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

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Photoshop, and this is where we left off.

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Now we're going to work on Ortman Ordell next.

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But first of all, let's just take a quick look at our Qadim panel.

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So we go to Qadim.

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One thing I need to explain is the map.

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So if we come to the first map, I'm also going to pull a description down the bomb right inside it

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to say exactly what they do.

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So the first one you notice that we brought in is the base color.

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And this is what it says on the tin is basically the color of the wood, all the little grains and things

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like that.

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And then it plugs into the base color of the principal.

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Next one down is a metallic anomaly with metallic katiba is metallic or isn't metallic.

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There isn't really anything in between.

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So when you actually use metallic evaporate on one or zero, depending on if you want it to be metal

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on the next one down is rockiness.

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And this is basically, if you think of a window and you think of all the grime and things like that,

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it interacts with the light zila of light bouncing off the light obaidullah in certain places, and

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it will shine a lot clearer if the glass is clean, for instance.

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And that is basically what the roughness controls.

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Next one down we have the normal mop and the normal mop is basically all of these bombs that you see

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on here on this metal.

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It basically controls how much of a 3D lobet the actual texture will have.

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And you can actually bring that out so much that it actually looks kind of ridiculous in some ways.

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So you just need to be take your time and have a look and make sure that it's controlled correctly and

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make sure that it's just not set too high.

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Next one down is displacement and displacement basically is used for if you want to bring in some extra

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high or extra detail, there is something called tessellation, which you're welcome to look up and

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use in tessellation.

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You really, really expand how 3-D an actual texture looks.

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So it's basically similar to the normal map, except it's a lot more refined and it's only used in kind

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of specialized circumstances.

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OK, so with all that done, let's now head on back over to modeling and what we're going to do is we're

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going to bring in a cylinder.

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So first of all, though, let's put this right in the middle.

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So I'll want to do is I want to join this on this one menageries.

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And when I click the metal, click the glass, press control J and when to come over to my little triangle,

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because you notice now it's actually gone a bit funky.

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And that is because the ultra smooth has been turned off.

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And now finally, I'm going to join the glass with the world press in control.

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And you can see that it's gone like this again.

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What we need to do to actually fix this is just press control and then grab the Woodford's, then the

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glass, then press control, and now you'll notice it goes together really nicely.

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OK, so I'm happy with that.

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So I need to do now is put this in the center and that's going to make it much, much easier to actually

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work with.

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So less pressure s because it's Weld origin and then now we need to move this overpressure shift again

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and you'll notice you go in here.

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Same selection to click that on the night.

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You'll see it drops right in the middle.

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Now, I'm not sure about scaling at the moment.

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I think we should be OK keeping it at this scale.

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The one thing I do need to do, though, is actually bring you.

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So I'm going to bring you that.

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I'm going to move the cube behind it just so I've got a reference to actually see behind.

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And that would be handy up until near the end.

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I'm going to move a little bit closer as well.

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OK, so now let's bring in the actual dollar, Freeman, So are we going to do is bring in a primitive

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so shift a mash, come up to, say, a cylinder, and this time we are going to keep this on 32.

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I recommend doing that.

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And the reason is because I've looked and saw how we can split this door up into wooden panels and 32

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seems to fit it very well.

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So now let's spin it round with all an X and 90.

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So it's based in the correct way.

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And then let's bring it all.

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And back and basically, you've got to imagine that this is the door and how is this piece of glass

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stained glass going to fit within our door?

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And you can see at the moment this is way, way too big.

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So we need to bring our Daubert.

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Pull it back and now just visualize, I'm going to pull it down a little bit like so how this is going

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to set within the actual door and I think I need to move them both up a little bit.

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So I want to press one.

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I want to bring them up.

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And the reason I'm going to do that is because I also need to think about where all these wooden panels

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are going to come down to.

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And I think somewhere around here should be absolutely fine.

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So somewhere like here.

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Now, once you're happy with it and you're happy with the size, you can imagine the wooden panels going

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down here.

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And then you've got the archway as a reference that you can download with the calls, shows you you've

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got the kind of the rock arch going around here.

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You just make sure, like I say, they are happy with this.

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Now, next thing I want to do is I want to actually delete these faces on the back.

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So all you need to do in comes to the back face.

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Click on it, press control and plus on the number pad and then that will increase the selection.

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You can also press control a minus and that will decrease the selection.

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Now let's delete these.

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So we're going to press delete basis and that's going to get rid of all those.

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Next thing I want to do is I need to cut this away.

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So at the moment I don't want to fully round all because obviously it wouldn't open very well.

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You can have a fully round one if you want, but prefer actually to be a bottom on the doll as again,

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in the reference you'll also see here that you can see the mesh from the glass and from the actual doorframe.

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And I don't really want this just because I've got both of them selected.

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So let me just select the actual doll frame.

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I'm going to press one again just to make sure I'm happy with it.

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I want to press tab.

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I'm going to do now is going to delete this space.

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I want to press, delete and come down to only faces and now should be left with this.

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Now, let's refill, they said, but I want to refill it in a way that makes it so I can actually make

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the wooden panels, so I'm going to do that as I want to press olt shifting plate just to grab them

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all.

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And then when a minus assault the two on each side of the edges like so and then you're going to click

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right click and then come up to essay's bridge and this thing is going to bridge all the loose opposite

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each other.

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You actually need to leave a gap in between this side and this side to actually use bridgeheads loops

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where you can see now that we've actually got the panels for adults, all we need to do is just fill

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in these parts here.

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OK, so let's fill these in.

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So we'll come to this one first.

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No, we're going to do is just grab each of these edges and press the button, and that's just going

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to fill it in for us.

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Now, let's come to the other side and do exactly the same thing.

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So and there we go.

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All right.

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So this looks a good start toward the next one I want to do is I want to cut this piece across here

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on along this red line pretty much.

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And the reason is, as I say, I want this doll to actually have a bottom on it.

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So I'm going to do is when I press a I'm going to grab everything and come up to this mesh bone here,

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come down and you'll have one that says bicep.

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And what you need to do now is with the basic once you've actually clicked that on, is actually ready

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to go.

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So you won't be able to zoom round or anything like that until you've actually used it.

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So just make sure you're in the position that you want to be before you use it.

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Now, let's come in.

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I want to come to this red line.

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I'm going to drive across to the other side like so and you'll notice an actual capias.

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Next thing you want to do is come down to where this menu is.

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So just open this menu and you'll see here about this plane, Axis X, that should be this X is going

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across there.

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If I click on that, you'll see it's no point nought one zero.

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So I'm going to click on it and just set this to zero miles.

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That's going to do is it's going to level it up perfectly along the X axis.

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You can also pull it up now and actually make the call in a different place and I'll show you how we

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close it.

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So now we've got in the perfect place, all we do is we come down and leave it in the arena or play

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around.

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It's over like this one, though.

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You'll see that cuts it away in a really, really nice way.

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And the reason why we set this desire is to make sure it's perfectly flat.

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You can also play the outside if you wanted as well.

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So let's just play the inner light.

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So now once you've done that, just make sure you're happy with it.

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You can move around.

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Now, you've actually made the call.

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You can still move it up and down.

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I'm going to leave it like that.

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I'm pretty happy with that.

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So I'm going to do now is work on this actual stone arch that's going around here.

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So I'm going to do is I'm going to grab all of the sides going around.

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So want to press shift and click and then I'm going to come to this one per shift, click control click,

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come to this side shift, click, control, click.

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And then I'm going to do is I'm actually going to duplicate just this edge going around and that's going

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to give me them something to actually work with.

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So if I press shift and just press enter and then pull this out, you'll see that you've duplicated

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just this edge away from this actual wooden door.

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Now let's press page separates out.

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So pay selection.

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And then what we're going to do is going to press top and then click back on this edge here and now

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is completely separated out from the actual door.

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Next voluntaries.

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I just want to reset the orientation just in case I want to move this.

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So control all transforms, right.

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Click So origin to geometry.

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Now on the next one, what are we going to do?

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Is going to work on bringing this out, extruding out, and we're going to use some modifiers to actually

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make this the correct look that we're looking for.

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OK, everyone, once I hope you enjoyed that.

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And I'll say on the next one.

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Thanks a lot.

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Bye bye.