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Welcome back, everyone, to 3D Modeling Obaidullah scene with Blend two point nine and Adobe Photoshop.

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Now this is where we left off.

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So what I want to do now is I want to go into any so I have the selected press, the tabloid press aide

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to grab everything and then press E and what are you going to do is you want to pull it out along the

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Y axis.

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So press the button straight up, then you're going to pull it out like so.

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And now what I can do is I can actually grab it all without I want to pull it back into place and then

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I get a good idea of actually what it's going to look like.

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So now we need to actually give this some depth is just a 2D cylinder at the moment, and that's not

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very useful for what we need.

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So what we'll do is we'll press a top.

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Again, we'll reset the transformation's, so control all transforms, right, Plake origin to geometry.

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OK, so now let's come over to modify stop this little Sponer again, add, modify it.

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And this time we're going to bring in a solidify and now they solidify based on what it does is if I

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pull this to the right hand side or the left hand side, you can say I can pull it out and it pulls

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it out really, really even along here.

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Now you could have extruded out, but I find that doing it with a solidified just makes it that much

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better.

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So now if I click on even thickness, always be aware I was trying to turn this on because it basically

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means that I'll be even going all the way around here.

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Now let's stop and you'll see that you can't really actually do anything with this mesh.

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And the reason is we have to actually apply.

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This should just make sure if you press one, that you're actually happy with the thickness of this

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actual arch.

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I might want a little bit tired, just a little bit thicker, something like that.

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I think that looks really rather nice.

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All right.

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So to apply this again, can you click this down arrow all press control a and then we'll just apply

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that next one I want to do is want to think about before we do anything, bringing in some seams just

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to make sure it's going to make it easy for us when we actually split this up.

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So what we'll do is we'll come over to like I'm going to come round to the back of shifting plate from

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the grab all these edges here.

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I'm going to write plate come down Monkseaton.

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Right now we need to split these up.

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So I'm going to know he's going to come to face select.

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And what they need to do is now to split these up, as I need to think how big each one of these blocks

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is going to be.

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So one considers I'm going to grab these two at the bottom and then I'm going to miss one.

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And then I'm going to grab to miss one.

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Grab to miss one, grab two.

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And that should leave me then two at the top.

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And then I want to just follow it back round.

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So grab on to someone like so and then I should end up exactly the same as what I did this side.

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Now you can split this person, the people, but there is another way as well.

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What you need to press is the WidePoint.

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So press Y and then press G, and that will give you free movement.

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And you can see that you've actually split them all when to split them up with the WIBLE.

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And I always press the G just to make sure they split and then I move them round with the mouse and

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then just click right.

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Click on the mouse just to drop them back in place.

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And now and now they're all ready to go next.

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Now we need to bring these in a little just so we can put some faces on the inside of each of these.

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Because if I bring this out, you can see, for instance, that they've got gaps in each one of these.

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So let's do that now.

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Now, to put this back, let's just press control Z and now we're going to do is grab everything.

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So I'm going to press A I'm going to come up to my little interlocking links here on individual origins.

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And now when I press the Essbaum to scale, you will see that each of these individual one scales independently

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of a press.

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S bring them in and there you go.

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Now you can see exactly what you do.

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So the next thing I want to do is I need to put faces on each of these.

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So long today is going to come up to eight states, mesh come down to where it says clean up, go across.

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And we've got one that says fill holes.

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So let's fill all those holes in.

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And that's a really quick way of doing that.

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Now, there are two faces of the bomb that we really don't need, which is this one and this one.

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Let's lead bases.

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And now I want to actually make a seam on each of these faces.

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So, again, this is a little bit tedious.

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Belongingness do is I'm going to just come in and grab all of these faces.

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On this side, first, just so I can then go back up the opposite way to make sure I've actually got

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them all.

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So let's keep going.

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All the way down to the bottom and now let's come the other way.

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And we need some of these systems, obviously, because if not, we will have infinite loops again.

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And we're doing it before we bevell them or anything like that, because it does make it a ton easier

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if you think of in advance where your teams are going to go.

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So there we go now to Mark seems in face like you can't press right, Plake there will be no option

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that for Mark seems so what you need to do is press control.

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And then you'll see Maxime's is here and there we go.

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All right.

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So now I want to do is first of all, I want to come in with schlepp because if I leave this on face,

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like and I try and grab one of these, so I press out, you'll see that I will leave these two behind.

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So I don't want to do that.

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So I want to do is I want to come in to actually grab this top one, press one, and then I'm going

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to press the ESSBAUM just to bring this one out on its own, a little bit like so just to give it some

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variance and a kind of keystone in the top middle of our actual door.

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Now I want to do is I want to bring these close to each other, but I might as well bring my material

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in first.

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So I'm going to do is I'm going to unwrap these.

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So I went to press a come over to you, the editing press the button, that is do me straight to where

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you need to be, press you on top.

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And there we go.

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We can see all of our blogs up.

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And now let's bring home and say, really?

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So we'll go over to Qadim.

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We'll come over to our materials panel, which is this one here.

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Press the button new and we'll put this Rock and Mosse like.

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So I want to press dot on the number pad just to zoom out a little bit and then I'm going to zoom out

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and I should have my principles here again.

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Now let's do what we did before and bring in our rock'em also control shift and say, fine, we Iraq

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and Mosul.

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So it shall be on the texture's and here we always are, rock.

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And then again, grab the top one shifts like the ball one click on the principal texture and there

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we go there all Brotton.

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Now you can see that we've got a lot of groups down here and the Stones are looking very, very sharp

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at the moment.

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Now let's say work on one thing at a time.

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So what we first of all, going to do is we're going to level these up.

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So I'm going to press control, like all transforms, right?

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Like the origins geometry.

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Come over to my little Sponer on the right hand side.

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I'd modify it.

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And this time we're going to come down to where it says Bevell.

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And you'll see now that go something like this, which is quite nice, the kind of a little bit beveled

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off too much.

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And I don't really want that, first of all, to tell my segments to to to make them nice and round

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for me.

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And then I'm going to turn this down and you'll see as I bring this down with, again, more or less

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rounded, depending on where this amount is.

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So what I need to do, though, is, first of all, I need to bring them closer together.

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So I've got a good idea of how round it off I need them.

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So let's press top let's press eight just to make sure you've grabbed everything.

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Make sure your interlocking links are on individual origins.

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Press one on the normal path so you can see where the gaps are and then press s and pull it out and

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you can use the born again to pull it out.

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Not so much or more, just slows it down a little bit, making it more refined.

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So I'm going to pull it out there.

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I'm going to press the top on, I'm going to double top the eight so I can see while I'm actually looking

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at and I can see that I've probably got still again, too much got down here.

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So again, I'm going to press the top there.

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I should already be selected.

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I'm going to press S and pull them out just a little bit more top again.

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And there you go.

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Now, the really, really nice and they look like me really, really well together.

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Now, the other thing we can do is we can actually just add something into this note set.

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So just to make it a little bit easier to really make this darker or lighter, depending on what we

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want from our scene.

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So let's come in, grab the material output shift, select the principal, pull them over to the right

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hand side and then hover over it.

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And what you going to press this shift?

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A search is going to become so GM and that then is going to enable you to bring in a gamma so slightly

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gamma and drop it now nothing will happen.

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But if you zoom in and turn this gamma up, you'll see now it can make it darker or lighter.

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And it's just a really easy way just to make it a little bit darker for what we need it when we actually

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do the render.

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This is a really easy way so it can mess around with this very easily and get the look that we're actually

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looking for.

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OK, everyone.

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So what we'll do now is on the next lesson will actually make a start on a wooden doll.

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And then finally we'll get on with the steps and then we'll do the hinges.

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So I hope you enjoyed the calls and I'll stay on the next one.

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Thanks a lot, everyone.

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Bye bye.