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Welcome back, everyone, to 3D modelling, a Hobbit doll scene with Blender two point nine and Adobe

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Photoshop.

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And this is where we left off.

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Now, at the moment, the center of origin of my actual bird is probably somewhere over here and not

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in the correct place.

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So the way to put the center of origin, which is here, which should be the center of this bird, is

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to click right.

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Click anywhere on the actual viewport here and just make sure that you are in object mode by pressing

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top right.

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The origin to geometry, and that should put the center of origin in the center.

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Now, sometimes with a complex thing like this, the center of origin might not actually be right in

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the center.

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So what we'll do is we'll give it a try and see how it is.

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And the way to do that, as you can see at the moment of Garrix here, this red and white circle here.

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And if I shift right click, I can actually move this case around.

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I want the actual cursor to be where the center of origin is.

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And the reason for that is because when I bring in another object, I want to call them exactly where

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this cursor is.

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So I'm going to do is I want to push it s come down.

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I'm going to pull cursor to selected and that is going to put the cursor where the center of origin

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is.

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And now I want to bring in a new piece of mesh.

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So shift a match, come down, bring in a cylinder, you'll see the sun.

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There is exactly where I want it.

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So now let's make this on the smaller.

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With the Esbjorn now to make this cylinder smaller, what we're going to use is the eSport, and that's

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actually a full scale.

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So you can say I can now scale this actually down.

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Now, the other thing is when you scale in something, you can scale it on the axis.

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So let's discuss the axis now.

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Now, the down axis here, which you can't actually see, but it should be blue and it normally comes

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from the top to the bottom is the actual Z axis you can turn on if you come over here and click on these

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two little interlocking balls and come off to where it says Axis and click the Z axis and you'll see

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now that actually appears.

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I'm just going to turn that off because I find it actually annoying when that's on that.

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But you can put yourself.

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Now you've got the Y axis, which is the green actually here on the x axis, which is the one running

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across it.

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So if we want to scale this on the x axis or we pressies s an X and then we can scale in like.

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So at the moment, no, I don't need to scale on these two axis.

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I need scale on the Z.

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So in essence that bring it down and just scale it like so and then I'm going to pull it down just to

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make it a little bit smaller.

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Now it's bringing the movement tall so you can bring this up and down like.

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So what you need to do is you need to shift spacebar and then you'll end up with something, a little

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menu that pops up and you can see it says, move here.

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So click that on.

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Nice to be able to bring that into place.

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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

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to bring it in again with scale.

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So let's bring it in and you can see that it's very, very slightly out.

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Now, I'm not going to worry too much about it, and it's actually perfectly centered.

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I'm just going to put in something which I think is kind of the center I'm going to bring in.

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This is actually the glass.

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This is what this is going to be.

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And the thing is round the outside of here is actually going to be wood.

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So the glass overlapping a little bit past.

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It doesn't really make a difference.

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I'm just going to line up.

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So it's a little bit better than where it was.

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I want to make it a little bit bigger as well, just to make sure we've got it all.

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And now the most important thing is what I need to make sure is that this glass is in the correct position.

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So I'm going to pull it up so that it's kind of in to the métier.

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So you can see my hummingbird is into the mesh.

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And then finally one considers decide when to grab the top of the head.

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So I'm going to grab the top.

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I went to pay and then you're going to end up with a little menu and you click selection.

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And while that's going to do is it's going to split this off from this bomb plot.

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So you can see this now is into pieces.

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And then I'm simply going to grab the bottom piece.

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I'm going to click delete and that's going to delete out the way, leaving me with just basically a

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flat plain, which is halfway into my actual hummingbird mesh.

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Now, the next thing I want to do is actually want to create the glass from this plane here.

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So the way I'm going to do that, I'm going to press control.

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I come down to where it says all transforms.

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And the reason we do that, as I'm pouring down the bottom right hand side is that so we can actually

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bring in a modifier.

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If you don't reset, it transforms.

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You'll find that you have many problems when you bring modifiers in or doing anything else.

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So always reset you transforms.

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And if anything is going wrong, the first thing to do, go into object mode.

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Press control like all transforms, right?

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So origin to geometry.

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And that normally fixes most issues that you'll come across.

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Now, we've done not.

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What we need to do is need to actually use this as an actual boolean.

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So this bird here, when it uses a boolean to make sure that we can split this glassell.

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So if you make sure that you click on your plane now, come over to little Sponer.

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This is the modifieds top.

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I want to add modifier.

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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,

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which will pop up here, you'll have these three little choices here.

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Make sure it's on difference.

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It should be.

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And then click on this little pipette, come over and just make sure you hovering over the actual bird

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or whatever you've created.

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Click on that and then something like this will happen.

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Now, it doesn't look like much has happened at the moment, but it actually has.

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So we need to actually apply this.

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And the way we do that is you can even come down, click on this arrow and click apply or you can hover

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over it and press control and actually apply.

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But now let's remove all bird.

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So just make sure I've got my booklets on their own press.

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They want to hide it out the way now to hide something you press hate to or need something you press

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on.

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Now we can see that this now is split up.

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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

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little islands now which are split or ready to bring in our glass, which is a really easy technique

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to actually do this.

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So now I've got this.

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What I want to do is I want to unwrap it ready to actually bring in my materials, which is the glass.

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So I want to do is I want to press a to grab everything.

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And then I'm going to go over to my movie editing top.

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So you'll notice from now the moment we've got all these tubs at the top.

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Let's go over to the.

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The edited and this is basically where you can unwrap your models and actually look at how you're going

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to apply the materials.

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So, again, down the bum around.

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So I'm going to explain what the UV mapping actually is.

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Now, if I make sure I'm on this path of EUPOL and I press you, and then you'll come down to where

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it says from now and then you'll unwrap all these little parts.

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Now, for this, we're not going to worry whereabouts they all on the movie map or anything like that,

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where I'm going worry our big deal because we're actually going to bring in an actual material that

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hasn't got any texture.

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In other words, it's kind of a procedural material created in Blender.

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So the actual UV mapping doesn't really make any difference apart from it.

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Make sure that the material goes on correctly.

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So now, before we bring in our material, what we need to do is we actually need to bring in a light

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source so we can see exactly what we're doing.

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So let's say out now.

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So what we do is we going to head over to the model on top and you'll end up with something like this.

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And you can see now you've got a nice plain viewport to actually work in.

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Let's press the top on to go back into object mode.

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Let's press all take to bring back our actual bed.

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And now I want to do is I want to rotate these so that face in the right way.

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So I'm going to grab them both.

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Now you can grab them both, either shift clicking them or you can actually be to get select and just

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select them all.

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So now I want to rotate them.

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And again, rotation is like scale so you can rotate freely or you can rotate on the axis.

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I always recommend you rotate on axis rotation freely like all like this means we go all over the place

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and that's something that we don't want.

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So we want to do is we want to rotate along the x axis or focus all X.

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And then also what you can do is you can import a number.

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So, for instance, we know this trend in 60 degrees in a circle.

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So if we rotate it by 90, so press nine zero on the number pad, enter, and then you're going to rotate

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it by 90 degrees.

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And there you go.

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You can see now it's facing the right way in the press.

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One on the number pad.

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I can say that I can now look straight on and that's exactly what I want.

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Now, let's bring in an actual light source.

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At the moment, we can't really see what this is going to look like.

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So let's come over to our little TV here and you'll notice that he says render engine.

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Even now, EV is going to actually have a look at what you're actually coming up with, how the scene

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is coming along, because what it does is actually renders in real time.

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And that's exactly what we want for just looking at all scene.

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Now, there are times when you do need to put it onto cycles over like this down arrow and I come to

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cycles, for instance.

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Now, you won't say anything happened yet.

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And the reason for that is because I haven't put it on the actual viewport shading yet, which I will

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do in a second.

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Now, Cycles is basically I find at least it actually produces better renders, but you can't really

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view things in real time that easily.

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So if I come now to our actual shader and I'll explain what these problems do.

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So at the moment we are in solid, which is this one.

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If we come to the left hand side, this is wireframe.

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So I click that on.

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You can see basically all of the mesh which was actually created.

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And then we come to the next one.

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This is materials.

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Now, you won't see anything on here at the moment because we haven't actually Applied Materials, but

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we will be using that one.

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And finally, if we bring in now the last one, it will be either on cycles or Celestis Prince epiphenomenal

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share what I mean.

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So when I click this on eBay and like LoDo, you can see now I can rotate round and you can see exactly

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what you're doing and it moves basically in real time.

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So it's rendering out in real time like you would do in an actual game or something like that in the

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Komova.

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And I put this on cycles.

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You'll see now it's very grainy and it takes a little bit of time to actually load up.

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Now, the more complex I've seen on cycles, when you're on the shader, it will take much, much longer.

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You can turn this down.

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We say it says viewport.

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And this basically is a number of samples that it's actually trying to sample.

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So if I put this on, one is going to be very, very grainy, but it is going to render out Narino straightaway.

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So I'm going to leave that on there.

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Thirty two.

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I'm just giving you that option just in case your computer is a bit slower than mine.

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So let's for now put this back on TV.

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I'm going to bring in an actual light source now.

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I want to bring in my light source in the center so I want to shift s cursor to world origin and then

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my guess then appears right in the center of the blender viewport.

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And I want to press a come down and you'll see one that saves lives.

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And the one we're going to bring in is the sun.

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So let's bring in the sun.

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And you'll notice already that we've actually got some kind of light appearing on this.

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Let's again press spaceball to bring in our move tool.

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And then what we're going to do is going to position also now the sun is an infinite light source.

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So it doesn't matter where you put it, the light will just travel and travel, unlike things.

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Spotlights will travel a certain amount of distance and then it'll start to actually fade away like

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a candle because you can't see a candle from 20 miles away or something like that.

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But the sun you can always actually see.

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So let's now play across.

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Let's pull it up and let's actually rotate it and give it some nice angle.

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So we will change this in the future.

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But we'll just do this amount less, press all X and let's just pull it with the mouse and rotates it

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round.

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And you'll see, as we did, that they start to get light up then and said, well, let's just turn

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it round.

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And you can see now that we've got a little bit of shadow where the sun is actually bouncing in this

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part, causing this to be an actual shadow.

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So you can see already it's looking much, much nicer now.

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We needed this up basically, so we can bring in our material and actually see what's going on as we're

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applying our materials.

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So that's it.

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And this one on the next lesson will start to apply all materials.

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And I hope you're really enjoying it so far.

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See you on the next one.

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Thanks a lot.

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Bye bye.