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Welcome back, everyone, to 3-D modeling The Hobbit doll scene with Blender two point nine and Adobe

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Photoshop, and this is where we left it all.

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So now we need to actually work on our glass.

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So we're going to do is I'm going to press the question mark just to bring in our Planum is not coming

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in.

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So I want to press all teach and then we go now brought and let's now work on our actual glass.

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So first of all, though, we know if we click on this now, we can't do anything with this until we've

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actually unwrapped it.

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Now, the other thing to take into account here is that these so if I click on this one, for instance,

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you can say if I come in actually and put it on, let's let's put it on there to select.

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Now, at the moment, you can see all these votes is going around here and each one of these bits is

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represents an edge.

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In other words, this actual whole panel is an angle.

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In other words, it's got more than three sides, which is a triangle, all four sides, which is a

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quote.

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Now, normally that is, but it's not actually good having meshes with more than four sides.

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The reason for that is if you take this into something like Unreal Engine or something like that, the

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light will not bounce off it correctly.

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So they're always actually to fix this very, very fast.

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That sometimes, however, as well, you might want to leave them like this, it keeps the polygon count

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low.

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If you just doing a scene out in Blundy should be fine.

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Sometimes the light will be messed around with a little bit and sometimes it works fine.

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Normally on something that's a flat plane like this, it should be absolutely fine.

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Now, the other thing is, of course, why are you keeping the polygon count low is if you've got a

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machine that doesn't work very well, a high polygon counts.

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In other words, the low end machine, a laptop, something like that, then you might not actually

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want to convert this into quotes.

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I think I will convert, though.

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Just switched on.

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Right.

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So the easy way to do this is to grab everything, hover over it.

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Right.

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Click make sure that your own face select right click.

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Come down and triangulate faces and then right click again and then we're going to do is tries to Quad's

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and you'll end up with something like this which looks a lot more messy bolts at the end.

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Now this is actually a much, much better match than all those angles.

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So now we've got that.

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What we need to do is we need to actually unwrap it.

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So again, over to you.

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The edits in a moment, it is going to click you unwrap them, wrap them all.

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Now, we did already unwrap those.

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Well, now we've just clean them up and now we're actually ready to actually bring in our class.

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Now, the thing is, if we go back to Qadim now, click on it pressed top.

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We can see that these displays.

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So if I grab one of them, press the button.

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You can see that can pick these individually.

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In other words, they're all individual islands.

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And that's exactly what we want for the next part of creating the materials, because I need them all

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islands so I can actually create the procedural material, which makes the glass a little bit of a shade

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different depending on which island they are.

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So that's exactly why we're doing that.

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OK, so let's create a stained glass material for our kind of sky and we want this a blue color.

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So let's come over again to our materials panel, click the plus and we're going to click new on a double

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click kit.

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I'm going to rename it to Stained Glass Blue like so.

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And then what I'm going to do is I'm going to come now to my shaitan panel here.

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And I said that this was a super note, this principle.

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But on this occasion, we're going to simply click on it and click Billy and it will go black.

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But don't worry about that.

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All right.

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So let's build this next material.

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So the first thing is we're going to need a geometry mode node to tell Blendr where each of these islands

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are.

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So the only thing is at the moment, as you can say, this is actual black.

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So what we'll do is we'll come over here, ship A and I'm going to do a search and in geometry.

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So ghetto geometry and there is our geometry note.

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Next, I'm going to bring in a actual color.

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Um, so shift a search color, come around to color like.

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So next I'm going to bring in a U.N. saturation.

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And the reason I'm bringing that in is because then it will give us an ability to kind of saturate the

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colors out if they're a little bit too bright.

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So hover over here.

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Should a search you and saturation bring that in.

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Next, we want to bring in the actual shader.

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So what type of shader is it?

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Well, of course it's going to be class, so let's bring that in.

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So shift A and you'll notice you can come down and actually be an option.

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And that's a shaders.

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And you can see all these different types of shaders I recommend actually playing around with.

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These are pretty fun to actually learn what they are lore, but the one we want is the Glass BSD.

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So let's bring that in now.

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Let's join these Zolo.

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So we said random Ilhan.

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Let's put that in that.

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Let's then plug in the color.

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The color of the U.N. saturation less plump, the color from that into the glass.

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And finally, let's plug in the glass to the surface of the material output.

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And this is what'll happen at the moment.

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And the reason is because we haven't really got any colors in here at the moment.

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Now, the other thing is we need to put this onto our cycles shader viewport, shading, because I've

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noticed that there's a little bogon blender and any you can't really see what this is actually doing.

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In other words, the random island doesn't work anymore.

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So if I come down and put this on cycles and you can see now that we've got all these different shades

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of colors based on the island, you see this one is much darker and this one and it's all done automatically.

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And that is exactly what we want.

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Now, if I put this on eBay, you'll see it's all black and that is what I'm talking about.

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So let's put it on cycles just so we can see what we're doing.

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And again, if you want to turn this down to something like 10, it's going to make it much easier to

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kind of turn around and see what you do.

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And I'm going to have my thanks to my computer.

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Should be able to handle that.

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If you're struggling, just put this down a little bit next.

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Now, we need to actually make this look like stained glass.

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So let's do that now.

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So, again, we'll bring in a kind of noice texture and we're going to bring in a mass grave.

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So M.O.s.

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Most great texture, and we need a node to plug it into the displacement, another way to displace all

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of this glass and you can say at the moment it's going a bit funky.

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So let's bring in a displacement.

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So shift a search, displacement.

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Bring it in.

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And now let's plug the displacement in.

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And that's plug the mosque right into the height of the displacement.

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OK, so something like that in a moment.

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It's going a very, very funky like I said, let's just see if I can get let's go.

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Right.

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So I'm just going to put it back on.

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There we go.

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Now it's looking much better.

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I don't know why it went like that.

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And you can see the most scrape on here is starting to act on this actual glass.

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So now let's come in and turn the scale of the mosque table to two hundred and twenty five like so.

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And now you can see we're actually starting to get something.

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You can really see that it's actually starting to really look like stained glass.

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And you'll see this more as we bring in a color.

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So let's have a look what else we need to change.

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The only thing I would say is turn down the luck.

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I can't even read one that says, well, turn this down to one.

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And that should bring it out a little bit more.

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Now, let's mess around with this color.

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So we said we needed a blue.

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So let's say, first of all, come up to where it says be and what we're going to do.

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We're going to put that on HSV and we're going to put this on this.

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Just make sure this somnia and now find the let's change this color.

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So we're going to grab this one here.

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So click on this little arrow here.

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Click on the color bar here and let's bring that up and we're going to put it on blue.

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And now you'll see that we already have something happening.

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Now, the thing is, it's going from blue to purple to white, and we don't really want that.

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So let's change this color as well to probably a darker blue or something like that.

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So let's bring it down a little bit different.

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Something like that, and you can see now we've got a lot of different variations of the actual blue,

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and that is exactly what was the one thing I would say is I think.

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I want this.

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Probably.

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Yeah, I'm just looking at what kind of Sky-Blue actually wants it, so maybe that and then let's turn

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this one a look.

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And don't forget, we can saturate this out.

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So I'm going to actually put it on.

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On not there, the now and then I'm going to do is I'm just going to come to my saturation and just

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have a look how much I want to saturate the South.

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And as well, when we actually run this out, we might actually, again, have to mess around with this

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just to get it how we want it.

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I'm also going to send this value down just a little bit just to make it more obvious what the variance

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is.

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And then apart from that, everything should be fine on there.

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Now, let's turn up the roughness of the actual glass to nought point two, seven five.

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And then the Iowa should stay on one point four five, one point four five oh is basically what it should

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be on to make this actually look like glass, in other words, to make it see through and things like

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that.

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OK, so the only thing left to do now is to actually come over and make sure that we've got this on

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screen space reflexion.

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So I can say, OK, so let's put this on TV for one second.

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We'll come down.

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That's where you say screen space reflection, turn on, open this up, refraction of frustration.

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And then finally now let's come to our material and you'll see when you click on the table, you come

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down.

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You've got an option here that says screen space reflection.

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And let's turn that on.

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And now I want to do is I want to actually bring in something to put the idea to make sure that this

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glass is actually see through.

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So the way I'm going to do this, I'm just going to zoom out a little minute.

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I'm going to bring in a cube.

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So shift I bring in a cube, make it smaller, seven on the number pad, shift space to bring in my

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move tool.

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And let's now move it back like so.

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And now I'm looking to see if I can actually see this cube.

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Another moment.

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As you can see, I can't see this cube.

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So let's actually work on actually seeing this.

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So the mid level of our displacement, let's turn up to 18 like so and let's turn the scale down to

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near enough.

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Quite far down and now you can say, let's turn this down, look all the way, you can see that we can

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see through the glass.

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So we want this very, very low.

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So no point, no one like so.

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And now you can see through the actual glass, but not enough to really see the cube.

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And that is exactly what we wanted.

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So now let's come over again to our little computer box in the back on cycles.

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And there you go.

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That is the actual look we're actually looking for.

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So there we go.

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That is our first material actually sets up.

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And of course, what we're going to do now is we're going to had a few more materials and I'm going

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to make easy that we're all actually going to copy them just to finish this actual glassell.

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So I hope you enjoyed that.

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And I hope you were learning a lot and I hope to see on the next one.

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Thanks lot, everyone.

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Abbi.