Welcome back, everyone, to 3D Modeling Obaidullah scene with Blend two point nine and Adobe Photoshop.
Now this is where we left off.
So what I want to do now is I want to go into any so I have the selected press, the tabloid press aide
to grab everything and then press E and what are you going to do is you want to pull it out along the
Y axis.
So press the button straight up, then you're going to pull it out like so.
And now what I can do is I can actually grab it all without I want to pull it back into place and then
I get a good idea of actually what it's going to look like.
So now we need to actually give this some depth is just a 2D cylinder at the moment, and that's not
very useful for what we need.
So what we'll do is we'll press a top.
Again, we'll reset the transformation's, so control all transforms, right, Plake origin to geometry.
OK, so now let's come over to modify stop this little Sponer again, add, modify it.
And this time we're going to bring in a solidify and now they solidify based on what it does is if I
pull this to the right hand side or the left hand side, you can say I can pull it out and it pulls
it out really, really even along here.
Now you could have extruded out, but I find that doing it with a solidified just makes it that much
better.
So now if I click on even thickness, always be aware I was trying to turn this on because it basically
means that I'll be even going all the way around here.
Now let's stop and you'll see that you can't really actually do anything with this mesh.
And the reason is we have to actually apply.
This should just make sure if you press one, that you're actually happy with the thickness of this
actual arch.
I might want a little bit tired, just a little bit thicker, something like that.
I think that looks really rather nice.
All right.
So to apply this again, can you click this down arrow all press control a and then we'll just apply
that next one I want to do is want to think about before we do anything, bringing in some seams just
to make sure it's going to make it easy for us when we actually split this up.
So what we'll do is we'll come over to like I'm going to come round to the back of shifting plate from
the grab all these edges here.
I'm going to write plate come down Monkseaton.
Right now we need to split these up.
So I'm going to know he's going to come to face select.
And what they need to do is now to split these up, as I need to think how big each one of these blocks
is going to be.
So one considers I'm going to grab these two at the bottom and then I'm going to miss one.
And then I'm going to grab to miss one.
Grab to miss one, grab two.
And that should leave me then two at the top.
And then I want to just follow it back round.
So grab on to someone like so and then I should end up exactly the same as what I did this side.
Now you can split this person, the people, but there is another way as well.
What you need to press is the WidePoint.
So press Y and then press G, and that will give you free movement.
And you can see that you've actually split them all when to split them up with the WIBLE.
And I always press the G just to make sure they split and then I move them round with the mouse and
then just click right.
Click on the mouse just to drop them back in place.
And now and now they're all ready to go next.
Now we need to bring these in a little just so we can put some faces on the inside of each of these.
Because if I bring this out, you can see, for instance, that they've got gaps in each one of these.
So let's do that now.
Now, to put this back, let's just press control Z and now we're going to do is grab everything.
So I'm going to press A I'm going to come up to my little interlocking links here on individual origins.
And now when I press the Essbaum to scale, you will see that each of these individual one scales independently
of a press.
S bring them in and there you go.
Now you can see exactly what you do.
So the next thing I want to do is I need to put faces on each of these.
So long today is going to come up to eight states, mesh come down to where it says clean up, go across.
And we've got one that says fill holes.
So let's fill all those holes in.
And that's a really quick way of doing that.
Now, there are two faces of the bomb that we really don't need, which is this one and this one.
Let's lead bases.
And now I want to actually make a seam on each of these faces.
So, again, this is a little bit tedious.
Belongingness do is I'm going to just come in and grab all of these faces.
On this side, first, just so I can then go back up the opposite way to make sure I've actually got
them all.
So let's keep going.
All the way down to the bottom and now let's come the other way.
And we need some of these systems, obviously, because if not, we will have infinite loops again.
And we're doing it before we bevell them or anything like that, because it does make it a ton easier
if you think of in advance where your teams are going to go.
So there we go now to Mark seems in face like you can't press right, Plake there will be no option
that for Mark seems so what you need to do is press control.
And then you'll see Maxime's is here and there we go.
All right.
So now I want to do is first of all, I want to come in with schlepp because if I leave this on face,
like and I try and grab one of these, so I press out, you'll see that I will leave these two behind.
So I don't want to do that.
So I want to do is I want to come in to actually grab this top one, press one, and then I'm going
to press the ESSBAUM just to bring this one out on its own, a little bit like so just to give it some
variance and a kind of keystone in the top middle of our actual door.
Now I want to do is I want to bring these close to each other, but I might as well bring my material
in first.
So I'm going to do is I'm going to unwrap these.
So I went to press a come over to you, the editing press the button, that is do me straight to where
you need to be, press you on top.
And there we go.
We can see all of our blogs up.
And now let's bring home and say, really?
So we'll go over to Qadim.
We'll come over to our materials panel, which is this one here.
Press the button new and we'll put this Rock and Mosse like.
So I want to press dot on the number pad just to zoom out a little bit and then I'm going to zoom out
and I should have my principles here again.
Now let's do what we did before and bring in our rock'em also control shift and say, fine, we Iraq
and Mosul.
So it shall be on the texture's and here we always are, rock.
And then again, grab the top one shifts like the ball one click on the principal texture and there
we go there all Brotton.
Now you can see that we've got a lot of groups down here and the Stones are looking very, very sharp
at the moment.
Now let's say work on one thing at a time.
So what we first of all, going to do is we're going to level these up.
So I'm going to press control, like all transforms, right?
Like the origins geometry.
Come over to my little Sponer on the right hand side.
I'd modify it.
And this time we're going to come down to where it says Bevell.
And you'll see now that go something like this, which is quite nice, the kind of a little bit beveled
off too much.
And I don't really want that, first of all, to tell my segments to to to make them nice and round
for me.
And then I'm going to turn this down and you'll see as I bring this down with, again, more or less
rounded, depending on where this amount is.
So what I need to do, though, is, first of all, I need to bring them closer together.
So I've got a good idea of how round it off I need them.
So let's press top let's press eight just to make sure you've grabbed everything.
Make sure your interlocking links are on individual origins.
Press one on the normal path so you can see where the gaps are and then press s and pull it out and
you can use the born again to pull it out.
Not so much or more, just slows it down a little bit, making it more refined.
So I'm going to pull it out there.
I'm going to press the top on, I'm going to double top the eight so I can see while I'm actually looking
at and I can see that I've probably got still again, too much got down here.
So again, I'm going to press the top there.
I should already be selected.
I'm going to press S and pull them out just a little bit more top again.
And there you go.
Now, the really, really nice and they look like me really, really well together.
Now, the other thing we can do is we can actually just add something into this note set.
So just to make it a little bit easier to really make this darker or lighter, depending on what we
want from our scene.
So let's come in, grab the material output shift, select the principal, pull them over to the right
hand side and then hover over it.
And what you going to press this shift?
A search is going to become so GM and that then is going to enable you to bring in a gamma so slightly
gamma and drop it now nothing will happen.
But if you zoom in and turn this gamma up, you'll see now it can make it darker or lighter.
And it's just a really easy way just to make it a little bit darker for what we need it when we actually
do the render.
This is a really easy way so it can mess around with this very easily and get the look that we're actually
looking for.
OK, everyone.
So what we'll do now is on the next lesson will actually make a start on a wooden doll.
And then finally we'll get on with the steps and then we'll do the hinges.
So I hope you enjoyed the calls and I'll stay on the next one.
Thanks a lot, everyone.
Bye bye.