, do we really want it out here? That's the question. I don't think so. I think we need it more in, I think it needs to be roundabout there. The other thing is, I think it needs to be roundabout here. Something like that. And you can see we've already got a bit of a bend there. Let's now bring this out a little bit. All we'll do is we'll go to a modifier. Turn it up a little bit to make it a little bit thicker. And then we'll press to bring it in. And then I'm just going to grab this then and press and, and spin it round and then pull it out a little bit like so. Then what I'm going to do is I'm going to use this center point. Now hopefully I should be able to use this center point. And I'm going to move this round. So I'm going to press Shift D, and then R and Z, and bring it round from here. So I'm going to press a little sideways V3d cursor, and then R and Z. I was hoping that it would move around there, I don't think. Yeah, it's moving to that point, but it's because I'm going to delete that. Come back control. Al transforms right click to origin to geometry. In fact, I'll reset the origin three D cursor and now let's press Shift. And then R and Z, it's still not actually coming out. Let's have a look, see if it's because of where I've got this. Yeah, it's because it needs setting in the halfway point over here, not over here. Unfortunately, that's not going to be the right place to put. I'm just going to have to figure out now better way of doing this. And I'm thinking I'll put it, I'll just delete that one out that I did. I'll grab this, press shift H, And then what I'll do is I'll come to the back of this. Maybe if I put it right in the center. So shift this. Custer selected. Now hopefully if I press Altage, bring back and forth in, grab this. And then I'm going to press R and Z. We're still a little bit short as you can see. It's because we've elongated this a little bit. I think that's what it is. I think I can work with it though. We'll work with this. What I'm going to do then is press shift Z. Just bring that to the next one there so we can bring it to this one there and then work our way around. Then we'll do is I'll press Shift and then and bring it to the next one. And then shift and bring it to the next one. And then finally shift and all dead and bring that one then to their like. So. All right, now what I'm going to do is I'm going to press seven to two over the top. And I'm actually going to move these then along this axis. So it should be able to bring on the normal. And you can see it's going in the right way if I press a little side rays V, come to individual origins instead. Yeah, I'm wondering if I can do that. I said, look, let's pull it out. Let's pull this one out. This one here, let's pull it out. Let's pull this one out. And what we're doing is we're just putting them all in the middle. All in the middle of there. Let's pull this one out into the middle so we can see we've got a little bit too far. I'm just going to come to this one, pull it back a little bit, holding the shift, come to this one, pull it back at all, right. That is what we've got so far. Now what I'm wondering is, if I need more in, that's maybe a little bit of a problem. Do I need to put more in here or is it going to be okay with these? I actually think it's going to be okay. The one thing I think is that this is definitely not far enough back. What I'm going to do is I don't want to make any thicker, so I'm just going to pull it back a little bit. There we go, thinking that looks pretty nice. Okay, so what I'll do now is I will come to the, I'm going to join them altogether. Control J. Then control all transforms, right? Clicks, origin, geometry. You know what, actually, I think that's going to be okay. Just wondering if I need more in there. That's the thing I'm wondering. I think that will be okay. Maybe we could come in and join some of these up. Maybe a little slat over there, we could put those in. Let's have a look. One great lin. So what I'm going to do is I'm going to press control layer transforms right click origin to three decursorn'n do is add in, generate a mirror and click on the y. Click the x, double the I. Actually that's going to be okay. There's a little bit of gap there but it's going to be made of wood M. Like so. And I'm just wondering whether as well, whether I want these wooden slots to be like this. Just wondering, I think I need to put more in there as well. Because the thing, if you really know what you're doing, you can actually do pretty much what you want. What we'll do is we'll grab this one. I'm going to press the little sideways V to put it at the three D cursor. I'm going to press shift then. And then Z, and Z with Global. And then what I'll do is pull it out and then shift and then and pull it out, the shift D and then Art and pull it out. And I'm going to put them this close together and then shift, pull it out like so. And then I think shift, I'm thinking, I'll put that one roundabout then. I think that will be fine. Okay. Now we've actually moved all of these in one go. What I can do now is can I actually bring them out now? I'm going to do is I'm going to grab the front and this side. Can I bring those out now? That's the question. I'm just wondering because I didn't actually split them up now I did it in edit mode. You know what, I'm going to have to go back and what I'm going to do is I'm going to do them in object mode. I'm going to delete them all, delete verts, and I'm going to do them again. I'm going to do an object mode. So what I'm going to do is I'm going to press seven to go over the top. And then we're going to press Shift D and then and Z and move them round. We've got two in there now. And I'm hoping if I put this on normal yes, it will pull them out now let's have a look. Then shift, then pull them out, may be there. And then pull it out. And then shift. Let's do them a little bit, just making sure. And then shift D, and then, and then let's pull this one out and then shift and then and pull them out. Now, of course, there is another way now. We could have done this using this balcony. We could have done it that way instead. And that might have made it easier just making some cuts along here and then pulling them down. But I actually think that's looking pretty nice now. Now let's join them all together, and again, we'll try our mirror. Because I think now that they're closer together, they just look a ton Better control. Join them all together and then add in a mirror. Generate a mirror, let's put it on the other side, like so we can see. They all probably need moving around a little bit. Let's move them around. In fact, we'll go a Z on global and on the medium point. We're still not going from there a little sideways. V3d cursor. Now let's see if they move. Yes, they move now. All right. Logs. Okay. Finally, I'm happy with all those. All right. Let's apply this with control. And then what we'll do now is I think, I think we'll leave them as just wood. So what I'm going to do now is I'm going to grab this control. These control J, little V, again. Individual Origins tab to grab everything. Smart UV Project. Click Okay And now we're just going to put the material on which will be the wood. It's going to be wood. So let's have a look what that looks like. And there we go. That looks absolutely fine. One thing is when I come on the next, next lesson we'll make this straight. I don't like it being like that. I don't think it looks good. We'll make this straight, and then what we'll do is we'll actually put some canopies over the top here. And then finally we'll move on to probably this canopy over here and we'll get that in. All right, everyone, a bit of fiddling around there. Sometimes that happens as you know, and I hope to see on the next one. Thanks a lot. Bye bye. 91. Creating Balcony Shade Decorations for Visual Appeal: Welcome back everyone to the blender for the ultimate Guide. Now let's come in and fix this one. First, I'm going to grab this top one going all the way around to here. And then also going to grab this one going all the way around to here. And then what I'm going to do is just go to UV editing. And I can see that I've got them here and all I'm going to do is align. Let's align them. I need to grab one of these first coming in and then right click and a line vertically. And then Y and X move them over. And I think then it's just the one going all the way around. So I'll grab this and this right click a line, let's have a look underneath there. And then it is okay. And then we'll do this one going all the way around here, right click a line and X. Then we'll do the same here. So we'll go to this one. This one, This one. This one. Right click a line. So all right, let's have a look what they look like. A little bit stretched out. And the reason is because we need to make sure that we bring them in like so. And am I happy with that? Am I happy with how they look? Not actually sure. I don't think so. I don't think so. Let's come in then. And what we'll do instead is we'll grab this one going all the way to there. And what I'll do is instead is I'll click line map, pipe click. Okay. And then you follow active quads. Click. Okay. Spin it around to r 90. And there we go. Now they look bare. Let's do it that way instead, let's press S. So yeah, and that's looking just a ton bear. I don't think I'll bother with the underneath because we're never really going to see that. But the top now looks fantastic. Back to modeling then. And then what we can do is now let's grab this canopy here. And we're going to press Shifty. I'm going to pull it over. I'm going to press 90. I'm going to press control. Lal transforms, right click Rogen geometry, and just put that in the middle. I'm just looking to see if we've got a bevel on those, which I have not, so I need to fix that as well. Just going to put that there for now. I'm going to come in adding the bevel to these. Let's generate a bevel, let's turn it all the way down. Turn one and then we go there looking much. Bare, right click shade or to smooth. Now let's come to this. We'll press control three. And what we're going to do is going to have one in the center. So then I'm just going to shift D and bring it over and put it over right in the same place as where it is. And then what I'm going to do is I'm just going to come in to this one. I'll come in and press L, L. I think this side is going to be the side to say, look, nope, not that one. We need to keep that. All it's going to be is this here thing. This will be it. Press let vertices. There we go. We've got two together now. Then I can join control J. Join them both up. Just make sure it's not altered anything over there. And then let's bring them in, put them in place so it's a double one. Then what I can do is of course come into this one, go to U V, just move them somewhere else so they look a little bit different as you can see now. And that looks fantastic. All right. I'm happy with that. Maybe I'll pull them down a little bit just so they are sitting on there. Then I'm thinking we pretty much all of that done. We've got our window in here now. It's time, I think, to work on this part out here. So what I'm going to do is I'll come in and I'll steal this one here. I'm going to steal all of this shifty, let's spin it around. So -90 Let's press so one. And then on' going to do is I'm just going to press, and I know it's not going to fit in place. Of course it's not going to fit in place, but it's more about getting it into the place where I want it and using some of these parts to make it a little bit easier for myself. What I'm going to do is I'm going to come to my palms. Let's find my palms. Here they are. Let's hide these out of the way. Again, we don't want them in the way. Then what we'll do is now we'll come to this part and I'm basically going to come in with my cloth and press delete vertices. Just make sure this nod lead, I'm always concerned about that now. And then what I'm going to do is I'm going to split this off at the moment. I'm going to grab this and this. I'm going to press Selection. And then I'm going to grab this one control or transforms right, set origin to geometry. Now I want to do is I want to put this where it's going to go. I'm thinking probably something like that is going to go somewhere, just right on the edge like so. And then this probably going to be a little bit lower. I'm just going to pull it down. The other thing is it's probably going to be pulled out a little bit. I'll do is I'll grab all this. I'll press and X and pull it out a little bit like so. And then grab each of these. Then this one, pull it into place. Okay, now we know the score with the next part. We've actually got things here which will help us tell us what we actually need to do. I'm just wondering. If I want to make this a little bit thinner because I've got the opportunity just to pull it down a little bit so that it comes this way a little bit and make it a little bit different. I can do it that way. So let's do that. Let's pull it into there, let's see for them we can do this. What I'm going to do is I'm going to grab this and this press shift S as to selected shift and let's bring in a plane. Let's pull the plane up then and get it into the place where I want it. And then I think like there, there. And then what we'll do is we'll come in and grab this, pull it out. And then what I'll do is grab the end up here, pull it down, pull it down to there. I'm thinking I'll pull it a little bit. In fact, I'm not going to actually alter this. Yes, I will. I'll pull it this way. So I'll go into there, and then I'm going to pull it back there like that. Perfect. I think now I want to do is just pull this. I'm going to pull this to there. I think that's about right. Now I can do is I can come in and I can press control transforms, right, It's origin geometry and let's come in and generate a subdivision. We'll put it on Simple turning up to five or six. And let's see what happens when we do this now. Now the thing is if I come in now and press Tab, we won't be see anything we can only see, we can't even see. Even if I put that wire frame on. What I'm going to do, I'm going to come back to layout because that's what we're going to be using. Press the dove on. What I'm going to do is I'm going to come over and apply that control. And there we are, that's what we've got. Now let's come in and make some pins. So I'll grab this pin, press C, grab these two like so. And then what I'll do is I'll do the same thing down here. We don't need to take so much time now because we really know what we're doing. We've done this quite a few times now, so we understand what we're doing. All right, like that. And then what I'll do is I'll coming over, put it on pin, make sure you assign them before doing anything. Then we'll, we'll set this to zero. Come to our cloth then, which is this here. And then what we'll do is we'll put this on something like four. And then we'll come on down and put the shape onto pin. And then we'll just press Space Bar and see what happens with that and let it finish. I think something like that actually is looking about right. That's looking good. All right. I'm not even going to mess around with it. All I'm going to do now is go to modify press control and then what I'm going to do is I'm just going to now come in to sculp mode and I'm going to smooth these out. If I smooth this out like so, just a little bit more and then smooth this one out as well, just to make it so it's not as rounded on those parts. I'm also going to probably round these parts off, see if I can actually do it with this. Maybe I can. Then what I'm going to do now is just add in some more creases on there. So we'll come in to draw. Then what I'll do is I'll go to object mode so I can see what I'm doing. We'll do it the other way this time control, bring it out, bring, bring it out. And then what I'm going to do is just smooth that off. I'm thinking as well that probably I will bring in another subdivision in a minute just to finish this off. Now I'm going to smooth out this as you can see, holding the shift bomb. Then I'm going to do now, you can see it's a little bit low, but that's okay. And then what I'll do now is I'll come to, I think everyone that says case crease, there it is. I can just come in then and just case this like in between the middle of these as you can see. Now we've just advanced here a little bit of what we're doing on these. As you can see now, it's actually starting to come together Generate subdivision, and there we go. Now we can see that's looking a little bit better. Now we need to do is just pull them out a little bit, so we've got a grab here. Let's pull this one out in. Let's move these, let's smooth that one off a little bit, pull it into place. Then all we need to do now is pull this up. So I'm just going to now just look and see if I've got these. I need to smooth these off. As you can see, let's move these spit off then. Let's come in. We've still got our crease on, so we could actually, our case, this one here, crease, we could actually come in and bring in some more. Here. There we go. It's looking a little bit bare now and I think actually I'm nearly done. We'll just go to our grab tool again. And all I'm going to do then is just make sure that I'm pulling that one and this one into place. Okay, let's supply that, then apply. Let's go on to object mode. So that basically is near enough done. The only thing is now we need to lift this up a little bit. Lift it up, you say it looks as though it's actually hanging on there. And then what we'll do then on the next lesson is we'll come in, we'll get some material. Yeah, some shader on there. And then what we'll do is we'll just make sure it looks right and then we can actually move on. Because I think you might need something else. But we'll see on the next lesson. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 92. Crafting a Wood Frame for Grape Foliage Sections: Welcome back everyone to the Blender Ful Ultimate Guide, and this is where we left off. All right then. So what I want to do now is I've already got a thing, pretty much of a go to shader. I've got everything on here. I just need to actually unwrap this. But before doing that, of course, I need to actually come in and add in, let's actually have a look before we do that, so it's quite heavy on the mesh. Let's even bring that down a little bit before we do anything. Actually, you know what, it's better actually to add in the solidify first from past experience really, really bad to do that first. I'm going to just bring that in. Just set it at whatever it comes in at press control A. And then what we'll do is we'll press seven to 12 at the top. I'm just going to bend my mouse then in a little bit. And then I'm going to press a and, and I'm going to Project from view. Project from view. And then one going to do is I'm going to come in and add cloth. Then what I'm going to do is I'm going to go to UV editing and I'm going to press a A and then pull it out. And let's have a look where that's going to look like. Back to modeling, I guess. Let's come around and find where we are and it's definitely the wrong way round. It would be. Let's go back to, you'll be editing 180. Let's see if that's the right way round nine, you know what? I'm just going to pull this out and have a look like that. No, it's not, It's definitely the wrong way round now. Hundred 80. Let's pull it down, let's pull it into a better place. I think what's happening here is it doesn't seem to be unwrapping properly. So let's press and smart UV projectlic. Okay, let's then press R and 90. Let's have all that looks like. Let's press, get those in place. Let's press 180 and then G. Put them in place. There we go. I think that's looking better now. Let's press or the other way, bring it down. No, that's still not looking good. Look still not looking good. We've got some dark patches on there which I don't want, definitely don't want that. All we can do is just press controls head and we're going to put it back to what it was. I should be able to bring it back. Come on, where is it? Maybe we'll get there. Maybe we'll have to unwrap it. There we go. All right, Let's have a look at that. Looked like? Yeah, I think that's probably going to be the best I'm going to get the material. Let's actually have a look on the shader. It doesn't look too bad. I think what I've done is I just need to try and wrap it again. Smart UV project. Where is it? No, we'll go to Project from View and then let's have a look at that now. Yes, now it's starting to come a little bit. Be not quite there. I'm going to rotate it. There we go now. That's what I want. That's exactly what we want. All right. That's look in tons now. Tons bad. Okay. So we've got that in place. All of that is done now. Now, let me just take a quick look around my scene with what else I need to do. We go this in here, we've got this on here, that looks good. I'm wondering, actually, the one thing I could do with this now is coming in at a modifier and we can decimate it. Let's come to decimate, it's at 33,000 polygons, let's put it a 0.2 There we go, 11,000 let's put it a 0.1 And then we go, let's press control A. And then we go. That's all decimated now. And then we've got this going around here. My steps. I'm just checking my building actually against my reference. I'm thinking, where is my palm? Let's see where my palms are. Let's put it on. We've got a window here. I'm just wondering if that should be more there. I think it should because I'm going to have some foliage here, and then I'm going to move them around. Then got two windows here, a door here. With that, I think what we're going to start on now is definitely going to be this one up here. I think we'll start with this. What are we going to do? First of all, I know our party needs to come out really. I don't really need that. What're we going to do then is just to leave that up. And now what I need is I need to go to my resource pack because I want to have my planks of wood in. But I don't really need to go to my resource pack because what I can actually do is I can save it out. So save just in case you've closed your resource pack, Mrs. And then what you can do is you can come to final and you can go to append. So we can go to append, and the one we're looking for is the resource pack. And in there is the resource pack here. And then all I want to do is let's see if I've got on my node tree and I've got one that says, where is it? Palm tree node, planks, geometry node. There we go. Now I've brought that in, We can see if I bring this over, it should be here. But there's nothing there at the moment if I press shift though and bring in a cube. And now I can do is I should be able to add in the modifier geometry node. Click the down arrow, click this little down arrow. And we've got one here that says planks. And there we go, we can bring it in. All right, that's pretty cool. I'm just wondering what this one is here. It doesn't seem like it is ever been anything, so I'm just going to delete it. All right, so now let's get this into the right size first of all. So what I'm going to do is I'm going to pull this up. I'm going to go into modeling because we're going to need to really see what we're doing here and then we're going to pull it into place. So what I want to do is I want to change the width of these. Actually, before we start, I want to change the gap over here, in between each of these. So as you can see, if I paste them out and then what I'll do is I'll make the plank width thinner, something like that, I think, let's have a look, let's pull it back into place. Then what I'll do is I'll reduce the amount of planks. Then what is I'll pull these out now. We're going to make more, much longer. So we've got the plank length, let's pull them out. And then what is I'll rotate them round. Now I'm going to just press and X rotate them round. This is the beauty of having these geometry nodes. You can really do some nice stuff and just keep adding to it if you want to. So I'm going to pull them out. They're past here. Just past here. So if I go to plank length, I can pull them out even more. So the jaws past there where I want them. There we go. I think that is going to be about right, mind. Bring them in. Bring the plank or is it plank with in? What I mean is the gap actually, I want to bring the gap in and maybe add one more. There we go. Yes, I think that's right now. Then let's come to the plank thickness. So let's increase the thickness a little bit like. So let's then come, and I don't think we want to mess around with the rotation. Yes, we do, actually. That will make it a little bit better, so we'll have a little, tiny bit of a different rotation on them. And then what we'll do is we'll also increase the random width, jaws to tad so we can see for bring this sad. So then the random length will bring that down just a very small amount. So that's looking really, really nice like that. I think it may be a little bit too thick, plant thickness, Let's bring them down just a little bit. So I actually think that is perfect. Okay, so now we've got that. What we'll do now is we'll apply this. So control. And there is one thing about these nodes which I kind of find a little bit of noise. So what I'm going to do is I'm going to fix that now. So what I'm going to do is I just want to hide one of these and just show you. We can see in each of these. Now we've actually got this in the middle of them. It's something I've just got to fix on this node, which I've not got around to doing. But we're just going to have to go in and fix those because on something big like this, it will be noticeable without the bevel works on the actual material. And I'll show you what I mean. If we come over to this side one here, you will see if I put this on rendered view. When it renders out, you can see the little marks on there. This is something that we need to fix if we're taking some decent screenshots and things like that. So we have to go in and fix those. Luckily, there isn't many of them, but now I've showed you can go in and fix yours if you want to. All right, so what I'm going to do then is I'm just going to grab all of these going all the way down. Unfortunately, I don't think there's a way of grabbing all of them at the same time. You might melt to grab it with the normals. But I think what I'll do is I'll grab the end of them as well. The end up here. I mean, delete basis. And there we go. Let's press Altage, bring it back, everything. And now we should be able to come in and grab just the ends of them. Grab these ends on here. What we're going to do is just press control and bevel these off slightly. Press control, you can see they're not beveling off well at all. Control or transform, right origin to geometry and then control control. No control in edit mode. And then why aren't these beveling off? I know why they're not beveling off because we have to fix the normals shift, Then let's fix the normals. And now I'm not even going to look to see if the normals need fixing. What I'm going to do now is grab them all. And I'm going to hope they work and I think they will control. And there we go. There we go, Now they work. Let's pull it back a little bit like so we don't want anything two beveled like that. We just want a simple bevel like that. Okay, so that's looking good. Now what we can do is we can grab them all. We can press Smart UV Project. Click Okay. And then we can come over to our material and we can see we've got plank base in the moment. Let's minus that off in object mode, and minus this one off. Click the down. Now I'm going to click wood. And I'm just wondering if I want to have a different wood wood props for instance. Do I want them like this? In lightness, let's put it on. Let's have a look. In rendered view, double tap. The you know what, It wouldn't be like that. So I'm going to go back to my wood. It would definitely be so definitely for sure because it's going to have the vines and things like that over the top. So we're definitely going to have those on. And now what we'll do is on the next lesson, we'll start building all of this out. And then finally we can get those vines in place. And really then we need to find what we need to do next. All right everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 93. Adding Grape Berries for Realistic Detail: Welcome back everyone to the Blended Four Ultimate Guide. And this where we left off. All right, let's put it back on shader and then what we'll do is we'll grab these. Press Shift S cost to selected shift. Let's bring in a cube. Let's press the S. And we're going to press control one just so I can see where it needs to be. And then we're gonna press and X and pull it out. And then what I want to do is I want to check and make sure that's not too big so we can see at the moment that's probably going to be a little bit too thick. What I'm going to do is I'm going to grab the center rather than shrink it in shift and click and then alter Ns and bring it in to make it fit a little bit. So then what we'll do is we'll have a plank of wood right on the end. I'm also thinking it might be better if we actually rotate this a little bit X and rotate it around. I think that's going to look better. Is it going to look better? And let's put it onto normal double tap. The I think actually that will look bear Then all I'll do is I'll press shift D, and hopefully we should be able to near enough follow this down. I'm just going to place this then just under there like. So there we go. And now I can put this back onto Global, and then I can press Shift, and we can bring in another. Then I can press, and I'm going to have to make this one longer for sure. I'm going to press, I'm going to put this down then into place so we can see I need to put it on here, which means once I've got this in place, I should be able to see, because I'm going to grab a brick as well. Let's grab a brick first. We'll come to this one here. And I'll come to this one. I'll press L. I'll press Shift D. Pull it over. Pull it up. Press selection Control all transforms the origins, geometry. Grab this part here. Shift cursor selected. Grab this part. Y no, RX 90. Shift S selections cursor. All right, so we're going to put that in. We're going to spin it round. So I said 90. Let's make it then a little bit thinner and let's put it into our wall. So, and then let's pick up our wood. And then let's grab the top of the wood and pull it up into place. Now we can see, because that's going to be there, first of all, we need to pull both of these parts back. So we're going to grab both of these P to here. So then what I'm going to do now is I'm going to grab this. I'm going to press and X and just pull it in past the piece of wood, like, because we want that piece of wood there. Now the only thing that you might be able to do is you might be able to grab this side of it and pull it back a little bit like so. And then grab this one and pull it back a little bit. But you need to have it looking as though it's going to be supporting it. Something like that thing looks pretty good. And now we can press and X, just pull it up to the side of it like so now what we can do is we can grab this shift D and then just make sure you're on medium point. Medium point. And then R D hundred 80, spin it around. Then you're just going to put it on the other wall over here. So now we want to make sure that this really does fit in place. Seven, you can see here we've got this gap either side. So we're going to press and X, pull it out, holding shift, and there we go. That's fitting into place beautifully. Now finally we can actually come in, grab all of these. What I can do is I can press control J. I can then grab these as well. I can press control, in fact, I won't do that yet. What they'll do, first of all, I will grab this and press control L link materials and then I'll grab these. Press a smart UV project. Click. Okay. Now, is that wood looking okay? No, it's not, because I need to press control or transforms its origin, geometry and smart UV project. Click. Okay. Now it's looking good. Then finally, now I want to join all of this together, including this, just these for now. And then I can come in and add in my Bevel, of course. Let's add. Not a geometry, no, let's a bevel, let's turn that all the way down. Turn one, There we go. Let's apply that. And then we can join it to these stones like pressing control J. There we go. That's that part done. Let's have a quick look then on our render so we can see it's looking very nice. Let's we'll save that, our work first and then we'll actually put it on rendered view. There we go. Now it's going to look even better. First of all, what I recommend you do is I think you should put in your grapes first. Before you do anything, what I'm going to do is I just put some grapes around here. First, let's go to Asset Manager. Let's find some grapes, and then what we'll do is drop them in. We might be able to put them on top, but it might make them a little bit uneven, so I don't really want to do that. Let's just close this down and these are the grapes. Now, it's up to you whether you want, you know, red or green grapes, it's completely up to you. What I'll do is I'll just put some on here and you can see already we're going to need to spin them all round. So I'm just going to put them on here just for now. Then what we're going to do is I'm just going to lift them up and then we're going to rotate them. This one is rotated -90 This one. This one and this one. Put them on individual and then rotate them Y 90. And there you go. In fact, that's not gone very well. So y, there we go, That's better. Now let's grab them all and then what we'll do is we'll make them a little bit smaller, I think, and we'll put them into place. Like what we'll do is we'll bring this one out, we'll put it on the on the front here. I'll hang it on there. I'm going to put it over here maybe. And then this one will more towards the back. Let's hang on here then what we'll do is we'll come to this one, we'll hang it here maybe a little bit to the front. And then we've got this one which I need to still rotate X. Then what I'll do is I'll bring this one out. We've got a couple of the front, which is great. Then what we'll have is a few more at the back. I'll just grab this one. For instance, press shift D, Rotate it, Just rotate it around. And then you can just pull it over here and then up into place. And then grab this one shift, rotate it around 90, then we'll put this one into place here. And then we've got this one shift. And then it doesn't really matter, actually, where you're rotating it around, we'll just put it in the center and a little bit at the back. Then finally we'll have some on the side. So I'm going to grab this one. I'm going to press shift, and I'll put this one on the other side around here. And then double the A. And there we go. And I think that's enough on there now for the grapes. What we can do now is we can just grab this one. And let's say we can also pull them down on the ax. All right, these grapes. They're a little bit too big, I would say, but they are stylized. But the more apples at the moment, I don't want them that big. So what I'm going to do is I'm just going to grab them all now. And I'm going to come up, put it onto individual origins, press the S born and just shrink them down now into the place that they need to be. And that's looking now a little bit bare than what it was. Okay, so if you're looking from here, then you can see there's a lot of grapes going to be underneath. Bring my camera back. There we go. That's what we're looking for. Okay, so now let's come in and grab this again. Let's press Shift S A Selected. And what we're going to do now is we're going to bring in a plane. So shift bring in a plane. And then we're going to rotate it just so it's level with these X. We're going to rotate it, it's level with this. I'm going to bring it up then. And then what I'm going to do is just make it a little bit bigger. So just so it comes on there. And the reason we're doing that is, is because we're going to be using the Iv, we want to be using the V. What I'm going to do is I'm going to draw on top of this, just a few of them just to get it started. And then after that I can pull them down into place. We could probably get away with drawing on top of here. We'll give a try. We'll give a try. What I'm going to do is then I'm going to bring in my V. I'm thinking what I'll do, I've already got some V in, so if I just press shift, bring in a curve, a bezier. So here's my bezier curve. And then what I'll do is now I'll come over to my modifier adding modify it, and we'll bring in a geometry node. Click the down now, and the one we're looking for is not there. So what we're going to do is going to go to file a pend. It should open this one ivy node. This is the one that we want when we've brought it in. Now you'll see that we've actually got this little leaf in there. Now it's important that we put this leaf out of the way somewhere. We don't want to have it anywhere in the scene or anything like that. So what I'm going to do is I'm just going to hide this leaf in there. We can just hide it. Just hide it on there, but it just cause a few problems. All we'll do is just put it under my mesh. Then what I'm going to do is I'm going to click the down arrow, and I should be able to bring in the ivy. And there we go. This is what it should actually look like. Now you can see straight away it's massive. We don't want it massive, but what we can do is make it smaller. And then what we can do is we can press seven square over the top. And we're just going to put it in place, it's over the top, so I can basically pull it down now into the size that I want it. So if I put it there, you can see that's a nice size for the scene. So I'm thinking that's pretty nice. Now what we want to do is you want to press seven to go over the top. You want to press Tab, and then A, and you're going to press Delete and Verts. Now when we actually, we're not going to do that. You know what? We're going to actually end it here because it's quite a complex thing dealing with this IV. And I need to explain it a little bit more than just, hey, hold this, how we do it. And I'll see on the next lesson we need to. A little bit bad than that. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 94. Utilizing Ivy Geometry Nodes for Dynamic Foliage: Welcome back everyone, to the Blendful Ultimate Guide, and this is where we left off. Now what we want to do is we want to first of all, go to the right hand side and you'll see that we've got a Bezier curve here. This is the Bezier curve, but if I come in and I grab it all, press a, you'll grab all of the nodes within the actual curve and then you can just press delete vertices. You will notice, however, that the Bezier curve is still there, which is exactly what we want. Now, we now come over to the left hand side, because we're in curve, curve mode, we're in the actual curve. We can now come over and get one that says draw. And you'll notice now if I draw, we have our actual V. Now, We don't want it there because what we also want to do is come to tool and we just want to make sure this is on surface. Now this is on surface, What I want to do is I want to actually draw down some IV going down these parts, like just to help us get in some parts before we actually move. You can see what I'm doing here. I'm just giving us some V before we actually come to the other parts. Now we've got some V in there. What I can do is press Tab and come now to this plane and delete out of the way. And you'll see now just how nice that looks. Now what we can do is finally we can come here and we should be able to, if we press Tab in some V now going down here and off onto the side. This is the problem why I didn't want to do it all in one go. I'm going to draw some V coming down here like so. And you can see it went way, way too far. Just down here. Way, way too far. Again, as you can see, we don't really want that. We have to be very careful when we make our ivy. So I'm just going to come to the end. And then what I'm going to do then is just tidy these parts up once I've got them on. So now I'm going to come in with some ivy on here, and then I'm going to draw some ivy on here. So, and then some down this side. So then let's have a bit hanging off if I can, so you can see it's stick into there now. We don't really want that. So what we're going to do is just turn surface off. And then I'm just going to draw it coming down, there we go. And maybe just some coming down here and then just some more along here that actually needs to be on surface. I think some more going down here, so and then finally some more coming down here. All right. Now I'm going to use just a little piece underneath like, so maybe a little bit, Randy. There we go. All right. I think we've got enough IV there for now. Now we'll do is we'll go in and we'll clip these. All I'm going to do is I'm going to come in to select first this one here. And then I'm just going to grab this part control. And then I'm going to press Delete and Vertices and see what that does. And then I'm going to grab this one. I'm going to press Delete. And this one, because we don't want to go in over the door, delete and then this one delete. That is looking quite good. Instead of doing that with this, all I'm going to do is R is going to move out way like so. And then I'll grab, actually that's looking quite good. What I'll do then is I'll grab this one. This one here, for instance. Let's try and get from one. This one here. I'll press E, and then I should be able to pull some down like so. And move it to the side, so it growing out of there. Let's grab another one here. Pull it down. There we go. That's the easy way of doing this. Grab this one, pull it down. Double tap the A, there we go. There is your IV actually done. And the one I need to get rid of is just this one here. I'm going to press delete T, not that one. Look, this one here. This one going around here. I think I need to lift this one up. This one where, it's pretty hard to see as you can see this one here. Where is this one going? I'm going to press control and it goes all the way up there. As you can see. Actually I'm just wondering if I'm going to write click and subdivide the Go. Now I can lift it up and that's looking double tap the. Let's save that. Our work then let's save. And then what we'll do is we'll come to rendered view. There is that beautiful ivy part that we wanted to create. I'm very happy with how that looks. I'm sure you are as well. Okay, so what we need though now is we need a little bit more of this. Just to finish, what I'm going to do is I'm going to come to my plant pot, so I've got my plant pot here, I'm going to press shift and then what I'm going to do is I'm going to come up, that's not my plant, that's my actual plant. I don't want my plant, I want my plant. This press shift and then bring it up. And what we're going to do is we're going to put this in the corner here again to fill out spaces. Make it a little bit bigger like so pull it up like, so pull it into the corner, right into that corner, just so it fits in there really, really nicely. Not through the wall though. And then what we're going to do now is bring where is it? So look, I'm getting a little bit lost. Let's press sir dot just to zoom in, I can go round where is it? There it is. All right, now I want to do is be very careful. I want to come to this one and all I want to do is press and drop that then into this plant pot. I'm going to move it into place like then what I'm going to do is at the bottom of here I'm going to press Lns and I can actually make that root look a little bit thicker as you can see. Now you can see it looks as though view was planted in here and then it grew out of this part. Let's move this back onto the wall like so. And then we'll add one more being just to make it look a little bit bare. So we'll come to our draw tool again, make sure on surface. And then what we'll do is we'll draw out of here, going up into here like so. And then what we'll do finally then is come to this bit right down here, Alternn, the next Aln, then the next B, up O, and mop in. I'm actually making this thicker. Where is this thickness? All ness. There we go. There we go. Now you can see it's got a little bit thicker. And then double tap the A, there we go. Now it looks as though the Iv is coming out here and yeah, that's pretty nice. Okay, we've got our plant round there, we've got a plant up here on top of here, We've got our barrels in place. I think what we should do now is look at replacing these parts here. I think we should look. This tree, these palm trees, and we don't really want these parts in here with this palm tree. You can actually come in and you can actually start changing how these actually work. In other words, all these parts here. We're going to come in and we'll change how this palm tree looks. And we'll also change the top, so you can draw these palm trees out and you can also change how they look. That's the good thing about the versatility of go nodes as well. So what I'm going to do now is going to file file and save that out. And I'll see her on the next on everyone. And I hope we're nearly there and I hope you're really enjoying it. Thanks a lot. Bye bye. 95. Replacing Palm Tree Mesh for Improved Quality: Welcome back everyone to the blend of four ultimate guide and this is where we left it up. All right, so what I want to do now is I want to actually swap these chunks out. So all I'm going to do is I'm going to come over, let's go in modeling just to make it a little bit easier so we can see what we're doing. And then what I'm going to do is I'm going to press Tab. First of all, I'm gonna look where my cursor is, so I'm gonna shift right click. And just put my cursor there. Then I'm going to press shift and we'll bring in a cylinder to start. So let's bring in a cylinder, let's leave it on 20. In fact, no one, we'll bring it down a little bit lower. Let's put it on something like 16, like so. And then what I'll do is I'll make it a little bit smaller. I'm going to bring it up. And then what I'm going to do is I'm going to isolate this away from everything else. So shift H, I'm going to come under the bottom of it then. And then what I'm going to do is I'm going to just, I think actually before we make that smaller, yeah, we'll make that smaller first, So let's make it a little bit smaller like so. Then we'll bring in three edge loops. Left click, right click, and then Olt shifting click, going all the way around. Make sure that we've got it onto sharp. Let's try Sharp. And then let's press S. And that might actually be a little bit too sharp. So let's try the inverse. And there we go. That's looking very palm, she, palm tree trunk shape. Okay. Olt shifting. Click. And let's bring in a bevel. So I'm just going to be level that off. And then I'm thinking I'm going to test these out anyway. I'm going to press Control all transforms, right? Click the origin to geometry and then I'm going to come to the top. So I'm going to press dot, come to the top, and then Alt shift and click control B, and then maybe two bevels on the top, like so. Then finally what do is I'll press I. Yes, I on the top. So just this face here. Let's grab this face. Press the Eyebn, and then all I want to do is just drop that down a little bit in there like so. So something like that. Let's right click and shade. Auto, smooth. And then what I'm going to do is I'm going to press Shift D and see what it looks like when they're stacked on top of each other. Now bearing in mind that these will get smaller as they go up, so actually I think that's going to look pretty nice. I'm just wondering whether I want to bring in this bottom just in a little bit more. I think it will. So I'll come into this bottom press control and then all I'm going to do is press the S B with proportional editing on. I'll have it on smooth this time. Press the S, be, bring it all out like so. And now let's give it another try. So shift D, bring it up and there we go, a thing that looks a little bit better than what it did before. Okay, so what we want to do now is we want to bring some materials in here. We do have a material which is, let's go to our asset manager. Let's go to our materials and the one we want to search for, his trunk. So let's bring this one in, then just drop it in. And then we can actually, when it loads up, delete it out. And now what we can do is we can zoom into our actual trunk. And let's actually unwrap this. So what I'm going to do is I'm going to unwrap it probably from around this center here and then from around here, right click and mark a seam. And then of course we're going to need one seam on the bike. Right click and mark seam. And then just minus the seams off on the front and bottom if you have any. So right click, clear seam, and it should look something like this. Now let's see if we can actually unwrap this. So I'm going to press L U Unwrap. And then what I'm going to do is go over to my materials, click the down arrow, and we're looking for trunk. Here's the trunk material like swing, you can see wrong way round. So let's turn it the right way round. So we're going to go over to the shading panel. I'm going to zoom in again with the little dot born. I'm going to press the Tabbton A, and we can see that this is the problem here, that it's got really dark round there. We really don't want that. So let's press A -90 and let's do that without fortunate entity on again A -90 like so. And let's have a look where we're going to be with this. And we can see that it's getting darker as it gets, as it gets up to the top. Now I think it should actually be the other way round, R hundred and 80. Let's spin it around. Let's press the G board and bring that into place. Let's press Tab. And there we go. That's looking much, much better as you can see. Now, I don't think we need to really straighten this up, but I do think we need to sort this kind of top out. So what I'm going to do is I'm going to grab my top like so. And then what I'm going to do is I'm going to put it more in line like so because you're never going to see in that bit. So actually I think I'm going to have that little bit darker and I'm going to make it a little bit bigger maybe, And then G. Just fit it into place. Do want it? So it's like that. Not really. Let's have a look. Even make it a little bit better. Something like that, I think is absolutely fine. Just the bottom. Then let's fix the bottom as well, so I'll grab the bottom with baylate. There it is. And then let's bring it up like that. And that looks now, much, much better. Now the moment of true. First of all though, let's write, Click and shade. Auto, smooth. Make sure that's on. Now let's come over to our geometry node. And we want to press Altage now. Bring back everything. And we want to click on this geometry node. So it's a palm tree geometry node. And what we're looking for is we're going to go in 21 here. What says one named attribute? You can see it says tree bit. So it's just in here when you click on this, the way that we group this, once you click on it, it takes you into a new group. This is what actually makes this part of the palm tree. So you can see this is the cylinder here. We don't want that. What we want is an object. Let's go a search. And let's click Object, Object Info. And then what we're going to do is we're going to plug in this to the geometry and you'll notice your palm tree disappears. Now if you come in reset, first of all, control all transforms, right click, set origin to geometry. And then what I want to do is I want to go back to my geometry node now, not that one. Where has it gone? Let's find geometry node on here. Let's go into palm tree node. I'm hoping this will be it. Let's try and find it now. I might have to actually go back before I did that, before I reset that and find it, because I'm going to struggle without redrawing it round. So let's see if this is it. Here we are. Okay. Let's go back into it now and see where we're now. Let's click this on like so. And then we, now we've got something. Now we can actually reset our transform control all transforms, right clicks to origin, to geometry. And now what we want to do is we want to make these a little bit bigger. So let's go back now into modeling. Let it load up and then what we'll do is we'll come in and make these a little bit bigger using the geometry node. Of course, we could go in and use them. We could use the transform node within the geometry nodes. But because I don't really want to aim this course around geomet nodes, I just want to show you how you can actually change those. Let's come in now and then what we'll do is we'll come to these parts here. Let me actually see if I can actually go in. You can also see that I need to change my trunk material so you can see trunk here. Let's change it then. What we're going to do is put trunk and it's going to be this trunk here. And there we go. Now we can see that spits done. Now let's bring up the base scale. Let's even scale the maximum, the size of the trunk. You can see I'm not getting anywhere with that. I need to bring them back. Now, let's have a look how I can bring these back base scale, I don't think I'm actually going to be able to bring them back with that. So what I'm going to do is I'm going to make this a little bit bigger. I think I should be able to make it bigger. Control or transforms right clicks origin to geometry. And there we go. That is looking much nicer now. Okay, I think I'm really, really happy with how that's actually gone now. I'm just going to check around the other side as well, making sure all of those are fine. And then what I'm going to do is I'm just going to come in and now just mess around where is it? I think it's the base scale. Let's mess around with the base scale. I'm just wondering, size of trunk. Let's make that a little bit bigger as well because some of these trees are quite high as you can see. Let's make it even higher then. It's also just bring them a little bit of touch out of the ground. I can see this one's a little bit Ben, because this is the stage now where we can actually go in and fix any issues that we've actually got with them. We want to keep them stylized. You can see as they get to the top as well that the base scale minimum, let's see if we turn that up a little bit like so. And I think that looks much, much better. Now. I'm just looking to see if it's fitting them. We might as well take our time with these as well and make sure we're really, really happy with them. I'm thinking of maybe a little bit too much on the actual base scale. I'm just going to turn that up a little bit. I think now they are about right where I'm actually happy with them. I'm just wondering about the size of the trunk. I might still turn that up a little bit. I think that is looking a bit bare. Then the random rotation, of course, we can turn this. It's near enough on zero to bring it down. Make that look a little bit Barea, still wondering whether I need to make them a little bit thicker. Minimum scale. Maximum. Let's bring that up. So then on the next lesson is we'll actually get these. So we focus on the bottom of them. So they're coming out of the ground properly. Let's just have a quick look what they like in rendered view, and eventually we'll get these leaves in as well. We'll do those next. Actually, yeah, I think that it looks really nice. I think, actually, yeah, that's looking good. Much better than what they did before. Just going to have one quick look around on this one. Much better than what they did before. So I think on the next lesson, and then we'll sort out these roots and then we'll actually get these leaves sorted as well. Because then we'll actually start bringing it to life. All right everyone. So hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 96. Altering Palm Tree Leaf Textures for a More Stylized Look: Welcome back everyone to the Blend Four Ultimate Guide, And this is where we left off. All right, let's put it back on material now so at least we can see what we're doing. And let's come into this first one here. And let's see, I can grab these handles here and just rotate them a little bit. Now the one thing I want to be careful of, as you can see, we've got one point here and the next point here for a press control is all the way up here, probably too far distance. So what I'm going to do is we're going to right click, subdivide, right click. And I'm going to subdivide these two here. So right click and subdivide. And the reason I'm doing that is because then when I move this, it's not going to have so much influence over the top. So if I now press G, I can actually move this as you can see, and then grab this and put it into the ground properly. So it actually looks a little bit more realistic than what it did from there. Then I can probably rotate it a little bit more. I could probably also as well come into this one, grab this one, let's even actually grab them both. So this one and this one. This one and this one. And then And just rotate it. Nope, not going to get away with that. So let's rotate this one and then we'll come in and rotate this one. And there we go. All right, so that's that one done. Now let's come to this one and what we'll do is just press L. First of all, I'll pull them all up then, and then that one's absolutely fine, as you can see now. And now finally this one. And what we'll do with this one is right click, subdivide, grab these two right click and subdivide, and then grab this bottom one. We're going to rotate that one round. Then what we'll do is we'll rotate this one round. So and we can also pull it out a little bit, but just be very, very careful. Pull up the handle a little bit like so. And you should be able to move it into the place that you want, like so. So it's just really, really just playing around with it. Just getting it the way that you want it to be. All right. I think I'm happy with those. I'm just wondering about this one here. If I'm happy. Yeah, I think I am. I don't think I want to bend it any more than that. All right. So now then what we want to do is we want to come in and we want to change these leaves over for the leaves that we actually want. So at the moment as you can see this is they are set as geometry nodes. So actually I'm thinking if we're probably better off doing all these together, so what I'm going to do is I'm going to actually save out my work before I do anything. So let's save it out. And then what I'm going to do is I'm just going to hop on over press control. And it said it can't because it's a curve. So let's go to object convert to mesh. And there we go. And now you can see that all these are done and all we need to change is these leaves on here. So let's come in then to one leaf, So I'm going to grab this leaf. In fact, what I'll do, first of all, I need to actually split these off. What I need to do, I need to come to all of these, grab all of the leaves like. So I'm going to make this really easy for myself actually just to make sure I don't need to go in and grab them all again. I'm going to grab all these. I'll show you. The easiest way to do this is to grab them all, or as many as you can. Come over to the right hand side and what you're going to do is you're just going to put palm leaves, leaves like so. And then I'm going to click a sign. And then all I'm going to do is hide these out the way. And then I'm just going to go in and select any that I've missed. And I've just missed two as you can see. Click a sign and then l the double tap, the eight. And what you should be able to do then is click select. And there we go. That's what we're looking for. Now let's come in for just one of them. So what I'm going to do is just grab this one and then what I'll do is I'll head on over there and give them a material. So what I'm going to do is I'm going to click Select First, come down to Material, and it says Leave Material Here. And what I want to do is I want to come over to Asset Manager, and what I'm looking for is leaves. Let's see if I've got one that says leaves and here it is, my palm leaves. So let's drag this in, press Tab. If you can't drig it in like so, let the shader do its magic and then let's delete that out of the way. And then what we're going to do now is come back to our leaves. So any of these. And we're going to click the down arrow and we're going to look for palm and palm leaves. Let's click palm leaves on. And you're going to end up with something like this, which is not much at the moment. Let's grab this one then. And all I'm going to do now is go up to UV editing. I'm going to press just to zoom into it like so. And then we're going to press U and unwrap. And then what I'm going to do is you can see now already that this one needs spinning round. So I'm going to spin it round, so our hundred and 80. Spin it round. I'm going to then press and X and put that one in place. And then what I'm going to do is I'm going to press and X and pull this out like so. And then I'm going to press and Y and just make it a little bit thinner. Just so as you can see now it's fitting all into place like so now I'm going to do is I'm going to come into my actual viewport. I'm going to click. And then what I'm going to do is I'm going to click copy and paste. Copy and default. Then what I'm going to come over now to grab them all. So what I want to do is I want to slick them all and then I want to go into you and then come over and what I'm going to do is copy copy paste default. And there we go. Real easy way to actually go, the leaves going in the right place. Now we do have a problem. However, we don't want all the leaves to be like this, so now we want to do is we want to come on over. What I'm going to do is I'm going to grab any of them. It doesn't really matter. I'm going to press A and then, and then X, and move this one over to here. And then we're going to have this one as a different one. That means we've got basically two of the leaves which are different to the other ones. Now finally, I want one more leaf on here which is going to be a little bit different. We know that this one is a different leaf. So what I'm going to do is again, I'm going to grab this leaf, I'm going to press copy default like so. And then I'm just going to hide that one out the way. Then all I'm going to do now is just select some leaves at random. So let's select some of these leaves just at random, and we'll do some of these leaves again. You're selecting them at random, some round here, some underneath like so. And then someone here again at maybe this one down here. And then, and then paste, and deep bolt. And there we go, we've pasted those all in and now we hide those out the way. Then what we do is we come around to the next lot. So I'm going to grab this one here, and then I'm going to press a X, pull it over into place. And then what I'm going to do is press S and X and pull it out so that we've got a different leaf there. Now what I can do is I can press U, copy, copy, default. Hide that one out of the way, and then pick another couple of random leaves, Maybe this one and this one. Let's pick this one and this one, and maybe this one in here. And then let's go to this one and this one, and maybe this one here. And then what we'll do is, and we'll go to Paste and Default. There we go. Now if we press Alt, bring them all back. Now we can see we've got many, many different leaves. And the best part is if I press Tab and come into rendered view, There we go. There is our palm trees and you can see just how different they look and just how nice this all looks now. All right, so that's looking really nice. So what we're going to do now is we're just going to put this onto shader. We're then going to go to modeling. And then what we're going to do is just save our whole hick before we do anything else so we don't lose anything. And then what I'm going to do is, before I actually forget, I'm going to put one of these canopies. So I'm just going to grab this canopy round here. And then I'm going to do is just press shift and I'm going to spin this round so ours head 180. And then I'm going to press one and I'm going to press and I'm going to put this one at the top of there. Because I know that will leave this one looking a little bit better, not so bare than what it was. And there we go. And you can make it a little bit bigger if you want to. Just be careful you don't go too crazy. So all transforms right click, set origin to geometry, and then press the S button like so. And then let's pull it out into place. Double tap the A. And there we go. That's looking much, much better now from the front. And then what we need to do now, so we've basically, we've not got a lot left. We've actually, I've got my notes on here and we need to do some rocks. We need the floor. We need a couple of crates, we need the lights in, of course, we need the carpets and we need the, well, that is what we've actually got left to finish now. So this one here though, you must make sure if you actually delete this. If I press delete on this, you'll see that actually they didn't actually disappear. But you might want to keep that. Normally, if you press delete on there, all of these are going to disappear because they're in the geometry node. But happily for us, we actually changed it from a geometrode into measure, so we don't need to worry about that anymore. So that's good. All right, so all I need to do then on the next lesson is I think we'll make a start on our actual crates. Let's get the crates out of the way, and from there then we can make a start on our maybe on our rocks because that's something easy as well. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 97. Modeling Crate Props Using the Solidify Modifier: Welcome back everyone to the Blend of Four Ultimate Guide. And this is where we're left, they are. All right, so let's come around the back and what I'll do is just shift right click. And I'll drop my cursor there. Then what I'll do is I'm going to press Shift, and I'll bring in the cube. And the cube I'm going to make a little bit smaller. I'm going to make it a little bit wider. Then on the X S, x a little bit smaller again. And I think something like this sort of size is going to do it. I think this will be perfect size for what we're trying to do here. So I'm just wondering whether it's wide enough, maybe a little bit wider, that sort of size of the thing. And the reason I'm making it a little bit wider by the way, is just so I can get enough actual planks of wood in here. So let's now come in and what we'll do is, well, first of all press control a, reset all our transforms and then what we'll do is we'll press control two and then control and two like so. Okay, so good so far. I'm just thinking. Yeah, so we'll have three planks going down here and then we'll have three planks going this way and then three planks going that way. All right, so now what it's time to do is we'll, yeah, we'll make all different planks. Actually, let's just split them all off first and we'll make them bigger. Before we do anything, actually, let's actually bring in some moral edge loop control. Our left click, right click. And now we've got plenty of edge loops on here. So what that means is now I can come in and I can split these off. So I'm going to come round the top of it first. So I'm going to come round the top and what I'm going to do is then right click and mark Seem. I'm also going to come in another moment and press shift age. Just isolate everything out. Then what I'm going to do is I'm going to come down to the next one. So old shift click, old shift click. And then just keep working all the way around just so I can kind of split it into four blocks. And then is going to make it really, really easy then to work with this mark. Seem like so. And now what we're doing is we'll Alt shift click, old shift click, going all the way around there. Old shift click, old shift click. That then is going to be going all the way around here like so. And then what I'm going to do is I'm going to write click and mark scene. All right, so that's the first bit of this done. Now what I'm also going to do as well is I'm going to steal this part here. So I'm going to press shift, bring it out, because I'm always trying to think ahead of making things easy for myself. And then what I'm going to do then is also bring this one here. I'm going to here shift, bring that up like so. And then what I think I'll do is I'll grab both of these. Oli click, shift, click and then press and X and just pull them out. So these basically are going to be some more actual wood going over there. Let's now split these off. So I'm going to grab both of these, selection, split them off. Now the last bit I need to do is I'll need another piece of wood coming out here. So I'm going to grab this, going down to here, shift D, and then this time I'm going to press and Y and pull it out that way. So I think from there I'm pretty much ready to rock and roll with that. Let's now press and on these as well. So now we should have this, these two, and then all of these here. All right, now let's split everything off. If we come out, what we can do now is we can come in and I'm thinking we'll split this one off from here. So all these are already split. Remember, each one of these islands is already split up. So that's great. So all we need to do now is just split them away from each other. As you can see that we've got all of these split here. We don't really want that, so I'm just going to come in soap. So I'm going to split those off. I'm going to split these bare ones off. I'm going to split these side ones off. And I'm going to split these off as well. So we should have splitting like there now for press Y and let's see if everything's split off. All I'm going to do, I'm going to come in and make sure I'm on the individual gins, press the S button and let's see if everything's split off. So we can see, first of all, these ones here are all split off. So we're going to have to go in and make sure everything is split. So I'm going to come back and what I'm going to do is now I'm going to grab this one, and this one, and this one, and this one, and press Y, And then I'm going to grab this one and this one and press H to hide those out of the way. And then what I'll do is I'll do the same thing on this one. This one, This one. This one and this one. Y, h, and then L, L, Y, and H, and then finally these Now, So all I'm going to do is just grab all of these like so. Well, you could grab the middle one. That's probably going to be easier actually. And then press Alth, bring everything back A to grab everything. And hopefully now we should have it looking like that. That's exactly what I want. All right, so I made a little bit of a meal of that. But anyway, Okay, so what I want to do now is I want to press al tag. First of all, Altagr controls head. Bring those back if we can. Let's see if I can. Can I press Controls Head? There we go. Controls Head. And then what I want to do is control all transform set origin to geometry. And then we're going to add in a new modifier. And this time we're going to add in a solidify. And then with my solidify, I'm going to bring it out a little bit this way or can I bring it in? Either way, let's try bringing it in a little bit first. And what we'll do is we'll add in another modifier. And this time we'll bring in a bevel, so it should look something like this. Then what we'll do is we'll just press A, then we'll grab the planks. Press the tab, and then press A. And what we're going to do is we're going to go down to mesh, transform, randomize. And turn that all the way down maybe to not 0.1 Let's have a look what that's looking to look like. And we can see we have got some slight breaking on there. As you can see that's probably caused by the fact that we're trying to randomize it before using our solidify. Let's do it the other way then. So what we'll do is we'll just press controls head. And what we'll do is we'll look at the thinking, maybe these ones should be going the other way to do that. What we can actually do is we can come in and we can turn them around. So we can press shift, spin them around, and then you'll see that they go at the top like, so that actually might be a little bit bare. Let's also then come into the bottom, we'll do the same thing on there. L, L and L shift inside. Then what we'll do is we'll also do the same on these sides as well. We'll go L, we'll do the other side as well. All we're doing basically is spinning around the normals just so we can change how it solidifies. If I press Shift and now spin around the normals like so. Now I can do is can put it on object mode just so I can see a little bit about what I'm doing. And now that's looking much better. Now what we can do is we can turn down the bevel, just up one or maybe naught point naught three. There we go. Now we can see what we're doing and then what we'll do is we'll just change up the thickness of these parts here. And that is looking much, much better, much more like what I actually want to see actually. And now we've actually got something to work with. What I can actually do then now is I can pull these parts out. Once I've actually applied the solidify, let's go in and press control. Apply the solidify. Then what going do is I'm going to go into each of these with edge slick L and L and then L, L, L, L like so. And then what I'm going to do is press S and X and pull those out like so. And there you go. That's already looking like a pretty decent crate. And I'm thinking, yeah, I'm thinking that's looking pretty good already. So now I'm going to do is then I'm going to press control all transforms and then what I'm going to do now, now I'm going to turn those round because I've added in the solidify and the thing is we've still got this on the wrong way round. As you can see. No, we haven't actually, because I reset transform is just reset them. So forget about that, it doesn't matter. Let's come in, put it back. What we'll do now is go to mesh transform and now random. Let's turn it down. And we should end up with a really nice random look that's still too high, 0.5 Let's try that. And there we go. And as you can see, that's looking pretty good now now. Okay, let's bring these out then. So what I'm going to do, as you can see, we've got some randomization on here, but we end up with a few, you know, kind of flat areas. So all I want to do is just shade, auto, smooth that, fixes that. And then finally all I'm going to do is come in with face legs. I'm going to actually come in to where it says random and then all I'm going to do is just pull them out slightly, and then pull this one out slightly. And then this middle one out slightly. And then pull this one out, maybe this middle one out slightly as well, like so. And now you can see it's looking much, much better. Okay, so now let's actually work on these parts here. So I'm going to join these, maybe not, maybe I'll just come into this one first. I'll just press L and then and pull it out. And then all I'm going to do is press L again and put it into place, so I'm going to move it to the side. Then what I'm going to do is I'm going to press shift D, get another one, and then press and Y, make it a bit thinner. So then what I'm going to do is I'm just going to grab this one. And this one I'm going to press shift D, bring them out. Then what I'm going to do is just make sure I'm on medium point and then 180, spin them around, put them back in place. And then finally all I'm going to do now with these is I'm going to make sure, first of all that I've just got the selected A. And then I'm going to come to mesh transform, randomize. Again, turn them all the way down to not, not 0.3 I think it will be 0.3 0.3 And there we go. And then finally what I'll do with those is add modifier and I'll bring in a bevel turn, maybe not 0.3 So look, there we go. And then what we'll do now on the next lesson is we'll just get these parts in and then we've finished those off. And it's as quick and easy as that. We really know what we're doing now. So everything's pretty simple. And you can see it already looks great. Just from one lesson, 10 minutes didn't take any time. All right everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 98. Sculpting Rocks with the 'Extra Object' Add On: Welcome back everyone to the Blend Four Ultimate Guide, and this is where we left off. All right, so now let's deal with these parts here. So what I'm going to do is I'm going to grab this one. I'm going to press E, then just to pull it down like, so I'm going to press L again. Seven to go over the top. And then let's put this one over here. Let's press shift D then. And we'll put this one over here. We'll press and X and maybe, and just to rotate it and then and Y, and we're just trying to give it some randomness. So then let's come to this one here. And then and Y. So then let's put them onto the top of here, bring them down like so. And then what we'll do is we'll press Shift D and bring them down to the bottom. Now we can't see the bomb on top, so we can just probably press Oz hundred 80, spin them around like so. And there we go. Now finally let's come in. In fact, we'll do them all at the same time. Actually, we'll do this one first. So I'm going to press L, I'm going to press one, I'm going to bring it over just into place. I think what we'll do is I'll press and Z, pull it up into place, pull it into here. Press the button to pull it out. Something like that. And then what I'm going to do is I'm going to make it a little bit thinner, L and then X and X and then shift, duplicate it. Y, rotate it little bit, holding the shift born. Then what we'll do is we'll grab both of them now, L and then shift, and D, bring them over to the other side. And then let's just grab this one, L, R, Y, rotate it around a little bit like so. All right, that's looking fine. Now what we'll do is we'll be vel these off control or transforms right click the origin is geometry, adding the bevel, not 0.3 and then finally grab them all mesh. And then where is it transform, randomize. And turn it all the way down to not point nut naught three like so. There we go. Perfect. All right, now what we can do is we can grab all of these. We can go to object, come down to convert, and mesh. And then what we'll do is press control J, right click, shade, auto, smooth. Very important. Now we check our face orientation on these because we've been messing around a lot with that a shift. Spin them all round, turn it off. And then finally what we'll do is we'll come round. So we'll press and what we'll do is we'll grab our crates and we'll grab our barrels. And then we'll just correct press control L link materials. Come back round, let's put it onto material, let it load up with all our shaders and let's see exactly what this is going to turn out like. The other thing you can do is as well to speed up the draw calls. So basically at the moment, you've got so many objects in here that it's called the draw call. And what it's doing is it's doing one call per object or one call even per texture. If you've got a lot of objects in here, it's more than likely that it's doing a draw call for every single one of those objects and every single one of those textures. If you really want to speed things up, what you can actually do is you can come in and join certain parts together. Just be careful when you join them together that you're not altering any of the asset manager or anything like that. But you should be able to join most of it together. So for instance, all the doors and things like that. And then that should speed up your blender. And don't forget as well with the simplify. If you're really struggling, come down to the simplifiers we spoke about and just turn down the text limit. The text limit of the moment and mine is 1024. But if I put this onto 128, for instance, where is it on the viewport? Let's put it on 128. It load up on the viewport and you will see now it loads up tons, tons faster because we've got it really set really low. All right, so what I'm going to do is I'm just going to put that in 1024. And I think if you turn those down as well, you'll end up with a much, much faster low time on, you know, between object mode and material mode as well. All right, so let's come in now to this. And then what we're going to do is press U Smart UV Project. Click okay. And there we go. Let's have a look what this looks like on the actual render then, just to make sure. And then what we should be able to do now is put these in place. I think they look really nice. And the good thing about these things is that I can now bring this in again, put it in your Asset Manager if you want it in there. And then what I'll do is I'll press shift. I'll bring it round to the other side. I'll press old tar just to put it back. And then Y hundred 80, spin it around. And then I'm just going to put it near the back of this tree. Like. So something like that. And I'm just wondering whether I need to spin the whole thing round, but I don't think so. I think it looks absolutely fine there. All right then. So what we'll do now is we'll make a start on our actual rock. So there's a really easy way to actually bring in rock. So at the moment if you go to shift a mesh, you will see we don't have anything here to bring in rock, but we can change that. So what we can do is we can go up to Edit preferences and we can come and put in mesh, not nh mesh. And you should have one that says extras. Let's put it, it says there, add mesh, extra objects. This is the one we want. Let's click this on. I'll click it on. Refresh, close it down. Let's press Shift Day. And now you should have rock generator really, really easy to actually use this. You can see I brought in at the moment, one rock, we can bring in more rocks. Let's bring in 234. Doesn't really matter. And the other thing you can do is you can set the scale of these rocks. We're not going to do anything like that. We can set how deformed these rocks are. But the best thing of all these, we can also set what kind of rocks these are. Whether they're rhyther rocks, for instance, like this, whether they are ice, so you can see something more like that. Or we can even have sandstone, which looks pretty good. So you can see the sandstone rocks like this. You might want to actually have within your scene some sandstone rocks, basically. As soon as you click on them though, they are going to disappear. But you can end up with some rocks like this within the scene that we're actually working on here now. You might want some rocks in there like this being eroded with the wind or something. And you can see look pretty nice. I don't think I'm going to bring those rocks in. What I think I'm going to do is I'm going to delete those out of the way. I'm going to press shift day and bring in some rocks again. I'm going to bring in maybe 67 rocks, something like that. And I'm going to put this onto default like so. And then what I'm going to do is I'm going to move my rocks over here. Now I'm going to pick which rocks I want. So what I'm going to do is just going to grab one, grab one, grab one, and grab one. This is how I basically pick the rocks that I want. I'm not going to worry about the size of them or anything like that because we can make them bigger. What I'm going to do though, is I'm actually going to come in and give them a material. Because giving the material makes them, you know, you can see what they look like better than what you could before. So all I'm going to do is I'm going to come over to my asset manager and let's put in rock. And hopefully we should have one. There we go, Rock material, let's drag that in, drop it in, let the shader load up and do its work. And then in fact, before I do that, all I'll do is I'll just grab all my rocks, grab my material control L, and we're going to link material. Then what we're going to do is just leak the rock out the way. And now decide which rocks you want. I think this one is a pretty nice rock. Very nice. I think this one, this one here is also an interesting rock. And I think this one here is also, these ones to me look a little bit flat as you can see. So what I'm going to do is I'm only going to have three rocks in place. I'm going to get rid of these. So press Delete. And you will notice as well that when you click on the rocks, if you come over to where the modifiers is, you'll notice that you've got all of these modifiers on. First of all, what you need to do is just don't worry about adding all those on, just grab them all, come up to object and then all we're going to do is go down to convert and mesh. Now I'm going to do is right click and shade auto, smooth. Now you can see that these rocks, they've kind of not smoothed over very well as you can see. So when I've got my rock now done, if you press Tab, you'll see it's got a few, as you can see, fair few topology. Now you can do this one or two ways. You can either come in and add in a subdivision surface which is going to smooth it all off here very nicely. You can then turn it up like so. Or we can, well, we can actually do it that way. We can press control A then and then you'll see we end up with something like that which we're going to sort out by the way, or you can come in, add in instead. Generate. And what we'll do is we'll add in this time, where is it? We'll go to deform and we're going to bring in a simple form. We're going to bring in a smooth like so. And we're going to smooth that off. And repeat that process. And repeat it maybe again again. And let's even get a bit more smoothing on there. So you can do it that way if you want the final way. If I apply that, the final way you can actually smooth these off is if you call them and you add a modifier. And you go to and then decimate. Let's decimate this down at the moment it's 3,000 polygons. Let's bring it down to 0.5 And you'll see that there's a natural tendency then to smooth it off. I don't like using this way. First of all, I like using the one that I've just gave you. So I like doing them with the subdivision. I'm going to do is I'm just going to press control Z. I'm just going to go back to this one before I moved it off. Take that off, and then what are we going to do? Should have a subdivision on these. I'm going to put a subdivision on both of these. So let's come in, add money, Fire subdivision, Surface and then we'll do is our copy. This one here hasn't got one on, so let's grab this one, grab this one control L, and then all we're going to do is copy modifiers. And there we go. Now let's apply these modifiers. So let's grab this one press control. And then what we're going to do now is going to bring in a decimate. Generate and decimate. And you can see at the moment, 12,000 polygons really high. So let's put this on. Not 0.3 and you'll see it makes it actually a lot better. I think it makes it a lot smoother. Don't forget as well, We've not unwrapped these or anything like that. We can see now it's 6,000 polygons. Let's even bring it down to not 0.1 maybe. And you can see now it's smoothed it, 2000 polygons. Let's do the same with this addie, not 0.1 And there we go. And then the final one, let's do the same with this add modifier decime, not 0.1 like so. Now you might want your rocks to be really, really high poly, but I think for this scene we really don't need that. I think though, this one's breaking a little bit, as you can see, there's a little bit of breaking. We can fix those things. But let's just put this on. Not 0.2 so we have less breaking. Let's go to this one. Not 0.2 less breaking. And then let's go to this one. Not 0.2 so a little bit higher than what they all were. And finally, now let's join them altogether. We're not join them altogether, but select them all. Convert and mesh. And there we go. Let's save out our work. And then on the next lesson, what we'll do is we'll actually get some materials on here and then we'll get these rocks into place. All right everyone. So hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 99. Techniques for UV Unwrapping Rocks: Welcome back everyone to the Blend, the four Ultimate Guide, and this is where we left off. All right, so now let's have a look at our rocks. And what we want to do is obviously we've got the material on, so we've got the material on. I'm just going to press dot to zoom in. Now you can see it doesn't look very good at the moment, obviously, because it's not unwrapped. So let's come in and actually unwrap it. Actually, I'm not sure if that's an actual, Let's have a look on the other one. I'm just wondering why there's an actual seam in there. What I'll do is I'll just grab them all first and then I'll press Tab. And you can see there's a seam on there as well. I think actually the rock generator actually unwrap them in some way, but we don't really want to wrap that way. So what I'll do is I'll press control, Clear seam. Apparently, they're not a seam, not actually sure what this little pink line is anyway. Let's see if they unwrap one. I'm going to do is I'm going to go ahead and grab this one, press and I'm going unwrap. And of course it's not going to unwrap like that, so smart UV project. Click okay. And there we go. We can see though, kind of bitty as you can see all around here. We don't really want to unwrap it like that. So let's try a couple of different ways. Basically, we'll be coming from a certain angle to look at this or the bottom of the rock, it's going to be in the ground anyway. So I think the first thing to do is let's put these into place where we're going to have them. So I'm going to have one round the back, so I think I'll have this one coming around the back here. Oh, and the other thing is, just so you know, the reason why I've left the floor to the last is because that is pretty heavy on the blend file when we do that. So I'm kind of putting that off just till the last part just then. So you'll be able to actually get that in and turn it down if needed. That's why we're leaving that bit to the last. All right. Now we'll bring the other rock round and what I'll do is I'll have this little rock, you think over here somewhere. Again, it's filling out spaces, trying to make things look realistic. I'm going to turn this around. So I'll said like so. And then I'm just going to move it next to here because I'm actually going to put some actual flowers there. So I'm going to put it right next to this palm tree, and then I'm going to put over here. And then what I'll do is I'll make this one a little bit bigger and put it in the ground. Let me have a look at what that looks like. Maybe move this a little bit further this way. So. All right, that's looking good Now let's see if I can actually unwrap these in a better way. At the moment, we've actually we have got some seams on here or marks where we might be able to put them, but I don't think I'm going to use them. What I think I'm going to do is I'm going to just come in, what I'll do is I'll try a few other techniques of unwrapping it. So the first one I'll try is sphere projection. Let's see what that comes out like. So there we go. You can see it's better. But you can see we've got a lot of stretching on the back here. What I'll do is I'll just come in now and I'll use my mesh and bisect. So let's bisect it. Just under there. Just under the actual ground plane where it's going to go. I'm obviously not going to clear the outer, but what I'm going to do is I'm going to right click or control if we're in face select and mark a scene like so. Then what I'm going to do now, I'm going to think about, see if I can actually unwrap this now. So let's press and wrap. There we go. Now we can see that it's actually unwrapped a little bit there. I'm going to try that again. I'm just going to grab the top of it and then wrap. And we can see that it's kind of splitting up here. We can see it's kind of good round here, but this bit not so good. So let's go over the top and let's try. Rocks, by the way, are one of the hardest things that you're going to have to rap in anything. They're just really, really difficult. And let's actually come from project front view, let's try that again. We still getting a fair amount of stretching coming down here. What I'm going to do finally is then I'm going to bring in another mesh bisect. And let's cut it going across here. So I'm going to write Click where is it, Mark, Seem control face, let mark. And then I'll do the same thing again but going across this way, mesh bisect and cut it across this way, right click, control mark scene and there we go. Now let's try that once more. So what I'm going to do is I'm going to grab all of it and then press you and wrap. And let's see now what that's un wrap like, it's unwrapping much, much better, can see it's a much more even consistency. But we've got a problem with this part on here. So what I tend to do then when I've got that, is I will come in and grab the line. So I'm going to grab this line, let's say, and go all the way up to the top. Like so. And then come all the way down to the bottom like so. And then I'll do the same thing on the, I'll grab this one and this one. And then I'll go all the way down to, let's say here. And then I'll grab the top here like so. And then I'll come all the way down to maybe here. And then right click. And what I'm going to do is I'm going to clear the seam. And then let's try that again. So L U unwrap and let's see if that's any better. Now what I'm going to do is I'm just going to come down. In fact, I'm going to reset all the transforms first. I'm not even sure if I actually did that. And let's try that again on the rap, and then let's go over to UV editing. We'll go over to there. And we can see this is what it's on wrap now, like now, actually this is going to be this part here. I'm hoping the top in here, I press G, this is the top in here. As you can see, everything is moving and I just want to see if I can actually get it so it's not actually stretching quite so much. So what I'm going to do is I'm going to press S and pull it out so we've still got too much in there. I'm not really happy with that. So what I'm going to do is I'm just going to go back to where I actually cleared those seams. Let's go on actually clear those seams again. I'm going to put those seams back on. So right click mark seen. Let's try it once more. So you on the wrap these lines here, these are what I'm worried about. I really don't want these lines. I'm still not happy with how that looks. So what I'm going to do is I'm going to go even further back to where I actually started this. I'm hoping that I should be able to take those off. You know what, I'm just going to do it again. I'm going to press one, I'm going to press control and clear seam. And then what I'm going to do is come to mesh. I'm going to go down to where it says bisect. Let's wrap on the bottom just underneath there, right click and we'll mark a seam. And then we're just going to grab it all and see now if I can get a better run wrap on there. Yeah, and I think that's the best we're probably going to be able to get that. Let's make it a little bit bigger then. I'm just going to look under the underneath Y 180. I'm just just want to look under the underneath as well. And then I'm going to put it back. So let's put it back. Let's finally then before let's have a look what it looks like on our actual rendered view. Because after all, that's going to be the most important thing. And we can see, now we've got, it's probably because we've got a big line along there anyway. In other words, we've got a really, really sharp edge on here. So you know what I'm going to do. I'm going to just come back and I'm going to see if I come add modifier and we'll deform. And we're going to go with a smooth there we go. Now that's looking better. Let's turn that up. One, maybe three. Let's also see if we can actually increase that, Yours like so now it's look in tons better. Now let's press and unwrap again. And let's press S and bring those out like so. And we're still getting some problems with that. So let's press Tab again. Smart UV project. Click Okay. Let's also apply that control. Control all transforms. Let's try that one more. So on the rap, let's try that one first. Let's bring them out. Bring them out. There we go. That is about as good as we're going to get. Took a lot of work. But in the end you can see it was work that you can see. Now it looks pretty nice that rock. And now what we need to do on the next lesson is we'll do the same things for these try and error with rocks, honestly, they really hard to undo, unwrap, sorry. And generally, you are going to get some seams along somewhere because you're basically trying to unwrap something that bends all over the place and you're looking like from all angles of it. So you can't really, you know, you can't really put a seam in here. It's not like you can put a seam behind these where no one's going to see it. So they are one of the hardest things to unwrap. So don't worry if you failed on the first time. We'll do the same thing now on the next one, and let's see how that 100 wraps. Hopefully I'll unwrap better than this one. All right everyone. Thanks a lot and I'll see on the next one. Bye bye. 100. Modeling Carpet Assets with Curve Spirals: Welcome back everyone to the Blend Four Ultimate Guide and this where we left off. All right, so now let's come in and we'll do basically the same thing with this. So what I'm going to do is I'm going to press a, I'm going to come into mesh and I'm going to go down to bisect. And then Joe's gonna cut it over here like so. Right click and mark. Let's press you then wrap and see what the some wraps we can get away with this on the first attempt. You know what? That's not unwrapped badly at all. That is. Okay. All right. We can go with that one. So that one was much cheesier than the other one. And finally, this one, which may be a little bit harder, it's got a lot of sharp edges as you can see. So let's just do the same thing on this. So I'm going to press one, I can see it through there. Anyway, so what I'm going to do is press A and then I'm going to come in to mesh bisect. And my line is going to be round about there like so. And then what I'm going to do is grab it again, So L U Smart UV Project. Click Okay. And as I said, this one might be a little bit more of a pain, but you know what? It doesn't look that bad. Let's have a look, let's pull it out. And that's some wrap the best one out of a more. That was the easiest one. I wasn't expecting that actually. I thought that would be much harder than that. All right, so now then let's go back to modeling. Let's save out our work. So let's save it out, let's go to file and save it out. And then what I want to do is I just want to now I've got my rocks in, bring in those final plants that I have. So you can see I've got my or ferns or fonds or whatever you want to call them here. Let's quickly just go to Tasset manager and let's go to where is it, our plants and foliage. Let's take off our rock. And then all I'm going to do now is just going to bring out some more plants. So I'm going to go round the back here first. And then what I'll do is I'll bring in one of these fern clusters. So let's spin it round. So R x -90 No, R x 90, let's spin it round. And then what I'm going to do is make this one a little bit bigger. And I'm just going to drop it into place, ready when my floor comes in. So let's drop it right next to there. Let's spin it round a little bit with R X double tap the and that's that one in. Let's put in another one. So I've used this one here, so let's put in another small one around here. Let's spin it around, x minus x 90. And I'll make this one a little bit smaller and then drop this one into there. And a lot of this now is basically just tiding up. I'm going to press R and X. Just rotate it around and then and Z and rotate it around just so it's not stuck in the wall like so. Just make sure it's not floating on the floor. We are going to sort the floor out as well so we can actually pull up the floor probably around there anyway. And then we'll just move round, we've got one in here, let's move around then to, to the other side. So round here we're going to have one. And I think then that's it. We're pretty much done for those, so let's bring it in and then x 90. And this one looks a pretty nice one that's going to go in there. So let's drop it down into, into the floor. Let's make sure it's not quite sticking into the floor like so. And roundabout here I think looks pretty nice. I'm just wondering whether this is a little bit too close because you're going to have to walk past there. So all I'm going to do is just grab all three of these and I'm just going to pull them out. Now you can see that I grabbed this and this. I don't really want to do that. What I'm going to do is come in, I'm going to press on this. Let's press B to grab everything. Control, just to make sure I've grabbed them all. And then what I want to check is I've just not grabbed the last part. Now I have grabbed this, I'm going to press is, and I think we can hold down shift and we should be able to deselect them. That's not going to work because then I can press, you know what, we'll do it a different way. What we'll do is we'll press one on the number pad. We'll press Z to go into wire frame. We'll grab one of these and then all I'm going to do is just press box select all of that. And then we know because we're in actual wire frame, we go back to solid. We can see now it's gone all the way through, now I can just press P selection. And now I can actually grab this, this, and this, and just move them slightly this way, just so they can walk around there. It was a little bit too tight there. All right, double tap the A. Let's put this back on the material and now let's actually come round and fix another part that's bugging me. Fix that. You can see in here, we don't actually have a floor here at all. What I'm going to do is I think I'll just take one of these parts. So what I'm going to do is just going to come in and grab this and then just press shift, pull it out, rotate it around R x 90 and then Y pull it in. And then let's just pull it into place and drop that in there into the floor, making sure that nothing is obviously poking through like this. But you see here. And then down a little bit, so it's under there. Double tap the E, and there we go. That's that flaw. I'm actually taking off a list of what actually parts need fixing, and that's one of them. The next thing I think we'll actually look at is going to be the carpets. Let's have a look at these carpets here. Really, really nice technique of actually making things like they're same as scrolls. For those of you taking the other courses, you probably know I'm going to do this. Let's go into modeling first. And then what I'll do is I'm going to first of all, come over preferences and we're going to go to extra. And the one we want is curves. Extra curves. Let's take that on and then refresh and close it down. And then what I'm going to do is I'm going to press shift A, go to my curves and you'll see now we've got holy mole loads and loads of different curves. Some of these are just so, so handy. Let's go with the one we want. It's going to be the spiral. And the one we want to pick is our comedian. And we're going to pick that like so. And you'll notice at the moment it just looks like a curve. But you will see as we come and radius growth, bring that up. Now we've actually got the ability to bring in something that's akin to an actual carpet or the carpet stock. Now what I tend to do now, I've got this. I'll bring up the height, so this height, let's bring it up, Not that way, bring it up the other way. So like the end of the carpet is coming out. So you can see now the end of the carpet is coming out. So it's spiraling up that way. That's what we're actually looking for. Don't worry about the size or anything like that. We'll worry about that as we actually work on this. And you can also use this, by the way, for your cameras. You can use it for that. And you can also use it for a raise as well. So it's really, really handy to actually have this. Now, the other thing you might want to turn down then, is just the amount of steps you will see when I turn this down. Let's say we turn this down to ten. You'll see now it becomes a lot more blocky. We don't think we quite want it on the 24, but I think, yeah, ten is a little bit low, so let's put it on something like 16. And I think that's going to look much, much better. All right. Now we've got that. All I'm going to do is I'm going to pull it up a little bit. I'm going to press the S, be shrink it down. And you can see already it looks like the end of a carpet. So that's perfect. And now I'm going to do is I'm going to press and Z and pull it down. You can see that that's not what I want to do. What I want to do is I want to grab the whole thing Yes. In this. And then what I want to do is press and for some reason the ends of it. Why are they not grumming? Let's have a look. I'm just going to make sure that I've not. I'm going to go to where is it curve clean up. I don't want to actually do that. I just want to make sure that I've not giving it too many edges. Let's just grab this edge. And you can see here that when I grab this edge, there's more in there. That's the problem that I'm looking for at the moment. So let me just have a look. See if I can clean it up. And it doesn't look like I can clean up. So you know what I'm going to do. I'm just going to delete it out of the way. Bring in another one. Just if you make that mistake that I have, bring another one in and it should come in exactly the same. There we go. Now it has, now it's come in. Now, I'm instead of trying to do it that way, we're trying to extrude it, I'm not going to do that. What I'm going to do is I'm going to come over to my curve and instead I'll come to geometry and we'll extrude it this way, like so you can now also see that it's coming in a very, very weird angle. We don't want that. So what I'm going to do is I'm just going to press control all transforms and write clicks the origin to geometry. And I don't really want it coming down like that as well. So you know what I'm going to do. I'm going to turn this off. It's turn off the extrude like so. And I'm actually going to come to object, I'm going to come to convert and convert to mesh. And the thing is once you get very proficient in three D modeling, you'll know exactly what's going wrong and you'll also know exactly numerous, and we're talking numerous ways of fixing things. If you have problems like you've just seen what I did with this actual curve. And now what I can do is I can actually come in and grab my curve, and I can press E and Z. And hopefully, sorry and Z. And I'm hoping that if I put this on E and Z, finally I can pull it down like so. And you can see now that's looking pretty nice. Now all we're going to do is we're going to bring this down a little bit further like so we're not going to worry so much about the size of it. Then what we're going to do is we're going to press S and bring that down. Now you can see now it's starting to be the right size for our actual carpet. And now finally what we're going to do is we're going to bring it down a little bit further. And then I've got this bit already right near. So I'm going to press shift S cursor, selected tab control layer or transforms, set origin to three D cursor, right click, shade, auto, smooth. And then all we're going to do is bring in a mirror. So add modifier, generate, bring in a mirror and let's put it on the Z. Turn those off and there we go. We already have our carpet now pretty much ready to go. Okay. So if for instance you want though, your carpet a little bit closer together, you can of course, go in and let's just show you. So we can of course, bring in another curve. So we're going to bring in our curve, another one like so. And you can see this radius growth. You can see how you can bring it in much, much tighter if you really want to. So that's one way of doing that, in case you're happy with how this has turned out. Let's leave the old the way then. And on the next lesson what we'll do then is we'll turn this into a beautiful carpet. Alright everyone, so hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 101. Applying Textures to Carpet for Realism: Welcome back everyone to the Blend Ball Ultimate Guide, and this is where we left it off. All right, so now what we want to do is we want to come in and we want to apply this mirror. You have got a choice. So you could at the moment, you can still grab it and press, and you can actually pull it all up. And then what you can do is you can come in and grab the bottom of it like so. And then just make sure clipping is on. And then what you can do is you can drop it together like so. And if you try and pull it apart, you'll secos clipping on, it won't pull apart and if you mess up, just take the clipping off and then you'll be able to pull it apart. Like so I want to put clipping on and just join them together and I think actually that's about the right size for my actual carpet. All right. So now I want to do is I want to apply the mirror like so. And then what I want to do before doing anything is I just want to delete this. Going around here, you can see we've got an edge loop going around there. And it's not really something we need right in the center. So I'm going to do is I'm just going to delete edges. So dissolve edges. And what you could do here is you could actually bring in like five of them, for instance. Drop them right in the center and then grab the center one, come up and put this onto let's say inverse square. And then press the S button and just shrink them in like that. And I think that actually makes them look a little bit more realistic, although maybe a little bit too much like a scroll. But anyway, I'm going to leave mine like that. Now what I'm going to do now is I want to actually unwrap these. First of all, so what I'm going to do is old shift and click and grab. I'm going all the way around there. Old shift click and right click. And what I'm going to do is mark a scene. It's going to make it much easier for us in the long run, a unwrap. And then what we'll do is we'll now bring in a material and we need to go to asset Manager to find our carpets. So what I'm going to do is we're going to come down to where it says material, let's put in carpet and there we go, let's bring that in. Then let's bring it in in object mode like so. And there we go, let's leap that other way and let's come to our carpet and let's put it onto carpet like so. There you go. You can see we've already got a beautiful carpet there. And then we're just going to go to shading. I'm going to press dot to zoom in tab button, and here we are. Here are all our carpets. As you can see, what we want to do is we want to spin this round, so our 90. And then what I want to do is I want to kind of put it into place like something like this and then stretch it out a little bit. So S and X. Stretch it out a little bit just so it fits because we're going to have three of these carpets. And then what I'm going to do it I think I'll probably I think I'll probably copy this over then. I think that might be easier. I'm just wondering if it will. Now, let's see, first of all, if we can bring in a modifier. So what I'm going to do is I'm going to press control or transforms, right click, set origin geometry, Add modifier. And let's bring in a solidify. It's bringing a solidify like that. And you can see then it's got the back of this on there. So that's perfect. That's exactly what I want. So you know what I'm going to do. I'm going to press shift, I'm going to duplicate this one. In fact No, I'm not. Because we have forgot one little tiny thing. We forgot the top of the carpet. So let's actually fix the top before we actually do anything. So yeah, I'm thinking we'll make the top first. So what we'll do is we'll press shift. We'll bring in a cylinder. We'll put the cylinder on, let's say 20. And then what we'll do is we'll press the S button. Bring it in, and I just want it to pop out of that end right on there. So I'm pressing S, and that is where I want it to pop out on here. So then what I'm going to do is, okay, now what we'll do is will actually come and we'll bring this in, I'm thinking to bring this in a little bit, Bring it in, something like that. Let's press Ed and make it a little bit longer, just so in the bottom of there. And then what I'll do is I'll grab the top, pull it out without proportional editing, and then pull it up, and then I pull it in, and then again, and then pull it up. And finally, let's even bevel this off. So control B, bring in a few edge loops. Right click and shade, auto, smooth. Now what I want to do is I want to see the size of this, because I think this is going to be pretty huge. I'm looking for where's my human? There he is. Let's bring him over. Let's put him near where it's going to go. So let's put him on the floor. Let's zoom in with the dot born onto the floor. And then let's look at how big this actual carpet is. I don't think it's actually as big as I thought it was. Yeah, That's actually not bad size. All right. So what we can do, see I'm going to actually go to modeling now. Just a minute, then I can actually work a little bit easier. I think actually everything on there then is looking pretty nice. As you can see, what we need to do now is we need to grab this part here. And I'm going to put the center of it in here. Shift selected, grab it again. Shift, right click, and then set origin two. Pred cursor. So finally then what I'm also going to do is I'm going to press Tab and Smart UV Project. Click Okay. And then what I'll do is I'll put in the material. So I'll go for wood and we've got light wood. Let's put that on. Double tap the press tab. Let's have a look what that looks like that's unwrapped. Really not nice. It's this top bit that I'm thinking about. I think what I'll do instead, I'm going to come in and mark a seam on there. And then I'll mark a seam along here, right click, mark seam. And then I'll just grab it all. Actually, I won't grab it all, in fact. Yes, I will. What I'll do though is I'll press shift H and just mark a seam on the inside of here. We'll just do it properly. This one like so. And then we'll just call the back. So going all that way and then what I'll do is I'll take it off of these flat areas because we won't need a seam on there. And I'm hoping from there we should be able to then press a Unwrap. There we go. Now that's unwrapped, much nicer, albeit I think then I just need to go to V, press the little tab A, Let's make it a little bit bigger. So, and there we go. Now one thing that hasn't unwrapped properly is this one in here. It's like bending, don't really want that. Let's have a look at it. What I'll do instead is I'll press Matt Pac click. Okay. And then you follow it to Flods. Click Okay. And then spin it round R 90, then bring it more into place and then just make it a little bit smaller. Hopefully that's looking much better as you can see. All right, so the rest of that, he's looking really nice. I'm happy with that while doing no press al tag. And then all we'll do now, we've got this onto here now. Do I want to pull it down a little bit like so? And then right click origin three D cursor and now we can bring in mirror. Turn off the X. There we go. We can now proceed with actually applying the mirror. First of all, I can grab this carpet press shift, grab the carpet, press shift again. What I can actually do is come to, let's say this one, and we can move this over. Now if I press and Y, I operate on the next one, so making sure that's fitting in nicely. And then move to this one and Y, and let's pull it down to this one. There you go, three actual carpets. Now what we'll do is we'll grab all three of these and we're going to go to object and we'll go to convert and mesh. And then we'll just join each of these up. Now we control J and then control J, and then finally control J. And then let's grab all three. Control L transforms right click, set origin to geometry. There we go. We've got R three carpets in now let's put these against this wall somewhere, so I'm going to bring them over again if you want to add the minty asset manager. So what I'm going to do now, I'm just going to grab this one. I'm going to press X and just put it against this wall around there. And we also lean over here, Y next to this. Then this one, I'm also going to lean next to Wool. Put this one over here. And then finally this one I'll maybe on the floor, I'll press Y 90. Let's put it on the floor. Let's press Z on the floor. Let's pull it out a little bit. We could lean it up against this part here, but I don't think we're going to do that. I think we're going to leave it. So Yeah, they're looking really cool. I just want to make sure that they're not flying in the air. There won't be anyway. Because we're going to bring in the sand and the sand will be lifted slightly higher anyway. So we might have to pull these up a little bit. All right, then on the next lesson, I think we've done the carpet. Let's actually come and fix this. Well, it's basically the last real part that we need to actually put in there. And then once we've done that, we're on to light and then I think we've only got the floor left to do. And then we can finally set up the composite. All right everyone. So let's go out and save out our work. And I hope you're really enjoying it. We're nearly there now, guys. We're nearly at the end of it and I'll see you in the next one. Thanks a lot. Bye bye. 102. Modeling a Bucket for the Well: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we left off. All right, let's go now to modeling. And I think the first thing we'll do before doing anything is we'll actually bring in or create a bucket. So I'm just going to shift right click and then what I'm going to do is bring in a cylinder like so, and I think 20 should be absolutely fine for that. Now we're going to make this similar to how we did our barrel, but first of all, let's get this to be a realistic size. So we can see here that's probably going to be a more realistic size than where it wasn't going to pull it out a little bit. Obviously, it's not the right dimensions or anything like that yet. But it does give me an idea how big the bucket is going to be. Also, let's bring over our guy, because he has to be able to actually carry this bucket. So we just need to make sure that he can carry it. At the moment you can see it's bigger than him. So that's not a good idea. I think something like this. And what we'll do is we'll put it through so he can actually use a big stick. And then he'll be able to put it in his back, so I think a little bit smaller and then maybe a little bit longer, something like this, I think he would be able to put on his back with a stick and actually carry it around. So that's what we're actually going to go for. So the first thing then is what I'll do is I'll zoom in. I'll press Tab, bend the top in. Press the S button, so just very slightly. And then we'll do is I'll bring in three edge loops. And we'll actually bring in this part here. So what I'll do is I'll put this onto inverse square. And then I'm going to press the S button, bring it in, and I think that's a really, really nice shape. And then what I'll do is I'll grab each of these and I'm going to press Shift D. Make them a little bit bigger without proportion aliting on. So then what I'm just going to do is press P selection. And just separate those out. Now we're just left with this. Now we've got the right sizing and everything like that. Let's press Shift and then what we'll do is we'll come in first of all, and we'll separate these off. We're not going to need a top on this, so we might as well delete that. We delete faces, we are going to have a bottom in there. So I'll, I'll just press P and Selection And hide that out the way, because we're not going to need to work on that at the moment. And then now let's just work on our actual y bucket. We will want two of them if we can opposite each other. So in other words, if I press three, I will want two which are like this. And then if I poke it up, I should be able to get these two like. So now let's just see if I can actually work round and yes I can. So I am going to get them opposite as you can see because we did put 20 in there. So right click a mark scene, then I'm going to do, now, I'm going to press three again. I'm going to come to these two. So what I'm going to do is I'm going to come to these two here, just grab the top. And then I'm going to press in sad, and just pull them up a little bit and these will be what this actual handles going to be in. Then' going to do is I'm going to pull them out a little bit, and next just pull them out. And I think that's actually looking pretty nice. Now what I can do is I can actually split these off. If I come in, I can go to L, L and every other one. Like every other one. And then I can press Y. Now finally what I can do is I can bring in my solidify. I'm thinking if I should bring my solidify in now, because I want to put a hole in these as well and also I want to level them off probably. Let's go on to object mode. Let's right click and shade Auto, smooth. Then what I'll do is I'll see if I can put a hole in those straightaway. So what I'll do is I'll press shift A. I'll bring in a cylinder. I'll press S, and we can see it's gone over there. I don't really want that, so I'm going to grab the whole thing. Shift S, cursor selected. Grab my cylinder. Shift selections? Cursor. Let's pull it up, make it much thinner. And you know the other thing, before I do this, I'm probably not going to need it 20. It's going to be way, way too many polygons going around here. So, you know what, let's leave that off. Let's press shift. We'll bring in a cylinder. And then what we'll do is we'll put this on something like 12. Let's try that. And then I'll make it smaller. I'll bring it up, make it smaller still, Y, 90 S and X. Let's pull it out. And there we go. Now we can see where that's going to go. Something like that I think is going to be great. And then what I'll do is I'll grab this. I'll come to modifier, add modifier, generate a Boolean. And let's grab this for our Boolean. And let's always put it on fast. See what that looks like? Let's see, actually, does it want to be on fast or exact? Yeah, I think fast is going to do it. And then what I'm going to do, you can see though, sometimes this happens when you put them on. You'll see now we've got a kind of flashing on there. Generally, what that means is when I apply this control, you will see that if I delete this out the way that we do actually have another one attached to there. I don't know why it does that sometimes. But it does, it could be that I didn't reset my transformation. So let's just press controls head. Just go back a minute and then what I'll do is I'll grab this. Press control all transforms. And I'm just checking to see if it's that and it doesn't even look like it's that. Let's have a look on exact. I'm going to put this on exact this time to see if that actually fixes that issue. Let's press control then, and let's delete this out the way. And there we go. It seems to have actually done it. Now let's come in and what we'll do is we'll fix these before doing anything else. So I'm going to come into each of these, I'm going, let's have a look, Let's press hell on all this. And then what we'll do is we'll make sure in face right click, triangulate faces, right click. Tries to quads and there. Now let's fix that. Now finally let's circle in. And what we'll do is we'll again all transforms. Right click the origins geometry, add, modify it, and we're going to bring in a solidify. And there we go. Now that's really, really coming along, let's bring it in a little bit. And there we go. We're starting to really, really get somewhere. Now with our bucket, let's actually apply that now. So that's actually done. Now what we can finally do is we should be able to now right click and shade auto smooth. So that's about as smooth as we're going to get. We should be able to now make these a little bit smaller by beveling them off. So what I'm going to do is I'm going to come to ad modifier generate and bring in a bevel. And what I'm wondering is it doesn't, I don't think I split them all off, so I'm just going to look. Yeah, they're not all split off. So let's go back before we actually do that, before we actually apply this solidify, because that's not what we want. Let's come in now and split each of these off. I thought I did, but clearly I didn't. So let's come in and split each off with Y. And there we go. Now they're split off, now that's looking better. There we go. Let's press control a, let's add modifier and we'll generate a devil. And there we go, Really, really cool. Let's bring that down. Bring it up one or not 0.3 like so. I'm just going to make this a very, very simple bucket. I'm not even going to point any randomness or anything like that in. What I'm finally going to do now is I'm just going to be level off each of these edges. So I'm going to come to this edge, this edge, this edge, and this edge. And I'm just going to press control bet and just be level those off very slightly. I might be able to get away with maybe three. Left click tab. There we go. That is the first part of our bucket. All right, so I'm really happy with that. I've got enough room in each of these now to put some rope in. What I'm going to do now is press al tage, bring back everything. And now let's actually start work on these. What I think I'll do with these is I'll turn them into a curve first. Let's see if I can do that. I'll come to mesh convert. Let's have a luck and convert. Actually I'm going to do this object convert curve. And there we go. Now we have a curve. Now what we should be able to do is extrude. Let's see if we can extrude. And they're going to extrude from the center. And that's why I actually want to do that. And then what I'm going to do now is I'm going to solidify these as well. I'm going to come in add modifier and bring in a solidify like so. And then what I'm going to do is I'm going to increase the thickness into the bucket. So let's also see if you can right click and shade auto smooth. Yeah, it's not going to work because it's a curve. But what I'm going to do now, I've got those in the right place. I'm happy with those straightaway. So all I'm going to do then is object convert mesh. And now I should be able to also smooth those like. So finally then with those, let's press control, lay or transforms right clicks a origin geometry. And what I'm finally going to do with those now is when added modifier generate, bring in a bevel and just smooth those off and perhaps perhaps make them a little bit smaller just so they're sitting in there like so. And I might even come in, grab them, make sure I'm onto individual origins and then press essence head and just make them a little bit thicker. Keeping in with the stylized look, there we go, a beautiful bucket. Now the one thing obviously we haven't got is we don't have the bottom yet, so let's pull the bottom up. And we should be good at making bottoms by now. I'm going to press this seven to go over the top. And I'm going to come in and grab this one. And let's say this one, press J, then I'm going to grab this one. And this one J, I think. I'm just going to make them slightly thinner than what we did with the actual barrel, something like this. And I'll just work my way along like so going from this one to this one. And then all we'll do on the next one is just split them off. So we'll just quickly split them off and then why. And there we go. And then on the next one we'll do this on the next list and then we'll just extrude them up, bevel them, put them in place and there we go. We've got a bucket and then we can actually make a start on our actual well, all right everyone, to hope you enjoyed that. And you can see now just how fast you should be able to create things. You've done this so many times now with all of these things we've been creating that, creating a bucket like this should be easy, even if you were a beginner in the beginning. Alright everyone. So I'll see on the next one. Thanks a lot. Bye bye. 103. Crafting a Stylized Well: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we left Your Alright then what we're going to do is we're going to press A to grab, hopefully, did us split them off first? Press Y just to make sure the split, there we go. Then we can just press and pull those out. And then what we can do finally is we can just press control A or transforms. Right click the origin geometry, Adn modifier, Generate, and a bevel. Let's turn that bevel down to one. Maybe put it on nought point, not three like we've done every time before. And then what we can do is we can bring it into place. Into the bottom of our bucket, just about there. Press the S one and drop it into place like so. All right, I probably made those a little bit too small actually on there, but it doesn't matter. If you want to go in and actually create another one, then you're free to do that. But I think we're not really going to see in the bottom of that bucket anyway. Let's then apply everything. So I'm just going to grab everything like so object convert mesh. Let's join it all together. And finally, right click shade, auto, smooth, and let's reset all of our transforms like so. All right, so that's our bucket. Add it into your asset manager if you want to. And then what we'll do is we'll come into this part now. Now what we'll do is I think we'll make a start on this again, because at the moment it's a bit hard to judge, you know, we'd have to break up little parts and things. I don't really want to do that. But what I'll do is I'll come in and I'll grab this one and this one. And then what we'll do is I'll press shift desk. Kura selected. And now bring in another. So let's bring in a cylinder. And I think I'll turn this up to, let's turn it up to 20 like so. And I'm thinking, can I use each one of these? Maybe that might be a little bit too high because we want to keep with, you know, that stylized look. So I think 16 is actually going to be better. And what I'm also looking for is just making sure that these wooden parts that will be going in there will look okay. And I think that's going to be fine. All right, so let's press essens head and let's bring it down and let's make it somewhere around that sort of thickness I think will be fine. And then what I'll do is I'll actually hide my other well out of the way. And what I'll do is I'll bring this in. So I'm going to bring this in on the top and the bottom. So I'm going to press the eye button. And then what we're going to do is we're going to right click and loop tools and we're going to come to bridge. So finally what I'm also going to do is I'm just going to go Alt Shift and click. And then I'm going to press, and I'm going to pull it down, holding the z on the z axis. So now the thing is about the inside, we're probably going to need to give it some thickness. What I'll do is I'll come in lift, click. I'll press Y. And just to separate it. And then I'm going to press control or transforms, right click origin geometry, add in a Generate, and bring in a solidify. And then I'm just going to pull that out. And I'm also going to bring back the offset to try and get it halfway in between. So there we just want a little bit of an edge there. And then what we're going to do is we're going to bring these over a little bit more. Okay, so that's that part done. Now what we'll do is we'll just come round to these blocks then. So I'm going to bring these in, I'm just clicking on my block, sorry. Alt shift and click and then alternates and bring them in just slightly over like so. And basically we've done that just to make sure that you know, that we can see an inside of it. Because obviously if you've taken this through to a Games engine, you need to have it double sided. And that's the reason we've done that. Let's also press Alt tag and we'll bring back our floor. I think at this point, honestly, we can get rid of the rest of the, well, we're not going to need that. So let's delete that out the way and let's have a look now at our guy, how he's actually there. I think it's a little bit too high. So what I'm going to do is I'm going to pull it down into the floor a little bit. I think the actual bucket, let's put that over there. So I just drag this over here and then we'll do is a zed 90. Just spin it round like so. And now I'm just making sure that one the guy can reach it. How big is the bucket is this? Well, a little bit too big, I think it is. So what I'll do is just grab both of these. Press the S button, make sure that we're on medium point. So press the S button and just bring it down a little bit. And now we'll just check the actual height. So let's look at the height with him stood on the floor. So let's put him into the floor like so. And I think now that's about the right height. Okay, so now what we'll do is we'll bring in a cube. So let's press shift date, bring in a cube, press the bot, and all I'm going to do is just set this to the side, then just to make sure that everything's going to fit in place, Let's press S and Y then, and shrink it in a little bit. And then I'm just going to press S and X and pull it in there like so. And we need to make sure that they don't look too thick, but they look as though they can actually be. So you can see here. Again, I think it's still a little bit high. So you can see once I pull this up, if I come in, grab the top of there and pull it up, he's going to be turning it from here with a little handle here. Is this too high? Actually, you know what? I think that actually looks fine. I think it looks fine. So what I'll do is I'll just pull it up a little bit and then what I'll do is I'll just level off the top. We may need to reset transformations. That's look, no, we can actually get away with it. So there we go. That's that part done. Now what we want to do is we want to actually split all of these up. I want to come in and what I want to do is I want to press Oli Click and going around each of these like so, and then Y and split them all off. And then A, and we'll come in and go to clean up and we're going to fill holes. So now I'm hoping that I can write click Shade auto, Smooth. And then I'm hoping I can come in and generate a bevel on these. Let's press Control All transforms. There we go, Origin to geometry. Turn it down, turn it up one or two. And turn the segments up because it is going to be stone. And I think they just looks so much better. When you actually turn the segments up, four stone, it just looks tons, tons better. Let's come in now and what we'll do is right click and we will shade auto, smooth on that as well. And then I think we're really going somewhere on this. Now what we want to do is I also want to come in and what I want to do is I want to go to mesh. And we're going to transform and randomize it just to just a tiny, tiny bit like so. And there we go with a little bit uneven now, and that's what we want. And finally then what we can do now is we can bring this part over. So if I go over the top seven, I can hide this part out the way. I can also hide this. Let's hide this out the way, just so we can see what we're doing. And then shifty, let's bring it over like so. And drop it just into a place where we want it. Something like that. And now we'll bring in the actual wheel. So I'm going to grab both of these. I'm going to press shift S Custer selected. And then I'm going to press shift I'm going to bring in a cylinder. I'm going to rotate this round, so R x 90. I'm going to make it smaller like so. And then all I'm going to do is I'm going to pull it on the sides now, so and Y pull it into place. And just make sure then that is going to be thick enough and I think that's going to be perfect. All right, now let's right click and shade, auto, smooth on this. Let's grab both of these. And then what I can do is I can join both of these together. Control J. Let's right click and shade, auto, smooth on those. Everything is really coming together now. Now let's think about the actual wheel. So what I'm going to do, I'm going to press control, click, click, control. Bring in the mouse, bring them into something like that. And then what do is on each of these old ship, click and then control B, bring them out like so. And then enter alternates and then just pull them out the metal parts that are going to be there holding the rope in case it goes, slides over each side. Finally I'll also come in an old ship click on the inside of each and the outside of each, and then we're going to do is right click and mark a scene. Now finally we can actually bring in some rope. I need some rope that's going to go around here. I think I'll do that part first. What I'll do is I've got my cursor. Where is my cursor? In the center. What I'll do is I'll bring in, let's think, we'll bring in, first of all, a curve. And we'll bring in a path. I think that will be easier to work with. We'll press and 90. We'll press S then and bring it into place like so I think I'll leave my bucket flat like this way. I don't want to alter it at all. What I'm just going to do though, I'll grab my bucket and just pull it up a little bit. So then what I'll do is come back to my curve and I'm just going to pull it a little bit more in place, like pull it over a little bit and then we'll go to my curve and I'm going to come in and change the depth of it. Change the depth holding shift borne if you need to like so. And let's just make sure that it's in place so you can see it's just overtaking those places. Then what we'll do is we'll grab both of these sides and we'll press control and three and then and Z and pull those up. So now you can see that we do have a problem in that these need actually pulling up to here and they need going together. I'm going to press and Y, let's see. And bring those in like so, and then and Z, and bring them up. So now I want to bring these in. Can I actually bring them in with S and Y? You can see there, we're missing just this one. I'm j bring that one to here and then I'll grab this one and bring it in to here like so there we go. It looks as though it's now held with some rope. The one thing that we might need to do is this rope, at the moment, is incredibly thick. Do we actually want it that thick? If we don't, we'll just turn down our debt for a little bit and just make sure it's all going to fit in properly. I'm also as well going to turn down the resolution. It's way, way, probably too high for this. And then finally, I'm just going to bring this one in just a little bit. And I'll also grab both of these and bring them in just so they cross over there like so. And then finally I'm going to take this one and I'm going to press control plus, and then I'm going to minus this one off. So shift click this one, and then I'm just going to press Shift D. And hopefully I should be able to bring up that piece like so. Meaning I can actually carry this on from there. And then I'll grab this piece and I'll pull it up to the back. So you can see now it's going near enough to the back of there. And that then is perfect for what I want. I'm going to save out my work now, so file and save then. What I'm going to do now is on the next lesson I'll actually create the rope that's going to go around here. And then we can finally get all of this together and get some water in this well as well from the bottom. We also want to make the well actually drop down a little bit. What that means is we need to cut a boole in through our floor. We know our floor is going to be set out okay. In other words, we know we've got enough room, so we just need to make sure of that before we carry on. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 104. Creating a Rope Using Curve Nurbs: Welcome back everyone to the Blender, full Ultimate guide. And this where we left off. All right, so what we're going to do now is we're going to come to this part here. We're going to press Shift S, cursor to selected. And then what we're going to do now is we're going to bring in our rest of our rope. So shift, let's bring in another curve, but this time we'll bring in a circle. We'll turn this down. Let's have a look up what these are on. We should be able to, let's see if we can, actually let's bring this down to here like so. And let me see if I can join this with this. So I'm going to join this to this. Let's press control J. And there we go. Now we see we've got exactly the same length of this. Now the one thing I want to make sure is that if I spin this round, so r x 90 and then make this smaller, I'm still going to keep the actual depth, as you can see, of what I had here, which is perfect. So that means now no matter how big I make it, we're still going to keep the same depth as this one. And that is why we want to use curves for this. So let's bring this one over. And then what we'll do is we'll press shift D. We'll bring over another one. We'll press R and X, rotate it and then shift D. Bring this one over. And then what we'll do is we'll bring this one over L, shift D. So then finally we'll bring one more over shift and then we'll rotate this on the X. So now let's bring in a couple more shift D. We'll bring in one here, we'll rotate it, so X. And then what we'll do is we'll make it a little bit bigger. Shift D, bring it over then to the center. So just make sure it's rotated a little bit. And then last one shift, bring it over and then rotate it the other way round. So and you can see now just how easy that was to do that. All right. So now what we have to do though is go in and do the hard thing of actually marking all of the seams on these. Because if you don't do that, they're not actually going to unwrap properly. So what I'm going to do is I'm going to first of all, save up my work and then I'm going to come to object convert to mesh because we turn it down, you can see now they're not actually that much on the resolution. Maybe it's a little bit too high for these parts. We could split them off and then reduce it. I think actually we'll do that. I'll show you how to do that as well. So what I'm going to do is I'm just going to come to this part first. So I'm going to grab all of this part selection and then I'm going to come to this part and just reduce the amount of polygons so they're not quite as high like so. And there we go, that then we should reduce it a little bit more. And now I can grab them both. And what I can do is going to go to object convert to mesh, and now you can see that they've been reduced down. All right, so that's that. Now let's come in and bring in a seam. So what I'm going to do is I'm just going to come behind it where no one can see Alt Shift and click going all the way up there. Right click, and we'll mark a scene. And then we'll do another scene right behind it. So Alt Shift click, right click, mark scene. And then what we'll do now is work on these. So I'm just going to grab the whole thing. Press shift H to hide everything else out of the way. And I'm going to work down all of these. First I'm going to come in, Old shift click, shift click out, shift click always on the inside, if you can. We're just going to work our way over. I've got one on the inside there, one on the inside here, here, here, and here. And I'm just looking now. I've got one on there, haven't got one on this one. Yes I have right click mark seen. Now all we need is another seam going through the sides of these things. Ol shift click, so we don't have infinite loops. Basically we're going to go down all of these like so. And then I'm going to come to the back. O shift click. Ok, shift click, right click and mark. Seen. Now these ones. Of course we don't need to do that because they're not an infinite loop anyway. In other words, they have an ending point on each of them, so they're fine. Finally, then let's join them all together with control J. And then what we can do is we can press control or transforms, set origins, geometry. And I'm going to go over to my asset manager now, and the one I'm looking for is rope. Where is my rope? Hopefully, I've got a rope on there. If not, I'll have to quickly go and put that in. So I'm just looking, do I have some rope on here? No, I don't. Let me go and get some rope with the power of editing and you will find that in your resource pack. Now, I should be able to bring in a rope material, which is this one here. Let's now go back to our actual material here. Let's bring this in, then drop that in, let the shader just load up, and there we are, some beautiful rope. Let's now delete that out of the way. And then what we can do now is we can come to this part and then click the down arrow, Look for rope, and bring it in. Now you can see straight away that's not looking like rope. But the reason is because we've not unwrapped this yet, so a U unwrap. And now what we need to do is just make this much, much bigger on the UV map. So let's go to the UV. And sometimes with rope, you're better off actually, just. You know, rotating it round depending on how it comes in. So S bringing out and let's look at this first bit of rote. We can see they're not looking quite right, so we might have to just go in and rotate them round. Now these ones here, as you can see, they look really nice. Just this one here. So let's come in, here it is. Let's rotate it, so 90. Let's try that first. Let's put it into place, let's make it bigger. So there we go. That ropes looking pretty nice like so. And then let's come to this one here, exactly the same thing, bring it out. We want to match it up with this rope if we can. Then let's come to this one here. All of these here. Let's come in and just hide these out of the way. And we'll show you another way as well, which you can do this without making everything huge like we're doing here. Let's press the B and bring it up, and there we go. There is our beautiful rope. Now of course, we could come over to our shader, make sure you've got rope selected. And then what you can do instead is if I come and zoom into it, what I can do, instead of increasing the UV map, I can actually change the scale of this. If I put all of these on five or something, then it will increase the scale of the rope. So if I go in and put them on five, you can see it increases that scale. Let's put it on something where you can see, so something like two, you can see it increases it, you can do it that way as well. Let's just prum back on one. I'm happy with what they're at. All right, so now let's go back to modeling. Let's press Altg, bring them back, and then Tab. Let's then press Ltag and bring everything else back. Let's put it onto material just so we can actually see what we're doing. And the thing, all that's left on this now is when this loads up, is just to put this little piece on here that's going to kind of hold it all together. Just a simple cylinder which we're going to, you know, pull out a little bit and something like that. So let's just wait for this to load up again. We've got a lot of materials and textures in here now, so it will take quite a bit longer to actually load everything up. Okay, so here we are. Everything's loaded up now. And then what we want to do now is, as I said, let's bring in this part that's going to come on here. We'll grab this shift desk, cuts to selected, then we'll bring in a cylinder. We'll leave it on 16, that's fine. And then what we'll do is just put this into place so we're going to bring it down to here. Make sure it fits in, it doesn't need to be perfect. Just make sure it's roughly in the center. Press the S ball, make it smaller. And then finally, what we can do now is press S. And then what I can do is I can bring out the top and the bottom. So I'm going to press, I just to bring it in and then enter and pull it out. Then all I'm going to do is just lift it up just a tiny bit. And just drop it and make sure that it's into place. None of that ropes going through there. There we go. Let's right click, shade, auto, smooth. I don't even think with such a small part. I'm even going to be level that off actually. I think I'm just going to leave it as is now. Then what run to is the actual wheel. So what I'm going to do is I'm going to come over to this side, I'm going to grab this part shift desk because the selected tab. And then what I'm going to do is I'm going to press shift, I'm going to bring in another cylinder. This time I am going to put I'm thinking to put it on 20. I should be able to get away with that. To between Yeah, we'll do that 20. And then what I'll do is I'll make it smaller. I'm going to rotate it then on the x x 90. And then what I'm going to do is I'm going to press and Y and shrink that in like so, maybe a little bit more. Let's actually have a look at how big this is going to be. Now imagine our guy is going to come there, is going to be pulling it with the handle. I think this is a good size actually. What I'll do now is I'll bring in the center of it. I bring it in and then bring it out. I'm also then going to add in a edge loop. Right click, mark seen. Now let's bring in the front of this I and then E, and then control. And we'll mark a. Same as we go along. Okay, on the next list. And then what we'll get in is these handles. And then we should be able to start actually texturing all of this. All right everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 105. Texturing the Stylized Well for Realism: Welcome back everyone to the Blend of Four Ultimate Guide and this is where we left the art. All right, so let's now come in and sort out our handles. I'm just wondering if And grab two, miss two, grab two and then correct press control shifting plus no, it's not actually gonna work. It never does work. So what we'll do is we'll just go round miss two and grab two. So grab two like so. All right, so we've got this. Now what we want to do is just make some simple handle. So all I'm going to do is I'm just going to press I. You can see that they don't come in properly, so let's reset all of our transforms. Let's also right click and shade auto smooth. And now let's try that again with I. And now they come in much, much better. Let's press E then. And then what we're going to do is press alternS and bring those out. And we can see as well that they're not exactly the shape that we actually want them. But we're going to fix that now with individual origins and put this on normal. And then what we'll do is we'll press and Y and you'll see now that we can actually bring them all in together. So that's looking more like those handles. Now if you're not happy with the length of them, if you want to make them a little bit longer, just press alter Ns and we can pull them out even more and then and Y again and pull them in. So All right, I'm happy with those. I think I want one more piece of metal on here. So I'm going to press control. Click, right click, control B then and pull it out. And then all I'm going to do is press E, then just pull it out a little bit like so. And then shift, click, shift click, right click, maxing. Okay, So we're pretty much done with all of this now. All we need to do now is bring in our bevel. All I'm going to do is I think I can join all of this up together, actually. So I'll join it all up together with control J. I'm going to press control or transforms. Reset them. Right click, shade to smooth. And then what we'll do is we'll generate a bevel. And there we go, there's our bevel. Let's turn it all the way down. Turn it up one still too high, so let's put it on. Not point. Not three, maybe? Yeah, I think that's going to look much, much better. Now, let's come in and think about our materials. So first of all, let's bring in some wood. So I'm going to grab everything at the moment. I'm going to press you Smart UV project. Let's bring in our wood, wood, wood. So let's then come in to the metal parts. So we'll grab these. We didn't actually make this part metal yet, so I'm just going to grab this one. Go in there and then this one round the inside of there plus down arrow, black metal. Click a sign and there we go. And then I want these to actually be metal as well. All I'm going to do, I think the easiest way can I actually come in and hide my belt then, will it allow me to do old shift click around all of these? Yes, it will. That is perfect. Going around there, There, right click, mark a scene, and then we should be able to come in now. L, L, L, L and L. And then we go to materials and we'll assign those. So now the one thing I do want to do a thing is just to level these little edges off. I don't think I particularly like those. I'm just wondering if I grab one of them. Press control, how they're going to look. Look, do they look any good like that? I don't think so. Let's go back and what I'll do instead is just grab this top press control B that I think is looking much better. So what I'll do is then is I'll grab the other ones and we'll just bevel, the more we actually see that one. There we go, level the off, very, very slightly. So fine press control B. Now pull it out. There we go. They look much better than those sharp edges that we actually had really, really happy with, how this looks. I don't think I'm going to do anything with the metal or wood. It looks good enough. You can see here, we do have a seam on this part. I'm just going to come in and what I'll do is I'll just grab this part Smart UV project and just see if I can make it a little bit better. And there we go. Now that's looking better. Then I'll think, I'll grab this one. Smart UV Project. Click Okay. And then I'll grab this one. I'm just grabbing them separate. And the reason I'm doing that is because I know they'll appear on the UV map, a little bit smaller within the UV map, giving us a better or higher resolution. There we go. Now we can see that's looking much, much better. All right, now let's do our stone. So what I'm going to do is I've got this here. So this one is called Gray Stone. Let's come in and we'll look for Gray. Then what I'll do is we'll press a smart UV Project. There we go. There's the stone. And then now come into this and we're going to make this the wall color. I'm going to just grab this one. I'm going to press control L and I'll copy link materials. And then what I'll do is I'll come into this one, press tab and smart UV project. Click okay. And there we go. But we definitely don't want it like that. We're going to go over then to, you'll be editing and what I'm going to do is R 90. Let's spin it round so it's going the right way. And now we can see we do have a problem. It's the inside and the outside. So what I'm going to do is I'm just going to grab these. Now I'm going to press, and I'm just going to bring that down, and we can see that this and this, these should be together. So what I'm going to do instead, is I'm just going to press shift H just for 1 second. I'm going to go around the back. And for something like that, you can see here what the problem is. I think we've still got on our solidifies, Let's press control A, and there we go. Now let's try it grabbing everything you V project. Now let's have a look at what that's going to look like. We might have to do this on our own actually rather than this because it might make it ship click much easier and now grab it all and then press you wrap. That's not worked. Why has that not worked? Because we need one more right click, then we'll also a seam on the bottom. And then we'll grab all of it and we should be able to unwrap this. Now let's have a look. Yeah, it's unwrap there, but let's pour a seam on the top because we can't see those anyway. And then we'll grab it. You on the P, and there we go, nice and straight. That's what we want. 90. Let's bring these then into place. If I put those there, let's have a look. You can see we've got dirt on the inside of here that looks absolutely fine. It's just this one on the outside, which I think will be this one and y. Then what I'll do is I'll turn that round O hundred and 80. Spin that round, there we go. Let's press, bring back everything now that's looking tons bare. All right, so the last thing then we need to do is we need to just go into this part. And part of the, well, we need to grab this part here and all I'm going to do is just press Shift D, Bring it down, and then I'm going to press P selection. Separate it out, grab it now and press A. And then you're just going to press E to pull it up. Make sure you press Z just to attach it to that. And then what we're going to do is we're going to press to fill that in. And then to fill it in, and then you're going to make it a little bit smaller. So you're just going to press Tab. You're going to make it a little bit bigger. Sorry, not smaller. And then now we're going to come to our floor. So we're going to grab our floor and what we want to do is we want to add I'm just wondering the easiest way to do this because this floor it will need, you know what, we're going to leave it there. We're going to leave it there and we're going to actually put in that boolean. I'm just going to pull it down to here. We're going to put in that Boolean when we've actually done our floor. I think it's going to make it much, much easier for us rather than doing it now because we've got a lot of adding in different things to our floor. Now let's come into this bucket and what I'm going to do is Smart UV Project. Click Okay. And I think I'll grab, I'll just put it the same material as this. I'll grab this one. Press control L link materials. There we go. And then also do is come into this and I'll change the materials over to be black metal. Then what is I'll grab the whole thing, not all of the whole of the bucket that is. So let's just grab our bucket a, a, and then S. Let's have a look at that. And there we go. That's a really, really nice bucket. You might want to make it a little bit uneven on these parts here. I think if we going, yeah, we've applied our bevel, but you could still pull them up and add a bit of randomization. But I don't think I want to do it in such a small object. Last of all, then, what I need to do is I need to come in and I need to grab just the top of here. So grab just the top of there. I'm going to press Shift and I'm going to pull it up very slightly, just before it reaches the bottom of that bucket. I'm going to press Selection and just split it off because this is not going to be part of the Boolean that we're going to use. And then all we want to do is we're going to change this for water. So we'll come to Asset Manager and we'll have a look for one that says water and areas are water material. So let's bring that in. Drop that in there. Let it just load up. There is our beautiful water. Let's delete that. And then what we'll do is we'll come to the top of here and put this onto water. There we go. We've got our well all done. All right, so if we finally got that done, what we'll do then on the next lesson is we're going to actually work. I think actually on the next lesson we'll start on our compositing. We'll start on there. You can see we've got a little bit of metal also missing there. So we'll work on our compositing on the next lesson just so we can get a nice image. What to expect and all that sort of good stuff. And I'll see on the next on everyone. Thanks a lot. Bye bye. 106. Setting Up Render Compositor Layers for Enhanced Visuals: Welcome back everyone to the Blender Pot Ultimate Guide, and this is where we left it off. All right, so we've got that now Let's grab this one and this one. And what we'll do is we'll just press control L and we'll link materials. And then finally on this one here we'll just minus off this wood. And finally we'll just grab it and, and Smart UV project. Click Okay. And there we go. There is that little piece of metal in Now let's join this together because of the moment, we've kind of got a lot of pieces all separated and I don't really want that. So I'm going to join all this together. But first of all, I'm going to go to object, I'm going to convert to mesh, and then I'm going to press control J. And again, this is something that you could add to your stone once we've finished it and put it in your asset manager. All right, so now let's come around to where our camera was. So our camera is here. And what we're going to do is we're going to first of all, move this camera to a bit of a better shot. So if I come to view, I'm going to get camera to view then. And what I'm going to do is I'm going to set my camera up round here somewhere. I'm also going to go and pull it back, so I'm tilting it up as you can see something like this. I can see from here that my floor probably has to come out a little bit more. So all I'm going to do is I'm just going to press S and pull it out a little bit more like so. And then with my camera, not my floor, so I'm just going to press control shift and yours pull it out, like getting the whole scene in there. All right. So that looks perfect to me. I can click this off now and my cameras all set up. And now what we need to do is just check our sky just to make sure our sky is all set up, ready to go. So let's first of all save out our scene. Then what we'll do now is come to our sky. Let's come over to our shading panel. We're going to put this onto a world, we're going to zoom a little bit, and here is our actual sky. I'm, first of all, I'm going to put this to my camera view, so I'm going to press zero and then we're going to put it on rendered view. So let this load up and then what I'm going to do now is I'm going to put the sun intensity probably a lot higher than this. Because we have to take into account, once we in fact, you know what, we'll leave the sun intensity at 0.1 for now. And then what we'll do is we'll actually 2.97 we'll just change the air to 2.97 so make a much more yellow, vibrant color. And the other parts on here, we're going to keep the same. Then what we're going to do is now we're going to come over to modeling again because we don't need to actually mess around with the sky at the moment. Then what we're going to do is we're going to come over to our options on the right hand side, under cycles. We're going to render this out at the moment in cycles. And what I want you to do is I want you to make sure that your maximum samples are on 100 or something like that just to get our first image. I also what I want you to do is just make sure as we went through all of these points before, just make sure that you've got all of these set in, the ones we set before. So basically copy what I'm copying for now. And then also make sure that your color management, you've got it a medium high contrast. And finally then what we can do is we can save out our work before we do anything. Because sometimes, you know, Blender can crash when you actually rendering. And then what I want you to do is put this on wire frame. And now finally, let's hit that render bond. So let's render image and let it wait to load everything up like so. Again, if it ever comes up with out of memory or something like that, go over to the simplified burn reduce the textures and then you shouldn't have a problem from there. All right, so we can see that we've got this many samples to go, I'm hoping I'll left noise on. And then once this has finished, then we're going to hop in over to our compositing and we're going to see what we can really, really do with this and really bring this to life. I'm hoping that you've got this far and you take this image and then you'll see in the compositing exactly the difference that it's going to make. All right, I'll be back when this finishes rendering. Okay, everyone, so we've got our actual image. This is the Famot image that we've got. But one thing we forgot is I forgot to come over to the right hand side over here on these three. And we actually need to tick some of these passes on because if we don't take passes on, we can't actually bring in our ambient occlusion. So the passers we're going to tick on. We're going to have a lot of lights in this scene coming from the windows, coming from the lights that we haven't created yet. So we need to make sure that we've got the ability to mess around with our emission. So you will see here we've got one that says emission. We also want to make sure that we can mess around with our ambient occlusion. That is all the shadows and things like that. And I think for this scene. Honestly, you can really go overboard on this. You don't really want to go overboard. You don't want to be messing around with things, for instance of the normals. But what I do recommend doing is when you finish this course, go away, go into the compositor and turn these on, and then mess around with them once I've showed you how to use it in each of these things and you'll get a really good idea of just how and what you can actually do with things. Like for instance, if you've got some volume in there, We do have a course on lighting where we go a lot more into depth on this sort of thing. And I recommend if you've not seen that one, check it out. All right, so now unfortunately we're going to have to go back and render it because if you go to compositing right now, you'll see that there's nothing there. And the reason there's nothing there, even if I use nodes, you'll see that I've got these on, but they won't actually work unless I actually re render this out. So that's why I actually need to re render it. So let's go to render and what we'll do is render image and again we'll just wait till this finishes. It should be faster this time. And the reason is because we've got persistent data ticked on, so it should be faster. And once this has finished, we'll go into the comes here and get that set up. Okay, so now you can see it's finished. It took 1 minute, 21 seconds, which is pretty fast. And now we can see that we've got a really, really nice image here. Let's close this down then, and we're in the compositor. And what I want to do first when you hit in the compositor is let's set this up properly. So let's first of all press the end button. And then we can just hide this out the way. And then all I'm going to do is going to come down to here, left click, drag down, just so we've got all of that room there. And then finally what I want to do is want to come to the left hand side and drag this across. This then wants to be set to image editor, and you want to click the little down arrow, click Render. And the one you're looking for is Render Result. And now because we've got this here, we can really, really see what these different things are going to do. So at the moment you can see that we've got our main image here and we've got all of these rendered layers or passes. And what we want to do is this, at the moment is the one where the output goes. If I unplug this, you'll see it disappears because it doesn't have any output at the moment. Now let's come in and first of all, the first one I always mess around with is going to be the ambient occlusion. So what I'll do is I'll come in and if you plug the ambient occlusion in, you'll notice straight away that you're going to get a really, really grainy image. So you can see here we've got a lot of grain over there. So the first thing we're going to do is I'm going to wear press shift date and I'm going to bring in a D Noise Let's drop that in there. And then it's going to have to think about it before it actually does it. But now you can see it's actually cleaned up, all of that noise and you're going to see a huge difference just from this ambient occlusion. Huge difference. Let's first of all though, have some control over our ambient occlusion shift date. Let's bring in a color ramp, color ramp. Let's drop that in there. And then what we'll do is we'll drop in another node. Because at the moment we haven't got so much control, we've only got two nodes. If I bring in then one more node and drop that in there, like now we'll see is as I move this up, you know what? As I move this up, you'll see it has to think about it every single time before it actually loads up. So you'll see when it loads up things get darker. Now, I recommend before doing that just plugging your ambient occlusion, bypassing your D noise, And now you should get it near enough in real time as you can see. So now we can really play around with this like. So let's bring this one then just to the side of this little downwards V. And then let's bring this one just below where it says linear. And we should end up with something like that. We've got some really nice beautiful shadows here, you know, going down here, which you can really play around with, but especially on the top, it's really nice and bright. And that's exactly what we're looking for. Now we've got that. What we can actually do is now we can plug this in to our actual image and kind of put it underneath it. So we're going to overlay kind of our main image over the top. So what I'm going to do is I'm just going to put this over here. I'm then going to bring in a mix. So you're going to bring in a mix color. And what you're going to do is you're going to put that there and you're going to set the mix to multiply. So let's set this to multiply like so. And then what I'm going to do is I'm just going to put this on naught 0.9 for now. And I'm going to plug in my ambient occlusion into the bottom of here. And then I'm going to plug my main image into the top of here. And then finally, let's plug it all in. And there we go. What a difference. That makes what a difference. And from here now we haven't got our de noising, just remember that. But from here you can really turn up your shadows. Turn down your shadows. And you've got so much control over there. What am I doing? I just need to press control shifts head. No, I went back, there we go, control shifts head. And what I'm going to do is I'm going to just pull this up, just that minus there, and there we go. Now let's plug in our D noise as well. So if you're plugging in our D noise, you'll see we'll get rid of all of this grain once it's actually thought about it and now it's a beautiful clean image. All right, so that's looking pretty nice. Now what we're going to do next is we're going to mess around now and on the next lesson with our actual emission. So this thing coming out of these windows, we want to make sure these are looking really, really nice and have the ability to actually control them as well. All right everyone. Basically what we're looking for in this one is we're going for a kind of sun rise, a sunrise where the lights are still on. From the referencing that we discussed in the start of the course, we want a sunrise where the lights can still be seen on. Because I think, you know, we could, it's much easier to take a day, you know, image of this. But I think to make it a little bit harder, let's go for a sunrise. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 107. Adjusting Compositor Layers for Optimal Results: Welcome back everyone to the blend of four Ultimate guide and this is where we left off now. I'm just going to quickly save out my work that I've got for now. And then what I'm going to do is I'm going to bring in now a hue and saturation. So let's press shift and we're going to just type in U and saturation. Let's bring that in now. And then what I'm going to do is bring in a glare. But I think you can actually bring in a glare. Let's have a look. Yes, we can. So let's bring in a glare. And then what we're going to do is we're just going to alter a few of these and then we can alter them back once we've actually finished. So let's put the U first of all on No. 0.567 Let's put the saturation on, not 0.9 let's put the value on 1.85 And finally let's put the Ac on 0.825 Now again, copy what I'm actually doing with this. And then once you, once we've actually finished, we can go through and look at what these options do next of all, then let's plug in the emission. So let's plug in the emission into there. Let's then plug the image from the emission into the image of the glare. And finally then I want to plug in this glare. You can actually come in and I think it's shift control. There we go. Shift control. And then you can actually see what you're actually doing here. As soon as I though, delete that. As soon as I plug this in, you'll see that we'll actually have this on there as well. So it's up to you which way you actually do it. So what I'm going to do is I'm just going to plug this in. I'm going to work from this that I can see. I'm going to lay it load up. There we go. Then what I'm going to do now is work from here. I can see these are here Now, the other thing is you might not want to turn off the backdrop. You can just come up to here like so. Or you can turn it on. And the other thing is you might want to make it a little bit smaller. So to make it a little bit smaller, just open up this and it's on the view. And then we can actually zoom it in or zoom it out. So making it really, really easy to actually work with this then. Okay, so now I'm going to do is I'm just going to come in and instead of it being on streaks, what I'm going to put it on is fog glow. So let's put it on fog glow. And now we can see that's looking better already. This is basically how realistic it is. Let's say we can have it really low as you can see there, or we can have it on high quality. Let's put it on high quality. Let's put the threshold on one. Let's put the other thresholds, or this threshold here, on zero. Let it load up. And there we go. And let's keep the size on eight. Now if we come over to this size, now you can see that I can actually change the hue. So if I bring this up, you can see we can change completely what the hue is. And the reason it's set on 0.567 is because we're giving it a little bit of that orange hue. The other thing is if you turn up the saturation, you'll see it gets much more of an orange color. So I've tried to actually put it on something as realistic as possible. Now these two here basically accentuate these. So if I bring this down, for instance, you can see that I can take that glow a little bit down. So I'll think what I'll do is I'll keep it on 1.85 and then finally the fact I think the Ac actually messes around with all of them together, actually, so I can really, really bring it up like, so I'm going to leave the fact on, not Er 0.825 so let's put it back on Er 0.825 like so now at the moment we have this image, we've got our ambient occlusion on. What we want to do now is we want to actually turn off this backdrop and we want to get rid of this. We want to actually join them all together. The easiest way to join them all together is to take this multiply shift D, instead of it being on multiply, let's put it on. Come down to where it sees light. Then what we'll do is we'll put this on naught 0.867 And I'm going to plug in this to the top. And we're going to plug in this to the bottom. And then finally I'm going to plug in this to my image. And let's have a look at what we get now with our lights. And there we go. Now we've actually got some really, really nice lights. All right, So you can see once we've got our lamps and things like that, these are really going to stand out much more than what you know than these are the mumps. Once we've got some lamps in there, they're really, really going to have a glow. So from now you can actually come in and mess around with this a little bit more. These are what I'm going to set mine out. The one thing I think I need to do is I think before I do any more on the comps in, we're going to finish that off in the end. This is good enough now to actually work in and get an idea of what you're working with. I think what we'll do is I'll come to just my shader, so come to shading. Let that load up. There we go. And then what I'm going to do is I'm going to now change the actual light and I'm going to make it 3.45 You can see here that it says out of memory, I'm simply just going to put it on, so I'm going to put it on 3.45 Where is the Sun intensity? 3.45 Let's see if it actually works now. We'll put it on shader. And sometimes this is where Blender fall will crash. And you can see now though it's actually done that for us. All right, finally then let's put it onto wire frame. Normally it won't crash when you put it on wire frame. And what we're going to do now is one final render. So we're going to go to render image and what you're going to see now at the end of here, it's going to actually render this out. Normally you can see it's very, very bright at the moment. But then what it's going to do is it's actually going to bring in all of that composite that we've just been working on. He always does that. It'll render out 200 and then at the end he'll actually do all the computerization of actually the compositor. So that's what we're just going to wait for now. Wait for it to do that. And then what we're going to do then is, I think on the let's have a look how much time we've got left. We've still got time. So I think what we'll do then is we've got the lights to do. I think the best thing we can do is do the lights. Then we can do our normals, we can clean up the seam, and then finally we can do our floor. And then we can get our final compositor, because we can still do some more work on the compositor as well. We can do things like, you know, make the scene a little bit sharper. We can change the actual hue of the seam and things like that to get a really, really nice image. Okay, so let's now wait for this to finish and you'll see now it's nearly finished. You should now go to Composite. And there we go, Composite. And there we go, There is your scene. And you can see now we've got that real sunrise that we're actually looking for. You can see the sun's coming down here. Really beautiful scene. All right everyone. Let's now come in and close that down. And as I said, we're going to go over to modeling and let's put this on object mode at the moment. And what we want to do now is create some lights. Now the thing is about lights. They are expensive if you start putting a load of actual lights in there. So you do need to take that into account when you're actually building your lights. The first thing is though, I want to create a light that actually suits the scene. So what I'm going to do is I'm just going to shift right click over here. I think I'll start with a cube, actually. So let's press Shift. We're going to bring in a cube. I'm going to bring it up. And then what we're going to do is I'll make the cube a little bit longer, so said. And then I'm going to come in and grab each of these sides. So, and I'm going to press control B and bring those in like so. And I think that's going to be a good start to my light. And then what we'll do is we'll press Essence ad, put it onto Global and Ed and bring those up. Then what I'll do is I'll bring in three edge loops. So I'll grab this one all shift and click. I'll make sure I've got this inverse square on. And then press and bring it out a little bit and just make it a little bit F. All right, so think that there I think what I need now is to bring these parts in. What I'm going to do, I'm just going to see if I can come to these parts and I'm going to press control Shift and B. And I should be able to bring them in like, so now that is what I want to do all the way around each of these. So I'm going to come in a shift, click, shift, click, come back, put it onto my verses. And then what I'm going to do is I'm going to press control shift and then turn it up, maybe one like so something like that I think is going to be perfect. Left click. And there we go. Now we've got some really, really nice perhaps lights in there. The one thing is I need to, before doing that, because I forgot is bringing some edges along. Ears Alt shift, click, going all the way around. Let's pebble these out. So we've actually got something that the actual glass is actually held in, something like that. Let's then press control B, bring it back one and pull it back to maybe something like that I think is going to be about right now. I want to do is I want to grab each of these so I can grab this one and this one. And then what I'm going to do is I'm going to press and without proportion editing on and I can't pull them up, which means that I need it on medium point and like so. And then what I'm going to do is I'm going to pull these in a little bit. If I now put this back, individual Origins press the S born assured, be able to just bend those in a little bit. Like so that is exactly what I'm looking for, Al right, on the next lesson then we'll start actually making these kind of round bits for the light. And you'll see just how easy this is to do. Alright everyone. So I hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 108. Modeling Additional Light Sources for Scene Illumination: Welcome back everyone to the blend of four Ultimate guide and this is where we left off. All right, so now I'm going to do is I'm just going to come in and what I'm going to do is I'm going to see if and grab these two and then press control shift and plus, and I'm just seeing if I can go around. In fact, I don't need to do that because what I can do instead is I can just grab them going all the way around. So all the way around like so and then just put this back onto Ti. Now I should be able to press control Shift and B. And then let's pull them out. Not, try not to go over. As you can see, I'm going to turn it up. Left click, right click. And we should end up with something like this now, which is pretty nice as you can see. Right click, shade, auto, smooth. And what you can see is I just was very careful at not going over this point here on these parts here because we need to actually use this part. I'm just actually wondering if instead of doing that, what I should do is I should just come back without doing that. So let's press controls head. Because these bits I'm unsure. I think I want them straight is what I'm saying. What I'm going to do instead of doing that is I'm just going to come in and I'll grab them coming from here, we'll grab the one. This one. This one. This one. This one. Let's go round then. What we'll do is we'll just press Shift de, like selection. And now let's separate those off. Let's press Tab. Grab just these parts. Press control or transforms the origins, geometry. And now I'll do is we'll add in a solidify, pull it out. And that is what I want to have then now what I can do is I can come in to these parts on the inside. So I'm going to hide these out the way. So I'll hide them out of the way. Come to these parts. Now what I'm going to do is again, I'm going to Alt shift, click, shift, click, Put it on vertex. And then what I'm going to do is press control Shift and B and bring them out. Now you've got to be careful that you don't split them over. As you can see, we really don't want to split them over, so we just have to be very careful that we bring these up to near enough where they can go, left leg. And there we go. Now if I press Alt H, bring back those parts. I should then be able to come to this part now and bring it in. So I'm going to come into like so. And then all the way around. And then what I'm going to do is I'm going to press tests and bring those in a little bit. And I've made those for some reason, a little bit smaller. Let's press al tests now. Bring them in very slightly. There we go. That's what I'm looking for. All right, so now we can see we're actually getting somewhere with that. Now what I want to do, I want to actually make the top for this. So what I'm going to do with the top and bottom, I will grab this top here. I'm going to press shift, I'm going to bring it down a little bit. I'm going to press the S bond to bring it out. And just put it over the top of this. But I want it to come probably around here. So what that means is I need to make these a little bit bigger. So I'm going to press and, and just pull them up very slightly. Come back then to this part. This part in here, hopefully this part here. And then my canoes, I can press and pull that up maybe here. And then what I'll do is I'll press, I bring that in and then pull it up, maybe something like that. And then finally what I'll do is I'll press control. And hopefully I should be able to bend that, not going too far. You can see I can just get it around there. What that means is, first of all, I'll pull it in, then I'll press control, and then we should be able to bend it in that way. And you can see now that's looking. Nice lamp. We'll just grab all of this and wonder why my floor keeps getting selected. Yes, that's why, because it's part of the floor. So what I'll do is I'll just grab my floor. Let's grab it. Let's press P selection. No idea, I'll made it part of my floor. But anyway, let's grab both of those. Shift H, hide everything else out of the way. And then what we'll do now is we'll come to the center part of this and I'm going to press the Eban, not going too far. If that happens, what we're going to do is I'm thinking, I'll just, yeah, I'll split this off. So I'll press Y. I'll press S. And then I should be able to bring it in now with no problems like so. And then what I'll do is I'll press E, something like that. And now finally I can come in. Old shift, click Alt, shift, click Olf, and just join that in. There we go. Right click, shade, auto, smooth. There we go. That's a really nice line. Now we need to think about the bottom of the line. Of course, same thing again. Let's grab the bottom of it. And then what we'll do is press Shift and then pull it out. And then I'm going to pull it up into place. And then pull it out a little bit more. And then I'm going to pull it down to maybe there press the born. Then what I'm going to do is I'm going to press, I think actually that's looking pretty nice already. So what I'll do is I'll press and bring it in. And then, and then then, then I'll now bring this out a little bit. I'll bring it to there. And then bring it out like so. And then then finally the last bit I want to bring it down to, all the way down to here, press the S board, so and then bring in a few edge loops. One in the center. Of course like normal click put proportionality on, press the S board and bring it in and tape that in. And that is beautiful light. All right, so now we've got our light. This bit might be is it a little bit too big? We could make it smaller, we could come in and grab the top of it. Control plus just go all the way down. And then what we can do is we can press alterns without proportional editing on Of course, Alan, let's try that again. Over here. Alan, is it going to work holding shift? Can I bring it in? Not quite so much. Yeah, I don't think actually that's going to work because we have a lot of edges in here. We could instead join these up. We'll try that. We'll come to clean up and then we'll merge by distance. And then if I just turn this up one, maybe two. Let's try not 0.5 No, not 0.5 0.5 There we go. Then we can join them in like that. I still don't think that's going to work. You know what, We're going to leave here. We can split it off. Actually, we can do it that way. We'll press Y, we'll split it off, We'll make it smaller, and then we'll pull it up. Let's just look. Yeah, that's looking bed, that's what I want. We can see that this face, we actually have a face here. So we just then need to make sure that this part here as you can see, is actually in our light like so. And there we go. I'm just making sure everything is fitting together. Then, there we go. All right, let's now think about, we'll give this some materials first. We'll also come to the top of it, press. And what I'm going to do is you can see again with the top of it, I'm just going to press Y. I'm going to press, make it smaller and I'm going to pull it up. This is where my chain is going to go on this bit here. So I'm then going to do is I'm going to come in a shift click, shift, click Alt and F and join that altogether. And then I've got a little point where where I want my chain to be. All right, so now we've done that. Then what we'll do on the next lesson is we'll get this all unwrapped. And then finally what we can do is we can actually make a start on the actual the chain that's going to hold it and the part that's going to go into the wall. And we can also make sure that we've got some nice glass on here. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 109. Adjusting the Lantern Asset and Adding Textures: Welcome back everyone to the blender for ultimate guide and this is where we left it off. All right, let's come then to our light. And what I'm going to do, I think it will be easier actually, if we just come in and old shift click and try and joy grab all of this going around here. I'm hoping that I can grab it going all the way, just on the inside. I'm just going to press the dot just to center myself and then all I'm going to do is just grab it going all the way around the inside of here. Unfortunately, there won't be an easier way of grabbing all this. We have to do this, the hard way of grabbing the all going round like, so grab this top light, right sew and let's grub this one normally I would say as well as on the inside of here. You know that there is some mesh that we're not really using. We could go in there and clean that up. I'm sure by now though, you have the skill to actually go in there and clean that all up. Right, click, mark scene. Then what we'll do is now we'll grab the whole thing. I'm going to press yeah, I need to also join these as well. Let's apply that then. What we'll do is we'll join all this together with control J, right click, shade, auto, smooth. And then tab a smart UV project. Click okay. And then what we're going to do is adding a material, and we're not ground plane, we're actually looking for metal, black metal. Let's put it on. There we go. Now let's come in with each of these. What I'm going to do is I'm going to unwrap this one first and put in the light. So I'm going to quick plus down arrow. Glass or window. I think it's on the window. Actually window. Have a look window. Let's try two. And let's click a sign. Let's wrap this. And that's not the right one. We want window three. That's the one that I'm looking for. All right. So this is the one I'm looking for. Obviously, this is not the size that I'm looking for. So I'm just going to pick dot to zoom into it. And then what I'm going to do is press A, And I'm going to bring that down to here. So I'm going to press and Y. Then then let's get a little bit of dirt into the sides there. And there we go. All right, that's looking nice, apart from it's not centered, So I'm just going to press and x and pull it into the center. There we go. That's looking very nice Now now I can simply do is, I'm just wondering if I can actually copy this. We'll give it a try. Let's go over to Copy Default. And then what we'll do is we'll click on all these. Hopefully, I might be able to Paste to be exactly the same. I'm hoping so because it'll save me a lot of work. Nope, they're not going to wrap. What do to do on this one? I'm thinking whether I can copy the UV's instead. Let's try that. We're going to do is UV transfer. I'm just wondering if I can transfer copy. Can I actually paste it now? So let's try. No, I can't paste it. I'm thinking if I had those all split off, could I do it that way? Let's give that try. I've not give this in the try before. I'm going to grab them all and then I'm going to split them all by islands like this. Then what we should be able to do is let's go to Select. We're going to not split them, so we need to mesh. Split separate by loose parts. There we go. Now these should be separated. Let's see, are they separated? Nope, that's not worked either. So let's try that again. So we'll just go back where we've got them all selected. There we go, they're all selected. Let's go that one and then let's try again, mesh separate by selection. And there we go now. No, they're still not separated off. All right, let's separate them off Selection and let's come into these now. Lp selection. Lp selection. I'm not sure why that's not working on this occasion, but it normally does work by separating islands off, just not this time, separate them off light. Now what I want to do is I want to see if I can transfer all of them from this one. So what I'm going to do is, first of all I'll try it in tab you transfer copy and then what I'll do is I'll try and transfer it to all of these. So let's see if we can actually do that. So like so. And then Tab and then transfer, paste is not on there, so you transfer and paste still not on there. All right, so this is not working. So what I'm going to do is I'm just going to make sure that all of these are unwrapped correctly. You can see this one here as well isn't wrapped. So what I'm going to do is grab all of these. We messed around with this a little bit too long actually, and we could have done it a really, really easy way. And what I'm going to do now is just press and wrap. Then what I'm going to do is I'm going to grab this one last. So we can see this is the one that we need to replicate. All I'm going to do then is click on all of these. In fact, we're going to have to do it a different way. So we're just going to click L on all of these. I'm going to click, get them into being the right size. And then and y, squash them down. And then let's just get one of them in there, like so. And then S and Y bring it up. So S, Y, bring it up into place roughly. And now what we'll do is we'll just G, x, bring them all over. A little bit of a long winded one there, a few problems, but you'll always have problems in modeling. Again, it's more about can you fix those problems? So S and X, let's pull it out, rather than never coming across problems. Because no matter how good you are, you will always have some problems. You'll never get over that, especially when they bring out new versions because there's always a new way of doing something or something ends up broken and you have to find a way out around of making that work before, which is what you had worked really easily. All right, so there we go. Now what we want to do is just apply a sign like so. And there we go, There is our beautiful light. Alright, happy with that. Now what we'll do then on this lesson still is we'll bring in our chain. So hopefully if I press shift day in fact. Yeah, compress shift day and I'll bring in, let's go to curves and let's bring in a path. If you can't see them by the way, just scroll up and there's a little arrow there. You can see here a little arrow there and you'll be able to see them because you've got so many on there. Now let's press Y and 90, bring them up. And I also want to put this on Global instead. And what I want to do now is add modifier. We want to bring in a geometry node. I'm hoping that my chain is still on here. So where is it blend origin geometry nodes. And I don't think there's a chain on there which means that I need to go to my asset manager and we're going to go to our nodes. And then the one I'm going to bring in, take that off, it's going to be the chain. So I'm going to bring the chain in. And then finally what I'm going to do is grab this here, grab this one, control L, and we're going to copy modifiers. And there we go. Let's leave our chain out the way. Now let's press control. All transforms right clicks at origins, geometry. Now let's make these chains on our geometry node. Let's change up the resolution first, let's make them a little bit bigger, chain radius, Let's make them a little bit bigger. Let's change then the distance so they actually fit on properly. So let's make them probably a little bit chunkier as well. Let's make them a little bit chunkier. Yeah, I think that's going to go in fine. Now, I'm just looking at how that's going to go in there to bring it down a little bit. I think I'll also change the chain stretch and then bring down the distance. And there we go. I think that's going to work out absolutely fine. Now we've got our cursor in the center, So I can press shift day. I can bring in then a cube. Let's bring it up and let's put it where we want him. So something like that. Let's pull it out then. So I'm going to grab the back of this cube. Pull it out into the wall. And then what I'm going to do is I'm going to squish this cube down a little bit. So I said pull it out a little bit. And then what I'm going to do is I'm going to grab each of these edges and just level them off. So there we go. Now we just need to decide how far this is going to come down. I'm going to grab the back of this, so I'm going to press Shift, bring it down. So something maybe like there, here's this too long. I think at the moment this is too long. So what I'm going to do is I'm going to grab my light, pull it up. Grab these as well. Pull it up. Yeah, I forgot we split all those off. Never mind. Okay, let's see. I think there's two more left. There we go. Okay. Now, hopefully, let's pull it up, so we'll pull it up into place. Ran about there. I think that looks much better. And now I'll do is I'll just grab all of these, press control J and join them altogether. And there we go. Now what we'll do is finally we'll come in and I'll see if I can get rid of a couple of these. Can I do that? Delete vertices and Yeah, actually that might work. That might work. So let's just grab all of this, let's put it into place like so. And I think that's going to be absolutely fine. All right, on the next lesson, and then we'll just get this light finished off those problems there. And then we'll get this put into the places around our actual build. And I'll show you what I mean by the lights. And as I said, they're pretty expensive in terms of how much computer power or draw calls and things like that I actually take. So we might actually not actually give these lights like I did on my initial scene. We might see if we can get away with using just the emission from these lights. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 110. Tweaking Light Strength for Scene Balance: Welcome back everyone to the Blended Four Ultimate Guide, and this where we left off. All right, so now let's finish this bit. So what I'm going to do is I'm going to press pull this out. And then what I'm gonna do is just stick that into place there. I'm then I'm going to press L, come round and press and X and pull that in. And then finally I just want to make sure that that's not poking out of there. So it's just, and maybe if it is, let's just pull this down or pull it up a little bit just so it fits into place a little bit like so. All right, now I'm going to do is I'm just going to press all Tage and I'm going to bring back the rest of my build. And then I'm just going to steal a couple of bricks. And we're going to use those for the edges of these. So let this load up at the moment and then what we'll do is we'll get these lights in and see how they look around the rest of the scene as well. Here we are. Then what we'll do is we will get our bricks. First of all, though, it is a little bit too big at the moment. Let's actually grab both of these. An object convert to mesh because we, all we need to do now is basically bring in some materials. Then what we'll do is I will bring in the materials first of these, so grab this one and press a SmartV Project. Click. Then what we'll do is we'll grab the smart UV Project. Click okay. Now with these ones, I'm going to just look for chain. So let's bring in chain like so chain material. And then this one we're going to bring in the metal, so black metal. And now we should be able to join all of these together with control J, right click, shade, auto, smooth. And there we go. Now we should be able to press control all transforms, right click, origins, geometry just for now. And then we should be able to make them the right size to where we actually need them. So we're going to put one of these over on here first. So as I bring it over, I'm going to put it over on here, check out the sizing. And then from there I can decide how big the bricks are going to be. So I, if I pull this over this way, I can get a good idea now of the scale of this. So you can see something like that. Looks a nice scale. And what I need to do is I need to pull it back into the wall. And you can see straight away, this bit here is way, way, not thick enough. So what I'm going to do, I'm going to grab this, put it on normal, and then I'm just going to pull this out like so. And then what I'm going to do is I'm going to pull it up. So pull it into place like so I'm just going to make it a lot, much, much thicker and play around with it a little bit. So something like this thickness should be fine. As you can see though now it's starting to poke out the bottom of the. And I don't really want that. So what I'm going to do now is put this on global, grab the top of here, and let's pull it up and make it much, much thicker. And now you can see it's looking much better. Now let's come in and grab this brick. So what I'll do is I'll press Shift D, bring it over. I'm going to make it a little bit smaller than this brick and we're going to put it like so. And then in the middle. And then shift and we'll spin it round now. So R is dead 180. Spin it around. And then what we can do now is join all of this up together. So press control J, like so. And then what we can do, I think actually I'll keep where the orientation is in the center. All I'm doing now is just checking to make sure that this is going to be lit enough and that's the thing. So we need to really think about taking another image just to see how well these are actually lit, rather than adding in a light or anything like that. So what I think I'll do now is I'll come to file, I'll come to save. And what I'm going to do now is I'm going to put this onto wire frame and then I'm going to go for render and just render the image. And what we're basically looking for here is to see if this light is enough because I think we'll have to, you can see straight away at the moment, it's not really going any light on there and that's the problem that we might have. So we might have to come in and basically work on how lit this part is because I think it's going to be nowhere near enough lit. All right. I'll be back after this actually renders out. Okay. So now you can see this is what we've got. And you can see that this is going to have to be much, much brighter than what it is. So let's come in and bring in a light. So what I'm going to do is I'm going to put this onto here. I'm going to press shift desk, Urs selected. And the light I'm going to bring in. Let's have a look at what lights we've got to choose from. I think it's going to be a point light. So let's bring in a point light. What we'll do is we'll make it bigger, this point light. So I'm going to click on the radius. So there we go. And then what we'll do is we'll put this on render. And what I'm going to do now is I'm going to, I think once I've got this on render, I'll turn the sky down just so I can actually, you can see it's system out of memory. What we need to do now is we need to come back to modeling now. We'll try it in there. Let's actually put this on, it's not loading up. So what we can do is we can hide a few of these things out the way. Let's just hide some things out the way. So then what I'll do is I'll try it again. Instead of doing that, I'll put it onto object mode. From object mode, I'll then try again. If that doesn't work, the final thing we can do is we can actually put it on V because that's in real time, which means that will render it out. So you can see, I'm still getting this out of memory problem and this sometimes does work when we're dealing with lights and we've got a lot of things in the scene. We just have to be a little bit careful what we're doing here. Let's at the moment put this on processor. We know we'll probably work on that, so let's put it on and there we go. So now we've got around that by just putting it on the process. And I'm just going to zoom in a little bit to it, let this load up. It's going to be much, much slower as you can see. And then what I'll do is I'll get my light and then what I'm going to do is put this on. Let's try 300 instead. There we go. That's probably going to be a bit too light. Also, I'm thinking at the moment that this color needs to be a little bit on the more yellow side being as it is a yellow light. So something like that. And then what we'll do is we'll turn this down, maybe 200. Let's try 100 and see how bright that is. We'll just lay it load up. I think that's still a little bit too bright. So what we'll do is we'll put it on 50. There we go. That might actually be okay. Now, let's pull it down a little bit, put it into place, let's make it a little bit more yellowish. Let it load up. Yeah, and I think that's going to load much better. Now we've got that. What we need to do is again, we'll put this onto wireframe. We'll make sure that where is it? We'll make sure we're on GPU, so when we come to render it out. And then what we'll do now is we'll save our work once more and then we'll come and we'll render the image once more and see what we get. Now we can see now already that we've actually got some light there. It's actually looking much better already now. It's just really up to, we want to use light, we want to use the emission that is going to come out of these lights instead. Let this finish and then once it's finished, we'll have a much better idea of how we're actually going to do this. This is another reason why I left the floor till last because I know that it's going to have problems with actually rendering it out. The other thing is, at the moment, we haven't joined our scene up. You can see now that's looking quite nice. That light is shining onto there. And that's looking quite good. I think we might have to go up just to touch maybe 275. I think also we need to turn up this light on here to make that a little bit brighter as well. So what I'm going to do is a couple of things. First of all, we're going to come back to put it on object mode. So now I think because we are having problems with our scene, it's really, really time that we actually cleaned up the scene. So in other words, we need to kind of not have everything in the scene at the same time. Even if you're on a high end machine, it is going to be very costly to actually be rendering everything out at the same time always. So I'll think for something like this now let's clean up our scene. Let's get it all cleaned up on the next one. And then it's going to make it much easier. I'm just going to press all tag and bring everything back. And then what I'm gonna do is just let those shades compile. I'm going to double tap the. And then what I'm gonna do now is go to file. And on the next one it'll basically cleaning up the whole scene. All right everyone. So hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 111. Cleaning Up the Scene to Enhance Performance: Welcome back everyone to the Blender for Ultimate Guide, and this is where we left it off. So now we've still got it on GPU at the moment. And now we're going to do is just clean up the whole scene. Let's put it on object mode before we begin. And what we're going to do is I'm just thinking whether I don't think I need my human reference in here anymore. So let's have a look. Is he's still here? We can bring him in if we need, if we need to. So what I'm going to do is just delete him out of the way. And we delete the human reference. And I'm going to pull this down. I'm going to have a look, what is this gray box? So we've got three things on here that are part of the gray box, one of them being the floor. What is this one? This other one, let's press dot and let's have a look at that, is let's just press G and see what that is. And it's nothing, it's an empty. So all we can do is just delete that out. And this one here is also part of the gray box, which is our actual life. No idea why that's there. What I'm going to do though is I'm just going to come in and delete that. And then what I'm going to do now is I've got palm trees in here as well, which I can delete out. And now I've got pretty much all of this stuff with only one collection, which is the gray box, which I'm also going to delete out. I don't need that either. So now we've got all of this mess on the right hand side and we want to put it into some kind of consistent audit. First of all, let's come to our light, and all I'm going to do is just press M. We're going to click New Collection, and we'll call it a camera camera like so. And then we're going to do is click okay. And now we've got our camera in our scene. Next of all, then let's hide the other way. So I'm just going to work my way along and hide things out of the way. I'm not going to go in and rename everything, although I will show you how to do that. So if I come to my floor, I can press F two on the keyboard. And then what we can do is we can call this ground like so. And then you can press and then what you can do is New collection and we'll call this terrain like so. And then press okay. And there we go. We've got our terrain in. You can see really, really quick how we can actually do this. Now instead of hiding things out like this, what I'm going to do is I'm going to hide them out like this instead. Now let's grab our rocks. We might as well split those up as well and make as easy for ourselves as we can. Again, new collection rocks. Click Okay and let's close that up. Hide them out the way. And while this is going to enable you to do then is basically turn off and on all of your different layers, making it really, really easy to put everything in the kind of order. Make it really easy then to render it out. Because what you're going to do is in your viewport you'll still be able, you won't be able to see most of this. But what you can actually do then is still render it out so you shouldn't have a problem there. All right, so what we'll do as well as others have showed you where the simplify you can also drop down your textures and that's also going to speed up the speed of the actual seam. So now we've got our palm trees, So let's grab all of our palm trees. We're going to press the little M again, new collection. Let's call it palms or palm brees. So click Okay. Put that up, hide them out of the way. Now let's think about the rest of it. On these, we'll call these plants. We'll get all of the plants in. We've got some plants here, we'll put those all together. We've got one here and one here. Then we'll call these plants like. So then what we'll do is we'll hide those out the way. Now what we'll do is we'll come to props. We'll just grab all of these. We'll put those in props. All of these here. These beautiful props we made. Let's grab all of these. You'll find more as you're working your way around, don't worry. And there's one in here and there's also one in here. Then what we can do is new collection props. So then what we'll do is we'll hide those out the way. Now we're onto things like balconies. All these balconies we can actually come in and what we'll do is we'll grab all of all of these balconies. Even the bottom part of this balcony, this one here and the bottom part of this then M new collection. They're not props balconies is, I think it should be an there balconies. Okay, let's write those out. The way we can see we're making short work of these. We'll call this, I'm thinking what we'll call these actually canopies. There we go. We'll grab all of the canopies and we'll press New collection keys, then put that up. Hide them out of the way. Now let's do the windows. That will then make it easier for when we come. You can see here we've got some flashing as well. We'll fix that. Just 1 second. Once we've done that's a door actually. So we'll grab this one and this one, and then this one, then this one here. This one here. And then we'll press M and we'll come to new collection. Call this Windows, because we're going to need the Windows split up anyway. It's going to make it very easy work for us Windows, let's say. That'll work so we don't have to do all that again. Then we'll come round here, We've got some flashing on here. Let's have a look if hide that then out the way, this is why the flashing here, because we've got this part here. I'm just wondering if I just move this, then press voltage. I should just be able then to bring that bag. I'm going to just delete that out of the way. I'm going to put it onto material mode just so I can actually see what this looks like. It once that loads up be quicker than what it was anyway. Let's just hopefully see it there. Okay. And I'm thinking that's okay. So that's gone on. All right. Now let's actually carry on. We'll do the doors next. We'll grab all of the doors. We've got a window there. We'll do that one in a minute. Let's do our doors first. All of these doors, we've got a door here, we've got a door in here. Then we'll just press is new collection doors like so. And then we're going to have another door over there. So let's click okay. Let's put that up, hide that other way. And then we've got a door here. So let's just press M and put it into doors. And then let's go to where was the other window? Sure. I had another window somewhere. There it is. Put it into windows and there we go. All right. Now let's put in the well in its own, so we're going to grab all of this. I'm going to press just to make sure I've got it off, we've got more water. And then I'll just press new collection, we'll call it, well that's side, those out the way. Then we'll come two. I'm just looking now what we've got left. All right, so we've got our ivy and grapes on our canopy. We've called it canopy. So we'll just call this grapes up here. What I'll do is I'll just grab these three for now, new collection grapes. So then what we'll do is we'll hide this out of the way. And then we can grab all of these grapes here. We can press M, and we can put it into grapes, which is down here. And this one is going to be props. Let's put it into props. And now we're really starting to get somewhere. Now we've this one which is the balcony. We're going to put that one in and we'll also put that in the balcony. Balconies, There we go. Then we've got this, which will be also I would say, balconies as well. Let's go in, put this into balconies, and there we go. Then I think we can actually, or should be able to now, this then will go into the canopies. Just make sure that's there. Canopies, I'm thinking. Now let's put it onto rendered view. Again, let's say about our work. We have got the rest of it. We will put all this in as well into a layer if I come in. Now, let's see, it should be much easier to render it out, which you can see much, much faster now rendering everything out, and now we have a really good idea of what this is actually going to look like. This. First of all, we're going to put this into its own separate ones, so I'm going to grab both of these M new collection lights and then click Okay. Then I'm going to do is close that up. You can see now even though I've got all this in the scene, I can still work with all this now. I've actually hid all of this away. What I'm going to do now is I'll still separate them out. I'm going to grab, let's put these in, we'll put those into the Ron. What I'm going to do is I'm going to press M, I'm going to call it steps, case you need to go even further. Steps, those, what have we got left? We've pretty much got the whole rest of the building left. And you could still even separate it out even further. So what we could do is we could also put walls. We'll actually put it back on material just so you can see a bit bad. You can see how quick it is. Now what we'll do is we'll just call these walls. So new walls, I basically want to get everything in now, the collection. So we'll also then grab all of these things, then we'll call it sides and floors. I think this, this will be a wall. Let's press M and put it into walls. There we go. Then we've, this is the ivy by the way, so this can go in with the grapes. I think the rest of it now can pre into sides. We'll just call it new collection sides. So pull that up, hide it out of the way. And we should now be left with a cube. What is this cube? Let's have a look. It's nothing, so it can leap out of the way. Okay, so there you go. Now if you were click it on Render, we shouldn't have any problems. And there we go. Rendering done as quick as that, so you can see now really, really easy. Now let's bring in this one. This one, and let's bring in our steps. And finally, let's bring in our lights. And now we should be able to work with this. Now the thing about this light is I'm not happy with how this looks. So if I come to my light though, I should be able to now pull this up a little bit, come to my light, and I should now be able to change the radius. So you can see now just how easy that is. Now to get a good idea of what this is going to look like, you can see as well that this light isn't working that well with this. So what I'm going to do is I'm going to change this light to maybe an area light. And I find sometimes when we're dealing with the lights that area lights probably are going to do a bit better of a job. What I'm going to do is I'm going to rotate it, so x, just rotate it around a little bit. I'm also as well going to change the, yeah, not like that. I want it to be a circle instead, instead of it being square, I'm going to change it to a disc. And I'm just going to see if that's going to be any better than this one. And I'm also going to change the spread of it. Let's bring it down a little bit. Is that going to look better than what I had it? I think something like that actually. It does look a lot better. Now what we're going to do is we're just going to make it probably a little bit more yellow. And so as well going to go in to my actual light, just this slide, I'm going to go over to my materials. And what I'm going to do is on the next lesson is I'm going to change this material for light. I'm going to call it actually light and anything then with this material. And it's just going to be much brighter. But we'll do that on the next lesson. So this has actually been really productive because now we've actually seen how we can really drop down those draw calls if needed. All right everyone. So hope you enjoyed that. And I'll see on the next one. Thanks a lot. Bye bye. 112. Attaching Additional Lanterns for Ambient Lighting: Welcome back everyone to the Blended Fall Ultimate Guide, And this where we left it off. All right, what we're going to do then with this one here is we're going to actually copy copy material. I'm going to then click the plus B and I'm going to call it light so. And then what I'm going to do is paste that material In. Paste the material, and hopefully I'll turn the same as that which it has done now. And now what I want to do is I'm just going to put this on material just so I can actually work with this a little bit hard to work with still in rendered view. And then what I'm going to do now is I want to grab all of these. So if I grab one of them, I can actually come to select and I'm going to select similar by material. And then what I'm going to do is I'm going to assign them to this one and then minus this one off. And you need to minus it off in object mode, so let's minus it off. Now we should be able to come in and increase the actual lights on here. So if I come over to my shading panel, what I'll do is I'll put this onto object. And then what I'll do is I'll put this onto Render View. Let it load up. And let's zoom to where it is, so let's zoom to where it is and let's come out and what we're looking for now is this emission. So I want to open up this emission and I want to increase this strength. So now you can see much, much brighter. Now what I'm going to do now is I'm going to come to my light, I'm going to press Dot. And what I'm going to do is I'm going to just turn it off on the render. So turn this off and then what we're going to do is we're going to put this onto wire frame. We're then going to go save and we're going to give this surrender and we're going to give it a render without the light and with the light and see which one looks best. So let's come over to render Render Image. Even though all that stuff is hidden away, it will still load up in the scene because obviously it's only hidden away in the render. The one problem is with lighting lights like this, you need to make it pretty bright to actually have some impact on the wall and things like that around it. That's why I'm not particularly a fan of just turning up the emission. Because the other thing is you'll see we lose a lot of the detail. You can see the detail in here, we're losing a lot of that detail. So it's a very, very fine line in how we actually do this. Let this load up, and then once it's finished, when it's got all the, you know, ambient occlusion and everything else in there, let's see if this is going to look good with just the emission or if we're going to need to use the light as well. I think we'll probably have to do a mixture of both. Now, bearing in mind when it comes to lights, I do think aerial lights are not as intensive on your computer as point lights. I think they're more intensive actually, point lights. So I prefer to use the area lights if I can. So let's see now what we've got once we finish that, and there we go, you can see it's way, way too bright to start with. So let's come in and what we'll do is we'll reduce it to half. So if I come in to the strength, I've got it down 46.4 Let's reduce it down to ten. And let's have a look at that. This is like, these parts that we're doing now is really all about refining what we're actually doing, which is what you're going to have to do in any scene. So now you can see, I've brought it down to ten, You can see that pretty much the light though, going around it because there's a lot of light in the scene as well. It's not going to be really that bright against the wall or anything, so we're going to have to probably fake a little bit of it. We can see though we have got a little bit of definition in there. So I think what we'll do is we'll see what this turns out like. I think I'm going to have to use both the lights, which is it's not so much of a problem, we can use them, we'll see what it looks like once we've got this kind of nailed down, if it's bright enough. So let's have a look. Let it finish rendering out, and then we'll try it with the actual area light that we've put in. Then once we've done that, we can put them together and finally then we can actually put these lights around the scene and that's another job down. All right, so there's the actual light. Is that doing enough work? I still feel like probably we need it brought down a little bit, I think. Yeah, I do think so. Let's close that out. Let's put this on something like five. And what we will also do now is bring in that light that we had on. And then we'll give you one more render and I'll be back when this has finished everyone. And there we go. We can see, it looks much, much better. Now with that light, I'm thinking maybe drop this down just a tad more, maybe on this light, so maybe put it on four just so we can get a little bit more detail in there. Don't forget though, it is a low render as well. We've not got a high render on here yet, but I think as far as that goes, I think I'm fine with that. So what I'm going to do is close that down. And now what I'm going to do is I'm going to go back to modeling. We've got our lights, so what I can do now is I can press Tab first of all, and then what I can do is I can grab this. Light, I can grab this, then the main light and I can press control. And what I'm going to do is set parent to object. That means then whenever I move this around, the light is going to move with it. Now unfortunately, it doesn't mean that when you duplicate this, everything's going to move along with it, because that's not how it works. So for instance, if I just duplicate my light now, you'll see nothing happens. It doesn't bring the light with it. So we don't want to do that. What we want to do is grab both of these, and I'm going to press shift. And what I'm going to do is I'm going to bring this light out and I'm going to stick it at the side of here. Now I'm going to have to put my windows in just to see where I want it, so let's load in those windows like so. And then what I'm going to do now, I can grab just the light now, 90. Spin that light round, press three. And then what I can do is I can press and put it where I want it. So think with this one and we're going to actually have it low down somewhere like that. And then I'm going to put it in the wall. So there we go. I'm hoping that light then is going to look okay. Then let's put in a few more lights. We'll grab this light again. And then what I'm going to do is I'm going to put one over here, so I'm going to press shift D. I'm going to put it in the wall over here. So then what I'm going to do is I'm going to press shift D, and I'm going to put one near the well, so I'm going to press shift D, bring it over, and then -90 And we can see that light didn't actually move around with it, so let's try that again. Let's make sure we're on medium point And then -90 then what I can do is I can bring this over now. I just want to check to see. Yeah, that lights actually fine. I'm going to put this I think in the bottom of here. I might have to bring my well in, make sure everything is working. So let's bring it over. Let's bring it up into there. Let's bring my well in just to see where it's going to light that. There we go. Let's now work all way around the other side. I think we've just got maybe two lights left to go. I don't want to go completely. And we've got a few more lights. Let's actually press shift and what we'll do is we'll bring this out. I'll press zed and -90 So Z -90 I'll press control three. Not I'll press control one to go to the back. And then what I'm going to do now is I'm going to bring in my doors again. So let's bring in where is it our doors, let them load in. And then what I'm going to do is I'm going to put one of these lights above each door. Once these have loaded in again. Now you can see just how much longer it's taking because we're starting to load things in. Let's put this one in here, let's bring it back. I can see that we pulled that out a little bit. I didn't mean to do that. Let's pull it back into place. Over here. Over here on going do is I messed up. Let's pull it out first. Let's just grab our light. There we go. Now I can press control one and now I can work out where I'm going to go right in the middle of this Do thing. And then put it up, it's above it into here. Maybe into there. Or maybe we could put it into here. No, actually that's not going to work. I think instead of that, what I'm going to do is I'm just going to put one light in the center there, actually, thing that looks nicer and then let's just put it back into place then. What I'm going to do now is I'm going to grab this light again. This one and this one. I'm going to press shift B. I'm going to pull it out and up. And then what I'm going to do is rotate it around now, 180, spin it around, grab just the light. And then what I'm going to do is I'm going to put this back into here like so maybe yours down into there. And then finally I'll have one more light, which I think I'll grab both of these. I'm going to press shift, pull it out. I'm going to press control one. Yeah, it's right on the edge of that wall. That's where I want it. Then we're going to all it over into place and it's going to light up that down there, hopefully. All right, now the moments of truth. Again, we'll save our work now. Let's have a look. Have we got enough lights in here? Let's put it on rendered view. We're out of memory. Let's come in and turn off the doors and the windows and let's put it on rendered view, We're out of memory. Let's put it onto wire frame. And then onto and we still out of memory. So what we'll do finally is put it onto EPU. Now let's put it on. Now, of course this will be slower but then we can probably swap. Just cut that out. Please look. Here we go now. Let's have a look. We're not seeing a huge difference when. I think what we'll do now is we'll take a quick render of this. I'm going to leave it with the lights being like that, As I said, unfortunately, lights are very, very expensive. I'm just wondering if let's come to our lights. I might turn off multiple importance on them, and I think that should then lower how much they're actually using. Let me just go around, turn off this multiple importance more, just lower them down, I think then we'll be much better off using these lights. Let's bring this one in finally, this one, I think we've done this one at the top. Look. Yes we have. All right, let's also then see now if I can put on D Noise. No available device for D noise as you can see. Let's try putting it on GPU now and wish a lot of memory so you can see all of those lights are causing us huge problems. I'm going to be happy with those lights. I'm going to leave them in. And what I'm going to do instead now is I'm going to come to my lights and turn them off, and then put it onto GPU. And if this happens, we can see down the bomb right hand side exactly how much you V Ramasing. What I find actually the best thing to do is save out your work and then we'll go to file and open re let's just open it back up and I think then it will be absolutely fine. So let's put it on render, let's see if it renders out now. And there we go. That's what sometimes happened. You can see that V Rams come right down now and we should be okay now as you can see. All right, so now what we need to do is we've tided up our scene, we've done our lights. Now what we need to do is we need to check our normal. So what I'm going to do to do this, and I'm going to put it on an object mode, I'm going to come, then I'm going to turn off everything and work my way down. So the first of all, I'm going to come onto my terrain. We haven't done it yet, but let's just check the face orientation first. That one's fine. Let's come to rocks, they're fine. Let's come to palm trees. Now, palm trees are a funny one because they're only going to be one sided anyway, So we don't really need to worry about the underside and we're not really going to give them any thickness or anything. Then we come to plants. Plants are the same thing, let's not worry too much about those. The ones we're really looking at are going to be the props and all of the buildings and things like that. So let's come to balconies and here we go. Nothing wrong with those. Just make sure. Oh, is that one wrong? No, it's not. That one's facing the right way. Let's come to the canopies. They're all okay, and I won't believe this if we get all the way down. Yes, we haven't. Okay, Let's actually grab them all. Press A to grab them all shift and let's see if these are spin round a shift and there we go. These are some of the problems we're going to face. Let's come in and what we'll do is we'll just grab all of these for now. We'll press Shift, and inside we'll spin the rest round on the next list. And then what we need to do is we need to spin all of these round, get them all nice and fixed. And then finally we're onto the final bit which is going to be the floor. And we're going to be doing a lot of work on the floor. And then we can have our final render with the compositor and finishing off the composting. And then finally we're actually finished with everything. Alright everyone, so hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 113. Adding Detail to Terrain for Realism: Welcome back everyone to the blender full Ultimate guide. And now we're just going to fix the. So all I'm going to do is come round to the front ones first. So this one here we can see is the wrong way round shift, let's spin it around and let's just work our way around these. So let's come to this one. A shift, spin it around, grab these center points, and then shift, spin them around like, So let's come to this one, same sort of thing across all of them. Hopefully there won't be too many of these two actually fixed. So shift in, spin them round like so. And then let's come round to this one. And this window is on the outside. So we'll come to this one. I'm just making sure this window is on the outside. I think it is. So I'm just going to spin that round, so shift in inside like So we'll check them anyway to make sure. All right, so now we've got doors. Let's go to doors and Yeah, it's gonna be a little bit hard if I don't do my walls. So you know what, I'm gonna do my walls first. So I'm going to press Tab, So let's grab my walls. So let's just grab them all. So press a shift, spin them all around, and there we go. All the walls are done. And let's also do our sides now. And all the sides from this one, which no one can see anyway or already done. So that's fine. Now we can put those on, and then what we can do is we can come to our doors now. And we can see which doors are the problem. So we can see that. This one. This one. This one. This one. This one. This one. A lot of them, a lot of them are a problem. So something like that. Let's have a look. Let's press tab a shift. Spin them all round and yeah, this one's going to be a bit of a pain, I think. Let's have a look. So let's have a look in there. First of all, we'll grab each of these and we'll pray shift and spin them around. There we go. Actually, it might not be that bad, it's just a few. Okay. Shift, spin the round and none in there. And this one shift spin the round, round to here. It's just basically the same door that's causing the same issues, but again it does affect the light. So it's very important not only for if we send it through somewhere, but actually fixing these problems. That's the door. Let's come to the well, well if I grab it all, let's press V, and then we'll press tab A, shift the Spin it all round. There we go. That's sorted out. Let's hide these. Let's come to our grapes. The IV doesn't really matter because it's facing the other way anyway. But we can see that these two things do shift, then spin those round. Let's come to our lights. We don't need to worry about those. Let's come to our steps. All the steps are good. That's basically it. Let's turn them all on. So let's come in then and turn off face orientation. There we go. All right, so that's all the normals done. We've got our lights done and now what we need to make a start on is our floor. So what we'll do is we'll split this up because I'd sooner be a clean start. As I said, it's kind of difficult getting the actual floor done, but what we will do is we'll come to our asset manager and we should have one that says floor. So I'm just looking. This one here. So let's click on this one, wait for everything to load up, and then what we should be able to do is click on the sand displacement. And we're going to bring that in. And the reason we're going to bring that in is because we're just going to have a look at how the displacement is actually put on there from the sand that I've already created. So we can actually copy from the sand onto this one. That's why I've actually put it in there. And then finally, you're going to learn how to actually bring in three textures and do a bit of vertex painting on top of the actual floor. So you can see now this is the actual sand and all I can actually do is I can copy this over. If I go to here control and L and we're going to copy modifiers and there we go. Now you will see nothing's happened. And the reason nothing happened is because we don't have, we've got our display on here, you can see that all this is settled. So what we did was we're just going to add a modifier Generate, and we're going to have a not on here. Deform, of course, it'll be on deform. And then we're going to have a look for display, so it's this one here. Once you brought that one in, then you're going to have this kind of more. We're going to set our strength and they'll mid level down to these points. And then what we're going to do is we're going to come over to this little tap here, which is the actual texture that we're going to use, and this is going to be the one we use. So first of all, we're going to click on Veroni and then what we're going to do is just mess around with a few of these, basically, We'll go into this a little bit more. First of all though, what we're going to do is going to add in the modifier and we're going to bring in a subdivision surface, because without a subdivision surface, we won't actually be able to get anything looking like this. So let's then turn this up and you'll see the more I turn it up, let's press control on there and then we'll do adding another one, so adding modifier. Generate subdivision surface. And let's turn it up a little bit more. Let's press control. There we go. That's not what I'm looking for. Let's have a look then. That is definitely not what I'm looking for. What I'm going to do, I think on the next one is I'll actually have a look at how you put this on object, how this is going to convert to that. Because I think at the moment the sizing of this is way, way too big. Let me just try and turn that down. Or up even a look. Let's also turn down, you know what I'm going to do on the next one. I think what we'll do is we'll actually start this again. So what I'm going to do is I'm going to take this off of here, take off the displacement like so. And then what I'm going to do on the next lesson is I'll also put in a new texture. So we'll do this flow from scratch with something to actually look at at the same time. Alright everyone, I'm sorry that didn't work the way I wanted it to, but we'll be able to copy that onto here once you've actually got it. The one thing I do want to check is you just want to make sure that you're going to end up with a lot of polygons, but maybe this is too many. So what I'm going to do before we actually finish, I'm going to grab all of these. Press Delete, and then what I'm gonna do is limit or dissolve. Take all of those polygons off and let's restart that again because it's way, way too many polygons at the moment. Let it think about, well, so many polygons there. It's probably going to take a little bit of time to actually fix that, but hopefully we should have a clean. This is why we say that all the time as well, just in case we do silly things like this. And hopefully when this is finished, then I'll be able to come in and I'll be able to get the same subdivision as what we've got there. All right. So I'll be honest, my actual blend, the crash. But luckily I managed to actually bring in the file against. I'm just going to go up to file and save that out. And then what I can do is now I can actually try and bring it in to be the same as that one. So add modifier, Let's take off this display to start with. And then what we'll do now is bring in a subdivision, Subdivision Surface. Let's turn it down on Simple. And what I'm going to do is I'm just going to put up three or four press control hovering over there. And then press Tab. And then we can see what this is looking like. If I grab this one and this one then and press Tab. What I can do now is I can actually grab all of this one. So L right click and subdivide, right click, subdivide. And I can actually get a real feel for how this one's divided up. So subdivide and maybe one more like so. And I think that then is going to be enough to actually work with. So we'll save this in here though, for the next lesson. And on the next lesson we'll actually get in this, hopefully, looking a bit more like sand and not like what we had before. All right everyone. So I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 114. Applying Terrain Texture Using Vertex Painting: Welcome back everyone to the blend of four Ultimate guide and this is where we left off. Now before we go on, I actually think before bringing in this actual displacement, what we'll do is I think we should actually paint the floor first, thinking about it. So what we'll do is we'll come to floor and we'll bring this one in and drop that one there. And then what I'm going to do is I'll just let it load up and you lend it with something like this. And then what I'm going to do is just delete that out of the way. And then I'm going to go to modeling now, I'm going to come in and put it onto material for now. And then I'm going to do, I think, let's just hide that out the way we're not going to need that at the moment. And we'll also our lights out the way we got our lights here. Let's hide those out the way They're going to make it a little bit harder. And I'm just looking at what else we'll need on here really to make our floor. I think actually everything else can pretty much stay the same. All right, so we've got that. So what we'll do then is we'll come now to our floor. And then what we'll do is we'll go to Material. And we're going to click the down arrow and we're going to look for floor. Click that on like so, and we will end up with something like this. Let's also come up on the right hand side and turn off these interlocking links. Now we've got our floor ready to go. So how do we actually paint our floor? What we're going to do, first of all, is go to the shader, and we should see if I pull this out, that this shader is built up of 12 actual textures, texture maps, one of them being the stone. So this one's the stone. All of this really is just down to the actual stone which is plugged into a principle. So same as you've done before, same as this one. This one is going to be the sand, and again, it is plugged into a principle. From there, we have three other principles. Sorry, not three other. We have 12.3 so we have one extra principle. Basically, this principle here is just basically controlling the alpha. So we've got an Alpha plugged in then to this mix shaded. But before that we have both of the principles for the sand and the actual stone plugged into a mix shader. And from there, what we're basically doing is we're separating out the RGB. So we're basically using the red, green, and blue channels to actually draw on our mesh. Now this is the way that you can separate out three actual textures, but what we actually do when we're actually drawing is we'll use one green, we'll use the blue, and we'll use white or black. You can use either basically. And then what we do from there is we have to plug them in three times. So we've got 1.2 which is the sand and the stone, and then we've got both of those coming into here. And then finally the Alpha coming in, and finally to the material output. So let's actually see what that looks like in practice. So let's go to modeling. And what we'll do is we'll come up two our vertex paint, so this one here, and then we'll see that it turns to the actual stone. Now at the moment, I think that stone is probably going to be a little bit, Is it going to be too big? I don't actually think so. I think the stone, maybe we'll make the stone a little bit smaller before we start. So let's go over to our shading panel. And what I'll do is I'll just put this on material so I can actually see what I'm doing. I'll zoom out a little bit, and what I want to do is make sure that this stone is about the right size. I think they're a little bit too chunky at the moment. So we're going to go over to where it says stone. So this one's sand as you can see. So this one then is the stone. And what I'm going to do is at the moment you can see I've got this on eight, let's put it on ten, like, so let's have a look where that looks like. So let's put this one on ten. And there we go, the little bit smaller. Now as you can see, and I actually think that looks a little bit bare. Okay, so let's now go back to modeling. You can change the sand as well on there as well. Let's go back to modeling now. And what we'll do is we'll put it onto vertex paint, So onto vertex paint. And then what we can do is we can press the T button just to open up this panel over here. Now I'm going to do is if I come in with my drawer and I click on there, you'll see nothing actually happens. But if I come on here and let's say put this to green. So let's put it to green. You'll see now, actually start to draw with sand. And if I put, let's say blue. Let's draw it with sand first, 1 second. Let's now put it to white. We can draw back from the sand back to, you can see we try getting halfway in between there, because we're growing white. Let's put it on black. And there we go. Now we can draw in our transparency. So you can see mixing up the colors might be a little bit different from you, for you, but you can see now this is exactly what it does. So let's now put it onto white again. And then what we'll do is we'll put it onto green. And then all I'm going to do is I'm going to come around all of these corners and show you what I mean. Once I've actually got this on here, I'll make my brush a little bit bigger. I'm going to draw these in. This is based on the vertexes. Remember we've put a lot of vertexes into this actual ground already. Now let's come up and just put it onto object mode. And then what I'm going to do now is show you what it looks like on the rendered view. So let's load up the rendered view. Let it load up there. You can see now exactly, you can't actually see the floor. What we want to do now is we want to change pretty much all of this to the sand. And then we want to bring in the transparency. Let's put it back onto this view. Let's go back to vertex paint. And then let's come in, not weight paint, vertex paint. There we go. Now let's put it back on blue. There we go. What I'm going to do is just draw in my sand to start with. Because I find this much, much easier to do it this way and just draw my sand all the way over. I know I'm going to cut those corners, but I just want sand in here and things like that. And then I have, I can actually come in and draw in my tails. Now that's the next one I'm going to draw in. If I put this, I think it's going to be either green or white. I think, let me make this a little bit smaller. It's not that one. Let's come out, let's put it on blue minute, it's not that one. Let's finally put it onto white. And then we go there, it's the white one. What we're going to do is just draw in here, just very gently where you actually want your sand to come up to. Maybe up to here, have the sand coming up. And maybe then a bit around here. Don't worry, this is not the final version. We're just kind of building something up where we want our sand. So maybe something out here. What we're looking for is to make it look as though the sand has actually been sweeping through here. Where would this sand actually go? Again, down here, we want a little bit of sand coming out here, especially around here. So they just add a sandstorm or something, basically like so. And then maybe around here, yours on the bottom of here, so, and then maybe a little bit more going out and then coming round here. So I'm thinking that looking pretty nice. Okay, so now we've done that. What I want to do is I want to actually blur them out. Now a little bit. If you see, if I come in now, I can actually blur back this as you can see. And it makes it look just a ton better as you can see. Just back a little bit. You can turn down the strength of the blur as well if you want to. You want to make it a little bit less. There we go. And then this one over here, there we go. Especially over here and then like so and I'm just making sure. I'm happy with that. Yeah, I think that's actually looking pretty nice already. All right. Now let's come in. It'll be either blue or green. Let's try the green first. That's sand. Let's try the blue. That's still sand. So let's try the white. We'll get there. It'll either be white or black. So let's try the black. Actually, we've got it on blur, that's why, let's try it without the blur on. So we'll put it on the black. Let's try, there we go. All right, on the black, it works. Now what I want to do is want to decide where we're going to have this actual transparency coming up to. So I'm going to make my, this is a little bit bigger. And then what I'm going to do is some jaws going to come in. And to start with, just get rid of these sides pretty much. And then what I'll do from there is I'll work my way in jaws around all of these sides and you'll be able to see the result you get looks amazing. Once we've actually done this, I'm fairly sure once you've seen this you'll be using it a lot because it's so nice actually, it gives such a good result. All right. Something like that. And now what we'll do is we'll go back to our blurt. And I'm hoping that I can come in and put this down a little bit. Just blur these lines just a little bit, going round as you can see. And once I've done this, I can actually go back and take away a few. So now I'm going to do is I'm actually, we'll do this on the next lesson. Actually just make sure that you save out your work. And then on the next lesson we'll actually carry on with this and make it a little bit more rugged than what it is. It's a little bit too straight along this bit and things like that. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 115. Creating Opacity Masks for Refined Edges: Welcome back everyone to the blended poor ultimate guide and this is where we left are. All right, so now what we'll do is we'll actually put it onto on our viewport, so we'll be able to see what we're doing here. And now you can see this is what it looks like. And now I'm going to do is I'm just going to put my draw back on and as sued, be able to come in as you can see and just have a much better of how everything's going to look. So now we can really see what we're actually doing. Let's cut it round here. So just to take off a few of these if it's not actually loading up, let's cut it round here. Let's go in, because we don't want these actual pieces to sound like so. And then what we're going to do is I'm going to make this a little bit bigger. And then we'll come in and do this bit. Maybe then it's a little bit big and I'll put a little bit going in like so. And then come in round this rock. Then finally what I'll do is we'll actually cut this away as well, and I think that is looking pretty nice. All right. Now I'm going to do, what I'm going to do is now I've done that, I'm actually going to go in and just clean up all these, let the thing load up and then you'll be able to see the point, what you need to erase. Like this one here, let's actually have a look round. This one on here, you can see. And then we've got a little bit coming round here as you can see. So let's erase that as well. Then finally, what I'm going to do now is I'm going to put it on blue and I'm going to go round the edges. So you can see now as I come around these edges, we can actually get something like this effect and that's what we're looking for. Let's get some of this effect coming on where it just tapers off and ends it, rather than just abruptly, that's what I want to achieve. And around here as well like so. And then let's come round to the front. I think this actually really starts to end it really nicely and give you a really nice finish. I would just be gentle with it on this final bit and go round. And then what I tend to do is just come right to the edges of it and just finish it off with just like one sweeping stroke. And then you'll end up with just that sand just disappearing like so as you can see. Then let's just finish this off. And then finally what we can do then is come, once we've done this and work on the actual ground now, because at the moment it's looking a little bit flat. All right, so that's looking fantastic. So now what we can do is we can go up, let's put it onto Material mode. Let's save that our work, so let it load back once it actually finishes. Hopefully it doesn't crash. There we go. And you can see, look, this is the difference that I'm talking about. So we've got these little bits, actually we'll just come in before finishing and we'll just get rid of just these tiny bits that we've actually missed. So we don't want these on. Let's get rid of these, this round here. I'm not going to touch too much of these round here. I'm going to leave just these bits in here because they might be part of what I've actually done and I'm happy with that. Now I'm going to do is I'm just going to save it out. And then what we're going to do now is we can go back into object mode like so. And there we go, that is our scene. And now what we can actually work on is the actual displacement of this part here. What I'm going to do is I'm going to come over then to the right and side where the little spanner is, I'm going to add in a modifier. And it's going to be under deform and it's going to be displace. And there we go. I'm going to put the strength on No 0.35 and I'm going to put the mid level onto zero and you'll see that it's still way, way too high. Don't worry about that. What we're going to do then is come down to the texture. So this texture is basically what it's going to be displaced again. So if we come to this texture and click new, you'll see now it actually drops down into that place. And then what we're going to pick is going to be the Veroni. We're going to pick the Veroni. And you can see this is the image that we're actually looking at. And you can see that it's way, way too strong at the moment, so we don't want that. What we want to do then is bring the intense down. Something like, let's try 0.1 We can also see if we put this on object mode, this is what it actually looks like. But it's the massive of these look like pits on the moon. Not something akin to sand. So what we can do then is we can turn this down, holding the shift Bob, we can bring it down like so. And we can actually start to get something that looks more or resembles more like sand. So something like this. And then what we can do is we can also come down to where it says color. And you've got one that should say color ramp. So if you click this on, then you can actually undo it. Now you'll see if I bring this down, you can see I have a lot more control over what I'm doing. Also with the color Am, I'd like to just press control and click and bring in another node. And then what it gives me is more control over the sand as you can see. Now I can bring this one as you can see. And I have lots and lots of control over it as you can see. Let's bring it a little bit more back and let's bring this one this way. I think what I'll do with this one as well is this one here. I'll actually make it a little bit darker the more darkness I give it. You can see I can flatten it down now. Now you can see we're really starting to get somewhere. Let's right click and shade, auto, smooth. And there we go. Now think I'm actually happy with how that looks. Let's see what it actually looks like. So we can see, now this is what it's going to look like. We can see this is what it's going to look like on our rendered view. So let's have a look on our rendered view. And you can see now much different to how it looked before. Now, don't worry, because we're not actually going to, you know, leave it with this because we need to come in now and flatten off these pieces. We can also, from here as well, decide if you turn this off. Look if you want them a little bit bigger, for instance. So if you want these little pits a little bit bigger, I don't think I want mine any bigger. I think I'm really happy with how that looks. So I think what I'm going to do now, he's just put it on object mode. And then what I'm going to do is apply this. So I'm going to come in to my spanner, I'm going to press control and apply that. And why have I applied it? Because it means now I can actually work on this. If I didn't apply, it means I wouldn't be able to work on it. The other thing is as well is you might not need all of this mesh basically, so you might actually want to get rid of it. So what I'm going to do is I'm just going to go over the top minute. I'm going to come back and put it onto Material mode. I'm going to click on it, put this on, and then press Tab. And if I double tap the, I might be able to come in with a knife. So if I press K and just come and cut, I should be able to, if I come down here, hopefully if I press Enter now. Yeah, sometimes it does, that you can see. Now press Enter on there. But it didn't actually come in and kind of give me a line. So in other words, it's not a yellow line. So that's not the way to do it if I can do it a different way as well. So what I can do instead is I can come in and bring, let's think about this. So what we'll do is instead of doing that, we'll press shift and we'll bring in a. So let's bring in a plane. So let's bring in this plane and I'll show you a different way of doing it. And then what we'll do is we'll x 90. And then we'll press just to make it a little bit bigger. And then what I'm going to do from this is I'm going to rotate this round, so R Z. And basically what we're doing this for is to reduce the amount of polygons and clean all of this up. It's a little bit messy at the moment. What I'm going to do then is I'm going to grab this edge on here. I'm going to press seven to go over the top. I'm going to make sure on object mode so I can actually see what I'm doing. So now I can see this edge. And then what I'm going to do is I'm going to press E. Actually, that might be the wrong one. Yeah, there we go. I can press now and just pull it out. I'm just struggling to see where I am on it. I thought it would actually be easier to see, but it's not, so I'm going to just do a little bit of guesswork actually and bring it down because I only want to get rid of some of them anyway. And I'm wondering, can I press a Yes, I can. All right, that's going to make it easier. Oops. Not that one. Let's press tab. Yeah. Yeah, I can't actually press on that. All right. I'll come back to it seven to go over the top I'm going to press. And then what I want to do now is just put it back on this. And then hopefully I should be able to join this to this. I'm going to press going one more. And then let's join these two together. And then let's pull this in. Let's just check before we've actually finished. You can see here, these two here shouldn't be like this. So let's join these up. We'll join these right click and we're going to merge at the last, and then the same on these shift merge at the last. There we go. Now let's bring in a solidify. What I'm going to do is I'm going to add modifier. Bring in a solidify. Let's bring it out. If it's going like that, just make sure to turn around your normal. So I'm just going to grab it all. Press Shift, let's have a look at what mess this is. What I'll do is I'll put it onto base orientation. Let's just hide this out the way that we've got many different colors here. And I'm going to press control all transforms and then what I'll do is make sure they're all facing the correct way. Now let's see. Now if I turn this on, there we go, part from this side for some reason. This one here. Let's press Shift, Spin it around. What is wrong with this side? I think there's an issue with this part here. All I'm going to do is I'm just going to grab it all, mesh, clean up, merge by distance and let's see now to put even thickness on. Can I bring it out? And we've still got some issues with that and I don't actually know why there's an issue with that. Let me come in and just tie this off. I'm just going to take this off again. And there we go. This is the issue. So let's come in with face select. We'll grab all of these. Going all the way around here, all the way around, all the way around here. We're going to press shift in, then spin those round, and there we go. Now that's looking better now let's press control your transoms. And we'll try that again. So let's generate a solidify and let's see now if that comes out and yes, now it's coming out the route way. So what I want to do is I want to bring you all the way out to there as you can see, all the way out to this open space. And then what I'm gonna do is just put even thickness on. And then finally on I'm going to do is control. Now what we'll do on the next lesson is we'll turn this face orientation off. And then we'll just cut away all of this part that we've actually cut out, leaving us with the bulk of the, you know, the main kind of island. Alright everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 116. Cleaning Up Tiles on Terrain for Consistency: Welcome back everyone to the Blender Four Ultimate Guide, and this is where we're left off. All right, so now let's come to our ground. And what we're going to do is we're going to add in a modifier. And the one we're looking for is boolean. And then we're going to click this lit up Pet. Click on it and click fast. And there we go. Let's press control A. Now let's actually delete our bullion now. And we should be left with something like this. Now if we come in and put it on material, we can see we've not caught anything else away. Let's have a look on our rendered view, what it actually looks like. And then let's turn those off. And then we go, let's looking pretty beautiful. All right, so now what I'll do is we'll come back to this view here. And what we're going to do now is we're going to actually come in and get rid of these parts here where they're pretty high up, where it should be flat. So I'm going to do is I'm going to come to Sculps. I'm going to click on this part, let's put this back on. Click on this part and then come to Sculp mode. I'm also going to save it out before I do anything else. And we've got a number of ways of doing this. We can either come in and old the shift button and flatten it out that way. Or we actually have a button which is flat, let me just find flatten, there we go. We can come in then and flatten this out a long here. Now we've got this on. At the moment you can see though, it's quite hard to flatten things out, so just be careful, better off probably smoothing it rather than flattening it. Or a mixture of both, if you can do that. So what I'm going to do is I'm just going to put this on material mode, and you can see I've got loads to flatten out, so I'm going to make it a little bit bigger and I'm going to flatten these parts out. And then I'm going to hold the shift and just make sure this is nice and smooth. Let's flatten this out if you need to go back into object mode to see what's going on there, you can see now it's not really flattening out at the moment. Let's just try and flatten it out a little bit more. It's going to take a little bit of work, so just be prepared for that. Let's actually, don't actually need my driver updated right now. Let's just move it out. This is the main part. Just make sure you get this part right. So smooth it out. Just looking out, the more you work on this, the smoother it's going to obviously be. I'm just moving it out. Let's put it on now and see what we're actually looking at. If we have a problem, what we can do as well is we can come in and just put in some clay. So we've got sculpt draw. We can actually come in, as you can see, put in a little bit of clay and then smooth it off again where the really big lumps are. And then you'll find that actually helps a ton on there. So let's bring in some clay, smooth it off. So I think actually you can also come in and you can press control and pull it down as well. But just be careful when you're using that, because obviously you don't want to go too far. So everything wants to be as delicate as possible to get this nice and smooth. I'm also going to bring the strength down a little bit from when I'm using that. And then I'm also going to press control on that bit. Now you can see now we're really starting to get somewhere. Let's bring it back down a little bit. Let's smooth this off. Bring this up tiny bit. I'm going to smooth all of this off. And then what I'm going to do is I'm going to make my thing a lot bigger and I'm going to smooth it all off together. Now the final stages at the moment, now control, bring it down and then smooth, bring it up on that last bit, bring it up here as well. And then smooth. Now you can see how easy that is. All right, we are just about there. With that As you can see, I'm smoothing it off now, a little bit more. Now what I'm going to do is jaws come around to these other parts of making sure none of them are way too far out. So you can see some of these, like this one here. Let's smooth it off. Let's smooth this one off. And then let's come round to the well, and of course we'll smooth this off like so. And we'll definitely smooth this one off here. All right, we're looking good on there. Now the next thing I want to do is we want to actually bring in some draw. What I want to do is I want to bring in some bits of sand which are going to be higher than the rest. So you can see here, we want some sand up here raising up against this rock here. This is where I'll come in and I'll turn my strength a little bit up. And then what I'll do is start raising that up. The same for on here. Look, just giving it a bit of realism. Now the thing is, what I would do here for sure is I would make sure, first of all, that I'm not going into this bit here where the stone is. The other thing is I would make sure I choose a direction, whether it be this direction, and make sure I come from that angle. I wouldn't be going around all of it and trying to, well, not on the rocks I want, on the actual palms, I probably would. Then what I'll do is I'll come down now and just bring in some more sand on here. Just adding a little bit more before we finish. And then again on here again, I'm not going to go to the back of it, I'm going to come to the front of it and lift it up like so, as you can see. Then let's put some more sand in here. Let's smooth this off. The round here, around here may be a bit around here. I'm going to leave this bit in here. I'm going to smooth that off. As you can see, it's a little bit higher than the rest of it. Same as this. Let's smooth those off. Let's heighten this up a little bit. Smooth that bit off. All right, we're nearly done now. Let's do the same on this bit. Let's smooth this bit off. There we go. Now the final thing I would do is I would come in and use my grab, I'll probably make this a little bit bigger. And then what I'm going to do is just bring up this now, just making it little bit uneven because at the moment the ground is very even. We don't really want that, We want to make it a bit, even in places you can see it's making such a huge difference now and not having our ground. Let's bring it round. We're nearly on the home stretch of the actual, this being done. Okay, so finally then let's put it into object mode. Let's save ou our work. And then what we'll do is we'll just press the, the rendering, the Viewport key. You'll tap the turn off this and then let's have a look what we've actually got. There you go. A fantastic image. Okay, now what we'll do is we'll actually come in and we'll take our final render. And then what we can do from that final render is I'll show you just how to tweak the actual the parts in the compositing so we can actually change the mood and things like that. All right everyone. We'll do that on the next lesson and I'll see on the next one. Thanks a lot. Bye bye. 117. Finalizing the Composition and Preparing for Rendering: Welcome back everyone to the blend of bot Ultimate guide and this is where we left off. So now what I'm going to do is I'm actually going to put this on. I'm going to put it on material mode again. I want to press zero to see where my actual cameras and this is the image I'm going to take because this is the image that I've been taken pretty much all the way through. And then what I'm going to do is camera to view. And I'm just going to turn it just so we can get a better view of those steps. And what you always want to do, you don't want to cut off this part here. So what I'm going to do now is I'm going to cut it out a little bit. Pull it out a little bit, sorry. And then just get it into the center. And then push it in and just make sure that I've got it on the drop off around here as you can see. And that this bit is still in and that now is a pretty nicest image, giving us lots of things like oh, I wonder what's around that corner. You know, making people wonder while still showing a really nice part of it. You can also maybe, maybe just get away. We've turned it so you can see a grape or two in there. So if you look, I can see a grape or two in there. Now what you don't want to do is you don't have many cutoff points. So you don't want the palm to be kind of hidden around here, if you can help it. So in other words, I want my palm to come up to there, so you can see how it's cutting off here. You can see there's still there. So maybe zoom out a little bit more. All right, so that's a nice image. And then I'm going to save out. And then what I'm going to do is I'm just gonna put on wire frame. And then what we're going to do is we're going to make sure at the moment we're on 100 samples and then we're going to go to render, and we're going to render image and we're going to let that do its magic and see what we actually end up with. And then from there what we're going to do is we're going to, we're going to the compositor. I'm just waiting for this to start now and seeing what we actually get. But you can see already that we've got an issue down here. Let's come into that first. Before we do anything, let's turn our camera to view off. And then what I'll do is I'll just come down and press or tage, and I'll actually come in and actually delete that out the way. Finally, I forgot actually to say one thing you could do as well is you could actually come in and come in and add in a modifier and generate a decimate. So decimate this down a little bit. If you're struggling, I don't think I need to do that. I think it's absolutely fine at the moment. It's not too high poly. You know, if I press tab on this, let's press a tab on it. Yeah, that's the actual thing we can see actually here, how many is it? Let's actually add a decimate and then we'll find out. So generate decime, and at the moment it's 41,000 polygons, so not too high for a ground actually. So now what I'll do is I'll come in and try and re, render that out. There we go. And you can see what a beautiful image already. You can see that maybe we should have rounded this off a little bit. It's looking a bit square from this angle. These are the times now as well where you're looking and thinking, what could you do better, or what could you have done better? You know, you should probably go in and unlike some of these windows as well. So just make sure that you do that. You can just click on the other material that I showed you actually how to create. So that should be quite easy for you to do that. I'm just looking at other things. You maybe want to come in and put some door handles on there. As I said, we want to round this part off. I think actually though, the rest of it is looking pretty nice. So what we'll do now is we'll just wait for this to render out and then we'll get a beautiful image of this. The other thing of course, you can do, is you can change the lighting on here, so there's always that to do. But you can see we've not even brought a sun in, we've just used a sky texture within blender. And we've done, you know, it's been pretty good I think with this render actually, it's a little bit too close to the top, so I would pull it back. Once I've actually then finished with the compositor, what you would do is you would turn up the amount of samples to get a really, really nice sample. And that's something that we'll do once we've actually finished. So we can see now we've got our image. We can see now the composite has kicked in. And we can see now just how beautiful that is. So what I'm going to do is I'm just going to come now, close this down, go over to my compositor. And then what I'm going to do now is do a little bit more with this. So I'm going to pull this over and the first thing I'm going to bring in is hue and saturation. So search, hue and saturation. And then what I can see here is if I drop this in here, what I can actually do is I can come to select this node and then come to where it says Node Wrangler. And then what we can do is we can frame selected. So if you frame selected now you can see we've got this here. And now if I come to the node, I can put a label on it. Let's say main hue like so. And then what you can actually do is have this, knowing what this is, if it now come to color, we can change that and put it on something like red. And now this is the main hue for the whole scene. So if I come and change this now, you'll see when it loads up, it's going to give it a weird kind of color. We don't want that. What we want to do is we want to come in and whether we desaturate or bring down the values a little bit. So bring down the values slightly and let this load up again. And there you go. Now what I'll do is I'll show you the next things that I tend to do. So the next one I tend to bring in is a color balance. So shift a color. Balance. So we're looking for this one here. And this one is the overall feel. If you've probably seen something like World of Warcraft Raf of the Lichkingct. Whole cinematic had a blue tinge to it. That's in gaming. And if you've seen the Matrix that has an overall feel of a green kind of color, this is where you can actually do it with the actual color balance. If turn up this over here, you'll see that the whole scene starts to change the way it looks. Let's put it on something a little bit like so. And there we go. And let's put this on a little bit of orange maybe. And there we go, you can see it's very, very slight, but you can see now it's actually started to change how hot the actual scene looks. So I tend to mess around with the blues and oranges on something like this. If it was a forest, I'd be messing around with the greens and blues, for instance. But this one is a desert. If it's medieval, again, I would be messing around with probably the heat off of the lamps and things like that. And the blue from the actual, because it's a medieval type scene. It's okay. So now I've done that, what I'm going to do is I'm going to pull this over to the side and I'm going to bring in a diamond sharpen. So I'm just going to pull this over shift and then we'll put in filter. So I think it's the filter that we have to put in. Yes it is. This one here. And then what I'll do is I'll put this onto diamond sharpen, and I'm going to put the diamond sharpen onto note 0.2 Now you can see already it started to really, really sharpen up all of those edges. As you can see, let's not turn it up, the hide, let's put it on something like note 0.2 Let that think about it, and there we go. Now you can see it's really started to bring out all of these parts here. As you can see, that's looking pretty nice. And then what we'll do is we'll come in and we'll put it on a soften. I tend to know it seems back to front, putting on a diamond sharp and then a soften. But I actually think that the diamond sharp really brings out all of the kind of textures and the bump on the textures and things. And then what I want to do is soften them out just a little bit. So what I'm going to do is search filter. And I'm going to bring in a soften and what I'm going to do is going to put this on not 0.5 So we can see up here, once this is loaded in, let's drop this then on not 0.5 like so. And you'll see, then I'll just bring these back up here. There you go. So now you can see it's looking a little bit sharper, but it's still giving us that soft image, of course. Okay, so now we've got two more notes to bring in. The first one is going to be the overall brightness and contrast shift a search brightness and contrast. What this is going to do is it's just going to give you the ability then just to lighten up certain parts of the overall scene basically. So if I put this on, let's say not 0.2 you'll see that it needs to be altering. Finally, you can see finally how it actually altered it. If I put this on minus not 0.5 for instance, -0.5 like so, let it load up. And you can see that brought it all back down. It's really up to you what you actually do this. I think I'm going to put this on minus not 0.3 As far as the contrast goes, I think I'm going to try minus not 0.4 Let's try that. Let it load up. Let it think about it. There we go. Then the final one that we're going to be doing is going to be RGB curve search. Rgb and curves. And let's drop that one in this base is going to alter the whole feel of the thing. It's basically going to alter all of the overall feel of it. If I bring this up, wait for it to load up. There we go. You can see really, really drastic how that actually changes it. Let's bring it up slightly, very slightly. The further you actually go along the compositor, the more you're going to see that it's very, very fine tuning as you work along. I think with this, I'm really happy with how that looks. I don't think I need to play around with this anymore. And what we're going to do now, and then we'll come back on the next lesson and go through what we've actually done. But what we're going to do now is we're going to go back to modeling. We're going to make sure we're on wire frame. And we're going to come over now and we'll do a mid level sample. So I'm going to put this on 1,000 like so. And again, you might want to turn your noise threshold down if you want it higher than this. But then after that, I would probably put in around four K samples or something just to get that really nice image. So what I'm going to do now is I'm going to click the render button and render this out. And I'll be back on the next lesson to finish up. All right everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 118. Final Thoughts and Reviewing Our Completed Work: Welcome back if you want to the Blender four ultimate Guide, and this is where we left it off, so this is my final render at 1,000 samples. As I said, I would turn this up a little bit if I was doing a, you know, really, really good portfolio image. But I think this looks really professional and I think it would stand out in any portfolio actually. Now what I do tend to do now is I would go around and take probably four images from different angles. And then you can add that to your portfolio as well. And what I would also do is I would check then what actually could I do better in the future? And for instance, we can see we do have one problem here. The palm trees aren't in here for some reason. So I'm going to just quickly go away now and actually render the palm trees out as well. So here we go. I actually re rendered it with the palm trees. I also zoomed it out a little bit as you can see. So now you can see just how nice it is. So what could we do different on this scene? I think the scene looks really nice. Let's look at the positives. I think the sand looks really great at the moment. The palms look really good. The actual view, what we've got here, also looks really nice. The one thing I would say is we've got a little bit of a palm poking through here and we're not sure what that is. In other words, we can't work out quite what that is. That's something I might actually change, so just change the angle slightly. I would probably come in and make this a little bit more round over here. I'm just looking at the other things now. I would probably make the overall, these bits here just a little bit lighter, just with that RGB curves, just to bring out that lightness a little bit. And I would probably turn off one of these windows, probably this one, because this one's already turned off on this part of the scene. From there, then I'll probably go round and take a scene of this side. And I think what I'll do is I'll do that now and I'll come back, saving you the job of actually doing that. So let's actually close that down. I'll go and rerender one out and I'll be back when it's done. Here is the front view of our actual Arabian building, and you can see it's looking really nice. It's actually really getting that theme of a, you know, sunrise in the morning coming up and still having the lights on. I think actually this part of the scene looks better than the other side, actually. So I'm really, really happy with what we came out with here. Again, I would switch off some of these windows, I wouldn't have them all lit, and maybe it would turn off one of these windows over here, for instance. And maybe just putting a few more rocks, let's say over here somewhere. But apart from that, looks really, really great. So that brings us to the end of the course, everyone. I hope you really enjoyed that. Drop us a review if you did. And make sure that you put a comment in the review about what you like most or what we could improve, that would be great as well. Until next time guys. Happy modeling everyone. Cheers.