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

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Photoshop, and this is where we left off.

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So what we want to do is want to make this a little bit more, I don't know, elemental, something

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like that.

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So the first thing I think I'll do is I'll think I'll grab all the edges, I'll press one on the of

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S and I'll just bring that out a bit just to bring it out a bit more of a relief on that thing.

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That's actually not quite enough.

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Let's bring out a little bit more something like nothing that looks much, much nicer.

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And now once more relief as well in here.

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So the way I'm going to do that is I want to press one on the no pop and I'm going to use something

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called Edge Loops.

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On the way we do that is we just hover over one of these edges.

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So if I press control to bring in and actually you can say because I'm hovering over this point here

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on the edge loop is going round here.

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If I hover over here, you'll see now that we've got the loop going round and this is the way we want

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it now to bring in more engineers.

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You just use a scroll bar and you can see now you can bring in more or less edge loops.

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And the other thing is just to bear in mind, once I've press the left, click on the mouse, it will

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actually bring them in and now you're free to actually put the blame on them.

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So I'll think I'm going to bring them in roundabout here or something like that.

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And then the next thing I want to do is I want to bring this actual Edgerly possibly a little bit closer.

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So what I'm going to do is I want to grab this one.

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So shifting gears a bit, I don't want to scale it now because if we come up to these interlocking links,

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we can scale on individual origins or medium point.

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Now, by default, it should be on medium point, which means that when I process it should, as you

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can see, scale it to the centre.

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And that's exactly what we want.

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So just make sure that you're on medium point, then you're just going to scale in very, very slightly

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like so.

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And now we're going to do is going to actually bring this in just to make it look a little bit nicer

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than where it does right now.

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So I'm going to grab an engineer year old shift and click face in this direction.

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So it goes from here.

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And then Warminster is going to press E and I'm going to pull it back like so.

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And you can see they've got that really nice kind of ornament feel to this piece of wood or it's going

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to be a piece of wood.

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And now once there is actually one to Bevell, these parts off.

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So I'm going to do it.

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I'm going to come in and when to grab this edge, this edge, this edge, this edge without shifting

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click.

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I'm also going to grab the inner edge here.

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And I'm thinking probably this edge here as well.

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And then we're is going to press control.

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B, we're going to pull them back, Bevell them off like so.

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And I can say, look, I'm really, really nice.

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Now, the one thing we can say that a lot of lumpiness around here and we don't really want that.

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So there's will right.

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Click shapes, move.

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Also move on.

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And now you can see it's looking really nice and it's got the right smoothness that, OK, so now what

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we need to do is we need to actually sort out bring in the building and making sure that it goes on

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to this object correctly.

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So there is will press the top, won't go into any mode.

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I'm going to think where you want the world to come up to.

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So I think somewhere around here for this edge here and then the wood can pretty much go to this edge,

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another piece of texture in this bit and so on and so on.

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And I explain why.

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I mean, I was actually going along.

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So let's come in.

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And what we're going to do is shifting click and get a seam here.

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So right.

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Click on Markstein and then I'm going to come in to the edge here.

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So shifting click right click scene.

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And well, this is going to do is he's going to break that texture because if we try a printed text

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straight on here, it's going to really, really be stretched.

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The other thing is, do I really need the back part of this?

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This is going to be going into the actual wooden door.

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So probably not.

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So let's actually get rid of that.

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And that will make our life a little bit easier.

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So shifting click, delete and let's come down and delete faces and now leave us then with that backspace

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gone.

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Now let's come back to Ed Select.

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Come in.

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OK, shift and click.

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Let's go to this Parkhill.

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He'll shift and click on this old shift.

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Click right click.

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Moxham All right, so we've got this marked out so far.

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Let's now bring in a material.

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So come over to your materials panel, which is this one here.

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Click the button and we bring in something called wood.

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So let's use wood.

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Pretty much pull the same thing on all of the pulse of wood.

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So we've only got one type of wood.

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So let's just call it what we don't need to call it anything else.

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And then what we'll do is now we'll bring in all texture maps.

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So what we'll do is we'll head on over to our shading.

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And then what we'll do is we'll zoom out a little bit.

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And you can see here we've got all principle then as we spoke about now to bring in the texture maps

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because we've built the node wrangler Adam in.

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All we need to do is just click on the principle and press control, ship them, see, and that will

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then will open up our file and now we need to do is find the texture's.

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So go to your resource pack and find the that says texture's, which is this one here.

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Double click it.

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And now you'll see you've got one that's called wood single.

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Let's double click it.

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And then what we're going to do is going to grab the top one shifts like the bottom one and click principled

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text sets up and that is going to bring in our world.

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And there we go.

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Now, there is one problem.

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As you can see, we haven't done this yet.

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And he looks just a mess at the moment.

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So we need to it and we need to make sure that this war is going on properly so that it looks nice and

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clean.

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So what we need to do is now let's go over to you editing.

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Let's put this on material and now let's have a look if we don't rob this highway on ramps.

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So I'm going to grab it all with a I want to press you on Rob.

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And if I can it now, you'll see a press tab top.

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It still looks a mess.

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And the reason is, again, because we're fighting with the wood here and we're having infinite loops

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and we don't really want that.

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So what we'll do is we'll come to the bottom.

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I'm going to look so I want to press one.

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And on the part, I want to press out shift and click.

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And that then should create a loop selection all the way along here.

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Let's right click Markstein.

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And now when he unwrap it, we won't have that problem.

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So if I click you from rap and you can see now about this is much, much nicer on the sides here, albeit

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you can see that the front still doesn't look that nice.

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I don't actually like it looking like that.

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So we're going to sort out next.

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Now, the edges, though, are nice, except that they're probably a little bit blurred, as you can

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say, and we don't want that.

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Even so, we'll soldo in a minute as well.

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So now let's come in with you select.

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And what are we going to use is the island's selection, because if we select him face, like the only

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select up to the seams.

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So let's grab this one here right next to the same.

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Let's press out press.

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You come down to where it says, like my pop click on click, OK, you'll end up with something like

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this, which is a bit all over the place.

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Press you again.

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And now we're going to follow active quads, leave the length, the average click, OK, press tab.

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And now you're going to see that this now looks really nice if we turn it round.

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So let's come over to the movie Viewport Press a all ninety spinning around and now you can see that

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that is looking much, much nicer, as you can see in comparison to these parts here.

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So now let's do the same with the other parts.

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You can also see that the join, although there is a joint there, it's very hard to notice because

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we have it on the bottom.

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So it is harder to see.

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Now, let's do the other two.

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You can't do them all together, unfortunately, with the light my way of doing this.

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So you have to actually do them individually.

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So let's command let's grab this one.

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And because it's full of active quads, it always needs to start with the actual Seimas.

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So let's grab this one.

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L you why my pack.

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OK, you follow it.

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Quads.

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OK, there we go.

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So look at that one and I think about this one.

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Let's have a look at we spinning around.

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So on ninety, let's spin it round and you can see that it's very, very stretched on this one.

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So let's pull it in.

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So why bring it in.

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Let's have a look.

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

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Now, let's do this one as well.

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Grab this one.

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And I must say that over on the UVA panel, it's the same thing.

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So rotation is all scaling is as if you actually want to move something.

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So let's say I want to move this one.

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For instance, I can grab it with L and I can press G, which is basically free movement.

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So just say free movement in object mode, in edit mode on any of these other come over here as well.

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And a press g you can see I can actually free movement.

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All right, so let's now do this bit.

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So now you like my pack.

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OK, you follow active quads.

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OK, let's press top and have a little that looks like.

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All right so that's looking really nice.

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Let's see how big that is as well.

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I think I need to turn this around.

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So eight or nine, let's spin it round top.

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Yeah.

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And there we go.

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Now let's grab the whole thing and see if we can make it a little bit nicer.

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So I'm going to press top a grab them, OK?

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I'm going to press a UVA and we're going to tack islands.

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And let's have a little that looks like you can see the going the wrong way round.

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The reason for that is if I press control, Zeda will show you something else.

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So before we Parkland's, if we come up UVA Parkland's, you'll notice that you've got a little menu

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down here.

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Now within here you have one that says rotate.

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If we like this off, it means it will keep the rotation of what we've already set up and they only

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pop the island.

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So the islands exactly the same rotation as what you actually set the.

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So that's very, very useful.

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Now let's stop and have a look.

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We're looking at and we can see that the world's looking slightly bird, so let's see if we bring them

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out, if it's looking any better.

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And I think it's looking, yeah, we might have to do them individually.

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So let's look at this one.

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We'll just grab this one first and we will let's have a look.

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If we spin that round, bring it into place, and then let's make it let's make it a little bit smaller.

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Might need to be a bit bigger somewhere else.

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I'm just going to mess around with it and see if I can make a bit then.

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And I think the problem is that on this one, it's actually stretched out.

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So I'm in the process.

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And why shrink it in a little bit?

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And now you can see it's really starting to look much, much better.

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So I'm just going to actually clean this up a little bit.

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Doesn't matter too much about the inside ones, although you can clean those up as well.

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So let's scrub this one as well.

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Let's actually try and clean it up so all nine to spin it round.

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So we'll look and let's make it a little bit thinner.

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So that's why.

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And they can go now.

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You can see it looks much, much nicer.

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And now let's do the same thing for this one.

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So is it because it's too small or too big of a look?

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Let's squeeze it in and let's have a look.

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And there you go.

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That looks much, much nicer.

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I think we just need to do this one on the inside now.

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So X some.

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Why squeeze it in and there we go.

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All right.

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So I think I'm really happy with that.

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Let's go back to modeling now, and that's double tap the eye.

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And now let's look at it with our actual cycles.

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Render LoDo and just make sure that you are actually happy with it.

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Now, in the later lessons, you're going to learn how to actually make this would be the darker or

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lighter.

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So don't worry if you're not quite happy with the shade of what it actually is.

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OK, everyone, so I hope you enjoyed that.

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And I'll see you in the next one.

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Thanks a lot.

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Bye bye.