Welcome back, everyone, to 3D modelling, a Hobbit doll scene with Blender two point nine and Adobe
Photoshop.
And this is where we left off.
Now, at the moment, the center of origin of my actual bird is probably somewhere over here and not
in the correct place.
So the way to put the center of origin, which is here, which should be the center of this bird, is
to click right.
Click anywhere on the actual viewport here and just make sure that you are in object mode by pressing
top right.
The origin to geometry, and that should put the center of origin in the center.
Now, sometimes with a complex thing like this, the center of origin might not actually be right in
the center.
So what we'll do is we'll give it a try and see how it is.
And the way to do that, as you can see at the moment of Garrix here, this red and white circle here.
And if I shift right click, I can actually move this case around.
I want the actual cursor to be where the center of origin is.
And the reason for that is because when I bring in another object, I want to call them exactly where
this cursor is.
So I'm going to do is I want to push it s come down.
I'm going to pull cursor to selected and that is going to put the cursor where the center of origin
is.
And now I want to bring in a new piece of mesh.
So shift a match, come down, bring in a cylinder, you'll see the sun.
There is exactly where I want it.
So now let's make this on the smaller.
With the Esbjorn now to make this cylinder smaller, what we're going to use is the eSport, and that's
actually a full scale.
So you can say I can now scale this actually down.
Now, the other thing is when you scale in something, you can scale it on the axis.
So let's discuss the axis now.
Now, the down axis here, which you can't actually see, but it should be blue and it normally comes
from the top to the bottom is the actual Z axis you can turn on if you come over here and click on these
two little interlocking balls and come off to where it says Axis and click the Z axis and you'll see
now that actually appears.
I'm just going to turn that off because I find it actually annoying when that's on that.
But you can put yourself.
Now you've got the Y axis, which is the green actually here on the x axis, which is the one running
across it.
So if we want to scale this on the x axis or we pressies s an X and then we can scale in like.
So at the moment, no, I don't need to scale on these two axis.
I need scale on the Z.
So in essence that bring it down and just scale it like so and then I'm going to pull it down just to
make it a little bit smaller.
Now it's bringing the movement tall so you can bring this up and down like.
So what you need to do is you need to shift spacebar and then you'll end up with something, a little
menu that pops up and you can see it says, move here.
So click that on.
Nice to be able to bring that into place.
Now you can say it's far too big, so I'm gonna press seven to go with the top of it and then I'm going
to bring it in again with scale.
So let's bring it in and you can see that it's very, very slightly out.
Now, I'm not going to worry too much about it, and it's actually perfectly centered.
I'm just going to put in something which I think is kind of the center I'm going to bring in.
This is actually the glass.
This is what this is going to be.
And the thing is round the outside of here is actually going to be wood.
So the glass overlapping a little bit past.
It doesn't really make a difference.
I'm just going to line up.
So it's a little bit better than where it was.
I want to make it a little bit bigger as well, just to make sure we've got it all.
And now the most important thing is what I need to make sure is that this glass is in the correct position.
So I'm going to pull it up so that it's kind of in to the métier.
So you can see my hummingbird is into the mesh.
And then finally one considers decide when to grab the top of the head.
So I'm going to grab the top.
I went to pay and then you're going to end up with a little menu and you click selection.
And while that's going to do is it's going to split this off from this bomb plot.
So you can see this now is into pieces.
And then I'm simply going to grab the bottom piece.
I'm going to click delete and that's going to delete out the way, leaving me with just basically a
flat plain, which is halfway into my actual hummingbird mesh.
Now, the next thing I want to do is actually want to create the glass from this plane here.
So the way I'm going to do that, I'm going to press control.
I come down to where it says all transforms.
And the reason we do that, as I'm pouring down the bottom right hand side is that so we can actually
bring in a modifier.
If you don't reset, it transforms.
You'll find that you have many problems when you bring modifiers in or doing anything else.
So always reset you transforms.
And if anything is going wrong, the first thing to do, go into object mode.
Press control like all transforms, right?
So origin to geometry.
And that normally fixes most issues that you'll come across.
Now, we've done not.
What we need to do is need to actually use this as an actual boolean.
So this bird here, when it uses a boolean to make sure that we can split this glassell.
So if you make sure that you click on your plane now, come over to little Sponer.
This is the modifieds top.
I want to add modifier.
And what you're going to do is you're going to come down to where it says to me now on the Boolean menu,
which will pop up here, you'll have these three little choices here.
Make sure it's on difference.
It should be.
And then click on this little pipette, come over and just make sure you hovering over the actual bird
or whatever you've created.
Click on that and then something like this will happen.
Now, it doesn't look like much has happened at the moment, but it actually has.
So we need to actually apply this.
And the way we do that is you can even come down, click on this arrow and click apply or you can hover
over it and press control and actually apply.
But now let's remove all bird.
So just make sure I've got my booklets on their own press.
They want to hide it out the way now to hide something you press hate to or need something you press
on.
Now we can see that this now is split up.
So if I click on this, you can see that if I press top that if I'm on face like I've got all these
little islands now which are split or ready to bring in our glass, which is a really easy technique
to actually do this.
So now I've got this.
What I want to do is I want to unwrap it ready to actually bring in my materials, which is the glass.
So I want to do is I want to press a to grab everything.
And then I'm going to go over to my movie editing top.
So you'll notice from now the moment we've got all these tubs at the top.
Let's go over to the.
The edited and this is basically where you can unwrap your models and actually look at how you're going
to apply the materials.
So, again, down the bum around.
So I'm going to explain what the UV mapping actually is.
Now, if I make sure I'm on this path of EUPOL and I press you, and then you'll come down to where
it says from now and then you'll unwrap all these little parts.
Now, for this, we're not going to worry whereabouts they all on the movie map or anything like that,
where I'm going worry our big deal because we're actually going to bring in an actual material that
hasn't got any texture.
In other words, it's kind of a procedural material created in Blender.
So the actual UV mapping doesn't really make any difference apart from it.
Make sure that the material goes on correctly.
So now, before we bring in our material, what we need to do is we actually need to bring in a light
source so we can see exactly what we're doing.
So let's say out now.
So what we do is we going to head over to the model on top and you'll end up with something like this.
And you can see now you've got a nice plain viewport to actually work in.
Let's press the top on to go back into object mode.
Let's press all take to bring back our actual bed.
And now I want to do is I want to rotate these so that face in the right way.
So I'm going to grab them both.
Now you can grab them both, either shift clicking them or you can actually be to get select and just
select them all.
So now I want to rotate them.
And again, rotation is like scale so you can rotate freely or you can rotate on the axis.
I always recommend you rotate on axis rotation freely like all like this means we go all over the place
and that's something that we don't want.
So we want to do is we want to rotate along the x axis or focus all X.
And then also what you can do is you can import a number.
So, for instance, we know this trend in 60 degrees in a circle.
So if we rotate it by 90, so press nine zero on the number pad, enter, and then you're going to rotate
it by 90 degrees.
And there you go.
You can see now it's facing the right way in the press.
One on the number pad.
I can say that I can now look straight on and that's exactly what I want.
Now, let's bring in an actual light source.
At the moment, we can't really see what this is going to look like.
So let's come over to our little TV here and you'll notice that he says render engine.
Even now, EV is going to actually have a look at what you're actually coming up with, how the scene
is coming along, because what it does is actually renders in real time.
And that's exactly what we want for just looking at all scene.
Now, there are times when you do need to put it onto cycles over like this down arrow and I come to
cycles, for instance.
Now, you won't say anything happened yet.
And the reason for that is because I haven't put it on the actual viewport shading yet, which I will
do in a second.
Now, Cycles is basically I find at least it actually produces better renders, but you can't really
view things in real time that easily.
So if I come now to our actual shader and I'll explain what these problems do.
So at the moment we are in solid, which is this one.
If we come to the left hand side, this is wireframe.
So I click that on.
You can see basically all of the mesh which was actually created.
And then we come to the next one.
This is materials.
Now, you won't see anything on here at the moment because we haven't actually Applied Materials, but
we will be using that one.
And finally, if we bring in now the last one, it will be either on cycles or Celestis Prince epiphenomenal
share what I mean.
So when I click this on eBay and like LoDo, you can see now I can rotate round and you can see exactly
what you're doing and it moves basically in real time.
So it's rendering out in real time like you would do in an actual game or something like that in the
Komova.
And I put this on cycles.
You'll see now it's very grainy and it takes a little bit of time to actually load up.
Now, the more complex I've seen on cycles, when you're on the shader, it will take much, much longer.
You can turn this down.
We say it says viewport.
And this basically is a number of samples that it's actually trying to sample.
So if I put this on, one is going to be very, very grainy, but it is going to render out Narino straightaway.
So I'm going to leave that on there.
Thirty two.
I'm just giving you that option just in case your computer is a bit slower than mine.
So let's for now put this back on TV.
I'm going to bring in an actual light source now.
I want to bring in my light source in the center so I want to shift s cursor to world origin and then
my guess then appears right in the center of the blender viewport.
And I want to press a come down and you'll see one that saves lives.
And the one we're going to bring in is the sun.
So let's bring in the sun.
And you'll notice already that we've actually got some kind of light appearing on this.
Let's again press spaceball to bring in our move tool.
And then what we're going to do is going to position also now the sun is an infinite light source.
So it doesn't matter where you put it, the light will just travel and travel, unlike things.
Spotlights will travel a certain amount of distance and then it'll start to actually fade away like
a candle because you can't see a candle from 20 miles away or something like that.
But the sun you can always actually see.
So let's now play across.
Let's pull it up and let's actually rotate it and give it some nice angle.
So we will change this in the future.
But we'll just do this amount less, press all X and let's just pull it with the mouse and rotates it
round.
And you'll see, as we did, that they start to get light up then and said, well, let's just turn
it round.
And you can see now that we've got a little bit of shadow where the sun is actually bouncing in this
part, causing this to be an actual shadow.
So you can see already it's looking much, much nicer now.
We needed this up basically, so we can bring in our material and actually see what's going on as we're
applying our materials.
So that's it.
And this one on the next lesson will start to apply all materials.
And I hope you're really enjoying it so far.
See you on the next one.
Thanks a lot.
Bye bye.