Welcome back, everyone, to 3D modeling, The Hobbit dosing with Blend two point nine and Adobe Photoshop,
and this is where we left off.
Now let's go straight into all mullein top appear.
Let's press top and now let's work on our wood.
So what we need to do is if I press top, you'll see that we've actually got all of these actual lines
going down and we can use these to create our wood.
So I'm going to press top I'm just going to hide this all the way just so I've a little bit more visual
to play around with.
So I'm going to press click on here press tab again.
And now let's mop some seams out straight away.
Again, I'm thinking of how to melt the seams out.
So it's going to save me a lot of work in the future.
So I'm going to come round all the outside of here, including these.
I'm going to grab it all the way up to here with control.
Click on the right click then on Monkseaton.
Now I need to think where the actual panels are going to be for this.
So I think I'm going to have one here and then it's just going to be every one going across.
And then one line to do is use these two here just as one piece of wood.
I'm going to right click Monkseaton.
Now, you should end up with something like this or we need to do now, it split these pieces of wood
or someone to come to this side.
I'm going to press Al to grab this island and I want to go to each one grubin, the island like, so
why?
Gee, again, just to make sure that they're all split up.
Right.
Click and drop it back in place.
Now, we need to do is we need to make some edge loops going across the.
And the reason for that is because I want to have a little bit more control of how kind of broken these
panels are going to look or how much movement is them.
In other words, I don't want them perfectly straight, like it's a new build kind of house or something
like that.
So I'm going to do that.
I'm going to press a wand and then welcome again to our friend the basic tools that scrub the Bicego
among many areas I'm going to cut across like.
So I'm going to take off Arena and I'm going to start again, this one here to zero to make the line
perfectly straight.
Now, the one thing you need to be aware of when you do this is just make sure that you're not in on
the corner and see it so you can see a kind of halfway in this panel here.
All right.
So I want to know the forecourts down here to give me more movement.
So welcome to Michigan Bisect.
And let's call this one somewhere around here.
Again, same procedure playing normal, put on zero and then let's move to the next one.
So a mesh bisect and let's call this one something round here like so.
Zero.
And then again, a mash by sect and one I think I want, maybe I could get away one.
I think I'll put two, actually, so I'll put one here.
And then come back, so a match by six on the last one, I think we'll go here like so.
Like so.
All right.
So now we've got those in.
We don't need democracy down there, of course.
And they're still split up.
So now we need to do is we need to grab them all.
So, eh.
And then I want to pull them back.
So I'm going to press E and you'll notice that because they're all split over.
You got all these lines, which is showing you that they're all being shown to back in the same direction.
All right.
So why did we do all that work?
Well, now you'll see that what we can do is we can actually bring these in now.
So to come again to our face like Al on each one of these now.
And you'll notice that we're just grabbing just the from.
So it shouldn't grab any of the tops or bombs.
All the box press one, come up to your interlocking links, make sure you're on individual origins,
press Senex and now you can bring them in and you can start to see them looking like wooden panels.
Now, as I said, we don't want them all to be straight down.
So what you can do now is you can come up to your proportional editing point, which is this bone here.
Click on and then you notice you click the Downa, you've got smooth and you've got all these options.
Let's put it on random.
In fact, I'll show you what's moved us.
So we'll come to smooth will press top.
And what we'll do is we'll come in now.
Let's click it on and then come over.
And if you move it with this arrow, all press the bone.
You'll see that you guys circle around and actually everything is affected within this circle.
You can also make the circle smaller.
So like so or you can make it larger.
Now we'll show you how we can actually make these dolls look really good with very little effort.
So let's go to editing.
Click this down.
Now, what we're going to do is we're going to put this on random.
Then we're going to do is going to come in with a red arrow and say, I'm just going to move this slightly
over, bring in my circle like so.
And then I'm just going to go to the next one.
To the next one.
To the next one and then we're going to do it.
I'm also going to move these out, so I'm going to come to this one, move it out.
Like so.
And what it's doing is it's randomising, which way they're all moving.
The other thing is, well, I want to move these up so remote like so bring that in a little bit.
Not too much.
We don't want those too much.
We're going to come to this one now, bring it out a little bit and you'll see now we've got a lot of
Aryan's down here.
And let's do the same on here, likesome.
And there we go.
You can see very little weg how we've actually made this doll look pretty old and weathered.
Now, the next thing is what you need to do is you need to press one and just have a look where if you
can see through the actual door, sometimes what it does is because it's proportional and it's in a
will affect the back of it.
So why tend to do now is I'll go to the back Colt's space, like grab each of these islands like so
with the elbow and make sure proportionally that's in all press control.
One of the parts you can go to the reverse.
And then what you're going to do is you're going to make sure again that on individual origins as an
axe and just bring them together and it doesn't even matter.
Overlapping a little bit.
So estimates bring them together.
Just so they actually all touch him and now what you'll find is that you shouldn't be able to see through
the backs of them because we've actually brought those together.
If you can still see daylight, which might happen on the render, we'll just bring them closer together
again.
All right.
So now we need to bring in actual wood.
So let's come over to our materials panel, which is this bone here.
And what we're going to do is going to click the plus one because we don't need a new material, because
we're going to use the same word as what we've used for all stained glass window.
Let's click the down arrow.
Come down.
You'll see the one we named would click on.
You'll end up with something like this.
Now, before we wrap this again, we need to reset the transformation so controlling all transforms
right place of origin to geometry, press the top and grab everything we may and not press you on.
Right.
And you should end up with something like this.
Of course, that would be all going the wrong way.
All right.
So let's go to the it's press the top one.
And now you can see which ones are not right.
And you can see here that some of these aren't right.
So these ones here, the basically infinite loops, and that's not what we want.
So what we need to do to find out why they are and the reason is because we haven't actually put any
edges going down here with Almog seems.
So I'm going to go quickly into modeling and that's something I should have thought about.
I'm going to do now is I'm going to mock seams on each one of these.
So when you come in and select and let's grab each one of these.
And Martha seems like so, and then there won't be infinite loops now because the doll is coming to
the stone arch, it doesn't matter too much that there is a seam here.
And also you'll find that when you actually marking seams on wood, the edges of the wood doesn't really
matter if it's actually got seam on them because it's obviously a corner.
Now, if you didn't bricks or something like that, this will really.
On something like what is a said, it's not a problem at all because most of the time the wool grain
on the the edge going down the inside here is different from the one going this way.
And that's why it doesn't matter so much.
All right.
So let's just grab all of these right seams, grab everything back into uveitis and pressure you from
the wrap.
And then we go, you can see now looking much, much nicer and they're all going the wrong way still.
So let's spin them round.
So all 90, let's spin around and evaluate what that looks like.
And you can see now that it's looking really nice.
And I think that the actual wool grain on here is actually how I want it.
In other words, it's about the right size for the actual size of wood.
Now, if I come back now to Modlin and I press, I'll take just to bring back our arch double top there.
And you can say it's really starting to come together now, albeit we've got something a problem here
in this glass stained glass window isn't set correctly because we can't see any light coming through
that.
So let's grab it and let's just set it up where it's going to go.
And you can see that's the motion that it's no, let's turn it off and let's bring this and just sit
on that now.
Let's make a hole in the door.
So while I've got this here, I'm going to shift s because it's a selected shift A I'm going to bring
in a cylinder.
I'm going to come down, I'm going to put this on 20.
I don't need this on there.
32, because I'm just basically in a hole in the door.
So let's put this on twenty and then spin it round.
So all X ninety one the number pad, let's make it smaller like so.
And now we're just going to zoom in and I'm just going to make it so that the hole starts round about
here.
So how many do that then is going to click on mudhole.
I'm going to come over to my modifiers.
I modify it and this time we're going to pick a boolean.
Now you'll notice that you've got three options.
Just make sure it's on difference, like the pipette Komova over and click on your cylinder and you
should be able to see something happen in there.
Now, if you move this cylinder now, you will be able to change where about this whereabouts.
This hole is actually cool, but we obviously don't want to do that.
So what we can do is simply come over to our modify and apply it with control.
And now I can delete this cylinder all the way.
So delete cylinder and there we go.
There is a hole already done and even the wood is looking like it's going the right way.
Next thing you want to do now is a need to shade this door.
So I'm going to grab the door again.
Right.
Click shapes move.
Come over.
It's a little triangle.
Althouse, move on.
I'm Leslie.
Now we can see that these are very, very sharp edges and we don't particularly want neither.
So what are we going to do is we're actually going to Beverley's now because we've got triangles in
here.
We can't actually use all Bevell modify it.
Well, we could use it, but it's just actually easier to come in with each leg and just grab each of
these edges on the front like so so I'm just going to come in grubin, each one of these.
And if you can't grab them along here, all you need to do is just come in, grab the door, press the
questionmark, and that's going to isolate two out and then just do it the old fashioned way.
So you're going to grab one wave shift click like.
So I want to just want to make sure that I'm just not going around the back of it or anything like that.
So I do just literally one Josia from.
Of these actual piece of wood grubin, so I want to shift and click and just save and grab the rest
of these like so.
Like, so now let's do this one, so zoom out, make sure we've got them all on.
There we go.
Think of Gromo.
I'm not going to worry about these ones ever in the actual arch anyway.
And then I'm going to zoom in a little bit.
I want to press control.
B, I'm going to pull them out.
Very slightly presentable, and you'll see now that Romney's really, really makes a difference in how
this door actually looks, really adds and sells more real estate.
Now, you can see over here that these pieces of what he probably touching a little bit too much.
So I'm actually going to go in, grab two of these and just pull them back just a little bit.
Let's have a look.
I think they're actually going the wrong way.
We do seem to have a problem there, and it's because I have got the right one.
So it's this one here.
Let's grab this one and this one on the inside.
Let's pull them back a little bit, pull it out, get a little bit better.
Scrub this one as well.
And you can see the problem I'm having is I need to grab both of these.
So if I come in, grab the two on the inside, on the outside now, I should be able to sort of pull
it over, still having some problems with it.
And what I've done is I've grabbed the other side now, so I'm just going to press control that and
just move it back in fully like.
So now I'm going to grab this one and this one and just basically restart it, just making sure I've
got the right ones.
Pull it now and again.
You can say, got a little, but I'm going to grab it with Bassler.
That's going to be easier and grab just the inside that and now can say, there we go.
That's so much easier to do it that way.
So we'll do it that way instead.
So grab it, pull it just a little bit, press the tailbone, let's grab a little bit more.
And I can also think if I just grab this pole here.
With I select.
Like, so just pull it across.
There we go.
All right, so there we go.
Finally, we got that.
OK, so let's press the question mark and bring them back.
Double tap the I and there we go.
All right.
That's looking really, really nice.
So on the next one, what we need to do is we need to actually work on steps going down.
And then finally, what we'll do is we'll work on our actual hinges.
OK, once I hope you enjoyed that.
And I'll see you on the next one.
Thanks a lot.
Bye bye.