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Beginner Blender Tutorial (2026) — Transcript

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0:00So, this is Blender. It can do 3D
0:02modeling, texturing, lighting, shading,
0:06and rendering. And I'm going to show you
0:08how to do all of those things whilst you
0:10make your very own doughut. And I know
0:13this looks complex and challenging, but
0:16I promise you it is achievable for even
0:18a complete beginner that has never
0:20opened Blender such as yourself. And I
0:22know this because millions of beginners
0:24have already made their doughnut because
0:26this is the fifth version of this
0:28tutorial. I remake it for every major
0:30Blender release. This one for Blender
0:325.0. And speaking of which, if you have
0:35already made a donut from a previous
0:36version rather than make another one,
0:39I've actually just released a course
0:41designed for postdown beginners. So, if
0:44you're interested in that, you can click
0:45the link below. For everybody else, you
0:47need to download Blender. So, if you
0:49haven't already, click the link below.
0:51That'll take you to blender.org and then
0:53just hit the big download button. Now,
0:56if you're on Windows, that'll download
0:57an executable, which you should install.
0:59If you're on a Mac, it's an application
1:01you drag to your applications folder.
1:03And also, if you're at school or you're
1:05on a work computer that won't let you
1:07install anything, you can still use
1:09Blender. If you download the portable
1:12zip version of Blender, then just unzip
1:14it. You can run Blender from the folder.
1:17Pretty cool. Anyway, however you got
1:19Blender, open it, and you should see
1:22this. Then just click anywhere off the
1:24splash screen to close it. And you're in
1:26Blender. Hey, welcome. So this big
1:30section, this big gray area here, this
1:32is your 3D viewport. And it's where
1:34you'll spend probably 98% of your time
1:39because it's the it's the 3D world.
1:40Whether you're making a character,
1:42you're building an environment, it all
1:44happens right here. Um, so the first
1:46thing you need to learn is how to move
1:48around in this space. And you can orbit
1:51by middle mouse pushing. So your scroll
1:54wheel, if you just push it in until it
1:56clicks, that's your middle mouse button.
1:58And then if you just drag that around,
2:00you can orbit. If you don't have a
2:01middle mouse button, a lot of people
2:03don't. They're on like a laptop with a
2:04trackpad or something. You guys will
2:06struggle. It's definitely easier if you
2:08have a mouse. Uh but in a pinch, top
2:11right hand corner, you just mouse over
2:12this little circle and then just click
2:14and drag on that. Um that'll do the same
2:16thing. Or the third alternative way to
2:19do it, edit preferences and then
2:21underneath input emulate threeb button
2:24mouse and then if you hold down alt and
2:26then leftclick drag um that will do the
2:28same thing. I don't want that. By the
2:31way, whilst I am here, a value that you
2:33will want to change if you're on a 4K
2:35monitor, you will probably have noticed
2:37that like Blender looks like this where
2:39like everything is really super tiny and
2:41you have to squint to see it. So,
2:43underneath interface, I change my
2:44resolution scale to at least a 1.5. Um,
2:48usually like 1.8. Um, but for tutorials,
2:51I go even higher so you can really see
2:52everything. But it's obviously much
2:54easier to use when you can see things
2:56clearly. Okay, so middle mouse drag,
2:58that's how you orbit around. You can see
3:00we're focusing on our cube at the
3:03moment, though. So, how do we move to
3:04somewhere else? You do that by shift
3:07middle mouse drag, and that will pan you
3:10somewhere else. You can also over here
3:13on the the side there, click that little
3:15hand. That will do the same thing. But
3:17yeah, shift middle mouse drag or middle
3:19mouse drag to orbit. And what about
3:22zoom? You can probably guess, you might
3:23have already done it by mistake, but
3:25just zooming by scrolling in and out on
3:28your wheel. Or again, you can go to the
3:30little magnifying glass there. Just
3:31click on that and do that. Or
3:33alternatively, control middle mouse and
3:36then that will also move you in as well.
3:38So, I've thrown a lot of keyboard
3:40shortcuts at you already. Middle mouse
3:41for this, shift, middle mouse to pan,
3:44um, scroll. If you don't want to have to
3:46remember all the hotkeys, cuz I'm going
3:47to throw a lot more at you. If you don't
3:50want to have to write them down
3:51yourself, I have done it for you. So, I
3:53put together a Google doc with all of
3:56the most common hotkeys and short key
3:58shortcuts that you might need to use.
4:00Um, and it's free. So, just click the
4:02link below and you can um, print it out.
4:04You can stick it on your wall. Um, a lot
4:05of people do that and it's u big time
4:07saver. Okay, now it's really common to
4:10like get lost like one way is to like
4:11end up upside down like this and then
4:14you're like which way is up? How do I
4:16you know if you just over here these
4:18little um these little this gizmo thing
4:21these these colored circle things with
4:25lines those are your axes. So if you
4:27just click on one of those that'll
4:28reorient yourself. So the zed, that's
4:30the top axis and then you just you're
4:33back, right? You know which way is up
4:35because it's it's it's that way, right?
4:36Which way that one is pointing. Another
4:38way, like if you got like really off
4:39into the weeds, like you were over here,
4:41and then you're like, how do I how do I
4:43get back to where I was? Um, if you've
4:45got an object selected and you just want
4:47to focus on like just fly to it. Um, and
4:50this is a really common hotkey. You use
4:53it all the time. Uh, it's numpad period,
4:57and that'll just fly you to that. If you
4:59don't have a numpad, like even a lot of
5:01keyboards today, they don't sell them
5:02with numpads anymore, I guess, cuz
5:05people aren't accountants. They don't
5:06need to quickly type in numbers. But I
5:09love them cuz it's really useful for
5:11Blender. Um, if you don't have one,
5:13[laughter] um, you can also use the
5:16tilda key, which is that little key
5:18underneath your escape key. So, if you
5:20hold that down and then just drag over
5:22where it says view selected and then
5:24release, that'll do the exact same
5:26thing. So, that is how you can quickly
5:28change focus to the selected object. Um,
5:32and yeah, as I said, you do this all the
5:35time. Um, but yeah, I'm going to be
5:37using numpad period from now on. Okay,
5:40so we're making a donut. We do not need
5:42our cube here. So, let's delete it. You
5:44can just hit delete on your keyboard.
5:46Um, or what I like to do is hit X, which
5:49is the alternative way. And, um, it's
5:51just easier cuz my finger is like right
5:53there. I know it's another hotkey to
5:54remember, but you delete stuff a lot as
5:56well, and it's helpful to not have to
5:58find that key. So, X, and then delete.
6:01And now I want to add a new object. And
6:03I can do that by going to add at the top
6:05of the screen there. Or alternatively,
6:07the hotkey, another one to throw at you,
6:09shift A, and that'll just put it
6:11wherever your cursor is. And it's the
6:13exact same list. But this list here is,
6:16I mean, it's extensive. There's stuff in
6:18here that I have never used in my 21
6:20years of using Blender. speaker. Never
6:23ever used it. Don't know what it's for.
6:25Um, most of the time what you're looking
6:27for is underneath mesh. So, these are
6:29your primitive mesh objects. And
6:32generally, when you're making something,
6:34you pick one of these that most
6:36resembles or is closest to what it is
6:38you're making. Like, if you're making a
6:39mailbox, you might start with a cube.
6:41You're making a a lamp post, you might
6:43start with a cylinder. We're starting.
6:46Well, we're trying to make a donut. So,
6:48we need to start with a Taurus, which is
6:51basically a donut. Look at that. So,
6:54that's cool. It's a wimpy looking donut
6:57though, right? It's a very, very flimsy.
6:59We want to make it look uh more thicker,
7:02right? So, in the bottom left hand
7:04corner, there's a little box that says
7:06add Taurus. And this has additional
7:08options for us. Now, if you accidentally
7:11clicked off after you added the Taurus,
7:14that box is gone. Um, you can
7:16momentarily bring it back by hitting F9,
7:19but that's only if you haven't changed
7:20something. So, essentially, yeah, it
7:23it's called the last used function in
7:25Blender. So, immediately after you do an
7:27action in Blender, sometimes you see in
7:29the bottom lefthand corner additional
7:31options which you can tweak and change
7:33things if you need. So, if you don't see
7:35it, it just means you've done something
7:36else and it's gone. Um, but yeah, you
7:38can bring it back uh momentarily by
7:40hitting F9 sometimes, but I usually just
7:42like redo it. Um, anyways, so first
7:45thing I want to change is uh the size of
7:47this thing. So, it is 1 m, which is like
7:503 ft for the Americans. It's a big
7:52donut. Um, probably shouldn't be that
7:53big. It should be about 10% of that. So,
7:560.1, which is 10 cm, roughly about that.
7:59And then if I zoom in by scrolling
8:01forward, I just need to change my minor
8:04radius until it looks somewhat like a
8:07donut. So I want to just uh orbit up
8:11right and around. So I'm just middle
8:12mouse moving so I can see the inside.
8:14Then I'll just scroll in like so until
8:18Yeah. And I'm just going to change this
8:20value until it looks like uh like a
8:22donut. Now you can see as I move this
8:24like it's going really quick and I can't
8:26get it on the right value. So, when
8:28you're clicking and dragging on a value
8:30in Blender, if you hold down shift, that
8:32will use smaller increments. Um, and
8:35that's another one you use all the time.
8:36Um, because it's, uh, yeah, sometimes
8:39you need small values and it's helpful
8:40to get smaller increments like that. So,
8:43that's pretty good. I might go with
8:45that. Yeah, about a 057.
8:50Okay. And then the other thing you can
8:52change here is like the resolution of
8:55the donut. Um, you know, you can go like
8:57really PlayStation one graphics maybe.
9:00Um, I'm going to keep it at 48, but I'm
9:04going to increase the other one to about
9:08Yeah, let's go 18 like that. Um,
9:1216, 18. Yeah, we'll go 18. Um, and
9:15that's just a little bit more
9:16resolution, and it's just going to help
9:18us a little bit later on when we start
9:19to shape um the donut. Okay. But once
9:22I've got that, I can just click off. And
9:24now those options are gone. We've
9:25committed. That's it. That is the
9:27starting point of our donut. Now, the
9:30next thing you're probably wondering is
9:32it still kind of looks like PlayStation
9:34One graphics, Andrew. Um, and that's
9:36because it has flat shading. So,
9:39basically, there's two states for a
9:41mesh. Um, there's smooth shading or
9:43there is flat shading, and it defaults
9:44to flat. If you want to change it to
9:46smooth, you just rightclick the object
9:48and then go shade smooth like that. And
9:51there we go. It's fixed. So it basically
9:53shades smooth without getting too
9:54technical. Anytime there is like two
9:56faces, it just kind of smooths out that
9:58point like fakery. So it's not actually
10:02adding any additional computation times
10:04which is important. Um but it's
10:06appearing to the eye to be smooth. Okay.
10:09So um in previous doughnut versions we
10:13would uh start making the icing. And
10:15although that's fun to make like
10:17dribbling icing, um it can be a little
10:19complicated. a lot of users uh ran into
10:22their first uh roadblocks at that that
10:24time. So instead, we're going to do
10:26something a little bit easier to start
10:27with um and more practical, and that's
10:29to make a coffee mug. So, we need to add
10:33in a new object, which if you can
10:35remember from before, it's the add menu
10:37at the top there, or the hotkey as I
10:39like to use, shift A. And then
10:41underneath mesh, you're looking for
10:42something that most resembles the object
10:44you're trying to create. No prizes for
10:46guessing, the cylinder. Okay. So, it
10:49comes in very very big. It's uh
10:51completely engulfing our donut. So,
10:53again, in the bottom lefthand corner. Uh
10:56click that little add cylinder. And then
10:57I'm going to change the radius first of
10:59all just to bring this back. You can
11:01like do this after the fact like resize
11:03something. Um but it just helps to, you
11:05know, at this point see it all together.
11:07Um I think I'm going to make it around
11:10holding down shift and just kind of drag
11:12it back and forth. Yeah, about.13
11:15or exactly.13.
11:17Uh and then the depth. This is just the
11:18height of it. And again, you can change
11:20this later on, but just want to see it
11:22roughly the right size. The big one
11:24that's important is the vertices. And
11:26we're actually going to make this look
11:28more low res. Now, why would we make it
11:31look more low res? Um cuz now it's
11:33obviously very jagged. The reason for
11:36this is that very soon we're going to be
11:38adding in something called a subsurf
11:39modifier, which adds over the top of our
11:42existing mesh. it adds more geometry
11:45like it doubles the geometry and it kind
11:47of smooths it out. So actually if you
11:49start too high like this then you're
11:51adding like doubling that geometry and
11:53doubling it again and then you can
11:55quickly end up with something that's too
11:57computationally heavy. So when you're
11:59working and you know you're going to be
12:01doing something subdiv sometimes it
12:02helps to start like chunkier low res. Um
12:06anyway just just trust me and set it to
12:09uh 14 like that. Okay great. So, we've
12:13got another object and they are
12:15completely overlapping. So, how do we
12:17separate things? Um, some of you might
12:19already know this. You can guess right
12:21left hand side there, there's a tool
12:23that looks like it would be able to move
12:25something. It's the move tool. So, this
12:27is one way to move things. You activate
12:30that and you get this little gizmo. And
12:32look, I can move it and I can separate
12:33them. Um, so this is moving things along
12:36the axes. Um, you can also uh just drag
12:40on that uh click and drag on that little
12:42white circle there. And then that's like
12:43freehand uh drag around. I will say most
12:47Blender users don't actually use and
12:50move things this way because it's a lot
12:52of effort every time you want to move
12:53something to like go to the sidebar,
12:55activate the tool, you know, click it,
12:58move it. It's like most people don't do
13:00that. Instead, they remember the hotkey
13:01and the hotkey to move in Blender. And
13:04you'll be using this a lot. So again,
13:05this is on my keyboard shortcut. Um,
13:08it's it's all in there. But the hotkey
13:09is G. G for grab. Now, you will notice
13:14very quickly that when you tap G, the
13:17moment you tap it, you are already in
13:19the move state. So, it's now attached to
13:22my cursor even though I didn't click.
13:24Okay. So, and here's the other thing. My
13:26cursor could be on the other side of the
13:28screen. Doesn't have to be anywhere near
13:30the object. And then the moment you tap
13:32G, it's now anchored to that cursor. Um,
13:36and even more I I think it's cool when
13:38you go to the other side of the screen,
13:40it actually your cursor appears on the
13:42other side. So it's just like an
13:43infinitely repeating um thing there.
13:45[clears throat] But at first this is
13:47like hard to wrap your head around
13:48because Blender does this for a lot of
13:51things like not just moving something
13:52but also rotating something. The moment
13:54I tap R, which is how to rotate
13:56something, or S. Okay, that's I thought
14:00I might as well just teach you all three
14:01at the same time. So, G to move
14:03something, G for grab, R to rotate, or S
14:06to scale something. But you'll see in
14:08each of those states, the moment you hit
14:10the key, no matter where your cursor is,
14:12it's uh it's in that state. And that's
14:14actually a good thing because as I said,
14:16the number of times you need to move
14:17things and rotate and scale things in
14:193D, if you had to every single time
14:22change the tool, then move your cursor
14:24over to it, click it, activate it,
14:27that's a lot of extra steps. So, it's
14:30actually really cool to have this like
14:32just one tap key and it's already
14:34activated. Um, anyways. Okay. So, but uh
14:37whilst I'm in uh the move state by
14:40tapping G, um I can also uh lock it to a
14:43specific axis just like um with with
14:45those arrows that you saw before. So,
14:47just when it's in that move state, you
14:49tap the the axis you want to move it on.
14:51So, that's the X axis. The Y brings it
14:54back and forwards and the Z is um up and
14:58down. Okay. And that's correct. Blender
14:59is Z up, Y backwards and forwards.
15:02Different 3D applications have different
15:04things. There's no like standard. But
15:06yeah, that's how Blenders is. And by the
15:08way, if you forget which letter is which
15:10axis, you can actually see them up there
15:12in that little circle there. So again,
15:15X, Y, and uh and Z. Anyways, I want to
15:18move this actually just a little bit
15:20further back right there. So I want my
15:22my donut to be the uh front and center,
15:25and I want this to be at the back there.
15:27But then, how do I change my view? So
15:29I'm no longer just pivoting on my donut.
15:31I want to shift my focus to that
15:33selected object. It's number pad period.
15:36Or again, holding down that tilda key
15:38under your escape button and then
15:40hitting uh view selected is the same
15:42thing. Okay. So, let's make this look
15:45like a coffee mug. So, we have to edit
15:49this object. And uh to edit an object,
15:52we have to change what mode we are in.
15:54So in the top leftand corner of the
15:56screen there's a little drop down which
15:58if you click we can change it into edit
16:01mode. Okay. So when you're in edit mode
16:03you can see the state has changed. The
16:05object that was selected now has a bunch
16:07of points and lines on it. Um and you'll
16:10also notice whilst you're in edit mode,
16:14you can't actually select any object.
16:15And it's it's worth pointing out this
16:17because this is a really common thing. A
16:19lot of beginners, they they say, "I I
16:21don't know what happened, but I couldn't
16:23select anything in Blender." And usually
16:25it's just they're in the wrong state.
16:27They're in edit mode. They forgot. And
16:29then they tried to like come over here
16:31and then click something and they're
16:32like, "Why is it not selecting?" Okay,
16:34so you have to be in object mode if you
16:37want to select an object. And if you
16:39want to edit something, you have to be
16:41in edit mode. Um, but going to this
16:44dropown and doing this time and again
16:46would uh again be annoying. So, Blender,
16:49of course, has a hotkey for it, and that
16:51is tab. So, tab will just cycle you in
16:55and out of object and edit mode, just
16:58those two states. Um, which is great
17:00because you need to use this all the
17:01time. So, you usually come in, do some
17:03editing, uh, go back into object mode,
17:06select something else, edit that one, go
17:08back to this. Um, so that's, uh, yeah,
17:11good one to remember. Tab. All right.
17:13So, in edit mode, when I'm in this state
17:16here, these little points here, these
17:18are called vertices. These are the
17:20points that make up the um yeah, the
17:22shape of the mesh, obviously. Um and
17:25then you've got um edges. And uh you can
17:29actually select um by changing the
17:32selection type from vertices, which is
17:34the default, to edges, clicking that
17:37little button. And then I can click on
17:38the edges or select faces. Okay? Like
17:42this. And again, Blender has hotkeys for
17:45everything. So, if you want to just know
17:46the hotkey, it's one to do verticy
17:49select, two to do edge select, and then
17:51three to do face select. Again, make
17:53sure you get my keyboard shortcut
17:55shortcut guide cuz it's uh it's a lot to
17:57remember. So, I want to select the top
18:00of this uh cup here. It's got a lid on
18:02it that I don't want. So, se in face
18:05select mode. Selecting that face, I'm
18:07going to hit X. Now, it's going to ask
18:10me what part do you want to delete? Um,
18:12which might sound redundant, but there
18:14is quite a lot of times in Blender you
18:16want to delete, even though you've
18:17selected a bunch of faces, you want to
18:18delete the entire vertices of those
18:21faces. So, we have to confirm. We want
18:23to delete just the faces from this list.
18:26And there we go. So, we've now got a cup
18:28with a hole in it. Great. But this cup
18:32will not do. It is too paper thin. We
18:35could cut our finger on that edge there.
18:37So, we need to add some thickness to
18:39this cup. And while we could do this in
18:42edit mode, like you could select
18:43everything and extrude it in and
18:45whatnot, um, we don't need to because
18:47there is actually a function we can do
18:49to add thickness to anything without
18:52needing to go into edit mode. And that
18:54is underneath your modifier stack here.
18:56So, if you click this little wrench,
18:57this little activate modifiers. Let's
19:00just drag this out. And if you click add
19:02modifier at the top there, you can see
19:03you've got a number of different
19:05options. Um, and the one that we're
19:07looking for is solidify. So, this is
19:10underneath the generate and just in case
19:12this changes for a future version of
19:13Blender, you can also go to search at
19:15the top there and you could just type in
19:17um solidify from the list. Okay, so now
19:21now that we've got that, you can see
19:22we've got a bunch of options and you'll
19:24notice that our mesh now has some
19:25thickness to it. And I can change this
19:28thickness here. Now watch what happens
19:30as I enter into edit mode. You will
19:33notice as I select these faces here, I
19:36can't select this thick this inside part
19:39of the uh of the cup there. And that's
19:42an important point because modifiers are
19:44not actually adjusting the real mesh. So
19:47the real mesh still exists here. Um if I
19:51disable this from the viewport by
19:52clicking this little um monitor button
19:54there, you'll see that my mesh has not
19:56changed. This is just applying this
19:59effect after the fact. So, it's
20:01basically in object mode. It's taking
20:03whatever mesh that you give it, which is
20:05this, and then it's adding thickness to
20:08every face essentially. Um, so the
20:11reason this is um so useful is that this
20:13is a non-destructive workflow. So, I
20:16could at any point I could be doing a
20:18bunch of changes to my my mug here. I
20:20could, you know, we'll get to all that
20:21later on. We could change the size and
20:23things and then later on I can go, you
20:25know what, I don't I think that's a
20:26little bit too thick. I'm going to
20:27change that and I can come back to that
20:30and very quickly um adjust it. So
20:32non-destructive and it's obviously very
20:34helpful um for a lot of things. [snorts]
20:36Okay. So I've given it some thickness,
20:39but I also want to round um this corner
20:42here. That's way too jagged. Just like
20:44before I said I we want to um we're
20:46going to add in an extra layer on top
20:48which adds more geometry. And that is
20:50called your uh add modify generate
20:55subdivision surface. So yeah, all the
20:58way down there. You use it all the time,
21:00but it's like buried in there. Okay, so
21:02subdivision surface. So this appears to
21:06have like screwed up the mesh. It's
21:07like, whoa, what actually happened
21:09there? Let's just increase the uh levels
21:12viewport. So this is just increasing the
21:14number of times that it um doubles the
21:17geometry.
21:18So you can see this is what we start
21:20with, right? This is the the start. This
21:22is one level. Then this is two levels.
21:24And then this is three levels. And every
21:26time you do it, it's doubling the
21:27geometry. Um, and but you can see it's
21:30giving us the effect we want. It's
21:31smoothing out that edge there. But
21:34because of the way that it works, like
21:35basically if you look at uh let's go
21:38back to this. Um, we've got this this
21:41hard corner here, right? That's just
21:43like a 90° corner. So let me get in a
21:45little bit closer here so you can kind
21:46of see it. Um, yeah, it's like a 90°
21:49perfectly like that. So, when you add in
21:52a subdivision surface, it's basically
21:54saying, okay, so there's a point here,
21:56there is a point all the way over here,
21:58and there is a point that's going to go
22:00all like it's it's so far it's off the
22:02screen, but it's all the way down there.
22:03So, what I need to do is I need to
22:05average out those points. So, take the
22:07middle point of those three. So,
22:10essentially from here to
22:13somewhere around here. And I'm going to
22:15add in a point like here, right? And
22:18then if you do another level, like level
22:19two, it then places a point here. And
22:22then another point here. And then if you
22:24do another level, it places another
22:25point here, another point here, another
22:27point here. And because there's two
22:29sides to this um uh mug, there's like
22:32another one happening on that side,
22:34right? So we've now just got this like
22:36really super like ovalshaped edge like
22:40this. Okay? Which is why when I turn it
22:41on, we get this effect there. So what we
22:45first of all need to do in edit mode
22:48with our uh mug here. Um so I am in I
22:51guess it doesn't matter what mode I'm
22:53actually in here. Um but what I need to
22:56do is essentially tighten an edge where
22:58that that uh that smoothing is
23:01happening. So it's no longer happening
23:02from all the way here to smooth it all
23:03the way down to there. I want to happen
23:05it like just to about there. So I need
23:07to add in more geometry onto this mesh
23:10here. So to do that uh we need to add a
23:12loop cut. That is how you add in another
23:15level of uh another edge. So ct
23:18controllr will add in this loop cut. I
23:21believe you can also find it from the
23:23mesh
23:26like somewhere in here. [clears throat]
23:28Yeah, there you go. Uh edge loop cut and
23:30slide if you wanted to look it in there.
23:32But it's yeahr. That's another one you
23:34use all the time.
23:36>> [snorts]
23:36>> So when I'm in when I hit CtrlR, it's
23:39it's saying where do you want to place
23:41the cut in this mesh. Um, and I could
23:43place it, you know, anywhere anywhere
23:45between uh a face essentially. So I'm
23:48going to place it along this middle. So
23:49you do a single click and then it's
23:51saying where do you want to place that
23:53vertically on this uh th this this row
23:58of of faces essentially. Um, so you can
24:01see as I bring it towards the top there,
24:02it's tightening that edge there. Okay.
24:05And that's exactly what I want. I want
24:06that edge to be much tighter than it was
24:09um before. Um so that edge is now
24:12looking good. But now what about this
24:13one at the bottom there? This one's
24:14looking even worse. We got a lot to fix
24:16here. Um but first I need to do another
24:18loop cut. So CtrlR and then again single
24:22click to confirm I want it on that that
24:24uh row of faces. And then I'm just
24:27sliding it along until it's you know
24:29roughly about there at the bottom of my
24:32mug. Okay. And then you can see it's
24:37like this whole area here, this this
24:39face here, it's become like a like it's
24:41turned it into a star. And not to get
24:44too complicated, but basically a subsurf
24:46modifier, it has to has to know what to
24:49do. And generally, if there's like faces
24:51that are made up of four vertices, this
24:53is getting complicated. I can tell it
24:56knows what to do. It makes it like nice
24:57and smooth. But the moment you have a
24:59face that is made up of more than four
25:01vertices, it's called an engon. and it
25:04doesn't really know what to do with it.
25:05I mean, it does, but you don't know what
25:08it's going to do. Um, and it just can
25:09make things look a little ugly. Endone
25:11is kind of like a dirty word in in 3D
25:13space. It's like, h, you never want to
25:15have an engon. They are actually useful
25:17and they, you know, do have a purpose,
25:18but generally generally speaking,
25:21they're good to uh avoid if you don't
25:22know what you're doing. So, anyway, I
25:25should tell you what I'm doing. The the
25:26way to fix this is I need to add another
25:28loop that kind of just goes around here,
25:31right? that. So that way I've only got
25:33from there to there and then I can have
25:35my ugly star or whatever happening
25:38underneath my coffee mug. So I need to
25:41uh add a loop cut, but I can't add a
25:42loop cut on just a single face. Instead,
25:45what I need to do is um it's called
25:47inset to take a single face and then
25:50just like add in a loop around that
25:52face. And you do that by hitting I. So I
25:56and then just like it's already active.
25:59Again, this is the the way why I spent a
26:01while to explain it. The moment you
26:03activate a tool, you're already in that
26:06selection state. So, I hit I and
26:08wherever my cursor is, it's now going
26:10like, where do you want to put this
26:12inset? Okay. So, I'm just moving it back
26:14and forth until I get it. You know, how
26:16tight do I want this edge to look?
26:19Something like
26:21that, maybe. I mean, it's it's
26:23underneath the coffee mug. doesn't
26:24really matter that much, but um yeah,
26:27something something like that. And there
26:30we go. So, you can see this looks a lot
26:31nicer. [snorts] And again, because we
26:34are in a non-destructive workflow, I've
26:37still got my solidify modifier at the
26:39top here, right? I could change the
26:41thickness of this. I can make this a
26:44really chunky looking coffee mug or a
26:46really thin one. Um and that is the
26:49benefit of a non-destructive workflow.
26:52And then I can also change how how high-
26:55res do I want my coffee mug to look. Um,
26:58and this is the way to work in 3D. This
27:00is the best way to do it because, you
27:02know, if a client wants you to change
27:03something or whatnot, keeping in a
27:06flexible um, workflow is uh, definitely
27:09a good place to be. Okay, so we have
27:13created the start of a coffee mug and we
27:15have also created um, a donut. Good time
27:19to save. Good time to save. So, file,
27:22save as, or shift controls and then save
27:26as.
27:28So, the way I like to save things, and
27:30you might want to copy this, is to um
27:32you come up with a name, you know,
27:33underscore, whatever. Um, and then you
27:35put a number after it, and then you can
27:37actually see I've already saved my file.
27:39Um, I don't want to override my existing
27:42save in case I need to go back to it for
27:44whatever reason. So, I just want to add
27:45a number to it. And in other softwares,
27:47you know, you have to come here and you
27:49have to type in the number, right? Not
27:52Blender. Blender has a hotkey for
27:54everything. If you hit plus or minus on
27:57your numpad or on the little uh field
28:00here, oh, you can't even see it. I'm
28:02right over the top of it right there.
28:03This little field, these little plus and
28:06minus, it'll automatically add a number
28:08to the end of your um file. Um so that's
28:12yeah, really useful. So, I'm just going
28:14to add a two there, and I'm going to hit
28:16save.
28:18It is time to make our coffee mug look
28:21like a coffee mug and not like a sad
28:24little cup. So, we could try to model
28:28this from our imagination cuz like, hey,
28:31we all pick up coffee mugs. We know what
28:33they look like or we think we know what
28:35they look like. Something that you learn
28:38very quickly in 3D is that uh when you
28:41model something from imagination, it
28:43almost always comes out looking a little
28:45bit funny. And the reason for that is
28:48that your brain is very good at like
28:50abstracting away the information that
28:52isn't important to it. Like if you just
28:54close your eyes right now and just think
28:56of a door knob, like what does a door do
28:59look like, right? If you had to make one
29:01in Blender, what would it be? It's like,
29:02okay, well, it's like a sphere bit. You
29:04like grip it, you turn it, and there's
29:06like a cylinder thing at the back, and
29:07there's a cylinder that connects it. And
29:09that's kind of that's kind of it. But
29:11then if you were to make that, you end
29:13up with something that looks really
29:15basic and boring and bad. And then you
29:18go actually look at a real doorork knob
29:20and you forget there's all this other
29:22detail that's just not important to your
29:24brain. Like the little lip inside, the
29:26little hole that's on there that's so
29:28you can put a key in to kind of like pry
29:29it open or a uh like a a rim that kind
29:32of like cuts into it. So there's like a
29:34separate seam around it. There's the
29:37privacy lock on the front. All these
29:38things that just don't matter to you
29:40when you're turning a handle and so you
29:42forgot that they even existed because
29:44you never even saw it really. So the
29:47same thing applies to even something as
29:49common as a coffee mug. So it helps when
29:52possible to use reference images.
29:55Now you can get reference images from
29:58anywhere because we have the power of
30:00the internet and you can type in
30:02handmade coffee mug and you can pick any
30:05mug you want to create. Um and uh
30:09there's a lot and you know if you want
30:11to pick one of these if you want to just
30:13go on Google images uh you can pick one
30:16of these and and go for it. I'm going to
30:17give you an image that I've used. Um,
30:20but you can there's there's some really
30:22pretty ones here and I was uh actually
30:25shocked just whilst like clicking on
30:29some of these sites before. I was like,
30:31oh yeah, like that's a cute cute little
30:33handmade mug and then you go like, oh my
30:37gosh,
30:38$12325
30:42and that's a discount from 145.
30:46And then you think like, oh, it must be
30:47like a one of one, like, you know, a
30:49unique thing. Like, no, there's like
30:51nine reviews. Like, people are buying
30:53it. I I'm like, I don't know.
30:56[clears throat] I got to make more money
30:58or something. Like, I don't know how
30:59people are buying $123 coffee mugs. I
31:03think it's also like we forget what
31:05labor costs, you know? Like, you think
31:07like a coffee mug is like $2, right? Or
31:09a dollar or it's free. Like it's just
31:11there's so many of them it doesn't even
31:13matter. But like no, like to hand make
31:16something like obviously any of these
31:19mugs, they're they take more than a few
31:22hours to make if you're making it by
31:23hand. So like yeah, $33 is probably like
31:26break even for them. I don't probably
31:28not even making any money, but it's just
31:30like Yeah. Anyways, whole side topic of
31:34like the economy of handmade ceramic
31:36mugs. Um but people are buying them for
31:39$123.
31:40All right. So, all that is to say is I
31:43want you to get an image and the one I'm
31:45going to use uh the link for this is
31:47below. Um and uh it's on my website.
31:50I've got all the links to everything
31:51we're going to be using in this
31:52tutorial. Um but there there's two ways
31:54to add images. Uh so one way is to go to
31:57the ad menu and then just go image and
31:59then say reference. Um and then you just
32:01pick wherever the reference is. Um and
32:02you can drop it in. the alternative way
32:05um and it's something that we didn't
32:06used to be able to do and that's to just
32:08uh drag over from wherever it is on your
32:11computer and then just drop it into
32:12Blender and it will recognize it as an
32:14image and it will bring it in as an
32:16image object. So either of those ways
32:18will work. So this is the image. This is
32:20the one we're going to use. Now if you
32:22quickly orbit around, you'll notice that
32:24it's come in at a funny angle. Um now I
32:28don't know why Blender does this. I
32:29think I think it's because they they
32:31think they people want it locked to the
32:33perspective that they were at when they
32:35brought it in there, but that I've never
32:36needed that. So, we just need to clear
32:38this rotation and then rotate it to the
32:40the way we want. So, to clear the
32:42rotation, I'm going to hit alt R. The
32:45alternative way, object, clear rotation.
32:47Alt R. It's the same thing. Um, now it's
32:50flat. So, now we need to rotate it, prop
32:52it upright so that it is flat on to, you
32:55know, how it should be relative to the
32:57scene. So, I need to rotate it. So, I'm
32:59going to hit R. So, but we're now in
33:02freehand rotate mode. And it's again
33:04it's it's relative to where we were
33:06looking at it. Um, which is uh yeah,
33:08this this funny angle. So, uh if you
33:11remember from before, when we're in a
33:12move state like rotate, scale, or grab,
33:15uh we can lock something to a specific
33:17axis whilst we're in this mode by just
33:20tapping the letter of that axis. And if
33:22you don't know the letter, you can see
33:24we we really want it on this red line
33:26here. And that red top right hand corner
33:28that is the X axis. So I'm going to hit
33:31X. There we go. So now it is locked to
33:34that axis which is good. And now we want
33:36it to be 90°. So you could either hold
33:38down control and you can see in the top
33:41uh what that does is that's now um
33:43moving it in 5° increments. Or you could
33:46just type in the number 90 on your
33:48keyboard and then hit enter. And there
33:51we go. So that's how we uh bring it in
33:53and uh clear the rotation and set it up.
33:56So, all right. Now, it's way too big.
33:59So, hotkey to scale something. S. Okay.
34:02S to scale. And now I'm just going to
34:04scale this down. And I can't see my mug.
34:06So, my mug is behind it. So, let me just
34:08move my mug. I'll move my mug forward.
34:11So, let's move it forward to there.
34:13Okay. All right. And then now, um, I'm
34:18going to look at it like front on. Okay.
34:20So, I can do that by clicking this
34:21little uh minus Y at the top there.
34:22That'll do front on. or the hotkeys. Um,
34:25because I use my numpad, for those of
34:26you blessed with a numpad, you'll you'll
34:28like it. You can hit numpad one, that's
34:30front view, numpad three, that's side
34:32view, or numpad 7, that is top view. Um,
34:35but I use those uh a lot, but again, you
34:38can use these if you don't have it.
34:39Okay, so front view, and then I'm going
34:41to scroll in to zoom. Shift middle mouse
34:45to pan to the side. And now I'm going to
34:47move this over here. And I'm going to
34:49scale this down again to get it roughly
34:52to be the size of my my mug here because
34:55I know that this mug is right relative
34:56to the donut. So, it should be good. And
34:58then what I'm looking at um for the size
35:01of this image here is I want the top of
35:03this rim here to roughly match the
35:06bottom down there. So, this like I want
35:08that to match that. So, it's still a
35:10little bit too big. Um and you'll notice
35:12I can't really easily do it from this
35:15angle. I mean I I can but the the
35:17problem is is that this photograph is
35:19taken with a camera from the real world
35:22where there is perspective but we are
35:24looking in 3D and actually when we're in
35:26an axis like this the reason it all
35:28becomes flattened is because it is in
35:30perspective mode. If you click that
35:32little button there that'll actually put
35:33you back into perspective mode and you
35:35can see how things get distorted and
35:37like angles and things. So the best
35:39reference is actually reference which is
35:40in orthographic like blueprints for
35:42something but you usually don't have
35:44that. So you just go from something like
35:46this and just kind of best guess it.
35:48Anyways, okay, cool. So that's roughly
35:51roughly the right size of uh of image.
35:55Now we can model by going into uh edit
35:58mode by hitting tab toggle in and out of
36:00edit mode. And we can start to shape
36:03this to look like this mug here. So the
36:06first thing you will notice is like the
36:07general broad shape of the mug is that
36:10it actually kind of tapers towards the
36:12top. both lines are kind of tapered
36:14upwards. Um, and then there's like a
36:16kind of a midpoint around about here
36:19where it starts to invert and it goes in
36:21the other direction. Okay. So, it's very
36:23smooth object and perfect for using
36:25subsurf modifier, which is what we've
36:27already got. So, to get that taper going
36:30up to the side, I want to shrink the top
36:32of the mug here just a little bit. So,
36:35I'm going to hold down alt and uh I'm
36:38going to go into edge select mode at the
36:39top there and then alt and then just
36:42leftclick on that line there. Not on
36:44like like a middle point like here or
36:46it'll select a different edge, but just
36:47on the middle there. And then now I want
36:50to scale this in to just shrink the size
36:52just a little bit. So, I'm going to
36:54scale that to there. And then I'm going
36:57to select the line underneath it and I'm
36:59going to do the same thing. So, alt
37:00click on that line, that edge, uh and
37:03then just scale it. you know, about
37:04halfway there.
37:07Now, I want to create um this like
37:10widened point right here. And you can
37:12see like from here, like there's there's
37:15a lip at the bottom, but like from here
37:16to here, and then it goes up, I'd say
37:19probably 20% up the mug. That's where
37:22that middle point is. So, this line is
37:24close, but I'd probably pull it up a
37:26little bit. So, I'm going to double tap
37:28G, and that'll let me slide that edge
37:30there. And I'll put it to Yeah, it's
37:33about there. And now I want to pull it
37:36out to make it a little bit uh a little
37:38bit thicker. So I'm going to hit S and
37:40just pull that out
37:43to about there. And now I can see this
37:46line here is not quite right. So I'm
37:48going to scale this one out as well.
37:50Just a little bit. Okay, that's roughly
37:53the right shape. Okay, now this bit at
37:56the bottom here. Okay. So, I can see
37:59already that I need a little bit more
38:00detail. So, I'm actually going to have
38:02to slide this line up here. So, I'm
38:04going to hit uh double G to just kind of
38:08slide it up. And I'm going to pull it to
38:09about there. You can see now we've got
38:11kind of a more curved taper on that edge
38:14there. And I'm going to hit S to scale.
38:16And I'm going to double tap G again.
38:19And I'm just by eye just guessing to try
38:22to get this form here. Um but you can
38:25see you can very quickly start to shape
38:28any sort of object you want um by just
38:31moving sliding lines around and um
38:34scaling things. Okay. So now obviously
38:36this face at the bottom here. So if I go
38:38into face select mode or by just hitting
38:40three um this has to be this little uh
38:44lip at the bottom there. What do you
38:46call that? I guess like a lip. It's
38:48probably a word for it. All the all the
38:50pottery people watching this tutorial
38:52going to tell me what it is and they'll
38:54also tell me about the price of manual
38:55labor and why that coffee mug was quite
38:58well priced I'm sure. [laughter]
39:02Um anyways
39:04uh I'm going to yeah I'll scale it in a
39:06little bit. I'm just trying to guess
39:08like where would it start? But you know
39:10you just do it by eye. I think about
39:11there. Okay. And now with this face here
39:15selected, I need more geometry because I
39:17want to actually pull it out from that
39:19face there. Um, but I can't just like
39:21pull it down, right? Cuz that now it's
39:22stretching it. I need more geometry. Um,
39:24and so that is called an extrusion. And
39:28thankfully the hotkey for extrusion is
39:30just the first letter of its name, which
39:32is E. E for extrusion. And just like
39:35inset and everything else in Blender,
39:37the moment you tap it, you're now in
39:38that mode. Um, I can pull it upwards, I
39:41could pull it downwards. Um, obviously
39:43downwards is what we want. So, I'm going
39:44to do a single click right there. Okay.
39:48And then now if I go back and just look
39:51at it in object mode. Um, and by the
39:53way, if you want to see it like the
39:54donut, you want to make it look uh
39:56smooth, you can as well by going to
39:57shade smooth. Um, and that's okay. But
40:00you can see that this line here, this is
40:02a much tighter line. Okay. Uh, and the
40:05reason that this is happening is of
40:06course because of subsurf modifier um,
40:09and the way that it works. Um, it's
40:12essentially going from here
40:16to here and then kind of like I guess
40:18like a a midpoint in the middle there.
40:20And it's trying to taper from there all
40:23the way in. But then also from this
40:25point here, it now has to taper from
40:27there to kind of smooth out that line.
40:30So we end up with just kind of like this
40:32like very smoothed out little nub. Um,
40:35but to fix it, we just have to add in
40:37more geometry so that it doesn't start
40:39the smooth so so much further up. So to
40:41do that, we need another loop cut, which
40:43you might remember the hotkey or you can
40:45find it in the menu, edge, loop cut, and
40:47slide, but it is ctrlr. So ctrlr. When
40:51you're in this mode, where do you want
40:52to put it first? So do a single click on
40:54this face here. So click and then it's
40:57now saying where do you want to slide it
40:58to? So I'm going to slide one to the
41:00bottom like so. And then I need another
41:03one right above it. So I did a click
41:05there to confirm it. So I'm going to hit
41:07CtrlR. And now placing it on the exact
41:10same place. And I'm just going to pull
41:12it up. And there we go. And now you can
41:14see it's much tighter at the bottom
41:16there. Um, and it looks good. Uh, and if
41:18you really wanted to clean up this
41:19bottom base there, you can see we kind
41:21of got that like starfishy pattern
41:23happening. You could do the same thing
41:24we did before, which is select that face
41:26there and then do an inset. It's not
41:28really that essential. Well, no one's
41:30really going to notice it, but you
41:32might. And maybe you want to clean it
41:34up. So, yeah. But that's pretty good.
41:37That's That's great. That's a good start
41:38to the mug. Um, it looks good. Awesome.
41:42Well done. Now, it's time for the
41:44challenge of making this handle. So, you
41:49can see it starts about here and then
41:52obviously extrudes around and goes back
41:56into itself and is joined here. So, how
41:58do we do this? So basically whenever
42:01whenever there is a join and you can see
42:03there's like you know like a nice like
42:05uh bevel edge there kind of thing it has
42:08to physically be part of the geometry of
42:10this. You can't just have it like
42:12existing out in in space cuz then it
42:14won't appear to be joined together. So
42:16essentially we have to find somewhere on
42:18this mesh to start the handle from. Um
42:22and that point is actually here. Right
42:24here which is why I've modeled it this
42:26way. Right here is where I'm going to
42:27extrude out. Um, now before I show you
42:30how to uh extrude, I first of all want
42:32to show you I'm gonna do something and
42:34it's going to mess it up. And I'm gonna
42:35then show you why we need to do
42:37something else first before we start
42:39extruding. So if I was to extrude this
42:41out, um, we could do the whole handle
42:43here, get it back there, make it look
42:45perfect, and then later on look at our
42:47mug and go, "Oh no, [laughter]
42:49what is going on?" The reason this
42:53happens is because of you might remember
42:55the solidifier modifier which these
42:58modifiers they're not part of the mesh,
43:00right? It's it's happening after um
43:04after the fact. So it's adding a
43:06thickness to any mesh that we have here
43:09and it's now adding a thickness to the
43:11actual handle itself. So how do we fix
43:15that? We fix that by making making this
43:18go from a modifier to real like actually
43:21bake it into the mesh so that it's
43:23actually real geometry. Um, and the way
43:25you do that is uh first of all, let me
43:27just undo all of those. Ctrl Z of
43:31course. The way you do it is by going to
43:33the modifier and then in the little drop
43:35down in the top there, right next to
43:37that little camera icon, there is an
43:39apply. So when you click that, it's
43:41disappeared. And now when you go into
43:43edit mode though, you can see all that
43:45geometry that wasn't there before is now
43:47actually part of it. And you can see it
43:49if you turn off the subsurf modifier. So
43:51I can now make changes to the inner part
43:53of my uh model there without it having
43:56affecting um the rest of it. So it's
43:58actual real uh mesh that we can we can
44:01manipulate. Um obviously the downside is
44:03it's no longer uh non-destructive. So
44:05that slider that we had for changing the
44:07thickness of the mug, we no longer have
44:09the slider. It would just mean if we
44:10wanted to change the thickness of the of
44:12the mug, we would have to like do it
44:14ourselves, like selecting all that stuff
44:16and doing it. But that's fine. You have
44:18to uh break uh break the workflow
44:20eventually to add in customization. But
44:22there you go. So anyways, now that I've
44:24got this, now when I select this face
44:26here, I can start to do the extrusion.
44:28So importantly, make sure you're
44:30selecting the right face. If you were to
44:32select this one by mistake and then
44:34start trying to do your handle and then
44:36like twist it around, you it would start
44:38to get screwed up very very quickly. So,
44:40make sure that you've got this red line
44:43that's like intersecting your mug there
44:45that it is. Yeah. Like it's that one.
44:48It's like bang on to the middle. And you
44:50can actually check if you go into top
44:52view mode. It should be directly in the
44:55middle of uh of the mug there. Okay. So,
44:58with that selected, I'm going to go into
44:59front view mode with uh numpad one or
45:02hitting that little uh green thing. And
45:05then I'm going to hit again the hotkey
45:07that we use for extrusion is E to
45:09extrude out. Now, when you do that, it's
45:12using the normals, the hidden um it's
45:15like the hidden direction of each of the
45:17faces that are on your mesh. Okay? So,
45:20it's kind of extruding it out like that.
45:21For most of you watching this, the
45:23extrusion there worked perfectly. But
45:26every now and then you go to extrude
45:27something and it doesn't work. And it's
45:29because there's something wrong with the
45:31normals of the face that you tried to
45:33extrude from. Basically, it would just
45:35mean um you would have to clear the
45:37normals first. So basically, you would
45:39select the the face, then hit shift N,
45:42and it would clear normals. I've got, by
45:45the way, throughout this tutorial that
45:47you're going to run into a lot of
45:48problems that I I might not be able to
45:50explain to you. So, I've actually
45:52created um a troubleshooting guide
45:54called the unstuckyour yourself guide.
45:56So, the link for that is below as well,
45:58but this is just like a database of all
45:59the problems you might run into whilst
46:01you're doing this tutorial because we
46:03noticed um on the uh Blender Guru
46:05Discord, link for that is below as well
46:07where you can ask questions and share
46:09your renders and stuff. Um a lot of
46:11people are asking the same questions.
46:12So, we put together this like FAQ
46:14troubleshooting guide and um please make
46:17use of that. So, there'll probably be
46:19when you're modeling things, people will
46:21run into issues. So, just uh have a look
46:22at that if you run into an issue first.
46:25Anyways, sorry to really painfully
46:28slowly do this, but we've extruded out a
46:30little bit. Um, now I'm going to move
46:32this up. So, just grabbing. So, G to
46:35grab. I'm going to move up. And I might
46:37actually now I'm going to tab out to so
46:40that I can select my image. So, I'm in
46:41object mode and I'm actually just going
46:43to move this over. So, G and then X.
46:46Move it over to be about there. Okay.
46:52And that'll just enable me to kind of
46:54see relative to to the mug where it
46:57should go. Like what is the shape? I
46:58could do it by eye, but yeah, I figure
47:00might as well just it's right there.
47:01Might as well just grab it and pull it
47:02over. So, um I need to position this
47:06about here, but you can see it's kind of
47:07getting like skewed, right? Um, and that
47:09is because it's uh it's obviously coming
47:11in at like a like this slanted angle.
47:14So, with that face selected, um, I need
47:17to rotate it. So, I'm going to hit R to
47:18rotate like so. Okay. So, like that.
47:23All right. And I might
47:26just trying to think. All right. I
47:28definitely need a loop cut because
47:30obviously that bit that's coming out
47:31looking like a nub on on our mug there.
47:34So, I'm going to hit CtrlR to create a
47:36loop cut. And I'm going to pull it down
47:38just so that I can see it's like where
47:39where it should join basically at the
47:41base there. All right, great. And now
47:44face select mode. Select that face
47:46again. And now we just have to keep
47:48extruding around. But what I want to do
47:50is I want to scale just make the handle
47:52look a little bit thinner. So, I'm going
47:54to select this top edge here, and I'm
47:56going to double tap G just so that I can
47:58slide it downwards a little bit to just
48:00make it a little bit thinner, cuz that
48:03handle obviously doesn't look as as fat
48:05as uh as what we had there. So, all
48:07right. So, face select mode now. And now
48:09I'm going to start to extrude. So,
48:11another extrusion. G to reposition. R to
48:14rotate it. And I just want to rotate it
48:16so that it kind of follows the contours
48:19of uh of this. So, I'm going to be
48:21rotating it like this kind of angle as
48:23we go around. So, now E to do another
48:26extrusion. Click. G. Click. R. And now,
48:32by the way, there is another way to
48:34extrude, which is actually kind of
48:35perfect for this. Um, but if you hold
48:38down control and then rightclick, it
48:41will not only extrude, but it will also
48:44rotate the faces so that they align. And
48:47it can be a little helpful. um a bit
48:50more easier than doing this like E G R S
48:54G R like so just holding down control
48:57and then right click will just place
49:00these little points um and will rotate
49:03them so that you don't have to do all
49:04that rotation yourself. It really only
49:06works for these kind of appendages like
49:07this, but might as well use it cuz it's
49:09a very um handy way to do it. Okay,
49:12cool. So now now the tricky bit. It's
49:14not really that tricky. It's it's
49:16relatively easy to solve, but it's it's
49:17a conundrum, right? like how do we make
49:19this mesh with the rest of the mesh? Um,
49:24and you do that by like the wrong way to
49:27do this would be to just like kind of
49:29like smush them together, right? And
49:31this is kind of like early 3D stuff.
49:33Like a lot of stuff was like this. This
49:35kind of mashed stuff and intersected it
49:37together, but then you don't get that
49:39edge there where it like catches the
49:41light. And the only way to really get
49:43that is to actually physically like join
49:46this mesh together. So this face here
49:48has to be connected to this face
49:50somehow. Um and the easiest way in this
49:53case to do is to first of all we can see
49:55that this line here is like cutting into
49:58the middle of this uh this this cup.
50:01Right? So we really need to just add a
50:02line that goes around there to make this
50:05this area here like one face to match um
50:09this sorry this this this handle. So,
50:12I'm going to add that line by hitting
50:14CtrlR loop cut click. And then I'm going
50:17to slide it up to be, you know, roughly
50:19about there. That's fine. And then now,
50:23um, because I've intersected it, that
50:25that went too far. Um, so I'm holding
50:27down Z. Um, now this is a way of quickly
50:30changing the mode that you're you're
50:32viewing something in. Um, and we'll
50:35we'll get to these other two once we get
50:36to materials rendering and stuff, but
50:38for now, if you just swap to wireframe
50:40mode, this will show you through the
50:42mesh. Um, there is another way to see
50:44through a mesh, and that is to at the
50:45top there, that little X-ray or alt Z is
50:48a hotkey for it. Um, but that's that's
50:51another way to do it. Um, but yeah, that
50:52you can see that's that's wireframe, and
50:54then hang on a second. Nope, that's
50:56that's X-ray. This is wireframe. But
50:58yeah, they're they're pretty similar.
51:00Anyways, so I'm going to select my my
51:03face here and I'm just going to pull it
51:05out just so that I can just just grab it
51:07basically. And now I can go back to my
51:08solid view as before. Okay, so I touched
51:11on this briefly before, but like a mesh
51:13is made up of these individual points,
51:15right? This is what you're seeing when
51:16you're in uh verticy mode, these
51:18individual points. Um, and each of those
51:20points when you have four together,
51:22three or more actually, um, you can
51:24create a face. Um, and so that's what
51:26that is. So essentially I need to create
51:28a new face for this section right here.
51:31So let's do that now. So I'm going to
51:32select those two and I've just selected
51:34them by holding down uh shift like this.
51:37And then I'm just going to hit F. F for
51:40face. Okay. And then I can do the same
51:42on this side
51:43like that. And then I'm going to do the
51:46same on the top.
51:48And then I'm going to do the same
51:50underneath.
51:52Okay. All right. So I've done it. But,
51:56and I did it deliberately this way cuz I
51:58need to show you um the the reason for
52:00this this issue here. So, we've got
52:02yeah, we we've we've got the faces. So,
52:04they should be going smoothly across
52:06here. But because of the way meshes work
52:08and the way they try to sorry, the way
52:10shoot uh smooth shading works is it does
52:12it based on like a continuous flow of
52:15faces. And you will have noticed that
52:18when we created this, there was actually
52:20a face that is inside here before we
52:23joined it. Okay, which and I'll I'll
52:25show you. If we go into here, this area
52:27here, you should see there is a face
52:29that is right here. So, because that
52:31exists, the smooth shader doesn't
52:33actually know that it's supposed to
52:35continue on because there's a face that
52:36goes down. So, it's now kind of mixed.
52:39It doesn't know like it has to create a
52:41smooth shading here, but then also one
52:43on the top there. And so, it's done this
52:45weird um hybrid thing where it's like
52:48it's tried to do it, but there's clearly
52:50something going on underneath. So, what
52:51we need to do is just delete that face.
52:53So, again, in face select mode, you
52:55select that inner face there. And by the
52:57way, when you're working in 3D, this is
53:00a really common thing beginners do. They
53:01select the wrong face. So, you can see
53:04how quickly that like they're right next
53:06to each other, that point there, right?
53:08But selecting one or the other, it it
53:10just happens all the time. So, a thing
53:11that a lot of 3D artists do is when
53:13they've selected something before they
53:15delete it, you just do a quick orbit
53:16around and that'll just like break the
53:18perspective and just to verify that that
53:22is the actual one I mean to select.
53:24Okay. Then I'm going to hit X and I'm
53:26going to say faces. Okay. But it's not
53:28just that one, right? Like that.
53:31Actually, that that should be fixed
53:32soon. But anyway, I'll show you how. Um,
53:34and then there's one on the inside here
53:35as well. Okay. Cuz when we joined it,
53:37there was there was a face here and
53:38there was a face over there. So I'm now
53:40going to delete that face by hitting X
53:41and then say faces. Okay, now that's
53:45done.
53:47This should be correct. But the reason
53:48it's not is one I think if I need to
53:51right click and say shade smooth and
53:53that has fixed it. What on what can
53:55happen sometimes is when you've fixed up
53:57some geometry um you might need to uh
54:02recalculate the normals like which and
54:04again to bring up the normals there's a
54:05secret hidden line uh that every face on
54:08your your object has and they're always
54:10pointing outward like that. But when
54:12you've created new mesh and you've kind
54:14of fix things or whatnot, you can end up
54:16with one of these lines that goes the
54:18wrong direction. Um and I'll show you
54:20that actually if I just do this. um
54:23that's what it might look like. You get
54:24this weird like black shading artifacts.
54:27Um that's very ugly. So to fix that, you
54:29select your entire mesh and then you hit
54:32shift N and that will recalculate it. Um
54:35and now you can see the smooth shading
54:37is correct. And just to show you quickly
54:39as well, um the way I did it just then
54:42where we like created it and then we
54:43deleted the faces. Don't do this. I'm
54:45just going to show you like actually
54:47what you would do cuz it's not this
54:49tedious. Normally, if you had this
54:51problem, you would actually select this
54:53face and this face first. You delete
54:55them ahead of time and then actually,
54:58and there's a faster way to have uh
54:59created this this join here. Um you can
55:01select that entire edge loop with alt
55:04then shift alt select that. And now I
55:07could rightclick and say bridge edge
55:09loops, which you only can do if you've
55:12got the exact same number of uh vertices
55:14on one side as the other. But I want to
55:16just show you physically creating those
55:18points with uh vertices because that is
55:20a really common way to to model to join
55:23things together. You select the four
55:25vertices, you create a new face.
55:27Anyways, look at that. We've got what
55:29looks like a handle coming out of the
55:30mug. Now, if we look at our reference
55:32here, um we've got it pretty close, but
55:35you can see that there's like it's
55:37sharp, right? There's there's clearly
55:39like a crease here and a crease here.
55:41Um, and we can do that just by adding in
55:44more loop cuts. So, I'm going to add in
55:47uh well, I guess there's two ways to do
55:49it. One, I can actually just select this
55:51edge here. So, holding down alt, just
55:53select that and then double tap G and I
55:55can bring that in. Um, but when I do
55:57that, this area becomes a little bit
56:00straight. Um, maybe not what I wanted.
56:02Let's have a look at front mode. Um,
56:05yeah, I might want a little bit more
56:06detail there, which case I would add a
56:08loop cut. Um, but, you know, it's really
56:10up to you. You might be able to just,
56:12you know, move this around and just kind
56:14of shape it. Like, look, we're really,
56:16we're learning Blender. That's really
56:18the goal of this. It's not necessarily
56:21to make a physically accurate uh mug. I
56:25don't want to over complicate things and
56:27make things feel like you have to do
56:29everything perfectly, but I also don't
56:31want to end up with like a trash result
56:32and then everyone be like, "Oh, we did
56:34all that effort and now it looks
56:35garbage." Um, but you know, you could
56:38spend a lot of effort. You know, you
56:40could even try and get like if you look
56:41at, you know, uh there would be probably
56:44like a little line here like like the
56:46kind of you know what I mean like on the
56:47inner inner part of the the thing. You
56:49could try and create that. You could
56:51really add a lot of detail. The only
56:53thing I'm really going to fix is right
56:54here where it's pinching. I'm just going
56:56to select that edge there and I'm going
56:58to double tap G. I'm just going to slide
57:00it up so there's just a little less
57:02pinching. And then this part here like
57:05you can see the shape of this face is
57:07being very distorted. Right? You
57:10generally want to keep things as close
57:11to a squareish shape as possible
57:14generally. Um and so I'm just going to
57:17select this edge at the bottom there.
57:18Double tap G. And I'm just going to pull
57:20it out just to relieve a little bit of
57:22the the tension there. And
57:26I mean that's I mean you can Yeah,
57:27there's obviously there's like a tighter
57:29line there, but this will do. this this
57:32is enough to be uh perceived as a coffee
57:35mug. Now, if you want to just move ahead
57:38with the tutorial and get on to the next
57:40part, which is going to be on uh
57:41materials and lighting, um you can you
57:44can do that. However, if you want a
57:46little bit of a challenge, like a little
57:47bit of a homework, um where you can try
57:49to use some skills but by yourself, you
57:53will see looking at the photo here that
57:55we also have a saucer, a little tiny
57:58plate for our mug. Um, now I didn't
58:00include that in my final image. Um, I
58:04just had the coffee mug just sitting on
58:05the table. Um, but this is a great very
58:09small thing that you could try to model
58:10by yourself using the skills that you've
58:13just learned um to to create something
58:16new. So, how would you go about adding
58:18that saucer? You could have have a try
58:20at it. It it's a completely separate
58:22object obviously to your mug here. So,
58:24even if you screw it up, worst case
58:26scenario is you just delete it. And
58:27then, you know, you'll still end up with
58:29something that I actually had for my
58:32final result, which was a mug without a
58:33saucer. But, if you want to add that in,
58:35it'll be a way to kind of take some of
58:37the lessons that you've uh you've you've
58:40picked up already and then try to
58:41remember them and the different steps
58:43and the things um required to create it.
58:46Because whilst you've just created
58:48something now, it's the best time to try
58:50to recall that memory so that in the
58:52future, maybe in a few days or a few
58:54weeks from now, when you try to do
58:55something yourself, it'll be a lot more
58:57readily available to recall that
58:59information. So, if you want to have a
59:01go at doing that, uh, feel free to.
59:03Otherwise, join me in the next part.
59:07Welcome back. In this part, we are going
59:10to be making the icing. Yes, the
59:13exciting icing for our donut. Um, but
59:15first we do have quite a lot of objects
59:17going on in our scene. We got a camera,
59:19lamp, we got an object, uh, an image and
59:21stuff. We should try to organize some
59:23things. And some of you might have
59:24noticed in the top right hand corner,
59:26you've got a list of all of your
59:28objects, right? This is called your
59:31outliner. Um, and it is a like a
59:34spreadsheet version of all the objects
59:37that are in your scene. And uh, we're
59:38going to use it later on to like
59:40organize like create collections so it's
59:42like easier to see and organize things.
59:44But the first thing we need to do is
59:45just add names to things that make
59:48sense. Um, so for example, our mug here
59:50is currently called cylinder. So if we
59:52had a big scene with lots of objects
59:54going on, we can't find it. So it's a
59:55good habit to name your objects. So
59:57there's a number of different ways you
59:58can name something. Um, one is you can
1:00:01just double click it in the outliner,
1:00:03right? You can see now I can type in a
1:00:05name like mug. Uh, you can also in your
1:00:083D viewport, you can hit F2, which is
1:00:11the same hotkey in uh, like Windows. I
1:00:13don't know, maybe Mac, but for renaming.
1:00:15Um, and then I can just type in a name
1:00:17like donut. Um, and you can also do that
1:00:20in uh the outliner as well. You can just
1:00:22hit F2 and that'll also um also do the
1:00:24renaming. So, there we go. So, now we
1:00:26got names that actually make sense. Um,
1:00:28I don't actually need the image anymore,
1:00:30even though I just renamed it. So, I'm
1:00:31just going to delete that. All right.
1:00:33So, we've now just got a camera, we got
1:00:35a donut, a light, and a mug. Great. So,
1:00:39let's make that icing. I'm going to move
1:00:42my mug out of the way. So, G and then X.
1:00:44And I'm just going to throw it to the
1:00:46side so we don't see it anymore. And
1:00:47let's focus on our doughut. So, we want
1:00:51to make some icing. And when it comes to
1:00:54something as challenging as icing and
1:00:56and really anything that there's so many
1:00:58different ways to make things in 3D, and
1:01:02every single method has a pro and a con.
1:01:05So, for example, there is a fluid
1:01:07simulator in Blender. It's not very
1:01:09good. Um, but it exists and it is a way
1:01:12you could create icing. You could
1:01:14actually like create an object and then
1:01:16simulate it falling and splatting over
1:01:18it. The reason we're not going to do
1:01:20that though is that one, it's incredibly
1:01:22complicated. There's so many things that
1:01:24can go wrong with this simulation.
1:01:26Blender simulator is not very good. Um,
1:01:28and then also you don't have any control
1:01:30over the final result. You have to keep
1:01:32re-aking things. It's it's horrible. But
1:01:34there is another way and that is to just
1:01:36do it by hand. And at first that seems
1:01:38slower, but you have much more control
1:01:40over it and it's actually pretty easy to
1:01:42do. So I'm going to show you how to do
1:01:44that. And it's also a great way to
1:01:45introduce some more tools and things and
1:01:47get you familiar with different areas of
1:01:48Blender. So icing follows the shape of
1:01:52the thing that it's on. So really icing
1:01:54is basically the shape that we've got.
1:01:57It's basically half of this doughut. So
1:01:59if we got half the doughnut, we're
1:02:01halfway there. Then we just need to add
1:02:03some variation to it to make it look
1:02:04like icing. So what I'm going to do is
1:02:07duplicate my donut. So shift D. That is
1:02:10how you duplicate. Uh you can also just
1:02:13go object and then say duplicate objects
1:02:15there. Shift D. Um and when you do this,
1:02:18you are in the duplicated state and it's
1:02:20saying now where do you want to place
1:02:22that thing? Um and we don't want to
1:02:24place it anywhere. We want to leave it
1:02:25exactly where it was. And so I'm going
1:02:27to hit escape. Now when you do that, it
1:02:29hasn't um cancelled the duplication cuz
1:02:32you can see at the top there we've now
1:02:33got donut and then donut. 001. So there
1:02:36is two objects still there. They're just
1:02:38exactly in the exact same spot fighting
1:02:40for space. Something you actually never
1:02:42want to have is two objects sharing the
1:02:44exact same space cuz then when a camera
1:02:46moves or something happens uh in an
1:02:47animation you see like flickering. Um
1:02:50really really bad. Anyways, um I'm going
1:02:52to double click that and I'm going to
1:02:54call it icing just so that I can uh
1:02:56quickly tell the two apart. And I want
1:02:59to delete the bottom half of my doughut.
1:03:01So I'm going to go into front view mode
1:03:03like that. And I need to uh go into edit
1:03:06mode next. And I want to select the
1:03:09bottom half of my donut. Um this is face
1:03:12select. Current. Let's go verticy
1:03:14select. Okay. And if I was to click and
1:03:17then just drag over the bottom half of
1:03:19my doughut, it would appear as though as
1:03:22we have got half the doughut. However,
1:03:24and this is an area of blender that is
1:03:26not clear uh until you run into
1:03:28problems. But if I was to change my
1:03:30orbit, you can see it hasn't actually
1:03:32selected half the donut. It's only
1:03:34selected what it could see from that
1:03:36view. So you have to turn on toggle
1:03:39X-ray first or go into wireframe mode.
1:03:42Um but uh yeah, you have to turn that on
1:03:45first, then do your selection. And now
1:03:47it will actually select all the way
1:03:49through an object to the other side as
1:03:51well. By the way, if you find that you
1:03:53can't do this this drag selection that
1:03:56I've got, if you've got instead a circle
1:03:59over your cursor like like what I have
1:04:01here, um what that means is you have
1:04:03tapped the W key by mistake, which will
1:04:06cycle through in the top little uh side
1:04:08of your screen there. Um different
1:04:11selection modes. I wish it was not W.
1:04:14That's one of my complaints I've made to
1:04:16the Blender team. W is so close to the
1:04:19other keys you need on your keyboard. So
1:04:21many people hit this, they hit the wrong
1:04:23key and then they're in this thing and
1:04:24then like nothing nothing works. So like
1:04:26yeah, you want to be in this mode most
1:04:29of the time. Um but yeah, you can change
1:04:31to these other modes if you wanted to,
1:04:32you know, do a special selection or
1:04:34something as well. But anyways, that is
1:04:36how to to fix that. And also just to to
1:04:38call it out as well, we're going to be
1:04:40doing some like stuff with this icing
1:04:42that's going to maybe mess some things
1:04:43up and you might run into some issues. I
1:04:45got to call it out again. I've got an
1:04:47unstuck yourself guide, troubleshooting
1:04:49guide for just this tutorial. It is
1:04:51free. Just click the link below um and
1:04:53it'll take you there. Um because I want
1:04:55you guys to be able to get through this
1:04:57tutorial, but there's so many little
1:04:58things that you could experience in
1:05:00this. So um we're going to add it to
1:05:02that guide um to try and help you. And
1:05:04if you can't find um the answer to your
1:05:06your problem in there, um hit up the
1:05:08Discord. Uh the link for that is also um
1:05:10in it. So I'll link to my website and
1:05:12all the links will be there. So check
1:05:13that out um if you run into issues. All
1:05:15right. So, I've got the bottom half of
1:05:17my donut. We have to delete it. So, I'm
1:05:20going to hit X. When you do this, it's
1:05:22saying which part of it you want to
1:05:24delete. Now, this is one of those cases
1:05:25where it actually matters like which one
1:05:27of these you select cuz if you were to
1:05:29select vertices, cuz it would appear as
1:05:31though that's what you need to delete.
1:05:33But if you did that, you'll notice
1:05:35you've got now less than half because
1:05:38along with the vertices selected is that
1:05:41final line that is cut through the
1:05:43middle there. So, I don't want to delete
1:05:44that final line. I want to delete the
1:05:46other stuff. So in my options here, I've
1:05:49got an option for faces, which if we try
1:05:52that, you can see is the solution
1:05:53because when you uh deleting the faces,
1:05:55you're only deleting what are like what
1:05:57is a whole face, but these individual
1:05:59points here don't make up a whole face.
1:06:01This part does, so that's left behind,
1:06:03but all the other stuff was deleted. So
1:06:05anyways, we should now have half of a
1:06:08donut. So I'm going to turn off toggle
1:06:10X-ray now so I can see it. And if we
1:06:13clicked off, you'll see that it actually
1:06:14just looks exactly like a donut because
1:06:17again, they're sharing the exact same
1:06:19space. I do know it's there if I select
1:06:21it in the uh little outliner there, but
1:06:24it's uh completely invisible. So, the
1:06:26first thing I want to do is I want to
1:06:27add some thickness to this icing. And
1:06:29this is something you should know how to
1:06:31do. You should know it. If you don't
1:06:33know it, you've not been paying
1:06:34attention. Um but if you go to your
1:06:38modifiers, there is a modifier. Another
1:06:40clue. uh it is of course the solidify
1:06:43modifier which adds thickness to any
1:06:46face. So now that we've added that you
1:06:49think something's broken, it's not
1:06:50working. It is working. It's just that
1:06:52by default the solidify will uh add
1:06:54thickness inside. So if you change this
1:06:57offset here to be the inverted, which is
1:06:59one, it will now add the thickness the
1:07:01other way, which is what we need. Okay,
1:07:04so that's great. But of course, it
1:07:06doesn't look very good. There's a a
1:07:08quote which uh I always repeat. Uh
1:07:11imperfection is the digital perfection
1:07:14because the reason this looks fake, it's
1:07:16just perfectly straight. There's no way
1:07:17to get a laser cut icing across a donut
1:07:20like this unless you're using 3D
1:07:22software. So, we need to add randomness
1:07:24to this edge here in order for it to
1:07:26look realistic to our eye. So, I need to
1:07:29go into edit mode. And when we do that,
1:07:32we can't see the mesh because we've got
1:07:34our solidifier blocking our view. So,
1:07:36I'm going to click this disable in
1:07:38viewport just to hide it so that I can
1:07:40see it. So, when I turn it back on, I I
1:07:42know it's there, but just while I'm
1:07:44editing it, in order to see it, I need
1:07:45to be able to um have it turned off. So,
1:07:49to add randomness, what I could do is I
1:07:51could come in here and I could select
1:07:52one point like this. I could hit G and I
1:07:56could move it down. Okay? Then I could
1:07:58get the point next to it and I could
1:08:00move this one down. and then this one.
1:08:03And I could do this and do this and we
1:08:06could put ourselves to sleep trying to
1:08:08make this donut look good and it would
1:08:10it would take forever. Um, but
1:08:12thankfully in 3D there are tools for
1:08:15everything to make your life easier. And
1:08:17so one such tool is at the top here,
1:08:19your proportional editing tool. What
1:08:22this does is now when I hit G,
1:08:26it'll move everything at once. Um, no.
1:08:29It what it will do is it will it will uh
1:08:32move everything with a fall-off area
1:08:34around it. The reason it's moving the
1:08:36entire mesh with it is that the fall-off
1:08:39is so big that it's actually outside of
1:08:41our view at the moment. This was
1:08:43actually something I I called out in my
1:08:44uh usability talk at the Blender
1:08:46conference last year. Um, we could do
1:08:49better than this, but basically if you
1:08:51zoom way out, you will see there is a
1:08:53circle around it. Um, and that's how big
1:08:56it is. So, what we need to do is whilst
1:08:58we're in this move state is we need to
1:09:00reduce that. And you do that by
1:09:02scrolling down. Scroll down, down, down,
1:09:05down, down. Oh, no, that was the wrong
1:09:07direction. Scroll up. Sorry. Scroll up,
1:09:09not down. And that will make it scroll
1:09:12smaller. So, scroll up to make it
1:09:13smaller. Scroll down to make it bigger.
1:09:15I just completely brain farted. If you
1:09:18don't have a scroll wheel, by the way,
1:09:19and this is another thing to call out.
1:09:21When you're in a move state like we are
1:09:23right now, you can see along the bottom
1:09:25of our screen, you've got a list and
1:09:28that only appeared there when you're in
1:09:29that state. When I when I turn it off,
1:09:31all those options are gone. But whilst
1:09:33I'm in this state, there's a bunch of
1:09:34options there. And the keyboard shortcut
1:09:36is actually right there. Page up and
1:09:38page down. Okay, so that is how we can
1:09:42increase or decrease. So again, if you
1:09:44if you don't see the the circle, you
1:09:47just have to keep holding page down or
1:09:50scrolling up um until it goes uh down to
1:09:54something that you can see basically.
1:09:56Anyways, now that we are in that state,
1:09:58I'm going to hit Z, okay, to grab uh
1:10:02sorry. Yeah. So, whilst I'm doing I I
1:10:04don't want to just like freehand do it
1:10:06because if I if I pull it down like
1:10:07this, if it like if I watch what
1:10:09happens. If I do it on the edge here
1:10:11like this, it appears as though it's
1:10:13it's pulling it straight down, right?
1:10:14And I do this and this. But actually, if
1:10:16you looked at it, these would be
1:10:18slightly skewed a little bit. Um, just
1:10:21because of like we're working in 3D.
1:10:23We're looking at things from a different
1:10:24perspective. Sometimes things appear to
1:10:26be going down, but they're actually at
1:10:28like a slight angle. So, it helps to um
1:10:32when you're moving something to think of
1:10:34which axis it's going on. So, I want it
1:10:35to go straight down. So, G and then zed.
1:10:38And now I'm going to pull it down. Okay.
1:10:40That was a lot of work just to do this
1:10:41one little bit. I'm sorry. [gasps] All
1:10:43right. Okay. So, we've pulled it down.
1:10:45Excellent. Um I'll do a little bit more
1:10:47as well. I'll just do a little bit here.
1:10:49I'll do a little bit here. You can like
1:10:52play with the um the amount the the
1:10:55fall-off
1:10:57like so. You know, you can play with it.
1:11:00All right, cool. Now, if we turn on our
1:11:01solidify modifier, we've got the
1:11:03thickness back, and you can see we've
1:11:05got some variation to uh to the donut
1:11:08there. So, let's let's continue on here.
1:11:10So, let's pull this like so. I don't
1:11:13want to go too far cuz we're going to
1:11:14add some some dribbles soon. Dribbles
1:11:18sounds gross, but you know, the little
1:11:21runoff droplets
1:11:24that uh that's going to go down down the
1:11:26donut.
1:11:28like so. Okay, that is pretty good. Now,
1:11:31you can see it's like partly like
1:11:34intersecting it. Um, and that's
1:11:36obviously because we've got proportional
1:11:38editing, so it's actually kind of moving
1:11:39some of these ones that are up top and
1:11:41pulling it down as well. It's fine with
1:11:43the solidify modifier, but we're
1:11:44actually going to end up fixing it when
1:11:46we uh when we do the dribble anyway, cuz
1:11:48I'm going to introduce another modifier
1:11:49that's going to fix this. Um, but
1:11:52anyways, let's do this. Let's do the
1:11:53dribble part. So, I'm going to look for
1:11:55an area. Yeah. Like let's go. Yeah. And
1:11:58here where this bit's like running down.
1:12:00Um and I'm going to um I want to make
1:12:03this like a dribble that goes down the
1:12:05donut here. And currently I can't really
1:12:09continue to pull this like I could I
1:12:11could like get like a sharp point like
1:12:13that. But that does not look very good,
1:12:15right? We need more geometry
1:12:17essentially. So you might remember the
1:12:19hotkey. If we want to extrude something,
1:12:21it is E. But I can't just extrude one
1:12:24point like that. Okay? Because there's
1:12:25no face there. There's nothing that's
1:12:27actually going to be rendered if I just
1:12:29pull one point down. So, I need to
1:12:31select two points. Okay, so two points
1:12:33like this. If I hit E and then zed and
1:12:37then pull down and then release. And
1:12:40then if I bring back my solidify
1:12:41modifier, you can see we've got more
1:12:43geometry. Doesn't look very good though.
1:12:46[laughter]
1:12:47Um, so let's add in another modifier,
1:12:50the same one that we used on the mug as
1:12:52well. It's the subdivision surface
1:12:54modifier.
1:12:56Um, as I said, you use these all the
1:12:58time, use it for most objects probably
1:13:00have a subdivision modifier because it's
1:13:02so useful. Um, but one of the things
1:13:04it's good for is it like besides adding
1:13:05detail, it like smooths things out for
1:13:08us. So that little hard little block
1:13:10that we had there has now turned into a
1:13:12smoothed droplet looking shape, which is
1:13:15exactly what we want. But look,
1:13:18it has separated from the donut. Now, in
1:13:22previous tutorials, um I actually did
1:13:23like a thing that showed you how to like
1:13:25use this but make it like snap onto the
1:13:27donut, and it got all complicated.
1:13:29Everyone screwed up their mesh at this
1:13:31point. Um you can do this by hand as
1:13:34well. You can like come in here and like
1:13:35try to pull this in piece by piece, but
1:13:39it's actually not necessary because
1:13:40there is a modifier that will just do it
1:13:42for you. Um so, if you go to your add
1:13:45modifier stack and then go to deform and
1:13:47then you're looking for the one called
1:13:49shrink wrap. And by the way, again, if
1:13:51you can't find it, just go up to here,
1:13:53type in shrink wrap, and you'll also
1:13:55find it there. So, shrink wrap, what
1:13:58this is going to do, it's going to
1:13:58shrink it onto a mesh. But you have to
1:14:00define the mesh first in order to see it
1:14:03because if you don't, it just has no
1:14:04effect. Absolutely. That's what the red
1:14:06is h showing you. It's not doing
1:14:07anything. So, your target um yeah, you
1:14:11can actually like select it from the
1:14:12drop down or what most people do, you
1:14:13click the little eyropper and then you
1:14:15select the object. Bam. All right. Now,
1:14:18it's working. And now we've got some
1:14:19serious Z fighting where the uh faces
1:14:22are overlapping and this is horrible.
1:14:24You never want this. All right. So, you
1:14:27will remember uh when I was talking
1:14:28about the modifier that it works top to
1:14:31bottom. So, essentially what we've done
1:14:32is we've gone uh add thickness then add
1:14:37detail and then shrink wrap all of that
1:14:39thickness onto the donut itself. So,
1:14:42what we need to do is change the order
1:14:43of this um and not go halfway cuz that
1:14:46also won't do anything. Um, we need to
1:14:48go all the way to the top. So, the
1:14:50shrink wrap is happening first. So, it's
1:14:52snapping it onto the mesh. Then, it's
1:14:55adding the solidify modifier. Then,
1:14:58underneath that, it's adding the subsurf
1:15:00modifier. And we can actually increase
1:15:02this, make it a level two for the
1:15:04viewport. And you can see it just adds a
1:15:06little bit um extra detail there. Okay.
1:15:09Um, and you can go even higher, of
1:15:11course, but you know, you will get uh
1:15:14eventually it'll just get so slow for
1:15:15your computer and there's not really
1:15:16going to be any point. But you can just
1:15:17go to level two for now. Okay. So, uh to
1:15:20quickly show you as well what the shrink
1:15:22wrap is actually doing. Um because it's
1:15:25really it's not that clear. Um but yeah,
1:15:28this is this is where it's that little
1:15:30piece is overhanging and then it's
1:15:32essentially looking for the nearest
1:15:33point um to find this mesh underneath it
1:15:37and then it is just snapping it uh to
1:15:39that point. So, it's it's pretty good.
1:15:41Like I can drag this like pretty far
1:15:44down like but there is an extent I can
1:15:46So I'm just doing another extrusion on
1:15:47this point. So as I pull it down you can
1:15:49see it like it kind of loses it. There's
1:15:51a point where it just won't find the
1:15:53mesh anymore. So there's a point like at
1:15:56which you should start to pull things
1:15:57into the mesh. It's not magic. It's not
1:15:59going to just magically find it. So if I
1:16:01just pull it all the way out there,
1:16:02there's no way it's going to be able to
1:16:03find it. So there is uh a limit. But you
1:16:06can see this is it does make our job a
1:16:08lot easier because I can um I can pull
1:16:10it down and I can start to make um you
1:16:13know some some big dribbles along my
1:16:16mesh here. And I don't have to really
1:16:19worry that much about the uh the
1:16:22placement because it's just going to
1:16:24automatically snap itself to the donut.
1:16:25I just have to make sure the dribbles
1:16:27are straight. Um, and if you look at
1:16:29reference, which you should be doing,
1:16:31um, I'll put some reference on, um, my,
1:16:33uh, the link below on my website, so you
1:16:35can have a look and just kind of go
1:16:36through it. Um, but yeah, usually when
1:16:39when like droplets form, they kind of
1:16:42like the gravity kind of like builds at
1:16:44a point and it kind of like gets sucked
1:16:45from the top and so you end up with like
1:16:47this thin bit in the middle and then
1:16:48this like globule, which is a crazy word
1:16:52um [laughter] at the bottom there. But
1:16:54essentially, it just means the piece at
1:16:55the bottom I'm just going to make a
1:16:57little bit thicker than the pieces above
1:16:59it. Okay, so that's one, but we should
1:17:01do more. So I'm going to go around and
1:17:04I'm going to add more. Um, and just
1:17:06repeat the same thing. Just do an
1:17:08extrusion on these little points there
1:17:10and just kind of drag it down. So, let's
1:17:13do that because yeah, I remember the
1:17:16first doughut that I ever made. Oh, way
1:17:20way back in the day, making the first
1:17:23doughut. Um, and I really like I I did
1:17:26one little dribble going down it. And
1:17:29then I always wanted to frame the the
1:17:30camera so that it was looking at that
1:17:32cuz that was the most interesting part
1:17:33of the donut. And then I learned like ah
1:17:36just exaggerate. Just add little
1:17:38dribbles everywhere. That is a big part
1:17:40of being an artist is you look at
1:17:43reality and then you find the bits that
1:17:45are actually pleasing and then you
1:17:47exaggerate it. And that's what I'm
1:17:50doing. So, you know, donuts typically
1:17:52don't have this many dribbles, but it's
1:17:54very pleasing. It just makes it look
1:17:55very like gooey and like, oh, there's so
1:17:58much icing. Um, and you can see, by the
1:18:01way, I'm not doing the same shape also
1:18:03everywhere. So, this is like a half one,
1:18:05right? And I'm kind of looking for like
1:18:07where I can add um some different
1:18:09shapes. Why is that? There's a gap
1:18:12there. Oh, okay. Oh, no. [laughter]
1:18:15Yeah, I was uh recording
1:18:18uh for this this tutorial and I recorded
1:18:21something and then I like reverted it.
1:18:22But I've now got a giant face here where
1:18:24there should be not a giant face there.
1:18:27So, what do you do? You you've
1:18:28accidentally got this thing. There is uh
1:18:31and this is you obviously don't have to
1:18:32do this because this is not your
1:18:35problem. Um but I'm just going to use
1:18:37the knife tool which is a way to do an
1:18:40incision on a mesh and just add more
1:18:42geometry like freehand. So I've just uh
1:18:45fixed that little problem that I had
1:18:47there. But uh you hopefully should not
1:18:49have that problem. Um yeah, let's I'm
1:18:51going to just pull this down. I'm going
1:18:52to turn on proportional editing. I'm
1:18:53going to add a little bit that's going
1:18:55down. And let's select these two. Turn
1:18:57off proportional. Let's add another
1:19:00little bit that's going right here. Add
1:19:02a little bit of variance. And let's add
1:19:05let's add another big one right here.
1:19:08Pull this one down. But this is the fun
1:19:10part, you know? I mean, aside from the
1:19:12finicky like going like sideways looking
1:19:15at where it appears and then
1:19:16straightening it. But you get to kind of
1:19:18like shape things and just like with
1:19:22your eye just just play with it. It's
1:19:25actually one of the cool things of of
1:19:273D. Um, it's also why a lot of people
1:19:29get into 3D is they want to do art, but
1:19:33whenever they pick up a pencil, they
1:19:35just can't get the lines where they want
1:19:36it. And the great thing about 3D is is
1:19:39that you've got points and you can move
1:19:41those points after the fact. You're not
1:19:43drawing freehand. So, if you there's no
1:19:46case where you like screw up a line and
1:19:49you have to like rub it out and try
1:19:51again. Like, you just grab a point and
1:19:53just kind of like move it around um like
1:19:56I'm doing right now.
1:19:58So, that's one of the uh one of the joys
1:20:00of of 3D. I'm just trying to just doing
1:20:03filler talk if you can't tell. Just grab
1:20:06a few pieces, move them all down
1:20:07together. Why not? There we go. That's
1:20:10kind of interesting. I might add I might
1:20:13just take this one at the bottom there
1:20:15off. And I'll just maybe pull these out
1:20:19just so we've got more variance that
1:20:20goes all the way around it. But play
1:20:23with it as much you want. Um, you know,
1:20:25you can pause this and, you know, play
1:20:26with it. Um, but I'm just trying to make
1:20:28it look generally appealing. Now, one
1:20:31way to improve this, you'll notice that
1:20:33the icing is separating from it, right?
1:20:35It's going uh it's going up right there.
1:20:38And again, that's because of how subsurf
1:20:40modifiers work. There's a point here and
1:20:41there's a point here. So, it has to uh
1:20:44it has to make this really rounded
1:20:47shape. But real liquid when it is uh in
1:20:50this state when it's clinging to an
1:20:51object uh this part here as as it hits
1:20:55it that part will be like solid right
1:20:58and then the rest of it like this part
1:21:00is round but then this part is like
1:21:02hugging the actual surface. So
1:21:04thankfully we can do that. There is a
1:21:07setting in the solidifier setting
1:21:09options which I might have to move.
1:21:11There we go. So we can see it. Um,
1:21:14underneath edge data, there is an option
1:21:16here for a crease. Okay, so what a
1:21:19crease is doing, we didn't really talk
1:21:20about it with the mug, but it's
1:21:22essentially on an edge, it's creasing it
1:21:24and saying like instead of like doing
1:21:26that huge rounded thing, just kind of
1:21:28tighten it on that edge. Very similar to
1:21:30adding the geometry like what we did on
1:21:31the mug, but this is a way to do it
1:21:33without adding extra geometry. It does
1:21:34kind of add a little bit of stretching,
1:21:37um, but it's not really that noticeable
1:21:39on something like this. But that is very
1:21:42very nice, very solid. Um, it's hugging
1:21:46it and it looks very pleasing.
1:21:49Excellent. Now, we could as well I
1:21:51didn't actually do this for my final
1:21:52one. Um, because I forgot. [laughter]
1:21:55Um, but I realized after I was like,
1:21:56"Oh, yeah. I guess like the part that's
1:21:58on the inside of the donut." Yeah, I I
1:22:01forgot to do that. Um, but yeah, you can
1:22:03also like do the exact same thing just
1:22:05playing with it. If you find like it's
1:22:07kind of hard to like look at it inside
1:22:09the donut, if you just select the middle
1:22:12row. So if you just hold down alt and
1:22:14then select on that middle row, you can
1:22:15use the same focus um button. So numpad
1:22:18period or tilda and then view. And then
1:22:21that will just lock it on to those
1:22:23selected vertices. So that focus key
1:22:25that I mentioned, it works on uh in edit
1:22:27mode as well, which is good. So yeah, I
1:22:29could just pull these down like this and
1:22:31just, you know, the camera's not really
1:22:33going to notice it. You just want to
1:22:35make sure that it's, you know, not
1:22:37perfectly straight like mine was in the
1:22:40uh final render. Um it doesn't really
1:22:42like who's going to notice, you know,
1:22:44who's going to tell really. Um annoying
1:22:48people are going to point it out if the
1:22:51inside part's too straight. All right.
1:22:54So, that's pretty good. Um actually,
1:22:56something I might do cuz I noticed like
1:22:58looking from the top cuz this is where
1:22:59the camera's going to be like we're not
1:23:00really able to see much donut. like the
1:23:02icing is a little bit too far down. So,
1:23:04I'm just going to grab some of these
1:23:05points here using proportional editing.
1:23:07I'm just going to pull them up to just
1:23:09expose a little bit more of the
1:23:12underlying doughut, which is definitely
1:23:13going to make the doughnut look a little
1:23:14bit more handmade, you know? Um cuz like
1:23:17obviously a probably a professional
1:23:20donut from Crispy Cream or something
1:23:21doesn't have this much variance in it,
1:23:23but it's okay. Does kind of help it give
1:23:25it a uh yeah, realistic kind of look.
1:23:29Now, there's one thing that would really
1:23:31improve the look of this icing, and that
1:23:34is thickness variation. Because if you
1:23:37go around it, you'll see that the exact,
1:23:40you know, the distance from here to here
1:23:42is the exact same thing as like, you
1:23:44know, what it would be over here to
1:23:45here. And that's just not the case.
1:23:47We've got like icing that is dribbling
1:23:50down. These little droplets are kind of
1:23:52like breaking away. And what happens
1:23:54when those droplets break and then they
1:23:55kind of stop? They build up, right? So,
1:23:58we should actually see these kind of
1:24:00like swell a little bit. They should be
1:24:03a little bit rounder at the heads of
1:24:06each of these points. Also, along the
1:24:08edges here, every little edge here
1:24:10should be a little bit more inflated
1:24:13than the rest of it. And although that
1:24:15sounds like nothing, when you when you
1:24:18do it, when you actually add this little
1:24:19detail, it really does improve the
1:24:21realism. So, we can't do that because
1:24:24all we've got is these little points
1:24:26here. Okay. So, just like what we did
1:24:28with the mug, there comes a time where
1:24:30you need to break the um break the uh
1:24:34non-destructive workflow and apply your
1:24:37modifiers. So, this shrink wrap here, by
1:24:40the way, when you apply something, you
1:24:41have to apply it in like top to bottom.
1:24:44So, even really, although we really just
1:24:46we only want to apply the solidify.
1:24:48That's the main one we want to do. Um,
1:24:50we have to first of all apply this the
1:24:52shrink wrap because that's the one that
1:24:53is first and that's the one like if we
1:24:56if we applied this one first, we would
1:24:58lose uh the the the shrink wrap would
1:25:00have to go after and it would just yeah
1:25:02it would screw it up. So we have to
1:25:03apply the shrink wrap first. So go here
1:25:05and click apply. Okay. Now in edit mode
1:25:08you can see we've still got those single
1:25:10points but they're now snapped to the
1:25:12mesh. All right. But it means we no
1:25:14longer have that automatic snapping. So,
1:25:16if I was to pull these out, you can see
1:25:18they're now separated from the mesh. So,
1:25:19just keep that in mind. Um, we still
1:25:22can't edit the mesh there because we
1:25:23haven't applied the solidify. So, I'm
1:25:25going to apply the solidify now. And now
1:25:27we've got these points here. Okay. So,
1:25:30now if I wanted to with just these
1:25:31points, I could pull some of these
1:25:33points out. Turning off proportional
1:25:35editing. And I could just pull them out
1:25:37a little bit. And that's better. But we
1:25:40don't have enough detail here. We need
1:25:41more geometry to play with in order to
1:25:44add this extra detail. So, we need to
1:25:46apply our subsurf modifier. So, I'm
1:25:49going to on here I'm going to hit apply.
1:25:50And actually, there's a hotkey if you
1:25:52want to don't want to have to go to the
1:25:53drop down each time. Ctrl A will apply
1:25:56the selected uh modifier. And now in
1:25:59edit mode, look at this. Now, we've got
1:26:01all this extra geometry to play with.
1:26:04So, now if I wanted to, I could turn on
1:26:06proportional editing. I could select one
1:26:08point. I could try and get a kind of a
1:26:11shape like this. That would be probably
1:26:13the best way to do it if I was
1:26:14restricted to edit mode. And that'll get
1:26:17me some of the way there. I could, you
1:26:19know, pull individual points out. I
1:26:21could try and do that. But you can see
1:26:22it's it's very finicky. And it's really
1:26:25it's not the tool to use because, like I
1:26:28said, there are tools for everything in
1:26:303D to try to help you to um yeah, to to
1:26:33to do things better. So, go to the top
1:26:36of your screen. We're currently in
1:26:37layout. That's all we've done so far.
1:26:39We're going to swap to sculpting. All
1:26:41right. Now, when you swap to a new one
1:26:43of these views here, it'll uh it's
1:26:46assuming the default view of Blender,
1:26:48which is like when everything was like
1:26:4910 m long or whatever. So, our donut is
1:26:52tiny. So, we have to focus on the
1:26:54selected object. So, I'm just going to
1:26:56hit numpad period. Um, that hasn't
1:26:59worked.
1:27:00Okay, don't worry about that. Um, all
1:27:02right. So, instead of in sculpt mode,
1:27:05change to object mode. Then hit numpad
1:27:09period or view selected. And then now
1:27:12jump back to sculpt mode. And now we're
1:27:14back to it. For some reason, I thought
1:27:16focus worked in uh in sculpt mode. Yeah.
1:27:19All right. Sometimes you just teach
1:27:20something and then you go, "Oh, that
1:27:21never worked. What was I talking about?"
1:27:23Anyway, um Okay. In sculpt mode now, and
1:27:27make sure you're looking at the correct
1:27:28one, okay? Not the donut, but the icing
1:27:30itself. If I was to now
1:27:33draw over this, you can see we're
1:27:35drawing into the mesh of the icing.
1:27:38Isn't that cool? All right. So, what I
1:27:41want to do is I want to change my brush
1:27:42and I want to find the one brush which
1:27:44is really going to help us here and it
1:27:46is this one, the inflate deflate brush.
1:27:49Now, your brush size here can be
1:27:51controlled by the size at the top or
1:27:53there is a hotkey F. And when you hit F,
1:27:56you just choose with your mouse like how
1:27:58big the size needs to be. Okay. So, I
1:28:00can pull out. And then now, if I just
1:28:03draw over that little gobuille there,
1:28:06the end piece, it just adds a little bit
1:28:08of inflation.
1:28:11And I'm So, I'm just pulling it around
1:28:13just slightly. I don't want to go too
1:28:15far, but just adding these little
1:28:17inflated points will really help this to
1:28:20look realistic. The other thing is you
1:28:22can actually shape some of the the mesh
1:28:24as well. So, there's another brush that
1:28:25I use all the time, which is the grab
1:28:27brush. You just uh essentially just pull
1:28:31mesh like that. So that's another easy
1:28:33way to just kind of move pieces around
1:28:37like so. You can just shape things like
1:28:39this. Add a little bit of extra detail
1:28:41if you want. Yeah.
1:28:45And all is well.
1:28:49So you can see I I'm doing a little bit
1:28:50on the edge here again because all the
1:28:52edges there should have a little bit of
1:28:54buildup of the fluid because that's
1:28:56where gravity kind of makes it stall and
1:28:58like stop cuz it just kind of like runs
1:29:00out of um like the the tension will be
1:29:03more than the gravity that's pulling it
1:29:05down. Um you get the idea. Anyways, play
1:29:10with that as much as you like.
1:29:13But of course we have some homework to
1:29:16finish off this video. So, what I want
1:29:18you to make is this hidden object, which
1:29:22is a plate for your doughnut. So, have a
1:29:27look at the shape here that I've got and
1:29:29have a think about how you would go
1:29:31about creating this and try to do it
1:29:33yourself. Just give it a stab. Even if
1:29:35you don't feel confident, you don't feel
1:29:36like you could uh achieve it, just give
1:29:38it a go. Um, there's a hint, we've got
1:29:41some modifiers on the right here. And I
1:29:43will also show you what the wireframe
1:29:46looks like. um because that will
1:29:47probably help some people out as well.
1:29:50Okay, so that's a pretty big hint. Um
1:29:53but yeah, give a go without any
1:29:55instruction from me. Have a stab at
1:29:57that. In the next part, I'll very
1:29:59quickly show you how to uh how to create
1:30:01this. Um if you get completely lost, you
1:30:04can join me in that part, but please
1:30:06have a go at trying to do it yourself.
1:30:07Anyway, go ahead, join me in the next
1:30:09part after you have tried to create this
1:30:12by yourself.
1:30:15Welcome back. How did you go making your
1:30:18plate? Hope you all attempted it. If you
1:30:21didn't or you got stuck, don't worry
1:30:23because I'm going to show you how to
1:30:24make it right now. So, if you had no
1:30:27problems with it, you might want to skip
1:30:28forward. This might be a little boring,
1:30:30but otherwise, I'm going to show
1:30:31everyone how I would go about creating
1:30:33the plate. So, uh, we need to add a new
1:30:35object to the scene. We can go to the
1:30:37add menu up there, or we can hit shift
1:30:39A. Um and then from this list we want to
1:30:41choose the object which most resembles
1:30:43what we want to create. If you ask me
1:30:45that would be a circle. Okay. So just
1:30:49like before the bottom leftand corner we
1:30:51can change some options here. The
1:30:53biggest one being radius. It's too big.
1:30:55So drop that into about there. Um and
1:30:58you will notice that you can see through
1:31:00it. Okay. And that is because there is
1:31:02no face there. This is just a string of
1:31:04vertices. And as I touched on briefly
1:31:07earlier, vertices don't show up in your
1:31:09render. Faces do. So we need to add a
1:31:12type of face underneath fill. So there's
1:31:15two options. Either of them will do.
1:31:17Engon is just one single face shared
1:31:19amongst the 32. Or the triangle fan will
1:31:22mean uh there's one point in the middle.
1:31:25Um you can actually see it in this mode.
1:31:27One point in the middle and then it just
1:31:28creates um triangles to that point. I'm
1:31:31going to go with engon because you know
1:31:33it's never failed me. for this option.
1:31:36So, I'll just use that. Okay. Now, we
1:31:39need to uh add more geometry to this cuz
1:31:42we need to create some sort of a lip for
1:31:44the plate. You can't just have a plate.
1:31:46It's always got to have a rim on or else
1:31:47that stuff slides off it. Right. So,
1:31:49into edit mode by hitting tab. Um I'm to
1:31:53add some geometry. I'm going to extrude.
1:31:55So, I'm going to hit E. Okay. And in
1:31:57this state, it's now saying, yeah, where
1:31:59do you want to place it? and it's
1:32:00extruding it along the normal, which is
1:32:02that invisible line that faces out from
1:32:04the face in there. Um, and I'm just
1:32:06going to do a single click right here.
1:32:09Um, now before we start scaling and
1:32:10pulling this out, you'll notice that
1:32:12obviously that's intersecting our mesh.
1:32:15We need to delete that face because we
1:32:17don't need it. So, I'm going to hit X to
1:32:19delete. And then what type of deletion?
1:32:22Not edges, not vertices, obviously,
1:32:24because that would be, you know, the
1:32:25entire line. Um, I want to delete just
1:32:27the single face on top. And there we go.
1:32:30So now I can reselect that line by
1:32:32holding down alt and then left clicking
1:32:34on it. And now if I want to create like
1:32:36a lip, which is not just straight up,
1:32:38but a little bit out, I would just
1:32:40scale. So S to scale and then just
1:32:43pulling my mouse out until it looks
1:32:45something like that. Do a click to
1:32:47confirm. Okay. And then I'm going to do
1:32:49another extrusion because I'm going to
1:32:50create like another bit like a little
1:32:52bit of a flat area. Okay. So E. And then
1:32:55I don't actually want to pull it
1:32:57upwards. Obviously, I want to pull it
1:32:58outwards. So, what I do is I cancel the
1:33:01movement. And now that I'm in that
1:33:03state, I'm going to hit S to pull
1:33:05outwards like so. Um, by the way, I
1:33:08should show you as well. If after you
1:33:11have like extruded something like let's
1:33:13say you do this, right? Oops. you if you
1:33:16did this, if you extruded and then you
1:33:19uh like cleared its position, but then
1:33:21accidentally clicked off it, you've now
1:33:24got double vertices all along this this
1:33:28line here. And that's horrible because
1:33:30it will it will create jagged artifacts
1:33:32in it. So, this is a really super common
1:33:34problem that you will experience all the
1:33:36time. And the way to fix it is to select
1:33:38your entire mesh, then hit M to merge,
1:33:41[clears throat]
1:33:42and then you're going to go by distance.
1:33:45And you'll see in the bottom there, that
1:33:46little thing that says removed 32
1:33:48vertices. And that has cleared up that
1:33:50problem. So, I have to show you that cuz
1:33:52people will do it. It'll happen. And um
1:33:55that's how you fix that issue. But
1:33:56again, if you run into issues like this,
1:33:58use my Unstuck yourself guide. Link is
1:34:00in the description because I did set it
1:34:02up so you guys can um hopefully get
1:34:04through this tutorial. All right. So, as
1:34:07I said, extrude, clear its like
1:34:10movement. So, its placement is exactly
1:34:12where it started from. But then I'm
1:34:13going to hit S to scale outwards. So,
1:34:16now I've got a little flat rim to my
1:34:18plate. And then, now that it's here, I'm
1:34:21going to do one further extrusion
1:34:23upwards. And this is just obviously the
1:34:24design of the plate that I'm choosing.
1:34:26So, upwards. Now, you can see it's like
1:34:28freehand like that. I don't like it. So,
1:34:29I'm just going to lock it on the Z axis.
1:34:32So, just hit Z. So, it's going straight
1:34:33up like so. Okay, great. We've got a
1:34:38very jaggedy looking plate that you
1:34:40sometimes see in video games. You're
1:34:42playing Call of Duty or something. You
1:34:43get up close and you go like, "Look at
1:34:44that jagged old plate there." Um, which
1:34:48by the way is cuz in games the plate is
1:34:50like one of a million objects and they
1:34:53can only put so many polies into the
1:34:55scene. So, little things, little details
1:34:57on um tables and things often end up a
1:35:01little low res. Anyways, go to your
1:35:03modifier stack. Um, and the first one we
1:35:06want to add to kind of smooth this out
1:35:08is our very favorite subdivision surface
1:35:12right where my head is. Um, or you can
1:35:14access it from the search subdivision.
1:35:18There we go. Okay, cool. And I'm going
1:35:20to go level two. And we've got that
1:35:22crimping effect happening to the middle
1:35:25of our plate there. So, just like
1:35:26before. And actually, let's hide my
1:35:29donut and my icing just so that I can
1:35:31focus on the plate. And I'm also going
1:35:33to turn off the subdiv just so that I
1:35:35can select this single face here because
1:35:38just like before, the reason that's
1:35:40happening is it's like right on the edge
1:35:41there. It has to like convert all that
1:35:43into like a single point in the middle
1:35:45and it's just too ugly when it starts
1:35:47there. So, we just may have to make it
1:35:48start way further in the middle like
1:35:50that. And then when we do that, it's
1:35:52clear. It's practically invisible. You
1:35:55can only see it if you get really close,
1:35:57but you won't see it because it'll be
1:35:58under the donut and it'll be smooth.
1:35:59Anyway, um, cool. Now, um, I can tighten
1:36:03up the edges here cuz this is looking
1:36:05very, very, um, smooth. So, I showed you
1:36:07before how you can add a loop cut. You
1:36:10can do CtrlR. Okay. And that'll add a
1:36:12loop cut in the middle. And then I just
1:36:14pull it out towards the edge like that
1:36:16to make a smoothed uh, sorry, a um,
1:36:19sharpened
1:36:20uh, point. Yeah. Anyway, um [laughter]
1:36:25the other way to do it, which I didn't
1:36:27talk about, but you can do a crease. So,
1:36:29if we just hold down alt and then we
1:36:31select that line there, um you can do a
1:36:33crease. If you uh right click, you'll
1:36:35see you've got their edge crease or the
1:36:37hotkey shift E. So, in this when you do
1:36:40shift E, you'll see at the top there,
1:36:42you've you're pulling out basically a
1:36:44value from one to zero. Um and
1:36:47essentially what it's doing is it's like
1:36:49doing a fake kind of tighten on that
1:36:51edge there. So, it's kind of like
1:36:52pulling it out and just making it a
1:36:54sharper point. It doesn't look as nice.
1:36:57You don't get as much of a bevel because
1:36:59there's no geometry being added there
1:37:01like you would if you were to actually
1:37:02do a loop cut. You get all this extra
1:37:04geometry. So, it's not it's not as good,
1:37:07but for like small things, it's you
1:37:09know, it's generally fine to do
1:37:11something like that. All right, I'm
1:37:13gonna do a shade smooth now because I
1:37:15want to see how that looks. And that's
1:37:17pretty good. Now, the only other thing,
1:37:19the exact same thing. It's weird that
1:37:21like three things in this small little
1:37:23scene have the exact same two modifiers.
1:37:27Subserve and uh solidify. Um anyways,
1:37:30generate solidify. And just like before,
1:37:34we want this solidify to go first
1:37:35because otherwise it's doing it after
1:37:37the fact and then we get this like
1:37:39really annoying like hard line there. So
1:37:42just pull that up to the top and now
1:37:43it's rounded. And look at that. Um, but
1:37:47yeah, I might actually want to make this
1:37:50line a little bit harder. So, I'll pull
1:37:52that in. It's still, yeah, there's just
1:37:55not enough geometry there. I This is one
1:37:57of the cases where you just need more
1:37:58geometry. So, I'm going to add a loop
1:37:59cut here. And I'll add another loop cut
1:38:02underneath it like that. And now
1:38:07I'm going to just select this. And I'm
1:38:08just going to revert that edge crease.
1:38:10So, shift E. And then I just go like
1:38:12minus one, like so. And now it's just
1:38:14Yeah. the way it was before. But there
1:38:16you go. So now I've got a sharper edge
1:38:18on it. The only other thing I might just
1:38:20pull up this lip here. So alt select on
1:38:22that lip. G zed. And I'll just pull it
1:38:25up a little bit. Um and there you go.
1:38:28And we would model from reference, but I
1:38:30actually had like a photo scan plate
1:38:32from uh Polygon, which we'll get to
1:38:34later. Um but yeah, this is just
1:38:36modeling from that reference that I
1:38:38already had, but this is the design of
1:38:39it. So there you go. Great. Now, let's
1:38:42bring back our donut and our icing. Now,
1:38:45I saw a comment on the last video that
1:38:47said, "Uh, you didn't make the donut
1:38:49lumpy like last time. It's so over. Why?
1:38:53Oh, ye have little faith. You think I
1:38:55would forget something like that?"
1:38:58Maybe I did forget. [laughter]
1:39:00But I'm actually glad I did because this
1:39:03is a great opportunity to talk about a
1:39:05new tool. So, for those that haven't
1:39:07watched a previous version, before we
1:39:09did the icing, um, we made the donut
1:39:12lumpy, which I did by going into edit
1:39:13mode and then I just selected vertices
1:39:16using proportional editing and like, you
1:39:18know, like pul pulled it out, right? And
1:39:20just kind of like maybe I shrink some
1:39:21parts in this kind of thing. And the
1:39:23reason this is important is that this
1:39:25adds natural variation because you know
1:39:28you could have scientists working for a
1:39:32thousand years in a lab and they would
1:39:35never be able to create a donor as
1:39:37perfectly mathematically accurate as our
1:39:403D software has done. This is too
1:39:43perfect. there is natural variation and
1:39:45we need to see that for the eye to go
1:39:47this is you know a real you know uh
1:39:49something realistic right and it's hard
1:39:52to do this kind of thing after you've
1:39:54already added the donut sorry the icing
1:39:56because you can see it just has no
1:39:58bearing on the icing over the top right
1:40:00so some things in 3D are easier to do
1:40:03earlier than they are to do later and
1:40:04this is something you just learn as you
1:40:06do 3D like you'll you'll do so many
1:40:08projects where you just like you get to
1:40:09the end and you go like oh man why
1:40:11didn't I do that before I did this now
1:40:12this is
1:40:13I've like 3xed the amount of work and
1:40:15you just learn these things over time.
1:40:18However, there are certain tools um and
1:40:20there is one I'm going to introduce you
1:40:22to in a second that enable you to make
1:40:24these sort of changes after. Um by the
1:40:26way, there is a way like you can select
1:40:28both objects like this um which you you
1:40:32that is something that you can do in
1:40:33Blender now. You didn't used to always
1:40:34be able to, but you can now edit both
1:40:36objects together. So, I could do this.
1:40:38It does have like a clipping issue when
1:40:40you try to do like shrink fatten, but
1:40:42you can get some like natural lumpy
1:40:44variations going this way. Um, and you
1:40:46can do that. That's actually fine. But I
1:40:48do want to introduce you to a new tool
1:40:50that is in 5.0. Um, and it is if you
1:40:54select both of your icing and your
1:40:56doughut together, then you hit shift A
1:40:58and then you go lattice. There is a new
1:41:00option for lattice deform selected. We
1:41:02always had lattice, but it was very
1:41:04finicky to set up. But now you've got
1:41:06lattice deform selected. And that adds
1:41:08this what looks like a cube, like a
1:41:10bounding box over your object. Um, but
1:41:13it's not actually going to appear in
1:41:14your render. All it is is a defamation
1:41:17guide. So if you just select these
1:41:19points, you can see we are twisting the
1:41:22donut. But importantly, the actual donut
1:41:26is underneath. Like this is a modifier,
1:41:28right? So we're not actually changing
1:41:30the mesh at all. It's just doing this
1:41:32after the fact. And then if I just
1:41:34deleted my lattice, like it's it's gone.
1:41:35It's back to where it was. So this is a
1:41:38non-destructive workflow. These these
1:41:40little points here, they enable me to at
1:41:42any point in the future change and
1:41:44deform a mesh, which is actually really
1:41:46useful. And it's because you're not
1:41:48often in this the uh the exact
1:41:51circumstance where you know exactly what
1:41:52you're going to do and then at the end
1:41:54of it like you know the order in which
1:41:55to do things. Sometimes you're working
1:41:56with a client and they've got an idea
1:41:58for something and then far later on
1:42:00they're like, you know what, let's
1:42:01change the proportions of the car or
1:42:03whatever it is and you have to be able
1:42:05to like fix it without redoing all your
1:42:07mesh. So that's what a lattis can do.
1:42:10Now it comes by default with just this
1:42:12low res cube over it. But if down here
1:42:16you click this little uh data property
1:42:19uh for the lattice, you've got
1:42:20resolution here. So I can increase this.
1:42:23I can add in some more resolution here.
1:42:25And importantly, I want to add one in
1:42:26the middle here. Um, because the first
1:42:28thing you notice when you look at
1:42:30reference of donuts, um, is that besides
1:42:32the the lumpy shape, the bit around the
1:42:35middle of the doughut is often whiter
1:42:38and it's not as puffy. And when you look
1:42:40at how donuts are cooked, it's actually
1:42:42easy to see why. It's it's half
1:42:44submerged in the oil and then it is
1:42:47flipped over onto the other side and
1:42:48then the other side cooks. So, it cooks
1:42:49one side and then it cooks the other.
1:42:51and the bits uh sorry near the surface
1:42:54of the oil. That's the the uh the oil is
1:42:58less hot, right? Because it's near the
1:43:00surface, so it's escaping. So that oil
1:43:02is less hot. The oil that's underneath
1:43:04it is much hotter and then it flips it
1:43:06over. And so again, you always have this
1:43:08bit around the middle that just isn't
1:43:10quite cooked as well as the other stuff.
1:43:12So it ends up being a little bit
1:43:13lighter. It's also less puffy. So no
1:43:16doughut actually comes out at that
1:43:17perfectly round shape. It's usually
1:43:19always kind of almost concave actually
1:43:21around the middle. So with this, I can
1:43:24select all of these points here like so.
1:43:28I have to shift select them. I can't do
1:43:30the alt click around it cuz it's not
1:43:31technically a mesh. Um, and then I can
1:43:34just scale it in like uh turn off
1:43:36proportional editing if you've got it
1:43:37on. And then just shrink it in like
1:43:40that. And that by itself will add just a
1:43:44little bit of realism to this cuz that
1:43:46is a detail that your eye won't notice.
1:43:48Everyone thinks donuts are just, you
1:43:50know, they're perfectly round, but
1:43:51they're actually not, right? They're
1:43:52always got this like concave kind of
1:43:54shape around it. So, that will add uh
1:43:56some realism, but then I can add in some
1:44:00little areas here where one part it got
1:44:03a little bit more puffy on that side, so
1:44:06that part's a little bit raised up. Um,
1:44:08and obviously this isn't as detailed as
1:44:10if you had, you know, if you were
1:44:12manipulating the the Taurus underneath,
1:44:16right? I can't do like, you know, small
1:44:17details. I can't, you know, sculpt in an
1:44:20area or do or do some crazy changes, but
1:44:23it's enough in in a pinch to do
1:44:25something like this. I'm just going to
1:44:26hide my plate. Um, which by the way, you
1:44:29can do it by hitting the eyropper, which
1:44:31is what I've been doing up there. So,
1:44:32not the eyropper, the eye icon. Um, you
1:44:35can also, um, do it by hitting H. So,
1:44:37you select an object in the viewport,
1:44:39you hit H, and then you hit Alt H to
1:44:41bring it back. So H or alt H um is a
1:44:44good hotkey to remember. Um and then
1:44:47here, so at the bottom here, cuz yeah,
1:44:50the same thing will happen at the
1:44:51bottom. There'll be parts where like the
1:44:53donut looks a little bit like raised on
1:44:55the plate a little bit like this. Just
1:44:59around the middle here.
1:45:02Um
1:45:03like that.
1:45:06There you go. Something like that. But
1:45:09this is just just a small amount of
1:45:11defamation, right? It might seem
1:45:13unnecessary, but it does help. It really
1:45:16does help things to feel more realistic
1:45:18when you go to the trouble of doing some
1:45:21of this. Um, and it's super super
1:45:24important. Um, but we can also now apply
1:45:26it once I know that I like everything. I
1:45:28don't want to have this like lattice
1:45:29sitting over it forever. So, I can just
1:45:31apply that by going to uh apply and then
1:45:34selecting the donut. And I can also say
1:45:35apply there. Um, and now I can just
1:45:37delete this lattice. And now it's like I
1:45:40modeled that, right? All those shapes
1:45:42are now like baked into it. Um, and it
1:45:45looks good. As I said before, if you did
1:45:46want to do any more detail, you could,
1:45:48you know, shift select multiple objects,
1:45:51go into edit mode. Um, and then using
1:45:53proportional editing, you could also do
1:45:55some like more targeted tweaks. If you
1:45:58really wanted to, uh, you know,
1:46:00manipulate the donut, you could do that.
1:46:02So, there are things that you can do.
1:46:04Um, it does make a difference. it is
1:46:06important. Um, but you know, it is also
1:46:08optional, but it's it's an excuse to
1:46:10kind of introduce you to some more tools
1:46:12and things in Blender. So, I'm kind of
1:46:13glad that I uh didn't do it at the start
1:46:16because um we can introduce you to that
1:46:17that kind of thing. So, all right, we
1:46:19got a lumpy looking donut. Good for us.
1:46:22Now is the exciting bit. We can talk
1:46:24about rendering.
1:46:26Making this actually look good because
1:46:30this is gray. This is boring. This is
1:46:33called the 3D viewport view. Okay. The
1:46:38the reason this looks looks boring and
1:46:39flat is that this is cheaper for your
1:46:41computer to actually process just the
1:46:43shapes in like a gray. There's no
1:46:45shadows. There's no lighting. There's no
1:46:47surface interaction or anything like
1:46:48that. This is fast for your computer to
1:46:50see to create that pretty image that
1:46:53looks realistic with light calculations
1:46:55and everything. That is called a render.
1:46:57And you can do a render by either
1:46:59hitting F12 on your keyboard or by going
1:47:02to render and then saying render image.
1:47:05Huh. And now that has taken a snapshot.
1:47:08The problem is is it looks like not the
1:47:10view that we were looking at. So we're
1:47:11looking at this view. Why did we get a
1:47:13view up here? The reason is is that
1:47:15Blender will always take the render from
1:47:17the camera view. So remember that thing
1:47:20that's like way out in the middle of
1:47:21nowhere we haven't touched. It's taking
1:47:23the view from that that camera. And you
1:47:25can look through the camera by hitting
1:47:26the camera view icon over there. So now
1:47:30that I'm here in this view, um, how do
1:47:33we move it in close? How do we get it
1:47:34close to our thing? So there's there's a
1:47:36number of like traditional ways to bring
1:47:38a camera into like in Blender. I'll
1:47:41actually show you the way I first
1:47:43learned to do this cuz it's actually
1:47:45just like natural to me. Um, but then
1:47:47I'll show you the method that actually
1:47:48most people prefer. So you can just with
1:47:50the camera selected, you can hit G. You
1:47:52can move things around like that. If you
1:47:54want to bring it in like just zoom to
1:47:56the like straightforward if you hit G
1:47:59and then middle mouse button that will
1:48:01like kind of what's it called? Dolly
1:48:03dolly in and out which can be uh very
1:48:06useful. Um and then if I want to like
1:48:08tilt it um I can like just hit rotate
1:48:10like that or I can rotate along the Z
1:48:12axis, right? Because I know how to like
1:48:14turn the camera. So that was how I
1:48:16learned to use uh the camera and how a
1:48:18lot of people still like to do it. But a
1:48:20lot of new people prefer this because
1:48:22now in 5.0 it's actually just a button
1:48:25right here. If you click this button now
1:48:29I can use the same controls that I used
1:48:31before um to to move the camera because
1:48:34if you don't have that checked the
1:48:35moment you just like hit your middle
1:48:37mouse to like orbit somewhere else it
1:48:39leaves the camera behind. Okay. But when
1:48:41you have when you're looking through the
1:48:42camera and you have this checked now,
1:48:44when I orbit around and I zoom and I do
1:48:47all the same controls as before, shift
1:48:49middle mouse, I can position the camera
1:48:51exactly where I want it. Get it right
1:48:54there um without having to worry. You
1:48:56just have to remember, don't then
1:48:58immediately orbit like you're going to
1:49:00go do something cuz the camera is still
1:49:02locked to your view. So, you have to
1:49:03make sure you uncheck it when you're
1:49:05done and then the camera is locked to
1:49:07that position there. Um, and by the way,
1:49:10this is like a small thing, but when
1:49:12you're working with like small objects,
1:49:13you often have to like change because
1:49:16Blender is like designed for like
1:49:17environment like like big types of
1:49:19scenes. This this camera is just too
1:49:21big. So, if you go to the camera
1:49:24settings, click the camera thing, then
1:49:26go to viewport display. I just changed
1:49:28the display of this. This has no bearing
1:49:31on the actual like final render. This is
1:49:33just how it displays in your viewport so
1:49:35that it's not so gigantic it's taking
1:49:37over everything. All right, the other
1:49:38way you can quickly look through the
1:49:40camera is numpad zero. So numpad zero
1:49:42will take you in and out. All right, but
1:49:44now that I'm there, I can hit F12 and
1:49:47look at that. That is a different look.
1:49:48It It's still gray because the default
1:49:50materials are gray. Um, but you can see
1:49:53there is shadow there. But check this
1:49:56out. We can do even more. So besides
1:49:58just shadow, like you might notice
1:50:00looking at the By the way, you can bring
1:50:01back a render by hitting F11. Uh, I
1:50:04should also mention, by the way, the
1:50:06first time you do a render, um, I think
1:50:08the first time, like if you've just
1:50:09opened Blender for the first time and
1:50:11you hit render, it'll have to do a bunch
1:50:13of like shader compilations and stuff
1:50:15like that, it should only need to do
1:50:16that once. It shouldn't have to do it
1:50:18every time you open Blender. We're using
1:50:20EV, which is a rendering engine we'll
1:50:22talk about soon. Um, but this there is
1:50:25some of that every time you you render
1:50:27like to when you create a new shader, it
1:50:29has to like develop those things. But
1:50:31anyways, it should it the first time it
1:50:33should be slow, but it should be quicker
1:50:34for every render after that. Okay, so
1:50:36there's shadow here, but you'll notice
1:50:37like in here there's no there's no
1:50:40detail, whereas in the real world you
1:50:42would see like bounce lighting from the
1:50:43the end of the plate there. You would
1:50:45see like some crevice information. Um
1:50:47there would be it' be darker and things
1:50:48and that is because by default there's
1:50:50an option that is turned off. So if you
1:50:52go to your render properties at the top
1:50:55there, this has all the information just
1:50:57pertaining to how something is going to
1:50:59be rendered. And by default, ray tracing
1:51:02is turned off, which I think is a
1:51:04mistake. I think they should change it
1:51:06to default on because so many people
1:51:09don't like EV, this rendering engine,
1:51:11because they they think it just produces
1:51:13fake looking images. But when you turn
1:51:14on ray tracing, look at how much better
1:51:17that looks. Um, by the way, if you want
1:51:19to compare renders, you can change to a
1:51:21new slot and then uh you can do a
1:51:23render, another render, and then you've
1:51:26got the previous render and then uh the
1:51:28new render in slot two. And then you can
1:51:30flip back by hitting J on your keyboard.
1:51:32And that's a way you can like quickly
1:51:34compare settings, which is very useful.
1:51:36Um, but you can see with ray tracing
1:51:38turned on, this is off, turned on, we
1:51:41get bounce lighting. So there's some
1:51:42light that's hitting the plate there and
1:51:43it's bouncing up. We've got like more
1:51:45information in the crevices. Um, and it
1:51:48just looks a lot more realistic than it
1:51:50did before. Um, you'll also have
1:51:51reflections when I show you some uh,
1:51:53material properties. So, that is
1:51:55something you should have on all the
1:51:57time when you're using um, EV. By the
1:51:59way, there is another rendering engine
1:52:01called Cycles, and it is much more
1:52:03realistic. However, it is a lot more
1:52:06slower. Um, it's honestly I I'm going to
1:52:10show you at the end a comparison between
1:52:11Cycles and EV, but it's actually
1:52:13negligible if you know the right
1:52:15settings for EV. So, I'm going to keep
1:52:16it on Eevee for the rest, which is
1:52:18actually good because Eevee is actually
1:52:20pretty powerful at doing most things.
1:52:23It's just it's it's a game engine style,
1:52:25so it's it's a rasterized rendering
1:52:27engine, whereas uh Cycles is a path
1:52:30trace rendering engine. Much more
1:52:32computationally heavy. Um whereas uh EV
1:52:35is much more faster. So, we're going to
1:52:36keep it on Eevee and I'm going to show
1:52:38you how to get really great results with
1:52:39it. And then at the end, we're going to
1:52:40flip it to cycles. So, if you want to
1:52:42see that final result, you can get it.
1:52:44But we're not going to start there
1:52:45because it's just not necessary and I
1:52:47don't think most people will actually
1:52:48need it. Okay. So, I'm going to talk
1:52:50about some materials. But first, um
1:52:52you'll notice like it's kind of annoying
1:52:53to have to like render something like go
1:52:55to render it every time you want to see
1:52:57um an image like that. And thankfully,
1:52:59you don't have to because in the top
1:53:00view here, these little icons, there is
1:53:03a mode here called render view mode. And
1:53:06this puts the render in real time. Look
1:53:09at that. I don't have to hit the render
1:53:12to wait to see my result. I can see it
1:53:14in my viewport. So, it used to be that
1:53:17like rendering engines were so slow that
1:53:21really to do a render was like a big
1:53:22task. You hit render and it would take
1:53:24hours to process something and it didn't
1:53:26look anything as good as this, right?
1:53:28But now rendering is like and computers
1:53:30are so fast that we can just have
1:53:32rendering running constantly whilst we
1:53:35are working and it's usually not
1:53:37computationally heavy. Um, so this is
1:53:39yeah, this is Eevee which is the the
1:53:40much faster one. um cycles would be a
1:53:43little slower, but still. Anyways, now
1:53:45that we're in render view mode, let's
1:53:46talk about materials. So, let's start
1:53:49with the like most different material.
1:53:51Let's go with the icing. So, looking at
1:53:52our icing here, if I want to make this
1:53:54look pink and change its overall
1:53:56appearance, if I go down to my material
1:53:59panel down here or material properties,
1:54:02um and then I can just click on new
1:54:04material. And now I've got a bunch of
1:54:07different options here. Okay. And these
1:54:09all do different things for um for for
1:54:13the the surface appearance. Like
1:54:14metallic will make it look like metal,
1:54:16right? Uh roughness will change like how
1:54:18sharp the reflection looks. Uh the base
1:54:21color, this is like the main one you
1:54:23want to change for almost every object.
1:54:25This is just the base color of the
1:54:26object. So obviously I can make that
1:54:28look pink like that. Let's pull in here
1:54:31a little bit closer. Focus on that. Um
1:54:34so I can make it look nice and pink. Uh,
1:54:37the other thing is is it's looking like
1:54:38way too diffused. It's almost like a
1:54:40chalk looking icing. But if I bring this
1:54:43back, I can make this look more shiny. I
1:54:45don't want to go like too far cuz then
1:54:46it's like mirror reflection. I want to
1:54:49go like, you know, somewhere around 2.
1:54:52The great thing is is we can really
1:54:54change these values at any point in the
1:54:55future. So when we add in other objects
1:54:58and there's different lighting setups,
1:54:59some of the settings can look a little
1:55:01off off at that point. Um, so it's very
1:55:04very common to like once you've set up
1:55:06all your lighting and everything to like
1:55:07re-evaluate your materials, but this
1:55:09completely non-destructive. I can change
1:55:11these at any time. And now I could
1:55:13create some very simple materials. Like
1:55:15I could say, let's make this look black.
1:55:16Make it like a black shiny glossy
1:55:20ceramic mug. So, um, by the way, you'll
1:55:22notice I'm not going all the way to
1:55:24black. There's a kind of a unspoken,
1:55:26well, it's not unspoken. People speak
1:55:28it. um you shouldn't um uh go fully
1:55:32black or fully white or like same with
1:55:34like uh colors. You shouldn't go like
1:55:36100% saturation on a color because
1:55:38things start to clip. It's maybe a
1:55:41little outdated as like now color
1:55:43management is getting so good it's it
1:55:44knows actually how to handle saturated
1:55:46stuff and like dark things, but it's
1:55:49still like a general rule. Um, you never
1:55:52want to go like fully black because
1:55:54things are never truly like the real
1:55:56black is vant black, right? Which is
1:55:58like just this material which is like
1:56:00scientifically created to like emit no
1:56:03uh reflection simplifying it. But yeah,
1:56:06so like things will even a black mug
1:56:08that looks really black to you is
1:56:10probably not entirely black. So it's
1:56:11still there's going to be a little bit
1:56:12of lightness to it. So I'm just adding
1:56:14that in there. uh the roughness. This is
1:56:17where I can make this if I wanted this
1:56:18to look like a, you know, shiny ceramic
1:56:20mug, I could do something like that.
1:56:21These are just placeholders, by the way.
1:56:23I'm just using this as an example of how
1:56:24to create very simple um materials. Uh
1:56:27the plate here, uh let's go, yeah, make
1:56:30it just look a little bit shinier than
1:56:33by itself. And then the donut, let's go
1:56:35give it a, you know, brownish lightish
1:56:39color like that. Make it a little bit
1:56:41darker like so. Um, another value which
1:56:45is super important for something like
1:56:47icing and and uh the donut and it's it's
1:56:50really important for just two things
1:56:51which is food and characters and it is
1:56:55that um when light hits objects like
1:56:58this they are mushy right they're made
1:57:01of like organic matter and so light
1:57:03actually enters the object and it kind
1:57:05of scatters around inside it and then it
1:57:07re-exits it. Um, it's the reason why
1:57:09when you like look at your hand in front
1:57:11of a light or the sun or something, you
1:57:12can see the light shining through. You
1:57:14can even see your bones through your
1:57:15hand if it's a bright enough light. Um,
1:57:17so it's called subsurface scattering.
1:57:19And that value is underneath here where
1:57:21it says subsurface. If you go down here,
1:57:24um, you want to turn the weight all the
1:57:26way up to one cuz this is not the
1:57:28intensity of it. This is just like
1:57:30apparently this value is supposed to be
1:57:31zero or one. It shouldn't be somewhere
1:57:32in between. to control how much of it is
1:57:35the scale which is how much how far into
1:57:37the surface will the light penetrate. Um
1:57:40and then you can see here you can
1:57:41increase this or decrease this and you
1:57:43can see the light kind of get into it.
1:57:44Now by default it looks red which I also
1:57:48think is a mistake. Um it's very
1:57:50suitable for characters because
1:57:51characters need red because inside a
1:57:54character is blood right but for every
1:57:56other thing like food it shouldn't be
1:57:58red. Um, and confusingly and and I know
1:58:01there's a mathematical reason for this
1:58:03because of like how light and the
1:58:04physics of things, but like different
1:58:06wavelengths travel at different speeds
1:58:09right inside the ser that's how I
1:58:12understand it. So they've they've made
1:58:14the color of the subsurface
1:58:17um
1:58:18RG and B separated here. So you can see
1:58:22we've got red as one, then we've got
1:58:25green as 2, and then blue as 0.1. So
1:58:28essentially, I need to clear all those
1:58:30out and make them one, which here's a
1:58:32tip. You can drag over multiple values
1:58:34in Blender. So if you just click and
1:58:36drag down across something, and then you
1:58:38can just type in one and then hit enter
1:58:40and it makes all of those one. Um, and
1:58:42then now I can, you know, tweak this. I
1:58:44can make this look a little bit more
1:58:47milky like that. But we can, you know,
1:58:48we can adjust those. I'll do the same
1:58:50thing for my donut here. Um, give it
1:58:52some subsurface. Turn that up. And then
1:58:54I'll set this to one. And then yeah,
1:58:56let's just leave it at the default
1:58:57value. But you can see that that's with
1:59:00subsurface on. Actually, let me bring
1:59:02the camera in. All right, I'm going to
1:59:04go lock it. Bring this in. And I'm going
1:59:06to do a before and after render. So this
1:59:08is how you can use these these slots. So
1:59:10this is with subsurface on. Then I'll go
1:59:12to slot two. And now I'm going to select
1:59:14this. And then I'll turn it off. And
1:59:16then I'll do another render. And now hit
1:59:18J back and forth. So that's the
1:59:20difference that subsurface can make to
1:59:22something. You can see here where it's
1:59:24like fully dark. It's actually now the
1:59:26light is passing through it and that's
1:59:28what gives something a milky kind of
1:59:30look. Um, and it's, as I said, it's it's
1:59:32mostly true for things like food. You
1:59:34can see it. I take photos of it myself
1:59:36all the time when I'm out and about cuz
1:59:38I'm like, "Look at that subsurface." And
1:59:39my family think I'm weird. Um, but I I
1:59:42think it's cool. So, anyways, there you
1:59:44go. So, that's that subsurface. All
1:59:46right. Um, I'm going to pull the camera
1:59:48out to here and then um let's add a
1:59:51table because this has to be a table. Uh
1:59:53we're going to do the texturing in the
1:59:54next part. Um but let's add a table. Now
1:59:57normally if it was a table that you were
1:59:59um make sure I turn that off while I
2:00:01while I orbit around. You know if this
2:00:03was a large scene, right? Uh whatever
2:00:05you would have to do like model an
2:00:07actual table. If you know the camera is
2:00:09only going to be here doesn't matter
2:00:12about anything except the top surface.
2:00:14So all we need to model is shift a
2:00:17plane. That's it. That's our table. like
2:00:21I just have to scale it up a little bit.
2:00:23But this is our table. It's actually
2:00:26really common in 3D if you look at like
2:00:27breakdowns of 3D scenes in movies and
2:00:30stuff. Everything is fakery. They're
2:00:32just like buildings are cards. They're
2:00:34just like a a plane with a texture
2:00:36slapped on it. Nothing is real. Um you
2:00:39know, when the camera moves, they might
2:00:41have to like model things properly and
2:00:43people go like, "Oh, I have to model it
2:00:44now." Um but like if the camera's here,
2:00:46it doesn't matter. Just make it a plane.
2:00:48Um there you go. So, that's that's a a a
2:00:52donut on a plate with a mug. And that
2:00:55for somebody who has never used 3D
2:00:56before, that's an achievement. Um, this
2:00:59is the kind of thing that like back in
2:01:00the '9s, you probably would have won
2:01:02like scholarships for and stuff if you
2:01:04could pull this off. This used to be
2:01:06insanely difficult. It is still pretty
2:01:09difficult cuz 3D is hard. Um, but yeah,
2:01:12if you have uh uh if you're new at it,
2:01:15this should make you proud. You you've
2:01:17pulled this off. If you want to save
2:01:18this, by the way, you can go image and
2:01:20then go save. Um, and then you can just
2:01:22save an image, PNG. You got all the
2:01:24options, JPEG, etc. Um, however, if you
2:01:27want to make this look good, in the next
2:01:29parts, we're going to be making this
2:01:31look much, much better by doing some
2:01:34texturing and making our table look good
2:01:37and adding some ceramic textures and
2:01:39things to different objects. But this is
2:01:41kind of the end of the modeling section
2:01:45of the doughnut tutorial. Um so we we
2:01:48touched on you know basic primitives. We
2:01:50add slight defamations. Um we extruded
2:01:54some things to uh create like an organic
2:01:56looking shape. Did a little bit of
2:01:58sculpting. Um and then we created a mug
2:02:01right and then did some uh modifiers and
2:02:04subsurf to kind of uh create the general
2:02:06shape there. So those are kind of some
2:02:09of the techniques that you will need to
2:02:11learn to create lots of different
2:02:13objects in the future. Just some though.
2:02:15But there are so many other techniques
2:02:18and tools. Uh precision modeling,
2:02:20modeling mostly with hard objects, how
2:02:22to keep straight lines and then modeling
2:02:25something that is really custom and
2:02:26deformed. Getting those like largeish
2:02:29shapes there and just kind of like
2:02:30almost using the mesh like a guide mesh
2:02:32to kind of uh create shapes. And then
2:02:35actual characters like sculpting a
2:02:38character from nothing and then actually
2:02:40converting that character into something
2:02:41that looks and has like like subdivision
2:02:44so that the arm can move and then
2:02:46rigging that character so that you can
2:02:47actually move the arms like a puppet. So
2:02:49these are the kinds of techniques that
2:02:51we don't have time to go into in the
2:02:53donut but I do have time to go into in
2:02:55my course called the beginners academy.
2:02:58So all of these things you can see on
2:03:00the screen here are taught in that
2:03:02academy. If you only want to learn
2:03:03Blender for free and you just want to do
2:03:05this donut, that is fine. But if you
2:03:07want to go further and you want to learn
2:03:09how to actually think like a 3D artist
2:03:12and take an idea from your head and
2:03:14actually convert that into something
2:03:16that you can use, whether that be for 3D
2:03:18printing or for rendering or for
2:03:20whatever visualization purpose you have.
2:03:22Um, that's what this course is about.
2:03:24It's teaching you those foundational
2:03:26skills um to actually um create
2:03:29something that you want to create. So,
2:03:31if you're interested in that, uh the
2:03:32link for that is uh beneath this video
2:03:34and um it is designed for complete
2:03:37beginners who have finished the donut.
2:03:38But you've learned enough now that if
2:03:40you want to jump straight to that, you
2:03:41could. But if you want to continue on,
2:03:42we will jump into texturing next. I will
2:03:44see you in the next video.
2:03:48It's time to texture these bad boys
2:03:51finally after hinting at it for so long.
2:03:54Um, so we added some simple materials
2:03:57and uh that is actually fine for some
2:04:00types of objects like you might actually
2:04:01have a plate and go like it's just white
2:04:04plate doesn't need any texture but most
2:04:06things need texture. So I'm going to
2:04:09select my uh table floor here. I'm going
2:04:11to go to the material panel right here
2:04:14and I'm going to add a new material
2:04:16since it doesn't have one. And um let's
2:04:19look at how to add a texture. So, right
2:04:22here where we've got base color, if we
2:04:23want to add a color texture, we just
2:04:26click on this little uh yellow dot next.
2:04:29I know that's not clear. It will become
2:04:30clear when I show you nodes. Um, but
2:04:32when I click this, you get this uh slide
2:04:34out menu with a bunch of different
2:04:36options here. Um, and the one that I'm
2:04:38looking for says image texture. Okay.
2:04:40So, now I can hit uh open. And just to
2:04:44demonstrate this, I'm going to select a
2:04:46wood texture that I downloaded off the
2:04:47internet just to show you how this
2:04:49works. Now, on this note, if you happen
2:04:52to see this, if you use an image texture
2:04:53that you find online, it's because there
2:04:55is a new feature feature uh there's a
2:04:59purpose. There's a there's a new feature
2:05:00in Blender 5.0 where if it identifies in
2:05:04the name anything from the number 1,00
2:05:07to 2000, I think um it'll think that is
2:05:10a UDI, which is a completely whole, you
2:05:13know, production professional workflow
2:05:15kind of thing. um it'll think it's a UIM
2:05:18and it anyways what you need to do is
2:05:20then change this to single image but
2:05:22most of the time most images if it
2:05:24doesn't have those numbers uh a string
2:05:26at the end it should just load in fine
2:05:29anyways let's say you had an image like
2:05:31this um and you wanted the table to look
2:05:33uh wood right we're not going to do that
2:05:35but you know just just to show you um
2:05:38you would see it it's okay right but
2:05:41there is no bump information okay um and
2:05:45that is because Of course, the 3D
2:05:46software doesn't know that there's
2:05:49supposed to be crevices here, right?
2:05:51Little dips in between the table, the
2:05:53the fine tooth uh grain of it. It has no
2:05:56idea because it's just taken with a
2:05:58single camera. It would have no idea how
2:06:00to guess guess what that true
2:06:02information should be. I mean, there is
2:06:04technically a way to guess it, but it
2:06:05never really turns out well. Um, so I'm
2:06:07not even going to bother showing you.
2:06:09Um, so most of the time when you're
2:06:11talking about texturing in 3D, um, and
2:06:13using image textures, like textures from
2:06:15the real world, um, you don't just grab
2:06:18a random image texture that you find
2:06:20online, you need to use PBR textures,
2:06:23which stands for physically based
2:06:25rendering textures. And there are many
2:06:28different places that you can get PBR
2:06:29textures from. The best website that I
2:06:32think is polygon, p o l i g n.com. The
2:06:36link is below. Um, and I think it's the
2:06:39best website because it's my website.
2:06:42[laughter] It's my company. Um, which I
2:06:44created 10 years ago and it is now the
2:06:46fastest growing texture library um,
2:06:49online. Um, so we've got photographers
2:06:52all over the world and they use
2:06:54specialized equipment to go out into the
2:06:56world and they capture surfaces um,
2:06:58usually like photograph the surface like
2:07:00hundreds of times which is what enables
2:07:03you to actually capture all of that
2:07:05height information, the bump, uh, the
2:07:07shininess, reflectiveness of materials
2:07:10um, and actually capture all of the maps
2:07:12that you can see here. for example,
2:07:14these weird looking maps um is exactly
2:07:16what Blender um needs to uh to to make
2:07:20the material look realistic. So, we got
2:07:22a bunch of different categories
2:07:23obviously like almost anything you want
2:07:25to create um you can find the textures
2:07:27um on here. But for just this tutorial,
2:07:30if you go to polygon.com/donut,
2:07:33the link for that is also below. Um but
2:07:36this has the uh six textures that you'll
2:07:39actually need to follow along for this
2:07:41video. Um, they're all free. We've made
2:07:43them free. All you need to do is get a
2:07:45free account. Um, and you can download
2:07:47all of those by just clicking them and
2:07:49then hitting, uh, download. And also, if
2:07:51you scroll down, uh, we've got some
2:07:52premium textures here if you have, uh, a
2:07:54subscription with us. Um, that you could
2:07:57use for the cafe scene that we're making
2:07:59to kind of spruce it up, make it your
2:08:01own, add some variation there. Um, so
2:08:03we've included some ones here that uh,
2:08:04go well uh, with the scene. Um, and if
2:08:07you use this link, you'll get 10% off
2:08:09uh, any any uh, plan you choose. So, the
2:08:11first texture I want you to start with
2:08:13is uh is going to be our cafe table. Um
2:08:16and obviously you could, you know, you
2:08:18could use any texture for that. You
2:08:19could use, you know, some of the ones
2:08:20down there if you wanted to. Um but I
2:08:22want you to start with this one, this
2:08:23concrete texture. Um because we're going
2:08:26to make this look like a concrete table,
2:08:27something that, you know, a lot of cafes
2:08:29can sometimes have. Now, we actually
2:08:31have a Blender add-on which makes
2:08:33downloading and importing these things
2:08:34even simpler. But I want to give you the
2:08:36traditional way to import PBR textures
2:08:39first so that you know how to use PBR
2:08:40textures just flat. Um, and then I want
2:08:43to show you the easy way after. So once
2:08:45you've got your free account, you can
2:08:46come back here and you can click on
2:08:48download this big download button. So
2:08:50that'll give you an 8K uh texture. You
2:08:53probably don't need it. You could
2:08:54probably get by with four, but I'm going
2:08:55to get the 8K just to show you how it
2:08:57looks. Now this will download a zip file
2:09:00like here. Okay, so it should be fairly
2:09:01quick. It's about 289 megs. Once you've
2:09:05downloaded this texture, I need you to
2:09:07unzip it. So, with Windows, you just
2:09:08right click and go uh extract all. Uh if
2:09:11you're on a Mac, you just double click
2:09:12it and it should just unzip itself. Now
2:09:14that I've got that, you can see you've
2:09:16got like a preview image there. We don't
2:09:17worry about that. It's the stuff that's
2:09:19in here. This is the good stuff. This is
2:09:21the one we actually need to use. So, I'm
2:09:24going to uh just copy this folder uh
2:09:26location. And then uh back in Blender
2:09:29for my selected plane here underneath
2:09:32base color. I'm just going to uh just
2:09:34like before, you know, select image
2:09:36texture if you haven't already. Then I'm
2:09:38going to click open. And then a lot of
2:09:40these images look pretty similar.
2:09:41There's very little detail across them.
2:09:43There is some uh but the one we're
2:09:45looking for is underscore base color. So
2:09:47that is the one we're going to start
2:09:48with. Okay. So this has given us a nice
2:09:52clean delit concrete floor texture. But
2:09:56the same problem, we don't have that
2:09:57height information there. And that's
2:09:59because just like before, we've only
2:10:01loaded in information into the base
2:10:03color. So, it's almost like this has
2:10:04been printed on cardboard. That's kind
2:10:06of the appearance there. So, we need to
2:10:08load in the other PBR texture uh maps.
2:10:11They're called uh all of those uh
2:10:13different uh images that we downloaded.
2:10:15And we could, you know, import and do
2:10:18them the same way by like clicking this
2:10:19little dot and then go image texture.
2:10:20But it's very fiddly. And this view
2:10:23here, you can probably tell, is like
2:10:24it's not designed for like complex
2:10:26texturing work. If you want to do
2:10:28complex texturing work, you should click
2:10:30on the shading tab at the top of your
2:10:33screen. Now, this view looks completely
2:10:35different. You've got a 3D view at the
2:10:36top. You've got these nodes here, which
2:10:39are very useful. And then you got two
2:10:41over here that I think are kind of
2:10:42pointless. I don't really think they
2:10:44should be here. Um, I've never really
2:10:46wanted them. So, I'm going to right
2:10:47click on the uh like the divider between
2:10:50these little windows here. I'm going to
2:10:52say join left. And then I'm going to do
2:10:54the same for the bottom. Join left. And
2:10:57then I also I want to flip it because I
2:11:00haven't I don't really like having like
2:11:01the top view and this. It's like it's
2:11:03too widescreen to like look at things
2:11:06like this. So, instead, I'm going to
2:11:08rightclick this, say join uh down, and
2:11:11then at the top of my screen here, the
2:11:13top of the little uh divider there until
2:11:15I get that little uh little arrows, I'm
2:11:17going to right click, and then I'm going
2:11:18to say vertical split. And then to make
2:11:21this one on the right hand side, those
2:11:23same shader nodes that we had from
2:11:24before. Click from this little drop down
2:11:26at the top. Uh by the way, if you don't
2:11:28see it, um you just have to like middle
2:11:29mouse like grab and pull across and you
2:11:32will get uh all the way to the end
2:11:34there. Uh but yeah, if I click that and
2:11:35then go shader editor, then close this
2:11:38by hitting the N key. It's a lot of
2:11:41steps. Uh but now I have my shader
2:11:44nodes. So the shader nodes over here,
2:11:47this is actually the same information as
2:11:50what we have in our material over here.
2:11:52For example, if I was to uh adjust this
2:11:55roughness, you can see that it's
2:11:57adjusting both of those values there.
2:11:59And when we added in this and we we
2:12:01clicked image texture, it was basically
2:12:04in the background adding in this node
2:12:06here which loaded in the image texture.
2:12:08So this is a it's a simplified view. If
2:12:10you want to do like small changes to a
2:12:13material, you use this panel here. If
2:12:15you want to do anything more complex
2:12:17than that, you use the shader nodes
2:12:19here. And it's pretty self-explanatory
2:12:21to understand how shader nodes work.
2:12:23It's like over here. This is your
2:12:25material output. It's the final
2:12:27material. And generally you have a
2:12:29shader which is something like this
2:12:31principal BSDF. That is the shader that
2:12:33you use for like 99% of materials now.
2:12:36And then you just have a bunch of values
2:12:38and then you can connect things into
2:12:40this um to do different things. And I'm
2:12:42going to show you how we can like tweak
2:12:43this texture and do a bunch of stuff. Um
2:12:45but first let's load in some of those
2:12:47PBR texture maps. By the way, if you're
2:12:49wondering uh the one the view on the
2:12:51left hand side of the screen here, why
2:12:53does this look different? This is
2:12:54because and again a middle mouse drag
2:12:56along the top there. Um, we we talked
2:12:59about the 3D viewport. We talked about
2:13:01the rendered view mode. We didn't talk
2:13:02about this one. This is the material
2:13:04preview mode. And it's literally
2:13:06designed for previewing materials
2:13:08because it loads in a like fake world
2:13:11view around it called an HDR, which you
2:13:14can actually swap out here. So you can
2:13:15see, you know, different types of uh
2:13:17environments, but it's a way to like
2:13:19quickly visualize a material um without
2:13:23having to like change a bunch of
2:13:25lighting to understand how the material
2:13:26is going to look cuz materials look very
2:13:28different in different uh lighting
2:13:29setups. So it's actually a very useful
2:13:31mode um and it makes sense. It's called
2:13:33material preview. So let's load in
2:13:35another image. So I'm going to hit uh uh
2:13:37I could hit shift A or I could just go
2:13:38add at the top of the screen there. It's
2:13:40cool that Blender's uh hotkeys are the
2:13:42exact same ones everywhere. So, shift A
2:13:43is the same as shift A over there,
2:13:45right? Add. Um, and I'm going to go uh
2:13:48texture and I'm going to say image
2:13:49texture. Okay. And now it's just asking
2:13:51where do you want to drop it. So, I can
2:13:52just drop it anywhere. And I'm going to
2:13:54click open. Then I'm going to navigate
2:13:56to that folder where all of the images
2:13:58are. And the first one I'm going to load
2:13:59in is this one called underscore normal,
2:14:02the purple one. Um, and it's you can
2:14:04remember it as the normal map because
2:14:06it's normal to ask why is that purple?
2:14:10That's how I remember it.
2:14:12>> [laughter]
2:14:12>> Um then uh yeah just hit open on that.
2:14:16And the place that you would put that
2:14:18you could guess is the normal input that
2:14:21little purple input there on our uh
2:14:23shader there. So the way you connect
2:14:26something to something else is you just
2:14:28uh where there's a point you just click
2:14:30that point and you just drag out and
2:14:32connect it to another point and then you
2:14:34release and then it is connected.
2:14:37Now you can see that there is some bump
2:14:39information now but you wouldn't know it
2:14:41but this is actually the wrong what's
2:14:44it's partly the way to connect something
2:14:46but we need to do something else. First
2:14:48of all you can see that between here and
2:14:50here. Whoops. Um we've gone from a
2:14:53yellow input to a purple input. Now it's
2:14:56okay to go from like yellow to gray
2:14:58because gray just means grayscale. So
2:15:00you can go from color information to
2:15:02gray information. That's fine. But
2:15:04normal is like vector information. Yeah,
2:15:07without getting technical like the
2:15:08normal is the way the faces like that
2:15:10invisible line of the faces and this is
2:15:12like faking which direction each of
2:15:14those pixels has. Um, but basically we
2:15:18need to add something between here and
2:15:20here to convert this from color
2:15:22information into vector information. And
2:15:24we can do that by hitting shift A to add
2:15:27again and then going to displacement in
2:15:30this dropown and clicking normal map.
2:15:32You can also if you can't find it, uh
2:15:34you can go to the search bar and you can
2:15:35type in normal map as well. All right.
2:15:37Once you've got this normal map, you
2:15:39then just need to drag it over that line
2:15:41until it lights up and then you just
2:15:43want to do a single click and it will
2:15:45connect it. Okay. So now it is correctly
2:15:48connected but but still it's just not
2:15:51quite right. There are there is a lot of
2:15:52steps to like manually connecting PBR
2:15:54texture maps which is why I want to show
2:15:56you the fast way to do this um after
2:15:58this. But I need to show you this
2:16:00because you might be using PBR texture
2:16:01maps from elsewhere or from like
2:16:02production files and stuff and you need
2:16:04to know how to actually manually uh
2:16:06connect them. So when you're working
2:16:08with PBR texture maps, the only uh
2:16:12texture that should have the color space
2:16:14sRGB is your base color. Okay? Every
2:16:18other map should have the color space
2:16:20set to non color. And again, without
2:16:23getting technical, I keep saying that
2:16:24because the shaders are very technical.
2:16:26Um it it basically it's it's it's
2:16:29converting it to linear space. So it's
2:16:31using that um or it's actually not doing
2:16:33any conversion. It's just saying like
2:16:34let's use the raw values from that and
2:16:38um just use it linear. I don't Yeah.
2:16:40Anyway, [laughter]
2:16:42um other other software sometimes call
2:16:44those utility maps, but uh Blenders is
2:16:46non-color data. Okay. So now that we've
2:16:48got that, look, we've got bump across
2:16:51our concrete there. And if we went into
2:16:53the rendered view at the top there, um
2:16:55you could see if I took my lamp at the
2:16:57top there and then I brought this like
2:16:59way down to the uh the plane there, you
2:17:01can see we get this like nice gritty
2:17:04shadows cast across the surface there.
2:17:07Um and this is how you make materials
2:17:09that look realistic. You can't get this
2:17:12information any other way than by very
2:17:16expensively capturing these surfaces.
2:17:18And I know that because I've seen the
2:17:20bills. I know how much it costs to
2:17:22capture surfaces like this. Um, and it
2:17:24can be uh thousands. That's where we
2:17:26started and over the years we've got
2:17:28that price way way down. Um, but it's
2:17:30it's a very expensive uh capturing
2:17:33process. Um, it's not easy to do. It's
2:17:35not fun. It's very boring to do. Um, so
2:17:38unless you really want to go into that
2:17:40space, it's not something you want to
2:17:41try to do. Um, anyways, so that's the
2:17:44normal map, but there is uh another map
2:17:46which is useful. So, I'm going to hit uh
2:17:48shift A to add another map. And I'm
2:17:50going to say texture, and I'm looking
2:17:53for image texture. Okay. And then I'm
2:17:56going to click open on this. And this
2:17:58time, I'm looking for the one with
2:17:59underscore uh roughness at the end of
2:18:02the name. Okay. And then just like
2:18:04before, I need to make sure my color
2:18:06space is set to non-color data. And then
2:18:09finally, I want to drag this out um to
2:18:11plug into my roughness input.
2:18:14Now, when you do that, you'll see that
2:18:15the material goes very very dull. So, it
2:18:18was like, you know, before when we set
2:18:20this to like shiny like this. Um, when
2:18:22we connect this in here, it goes dull
2:18:23because concrete is dull. So, this is
2:18:26actually like the correct value for
2:18:27concrete. We like calibrated it to make
2:18:30sure. So, this is is that now it's very
2:18:33often that you actually want to
2:18:34customize something. Like for example,
2:18:36cafe tables often have concrete that has
2:18:39been like buffed or like uh coated in
2:18:41some sort of gloss or or something like
2:18:43that or an epoxy. So it can it it's
2:18:46totally fine to just want to have like
2:18:48the free control of the slider there and
2:18:51not use it. Like the maps are there if
2:18:54you need them, right? If you really want
2:18:55to go for something realistic, you would
2:18:57use them all, but sometimes you don't
2:18:58and it's totally fine to just disconnect
2:19:00them. Now, the other maps here, by the
2:19:02way, if you're curious, this yellow one,
2:19:04O RM, we don't use that in Blender.
2:19:06That's used by game engines. Polygon
2:19:08provides them because we, you know,
2:19:09serve all the different uh uh renderers
2:19:11and softwares out there. Displacement is
2:19:13a different method uh than normal map.
2:19:16Um we're actually going to use that on
2:19:17the donut. Uh metallic is if the
2:19:19material contains metal. That's the only
2:19:21time you would use that. And then the
2:19:23other one is occlusion uh map, an
2:19:25ambient occlusion map. That's if it
2:19:26there's like deep crevices, like if it's
2:19:28like a pebble pathway or something like
2:19:30that. This is the actual like shadows
2:19:32that like collects inside of crevices.
2:19:34Um, but we don't need that honestly.
2:19:36Most of the time these three maps, the
2:19:38base color, the normal map, and the
2:19:40roughness, that is like 90% of
2:19:42materials. Um, and that's really all
2:19:44that you need for those. But it is still
2:19:47very finicky to do this, right? Am I
2:19:49wrong? Like having to remember the color
2:19:51space and connect this and convert that
2:19:53and like even just these three things
2:19:55was like 30 clicks. So, that is why most
2:19:59people um that are dealing with PBI
2:20:01textures don't want to have to do this.
2:20:03They want to use an add-on like the
2:20:06Polygon add-on. So, at the top of the
2:20:08page on polygon.com/donut,
2:20:11you can click this link that says
2:20:12download polygon add-on or you can just
2:20:15go to uh/blender.
2:20:17This will show you how to install it. If
2:20:18you don't want to read that, I'll show
2:20:19you how to do it right now. Unlike
2:20:21before, when you have your zip file, do
2:20:24not unzip it. uh Blender actually needs
2:20:26this zip um in order to properly install
2:20:28it. So what you do is you drag out and
2:20:31you release the zip file from anywhere
2:20:34on the computer and then it will say
2:20:36install this because it'll recognize as
2:20:38an add-on and then you say yep install
2:20:39it and you say okay. Now if you go to
2:20:42edit preferences then go to add-ons you
2:20:46should see one there called polygon at
2:20:48the top there which means it has been
2:20:49successfully installed. If it didn't
2:20:51successfully install, maybe you're on a
2:20:52Mac and maybe it actually automatically
2:20:54unzipped itself, in which case you need
2:20:56to rezip it and then drag it over. Um,
2:20:58but yeah, it should install if it is
2:21:00properly zipped. Now, once you have done
2:21:03that, in your 3D viewport over here, if
2:21:06you hit N, which brings up your
2:21:09properties, you should see a tab there
2:21:11that says polygon. Then, if you just
2:21:13like oneclick login, um, this will take
2:21:15you here and then it will just say login
2:21:17confirmed. go back into Blender and you
2:21:20should see now we've got materials in a
2:21:24scroll bar, right? Which is pretty cool.
2:21:26And I can type in anything I want. Let's
2:21:28say uh sprinkles cuz I know there's some
2:21:31sprinkles materials here for example. Um
2:21:33but you could also browse by um
2:21:35category, right? You can look at all the
2:21:37different ones. And importantly, this
2:21:39will actually download it. So oneclick
2:21:42download like this and then oneclick
2:21:44apply. And look at this. All of this has
2:21:48been set up automatically. All of these
2:21:50are automatically set to non-color.
2:21:52We've got the exact precise
2:21:55um correct use of every single map that
2:21:58is ready to go. But anyway, go back to
2:22:01my previous material here and let's go
2:22:04to the uh free category and then let's
2:22:09use another one. So, this speckled
2:22:12glazed uh ceramic plate. Um, and by the
2:22:15way, you can, uh, like click the little
2:22:17drop down there if you want to see
2:22:18something online to get like a better
2:22:20picture for it. Um, you can, uh, quickly
2:22:22view it that way. But, uh, this is the
2:22:24one we want to apply to our plate here.
2:22:27So, with my plate selected, um, I need
2:22:30to first of all hit download. I've
2:22:31already done it, which is why I don't
2:22:32see it, but you hit download, and it'll
2:22:34just save it to your uh, folder, which
2:22:36is in your preferences. And then with an
2:22:39object selected, you should be able to
2:22:41uh, hit apply. If you don't see the
2:22:43apply box, it means that you haven't got
2:22:45an object selected. So, make sure one is
2:22:46selected in order to click uh that box.
2:22:49Okay. So, we have correctly um applied
2:22:52it. You can see all the nodes are there.
2:22:53It's the correct material. Why isn't it
2:22:56showing up on our object? Now, this
2:22:57isn't a fault of the texture or anything
2:22:59like that. This is to do with texture
2:23:02mapping, which is the next thing to
2:23:05understand when it comes to textures is
2:23:06textures are 2D, right? 2D. And our
2:23:09objects are obviously 3D. So how do you
2:23:13apply a texture to an object? There are
2:23:15so many different ways. And the most
2:23:18common way is to use UV unwrapping,
2:23:21which is the default method, which is
2:23:23what it's actually looking for right
2:23:24now. You can see that's the texture
2:23:26coordinate that it's called in is UVs.
2:23:28And for something like a plate, this is
2:23:30the most simplest thing ever cuz it's
2:23:32just creating UVs. So in edit mode, so
2:23:35just tab and then select your entire
2:23:39mesh like that. Then hit U for unwrap
2:23:43and then select unwrap anglebased. And
2:23:46look, now the texture has been applied.
2:23:49So what did that actually do? If you go
2:23:51to your UV editing tab at the top of
2:23:54your screen there, just click that. You
2:23:56will see, and let's uh focus on our
2:23:58object. So number pad right there. And
2:24:00I'll just uh turn this off so we can see
2:24:01the mesh underneath it. and this one as
2:24:03well. And let's look at uh the
2:24:05wireframe. Okay, so when we UV unwrapped
2:24:07it, it basically took I mean it in in
2:24:10the case of something as flat as this,
2:24:12it just took a snapshot of it and then
2:24:13it put it into the 2D space over here.
2:24:16And from your drop down, you could
2:24:17actually change it to the color map and
2:24:19you could see where it's actually
2:24:20applied to on it. So if I select a point
2:24:23right here on the mesh, you can see
2:24:24which point is actually selected there.
2:24:26So it's right next to this little spot
2:24:28and you can see there is this spot in
2:24:30the ceramic there. Okay. And as I uh if
2:24:34I was to select everything with A and
2:24:36then if I was to hit R to rotate, you
2:24:39can see that the texture is being
2:24:41updated over there. In fact, if I turn
2:24:43off the overlay there just to uh see it
2:24:45more clearly and then I turn on the
2:24:46thickness, right, watch this. As I
2:24:49select everything in edit mode, I can
2:24:51move this around and the texture
2:24:53coordinates are updating in real time.
2:24:56Okay. I can also scale this by hitting
2:24:58S. And this is a really common thing you
2:24:59do because like often a mesh is a
2:25:01completely different size to the
2:25:03captured size of the object. Um, in
2:25:05Polygon's case for like detailed
2:25:07textures like this, this is a 30x 30 cm
2:25:10texture, which is actually probably
2:25:12pretty perfect for a plate. Maybe maybe
2:25:14a plate should be a little bit uh scaled
2:25:16in like that. So the dots are a little
2:25:18bit bigger. But you could see this is
2:25:20very very easy to do. Let's go back to
2:25:23layout over here. I'm going to select
2:25:25the icing now and let's do uh one that's
2:25:27a little bit more complicated. So, I'm
2:25:30going to hit N to bring up the
2:25:31properties again. I'm going to scroll
2:25:33down. So, this is in the textures free
2:25:35category. Scrolling down and I'm looking
2:25:37for the strawberry pink uh glaze. Okay,
2:25:39so we got this strawberry pink um
2:25:43texture, right? And this was actually
2:25:44captured um by literally pouring a bunch
2:25:48of icing into a pan um and then using a
2:25:51stereoscopic scanner to capture it from
2:25:53all dimensions so that you get this like
2:25:56really interesting like that height
2:25:58information there the little bumps of
2:26:00like the sugar crystals and stuff
2:26:01popping through. Pretty cool. Anyways,
2:26:03let's hit apply on that. Okay, you can
2:26:07see there is some texture on here unlike
2:26:11the plate which came in like nothing.
2:26:12And the reason for that is that when you
2:26:14add in um a Taurus, like certain
2:26:17primitives, we added in a Taurus, it
2:26:19actually comes in with UV unwrapping
2:26:21already created. Okay, so with this this
2:26:23one here, so it's already got some UVs,
2:26:26but all that extra work that we did at
2:26:28the bottom there, like extruding some
2:26:30things down, that's all been missed. All
2:26:32of the way that things have been shifted
2:26:33because now it's lumpy, all of that is
2:26:35missing as well. So it would help to
2:26:37actually UV unwrap this again and
2:26:41project these points in a way that
2:26:42actually match matches the mesh. So the
2:26:46way to think about this is what if this
2:26:49mesh was made of paper and we had to lay
2:26:51the paper flat over onto this texture on
2:26:54the left hand side over here. Where
2:26:56would you place the cuts on the mesh in
2:26:59order to lay it flat? And in the case of
2:27:02something like this, where I would place
2:27:04the cuts would be essentially along the
2:27:07edge, right along here. Okay. So, if I
2:27:10altclick along that edge there, that
2:27:13should select all the way around it. So,
2:27:15do check that it goes all the way around
2:27:17it. Um, if it doesn't, then it just this
2:27:19next step will come out a little bit
2:27:21funny. Um, anyways, now that I've
2:27:23selected that, to add a cut, we're going
2:27:26to hit Ctrl E, and then I'm going to
2:27:29select mark seam. Okay. And now, if I
2:27:33was to go back into uh wireframe mode
2:27:35here, and then just turn off this
2:27:36selection. You should see that we've got
2:27:39a line here that is red. By the way, the
2:27:42one next to it that is purple, that is
2:27:43the one that has the crease, which we
2:27:45added when we used the solidify thing to
2:27:47make it cling to the uh to the donut a
2:27:49little bit better. So, we've got this
2:27:50line that goes all the way around it.
2:27:54Okay. And that has done a cut. Now,
2:27:56nothing has changed yet because we still
2:27:57haven't UV unwrapped it. And that's okay
2:27:59because we need to do one more right in
2:28:02the middle of our donut. If you just
2:28:04select like a random point on the inside
2:28:06of the donut there, then hit your focus
2:28:08key um tilda three or numpad period,
2:28:12then you should be able to get in nice
2:28:14and close to it. Now that I'm here, I'm
2:28:16going to do the same thing. So hold down
2:28:18alt and then select this line here. And
2:28:20now I'm going to hit Ctrl E and do
2:28:23another seam. Okay, now that I've done
2:28:25that, select the entire mesh and just
2:28:27like before to unwrap it. It's U to
2:28:30unwrap and unwrap angle based. Now watch
2:28:34what happens. Ready?
2:28:37Wow, that's taking a long time. I don't
2:28:39know why it took that long. I've never
2:28:40seen it stall like that before. Okay,
2:28:43anyways, but look, that is perfect.
2:28:46That's pretty well perfect. I mean,
2:28:48there's probably a little bit of
2:28:49stretching there. There's always going
2:28:50to be stretching, guys. You'll never get
2:28:52it perfect, but as long as the
2:28:54stretching is minimal, like that is
2:28:56pretty well good. It's laid flat. Like,
2:28:58it looks almost like a cowhide rug, you
2:29:00know, like the dead animal that's been
2:29:03stretched out. It looks like that, but
2:29:05like that's that's how it works, right?
2:29:07So, now if I go into material view, look
2:29:09at this. Now we no longer have I mean
2:29:12you couldn't really see it clearly
2:29:13before but we no longer have the
2:29:15stretching um that was happening there.
2:29:17It's now been properly um stretched
2:29:21across it. It's been properly mapped and
2:29:22so we've got the texture going all the
2:29:24way in there. Now the scale of this is
2:29:26probably wrong. So um I like to like
2:29:28change the scale here and I want to see
2:29:30it over there. So I like to turn off my
2:29:33over uh overlays at the top there. So
2:29:35you can just click that little box.
2:29:36That'll turn off everything so you can't
2:29:37even see what's selected. And now I can
2:29:39just change the scale here. Um, and I
2:29:42could make it bigger or smaller. Um, but
2:29:45yeah, you can play with the size and and
2:29:48try and get it good. But why does it
2:29:49look so pale and pink and like not as
2:29:52fun as it was before? Well, it's because
2:29:54when we added in that texture, right,
2:29:56when we clicked this, it over rid
2:29:58overrid um the material that we had
2:30:02before. So, if you go back to your
2:30:03shading tab, you'll see we got all these
2:30:06textures. And for example, before we had
2:30:08a pink color that was in the base color.
2:30:10Now it's been overridden with the actual
2:30:12strawberry color which was captured with
2:30:14the camera. However, that strawberry is
2:30:16a little paler than what I want. So, I'm
2:30:19actually going to disconnect it because
2:30:20there's not actually that much
2:30:22information in color when it's something
2:30:24like this. All the information is in the
2:30:26bump. So, we can really just get by with
2:30:28Actually, we don't need metallic because
2:30:30there's definitely no metal in it. Um,
2:30:32I'm going to keep the roughness. That's
2:30:34okay to keep because I just actually
2:30:35want to see that. I'm going to
2:30:36disconnect this which is the subsurface
2:30:39amount um because I want to control that
2:30:42myself as well. And I'm just going to
2:30:43leave the roughness and the normal. And
2:30:45that's it. Oh, I should explain how I
2:30:47was disconnecting those. So, if you hold
2:30:48down control and then rightclick drag,
2:30:52that is how you can disconnect. You can
2:30:53also just click these points and then
2:30:55just disconnect like that. But I prefer
2:30:56to controll rightclick drag and that'll
2:30:58cut it. Um sever the tie. And now that
2:31:02I'm here, I'm just going to set these
2:31:03values to what I had before. You know,
2:31:05just playing it by eye. What pink color
2:31:08looks good. Set my subsurface amount
2:31:10radius to one. And then I'll change this
2:31:13uh scale value till it looks nice. But
2:31:16there you go. I've now got my fleshy
2:31:18pink donut. Um but I I now have this
2:31:22lovely bubbly um sugar crystals, real
2:31:26glaze going on the doughut. All right.
2:31:28Now, let's do another fun one. Let's do
2:31:30the donut itself. Now, this is an
2:31:33interesting one that I had my team do um
2:31:35before we did uh before I started
2:31:37recording. Um I had them go out and scan
2:31:40a real donut, scan it all the way
2:31:42around, then map it to a Taurus, and
2:31:44then just get the extracted data. And
2:31:46because this has been already UV
2:31:48unwrapped to map the exact square just
2:31:51like what we um uh sorry, yeah, ju just
2:31:56like what is captured for this this type
2:31:58of map here. Now I can just apply this
2:32:00and it'll automatically do it. So let's
2:32:02do that. Hit apply. And that's pretty
2:32:04good. Like that's nice color. We got
2:32:05nice bump there. If we bring back our
2:32:08icing, you can see that's already pretty
2:32:10good, right? But there is something else
2:32:13that we can do because when I was
2:32:15talking about shading, you might
2:32:16remember I mentioned that there is two
2:32:18different ways of um uh creating normal
2:32:23sorry creating bumps, right? and the the
2:32:24the normal one, the purple one, that's
2:32:27the one we've been using uh thus far,
2:32:29but there's another one here which comes
2:32:30in disconnected, and it's the
2:32:32displacement map. Now, in the newer
2:32:35versions of um the Polygon add-on, like
2:32:38the next version that's coming out after
2:32:40this, you'll be able to in this last
2:32:42used box here, you'll have an option
2:32:43that says um displacement and sorry,
2:32:47displacement type. You can currently see
2:32:49it in cycles. So, if you use that, you
2:32:51can change it here to displacement and
2:32:53bump. But because EV only just came with
2:32:56this feature to enable displacement,
2:32:57it's not yet there. Um, so we would have
2:33:00to connect it um ourselves. But
2:33:02essentially all it's doing is when you
2:33:04change that little drop down there. If I
2:33:06grab all these things here, hit G to
2:33:08move them down. And then I se this tie
2:33:11with the normal and then I take my
2:33:13displacement. Don't put it in the normal
2:33:15input though. Put it in the displacement
2:33:17output of the material here. And what
2:33:20this is doing now
2:33:23is well it's it's still a fake bump but
2:33:25the other setting that it would enable
2:33:26is here in your material properties
2:33:29right down here at the bottom where it
2:33:31says displacement it would change that
2:33:32to displacement and bump. And now if I
2:33:35select my icing hit H to hide it. Um you
2:33:38can see that the mesh has changed.
2:33:40Right? This is the underlying mesh. It's
2:33:42now kind of expanded and this is
2:33:44actually the captured data of the height
2:33:46and it's being projected out of the
2:33:48donut. but it can only use the actual
2:33:51data which is on the mesh. Okay. So, it
2:33:54currently looks kind of like chunky um
2:33:57because there's not enough information.
2:33:59So, if you go to your modify uh panel
2:34:01here and then what would we add to more
2:34:03add more geometry? We would add in
2:34:05another subdivision surface. And now
2:34:08when we do that, if I increase this, you
2:34:11can see if I increase it two, three,
2:34:13four times in the viewport, you can see
2:34:15I get a lot more data come through.
2:34:17Okay. I I think three is about it. Um
2:34:20I'm just going to I'll I'll set render
2:34:22to three or four. Yeah, I'll set it to
2:34:24three. That should be fine. Um it comes
2:34:26in a little bit projected. If you want
2:34:28to change the scale of it, you can also
2:34:30do that. Um here I could change the
2:34:32scale from 0 2 to about a 0.15.
2:34:36Also, you should see how it looks with
2:34:37your icing. So I'm going to hit alt h.
2:34:39Um you can see it's actually yeah
2:34:41clipping through it. So I'll select my
2:34:43donut again and I'll change this scale
2:34:45here to about a 0.12
2:34:49like that. And then of course the other
2:34:51value that this is missing is the
2:34:52subsurface scattering because again we
2:34:54overrid the uh the placeholder stuff
2:34:56that we had there before. So in here I'm
2:34:59going to sever this connection and then
2:35:00I'm going to set this to one. And then
2:35:02I'll just make this you know whatever.
2:35:04And look you can make this look like so
2:35:06buttery nice like look at how soft and
2:35:08fluffy this doughut looks. How cool is
2:35:12that?
2:35:14Like that. Bring it back. Look at that.
2:35:16We've got real icing with the real
2:35:18crystals. We've got real doughut that
2:35:21has been captured and projected onto our
2:35:23Taurus. Um, and that's just two
2:35:25materials, which is really cool. The
2:35:27final object to texture is our mug. And
2:35:31I'm going to do that in the next part
2:35:32because we need to go much deeper into
2:35:34UV unwrapping and show how to unwrap a
2:35:37custom object. So, join me in the next
2:35:40video.
2:35:42The time has come to UV unwrap and
2:35:45texture our mug. So, we did a little bit
2:35:49with our icing, our donut, and our
2:35:51plate. We got most of that for free. Um,
2:35:53it those were very simple objects. This
2:35:55is a little more complex, so we're going
2:35:57to have some fun with it. So, first
2:35:59things first, we need to apply a texture
2:36:01to it so that we can see the UV
2:36:02unwrapping and see that it's working
2:36:04well. So, I'm going to hit N to bring up
2:36:06my properties. And uh I'm using the
2:36:08polygon add-on and I'm going to apply
2:36:10the ceramic texture that we're going to
2:36:12use. So the free one that we're using
2:36:13for this tutorial you can find by typing
2:36:15in donut 5. That'll bring up all the
2:36:18ones we're going to use in this
2:36:19tutorial. And uh the one we're using is
2:36:21this one. This rustic gold uh ceramic
2:36:24texture. So I've already downloaded it.
2:36:26So you'll see uh download. It'll look
2:36:27like download like that. Um and then
2:36:30with the mug selected, you want to hit
2:36:32apply. If the mug isn't selected like
2:36:35that, you'll see import, which would
2:36:36just like load it in as a like fake user
2:36:39material that you could reference. But
2:36:41anyways, so select the mug and then say
2:36:43apply. And now we can close that and
2:36:45let's take a look. Now, you might be
2:36:47surprised at how well that came in. Like
2:36:50the handle's no good, but the rest of it
2:36:52is semi okay, right? There's some
2:36:55stretching on the rim and the base, but
2:36:57like why did that come in? Okay. So, if
2:37:00you go to the UV editor here, you can
2:37:02see we got some islands and this matches
2:37:05exactly what you would expect if you
2:37:07created a cylinder. So, when we modeled
2:37:10this mug, you remember we started with a
2:37:12cylinder and that's a primitive object.
2:37:14And Blender automatically UV unwraps the
2:37:16primitive objects for us. So, everything
2:37:17that is still a cylinder form is okay.
2:37:21But everything else that we created from
2:37:22scratch, like this handle here, it has
2:37:24no idea what to do with it. So, it's all
2:37:26stretched and all screwed up. So
2:37:27basically we have to start from scratch
2:37:29and um and do this again. But that's
2:37:31okay. That's the point of this tutorial
2:37:32to learn how to do UV unwrapping. So as
2:37:35I explained with the icing, the best way
2:37:37to think about uh UV unwrapping is to
2:37:40imagine that this object was made of
2:37:43paper and we have to lay it flat onto a
2:37:462D surface which is what this is over
2:37:48here. This is the 3D uh object. This is
2:37:51the flat surface it's being laid on. So,
2:37:54it's like we are turning this into paper
2:37:56and we have to lay it flat. Where would
2:37:58you put the cuts on this object in order
2:38:01to make it flat there? And so, the most
2:38:04obvious place you could think of if
2:38:06you're looking at doing this is like, I
2:38:08know for sure this handle has to be
2:38:09separated from the rest of it in order
2:38:11to start to lay it flat. By the way, uh
2:38:14before we start, it would probably help
2:38:16with your um uh mug selected in the
2:38:19modifiers. You've got this little box
2:38:20there that says uh on cage. So if it's
2:38:23turned off, it'll show you like the
2:38:25unsubdivided result around it, but then
2:38:28like parts of it get hidden by the mesh.
2:38:30So I usually turn it on just so that I
2:38:31can see it and like all the mesh is
2:38:33visible. It just makes UV unwrapping it
2:38:35uh a little bit easier. Okay, so the
2:38:36handle needs to be separated. So right
2:38:38here is an incision point, right? So I'm
2:38:40going to select these vertices here by
2:38:42holding down shift and just shift
2:38:44selecting. Then I'm going to hit Ctrl E
2:38:47and then select mark seam. Now Blender
2:38:50won't have updated yet. So this hasn't
2:38:52changed over here. So if in order to see
2:38:54that we would first have to select the
2:38:55whole mesh, then go U and then select
2:38:58unwrap. Or the method that I prefer to
2:39:00do and I would suggest you do this too
2:39:02in your 3D view over here, there's a
2:39:04little options drop down at the top
2:39:05there. If you click that and then select
2:39:07live unwrap, now whenever you do um a
2:39:11seam, so let's just do another seam
2:39:13here. Mark seam on the same spot. Um it
2:39:15will automatically do that UV unwrap for
2:39:17you. So that's really helpful. Um now it
2:39:19looks worse. you have to go backwards
2:39:21before you can go forwards. Um, but
2:39:23that's okay. So, we've only got one uh
2:39:25incision. So, let's do another one, the
2:39:27other half of the handle. So, down here,
2:39:28I'm going to select these points like
2:39:31so, and then hit Ctrl + E and then mark
2:39:33seam. Okay. So, now it has changed. So,
2:39:36we've got the handle here. Now, if you
2:39:39want to select just the handle, by the
2:39:40way, in the 3D viewport, if you just
2:39:43mouse over that part of the motion of
2:39:45the the motion, the mesh, and then hit
2:39:48L, then in this little um uh last use
2:39:52box here, if you select seam, it'll now
2:39:55just select the parts of the mesh that
2:39:56match that seam. Um, by the way, I
2:39:58should also be in edge select mode. That
2:40:00would definitely be helpful um because
2:40:02we're placing seams on edges. But yeah,
2:40:04if I do that now, uh that selection, you
2:40:06can clearly see that this is the part of
2:40:08the mesh, which is this handle over
2:40:09here. So, it's been separated. Okay, so
2:40:12we've got like two parts of the mesh.
2:40:13We've got all of the this part of the
2:40:15mug, which is this mess over here. And
2:40:18then we've got this handle here, which
2:40:19is this part over here. So, this is like
2:40:22somewhat uh unwrapped. But again, if
2:40:24this was made of paper, to lay it flat,
2:40:26we would have to do another incision.
2:40:28So, when I'm placing a scision like
2:40:30this, like I have to place an incision
2:40:32somewhere here, right? like here, here,
2:40:35here, or here. And because a a seam
2:40:39generally makes a seam, [laughter] like
2:40:42a visible line in a texture that will
2:40:45often not be um like lined up, that that
2:40:47can look ugly, right? It's like it's not
2:40:49a good look for a model. So, often when
2:40:51you're placing a seam, you put it in a
2:40:53place that is hidden. So, I mean, it it
2:40:55would be a really good spot if we had
2:40:57like a line right down the middle of the
2:40:58mug there, but next best thing, I'll
2:41:00place it just to the side there. So,
2:41:02holding down alt, select that edge. Now,
2:41:04I'm going to hit control E and then say
2:41:06seam. And now, look at that. This now
2:41:10has been pretty well UV unwrapped. Okay,
2:41:14that section there. That's pretty good.
2:41:17So, now we just have to do the same for
2:41:18the rest of the mug here. And this is
2:41:20pretty easy to do. So, it's I mean, you
2:41:22can tell like one place we would have to
2:41:24put a cut um would be like the base of
2:41:27it, like right here um inside of our
2:41:30mug. So, I'm going to hold down alt just
2:41:31on this face at the bottom there. And
2:41:33I'm going to hit Ctrl + E, and I'm going
2:41:35to say scene just to separate that that
2:41:37single circle there out by itself. Now,
2:41:40I I need to put one cut that goes right
2:41:42down the um right down like here, like
2:41:46this part of a mesh. Like, I need to do
2:41:47a cut right there. But again, that can
2:41:50create like a visible like line. So, I
2:41:52want to try to hide it by putting it on
2:41:54like close to this handle here because
2:41:57also there are other seams here and it
2:41:59will just kind of help to just have it
2:42:00on one part of the mesh. Um, because
2:42:02like you you could like move it and hide
2:42:04it by the camera and stuff like that.
2:42:05So, it just helps to put it all in one
2:42:07place. So, holding down alt here. So,
2:42:09alt click on that so it goes all the way
2:42:12down to there. And then it kind of stops
2:42:14here on the handle there. So, I'm going
2:42:15to select this line. Just holding down
2:42:17shift. And then I also want to do it
2:42:18right there. So, um, holding down alt on
2:42:21that. And now I'm going to hit Ctrl E
2:42:24and then say mark seam. Okay. So, now
2:42:26that's looking a lot more, uh, released,
2:42:28right? There's less, uh, tension in
2:42:30there, but there is still this like
2:42:32pinching effect happening at the bottom
2:42:34there. So, just like in the middle there
2:42:35when we selected that and separated it,
2:42:37I want to select this part of the mesh,
2:42:39which is underneath the mug, and I want
2:42:41to unwrap that or sorry, uh, uh, place a
2:42:43seam there. By the way, if you want to
2:42:44like like cuz we can't really get to
2:42:46that very easily. If you want to just
2:42:48see an object by itself, you can hit
2:42:51forward slash. So, in object mode with
2:42:53the mug selected, forward slash. And now
2:42:56everything has vanished. Now, Blender
2:42:58doesn't do a very good job of showing
2:43:00you that you have you're just looking at
2:43:02an isolated view except for at the top
2:43:04there where it says local. So, there's
2:43:06many times when I'm using Blender and I
2:43:08for I'm like, where's the rest of my
2:43:09scene? And then I remember, oh, that's
2:43:11right, I'm in isolated mode. And you
2:43:13only know because it says local there.
2:43:15So, you just have to remember if like
2:43:17you ever get to that point of like where
2:43:18is everything? What? Just forward slash
2:43:20and it'll bring it back. Okay. So,
2:43:22forward slash uh there we go. And by the
2:43:24way, if you don't have a uh forward
2:43:26slash key, you can go to view um and
2:43:28then go local view toggle local view
2:43:30like that. All right. So, now that I've
2:43:32done that, I can get underneath my mug
2:43:34edit mode and I'll select this, say E,
2:43:37and then I'm going to say mark seam.
2:43:40Okay. So now when we look at this, you
2:43:42can see we've we've now we have pretty
2:43:44well successfully UV unwrapped this.
2:43:46Okay, cuz these points are now they're
2:43:49they've been flattened out. Now there's
2:43:51there's some stretching. There's always
2:43:53going to be some stretching, but as long
2:43:55as it's not like obvious, it's generally
2:43:57okay. But now what I want to do um is I
2:43:59want to load in the actual texture
2:44:01that's that's being viewed here. So I
2:44:02can see where this like line is being uh
2:44:05viewed on the um on the mug there. So,
2:44:07from the drop down here, I'm going to
2:44:09select that base color, this little
2:44:10ceramic mug here, which by the way was
2:44:12actually scanned from a real mug um that
2:44:15we uh we we bought and then scanned
2:44:17around it. So, this actually matches
2:44:18like what you'd find in a store. Um so,
2:44:21it's loaded in there. And now with this
2:44:23island uh which I can select by hitting
2:44:25L like that, I can now hitting R, I can
2:44:28start to rotate and move it around like
2:44:31this. Okay. So, I'm going to place this.
2:44:33Let's go. I'm just kind of guessing. But
2:44:35that is Yeah, that's the bottom of my
2:44:38mesh. If you don't know, like you can go
2:44:39into like face select mode and just like
2:44:41select a few faces and you can see them
2:44:43like update over there like that, which
2:44:45is cool. Um, but yeah, so that's the
2:44:47bottom of the mug, which is good. And
2:44:50let's get that like, you know, try and
2:44:52get try and get a straight line there.
2:44:54Okay. And you can see we can't,
2:44:57[laughter]
2:44:57right? We've got the line like going up
2:45:00here and then we've got another line
2:45:02coming down here. And obviously we want
2:45:04these to meet. But how can we do that,
2:45:06right? Because the lines are doing that
2:45:09because this part of the mesh is all the
2:45:11way uh over here and then the other part
2:45:13of the mesh is like yeah much higher up,
2:45:15right? So we essentially in order to get
2:45:18this to to line up, we need to make this
2:45:20island here look straight basically like
2:45:23almost like what it was before when it
2:45:25was uh the default cylinder view. Now,
2:45:27there are some tools in Blender that let
2:45:29you like quickly align like one line,
2:45:32right? So, if I selected this line here,
2:45:34I could rightclick and then I could say
2:45:36align auto. And you can see it would
2:45:38give me a pretty straight line for for
2:45:42that one there. The problem is is that
2:45:44it just does that one line. If I wanted
2:45:46to do all of it, I would have to do
2:45:48these like one by one like this. So,
2:45:51Blender really needs a tool um that
2:45:54would like let this happen like easily
2:45:56across an entire island. And although
2:45:58Blender doesn't have this tool, there is
2:46:00a free extension and it's a great excuse
2:46:02to talk about extensions in Blender and
2:46:04how to install them. Um but yeah,
2:46:06there's a free one and it's amazing and
2:46:08so I'm going to show you how to get it.
2:46:10So, go to edit, then preferences, then
2:46:12go get extensions. And uh with a fresh
2:46:15install, um it'll first ask you do you
2:46:17uh want to let Blender read the
2:46:19internet? cuz it's not going to do that
2:46:20without your permission. So, say allow
2:46:22online access. Uh, and by the way, you
2:46:24can change that in the future if you
2:46:25want inside of system allow online
2:46:27access. Anyways, now that you're here in
2:46:30the top right hand corner of the get
2:46:32extensions, there's a little uh
2:46:34unassuming dropdown. Then click on visit
2:46:37extensions platform. You can also find
2:46:39it by just going to
2:46:40extensions.blender.org.
2:46:42Anyways, so these are all extensions
2:46:45that are um they're not made by Blender,
2:46:47so they're not like official, but they
2:46:49are all free. So, they all have to meet
2:46:51the criteria of free. I believe there's
2:46:52some other things in there like it has
2:46:54to I don't know, probably like safety
2:46:55checks and things like that, but these
2:46:57just like expand the capabilities of
2:46:59Blender by the community. So, the one
2:47:01they were looking for is actually this
2:47:02one here, Moy 3 UV, which you could find
2:47:05by just, I think, typing in UV. Weirdly,
2:47:08when I was typing in Moy 3, uh Oh, no,
2:47:11that's right. Oh, it's Mio. Oh, that's
2:47:13why I wasn't finding it. It's Mio3.
2:47:16Okay, there you go. I I thought Blender
2:47:17search was so bad, but it was just Mio3,
2:47:20not Moy. All right, Mio3 UV. Okay, so
2:47:24this is the extension. Now, you might
2:47:26think like I have to download something,
2:47:28unzip it, and do that. No, it's actually
2:47:30really simple. So, all you do is you
2:47:31grab your browser like this. Just like
2:47:33separate it to make it like a half
2:47:36window like this.
2:47:37>> [snorts]
2:47:38>> Then all you're going to do is uh you're
2:47:41going to in the bottom corner of this
2:47:43little window here where it says get
2:47:45add-on, you're going to click that and
2:47:47then you get this like little outline
2:47:48box there and see how your cursor
2:47:50changes to this little um like crosshair
2:47:52thing. You just click and drag out from
2:47:55that and then drop it into Blender and
2:47:58it'll now say, "Do you want to install
2:48:00it?" And you say, "Yes, I do." And then
2:48:03that's it. You can see at the bottom
2:48:04there it says installed mio3 u UV. And
2:48:08now in our UV editor over here in this
2:48:11window, if I hit N to bring up
2:48:13properties, you can see I've got a
2:48:15little option here that says Mio3. And
2:48:17look, we've got a bunch of options that
2:48:19I honestly have not played with. Most of
2:48:21them, [laughter]
2:48:23most of the ones I'm looking for are
2:48:24right at the top here. So the one that I
2:48:27use all the time is gridify. Okay. And
2:48:29look what happens as I click this.un.
2:48:32It does what we're looking for. It
2:48:34converted that from this like stretched
2:48:38like kind of uh view to making it look
2:48:41actually squarish and uh and like a
2:48:44grid. And that is perfect. And now you
2:48:46can see that line there across the
2:48:48ceramic is lining up across it. So that
2:48:51is absolutely perfect. I have no
2:48:54complaints. It is uh it's worked
2:48:56perfectly well. I do though just want to
2:48:58apply it to this part of the handle as
2:49:00well because the same thing would apply
2:49:02to that. Uh make sure I do it in face
2:49:04select mode. So I'll hit L. So I'm just
2:49:06selecting the handle by itself. And then
2:49:08here with this or you can also just do
2:49:10it on the island itself there like that.
2:49:12And then go to Mio again and I'm looking
2:49:15for gridify. Okay. And there we go.
2:49:19Great. Now um you you can position these
2:49:23however you want. So, you can select an
2:49:24island by hitting L and then you can
2:49:25like find a different portion of it. Um,
2:49:28by the way, if you don't want to see the
2:49:30like cuz you can't really see the
2:49:31texture under it very well. Sometimes I
2:49:33just disable the overlay at the top of
2:49:35the screen there. That will just like
2:49:37disable all the overlay so you can't see
2:49:39anything on the mesh there at all. Um,
2:49:41so you just have to remember that it's
2:49:42doing that. But when I've got that now,
2:49:44I can like move things around. Um, and I
2:49:47can see them visualized on the actual
2:49:49mesh there, which is helpful. So, if I
2:49:51wanted it to be like a larger looking
2:49:52texture, I could make it smaller, right?
2:49:55That's a kind of a look. Or I could make
2:49:56it bigger. And I'll probably make it
2:49:58like somewhere in between about
2:50:01about there, I think, actually looks
2:50:03kind of good actually. Yeah, basically
2:50:05filling the space like that from like
2:50:08left to right, which is nice. And then
2:50:10for the handle, I need to also resize
2:50:12that. So, I'm going to select this part
2:50:13of the handle. And by the way, you'll
2:50:15notice as you slide it off the screen
2:50:17there, it doesn't matter where it is
2:50:19because it's just going to be tiled.
2:50:20Okay? So that texture is just tiling all
2:50:22the way to the left and to the right and
2:50:24above it. Um, so yeah, so I can position
2:50:26this wherever I want. Um, like so. Now
2:50:29you can see here this little empty patch
2:50:31here, right? This is one part of the
2:50:34handle cut, right? It's that section.
2:50:37And then this section here would be this
2:50:39right here. So, if you actually wanted
2:50:41to line it up to be perfect and also get
2:50:43the texture, it's it's called like
2:50:45matching the the tixel density across
2:50:47the islands. Um, but yeah, you could
2:50:50like scale this down to be like roughly
2:50:53the same portion, like the same part of
2:50:56the mesh if you want to. There's still
2:50:57like there's extra stretching and stuff
2:50:59in there. Um, the other thing I
2:51:01sometimes do is like I look at the size
2:51:03of a square like this and then I go
2:51:05like, what is the size of the square
2:51:07over here? And it's like, all right,
2:51:09that's pretty close, but I can see it
2:51:11needs to be stretched like further this
2:51:13way, right? Cuz this is more rectangular
2:51:15than this. This is more kind of
2:51:16squarish. So, I'm going to select this
2:51:18whole island and I can hit S and then uh
2:51:21Y, like so. So, till they're kind of
2:51:25kind of the same size like that. And
2:51:28then just to make them fit, I would
2:51:29scale that down again. And there you go.
2:51:32And now I'm just going to move that up a
2:51:34little bit just so that this part here
2:51:37of my my texture I want it to kind of
2:51:39line up there. I don't even know
2:51:41actually if this is physically possible.
2:51:42Maybe somebody who works in pottery will
2:51:44tell me. But like see how it looks like
2:51:46it's kind of like dipped in something. I
2:51:48don't even know if that's like something
2:51:49that is like painted or like branded or
2:51:52something like can it go halfway up the
2:51:55handle as well? I'm assuming it is.
2:51:57Maybe I thought it was like dipped in
2:51:58something, but that could be like this
2:52:00could be a completely implausible mug is
2:52:02all I'm saying. [laughter]
2:52:04But that that's how it is in 3D. Like
2:52:07you have artists that have like never
2:52:09done engineering before and they design
2:52:11a robot and they're like and everyone's
2:52:13like, "Yeah, that looks cool." And then
2:52:14like all the people in engineering are
2:52:15like, you know, that's never going to
2:52:17fly, you know? [laughter]
2:52:20Um, but that's that's fine. It's part of
2:52:21the part of the fun of it. Okay. And now
2:52:24there's there's a lot of stretching
2:52:25going on right here. And that's because
2:52:27this gridify thing, as good as it as
2:52:29good as it is. You can see that this
2:52:32part, right, it's really like shrunk it
2:52:34in there and it's made it a really thin
2:52:36line. So all I'm going to do is uh I'm
2:52:38going to go into edge select mode by
2:52:39hitting two and I'm going to select that
2:52:41edge. Oop. Okay, I can't select that
2:52:43edge very well. I'll just shift select
2:52:45them one by one like that. And then I'm
2:52:47just going to pull it up just to add
2:52:49more detail there. Like so. And I think
2:52:52it is also like stretched a little bit
2:52:56because it's kind of like wrapped around
2:52:58it and it's kind of like peeling
2:52:59outwards a little bit. I think it works
2:53:01a little bit better if you also scale
2:53:03that part out a little more. So I'm just
2:53:05scaling out that line. And you can see
2:53:07that has now blended in pretty
2:53:10seamlessly. Like that's about I mean
2:53:12it's a little messy there, but it's
2:53:13about as good as it would get on that.
2:53:15That's that's pretty good. And then I'll
2:53:17just do the same for the bottom part
2:53:19here. So, I'll select these edges. Uh,
2:53:22actually, no, I'll do it over here. And
2:53:23you can see you get both parts of it,
2:53:25right? Because that line there exists
2:53:27across two islands, right? This island
2:53:29and then this island here. So, anyways,
2:53:32I'll select this in the editor here. And
2:53:35then I'm going to pull it down to give
2:53:37me more data. And then I'm going to
2:53:39scale it out a little bit as well. And
2:53:42look at that. That's pretty good. We've
2:53:46got a pretty seamless looking result. I
2:53:50mean, and honestly, that's that's about
2:53:51as good as it gets. And by the way, I I
2:53:53should have said like it doesn't
2:53:54actually matter that the UV islands are
2:53:56overlapping here, but it does matter if
2:53:59you were to be painting onto this. Um,
2:54:02and the reason that that that makes a
2:54:04difference is like you can imagine if
2:54:05you were doing a paintbrush and you had
2:54:07painted parts of the mesh here and like
2:54:09one part was for the handle and this
2:54:11part was for that. If you had islands
2:54:13that were overlapping each other, then
2:54:15you would have like different parts of
2:54:16the painting like appearing twice across
2:54:18it. So, there's kind of like two styles
2:54:21to UV unwrapping. This is the simplest
2:54:23one, which is just like if you've got an
2:54:24image that you've got off the internet
2:54:25or a texture or whatever that's just
2:54:27being tiled across it, or even not
2:54:29tiled. Like, it doesn't matter if things
2:54:32are overlapping because you know that
2:54:34the texture is different enough your
2:54:35eyes not going to spot it. But if it's
2:54:37painted, yes, they do have to be
2:54:38separate parts. And another thing as
2:54:41well, if you're UV unwrapping for a game
2:54:43asset, it's even more complex because
2:54:46all the islands have to be separated,
2:54:47but there's also like margin because
2:54:50like in games, you develop like multiple
2:54:52versions of a mesh at different
2:54:53resolutions. Then there's different
2:54:55texture resolutions. So, you have to
2:54:56create like big margins and it gets all
2:54:59like complicated. It It's like a
2:55:00completely separate thing. So, if you
2:55:02wanted to texture for games, you should
2:55:03probably look at like game texturing
2:55:06type tutorials if you really wanted to
2:55:08go into that. Um, but anyways, the rest
2:55:10of it is fine. Like that part of it, all
2:55:12this like stretching in here. If you
2:55:14wanted to fix that, you could. It
2:55:15doesn't matter cuz we're going to put
2:55:17some like coffee foam along the top
2:55:18there. The base of it doesn't matter cuz
2:55:21we're not going to see it. So, yeah. But
2:55:24that's that's also the the thing to
2:55:26consider is like, you know, when people
2:55:28are like on Twitter and they're like,
2:55:29"Look at this model. Look how terrible
2:55:31it is." It's like, yeah, it might be for
2:55:33a purpose like this. It's designed to be
2:55:35viewed from above and that's all it
2:55:37needs to do. Like if you've like pulled
2:55:39it apart and it's like how terrible does
2:55:41it look? It's like yeah, the camera was
2:55:42never going to go in there or under
2:55:44there. So that's why it doesn't matter.
2:55:46[laughter]
2:55:47Anyways, all right. So the mug is pretty
2:55:50good. The only thing I'll do is I'm
2:55:52going to go to my material over here. U
2:55:55actually sorry I'll go to my shading tab
2:55:57at the top there so that I can access
2:55:59the nodes here and I'll just make a few
2:56:01tweaks to it. Just like before when I
2:56:04mentioned these maps here like this is
2:56:06going to give you the physically
2:56:07accurate um data from the actual ceramic
2:56:11that we scanned, right? And it's like
2:56:12color calibrated and everything like
2:56:14that. Um but sometimes you want artistic
2:56:16control and I want this to look shinier.
2:56:18This is a little dull for me. So I'm
2:56:21going to disconnect my roughness here
2:56:23and then I'm just going to play with
2:56:24this slider like so. So I've still got
2:56:26the bump. So like most of the detail
2:56:28that I want is still there, but like I
2:56:30don't need I don't need um I don't need
2:56:32to look as dull as it was. So that is
2:56:35pretty good. I also don't need the
2:56:36metallic shader. Like that's just
2:56:37superfluous. Um there's another one
2:56:39here, O RM. Oh, sorry, not OM. Uh
2:56:42ambient occlusion or AO. This is another
2:56:45one which is completely unnecessary. Um
2:56:47it's just for like crevices of
2:56:49information, but this is like flat
2:56:51ceramic, so there's no crevices. um we
2:56:53have to provide it like standardized for
2:56:54all of our materials so they're all
2:56:56uniform. But a lot of materials just
2:56:58don't need it. So in a case like this um
2:57:00I just don't want the AO like this map
2:57:03here. So I could just like disconnect
2:57:05that or actually if you want to delete
2:57:08something like this and you want it to
2:57:09retain its connection rather than just
2:57:11deleting it cuz then you have to
2:57:12manually connect it. Um if instead if
2:57:16you hit Ctrl X it will delete it and
2:57:19retain its connection. So that's just a
2:57:21little tip there for you. Okay, great.
2:57:23So, now let's go back to my layout mode
2:57:26over here. Let's have a look at it with
2:57:28our lighting. And that is pretty good.
2:57:31Now, the only thing I will change
2:57:33though, looking at this, is this
2:57:35concrete is mighty pale. It doesn't look
2:57:38very good. Doesn't look very luxurious,
2:57:40like a like a cafe, like a high high
2:57:43fallutin. Ooh, look at me. I'm paying $9
2:57:45for a coffee. Aren't I fancy? Doesn't
2:57:48look like that, right? It looks like
2:57:49dusty, like a workman floor. So, we can
2:57:52adjust this by going to the shade tab.
2:57:54This is a great excuse to uh to go a
2:57:56little uh a little into the nodes,
2:57:58right? So, this is the one that we
2:57:59actually manually set up. So, it's, you
2:58:00know, it's pretty clean. We just got a
2:58:02base color and we've got a normal map,
2:58:04right? But between here and here where
2:58:07it connects, we can adjust the color of
2:58:09this. And I'm going to show you how
2:58:12simple you can you can completely
2:58:14transform the look of a texture. So, if
2:58:16I hit uh shift A or just go to add at
2:58:19the top there, then go to color and
2:58:21there's a bunch of different color
2:58:22options like brightness and contrast. I
2:58:24wouldn't use that. That's like a like
2:58:26what is brightness? What is contrast?
2:58:28There's a whole like color debate and
2:58:29things. Color ramp can be useful if you
2:58:31just want to like convert something to
2:58:33like your own set of colors. Uh hue,
2:58:35saturation value, we use that. But what
2:58:37I'm looking for though is RGB curves.
2:58:39So, if I drop this in here, this will
2:58:42give me, if you're familiar with RGB
2:58:44curves from like Photoshop or Da Vinci
2:58:45or anything like that, this will let you
2:58:47do like an S- log uh kind of curve. So,
2:58:50essentially, this data at the bottom
2:58:52here, this is your uh your dark dark
2:58:54tones. Uh this would be your mid tones,
2:58:56this would be your highlights, and this
2:58:58is like your clipped like highlights at
2:58:59the top there. But you can see if I make
2:59:01this look like a like a ramp like this,
2:59:04it starts to look more contrasted,
2:59:06right? and I pull it all the way down. I
2:59:08can like really transform this and make
2:59:10it look really contrasted. Look at how
2:59:12different that looks already, right?
2:59:14From just this one little thing, you
2:59:16wouldn't imagine you could convert it
2:59:18like this. But that's a simple thing and
2:59:20it's already looking good. And then I
2:59:21want to bring out some of the whites as
2:59:23well. So I can just add at the top here
2:59:25just a little curve that goes the other
2:59:26way. So it kind of exaggerates some of
2:59:28those whites. Okay, great. That's pretty
2:59:32good. But now the other thing is is like
2:59:34because I've like crunched it and made
2:59:36it a little more contrasty, it's also
2:59:38brought out some of the colors which are
2:59:40looking a little like yellowy green
2:59:42which is a little unappealing. Kind of
2:59:44like this table would be like a little
2:59:46moldy not great. So instead um to
2:59:49improve it I can add another node. As I
2:59:52mentioned I use this one a lot. Hue
2:59:54saturation value. So, if I drop this in
2:59:57and I drop it in here, you could also
3:00:00put it before the the curves or after,
3:00:01doesn't really matter. Um, and then I I
3:00:04just want to drop the saturation here.
3:00:05And watch this. Watch how completely
3:00:07transformed this becomes. Woohoo. Look
3:00:10at that. Doesn't that look nice? I think
3:00:13it looks nice. It's like, and you can
3:00:16turn off these nodes, by the way, like
3:00:17temporarily. If you want to mute
3:00:19something, it's M. M for mute. And you
3:00:22can select that and mute it. So, this is
3:00:23what we started with. And then just with
3:00:25two nodes, we converted this pale
3:00:27looking concrete into this, which is
3:00:31crazy.
3:00:32Pretty cool. Anyways, so that's uh
3:00:35that's nice. And then, you know, you can
3:00:37obviously play with the the roughness
3:00:38and stuff, and we'll get to that when we
3:00:39go to the um the lighting a little bit
3:00:42more. Um but that is looking good. Oh,
3:00:46the other thing of course we need to add
3:00:48is our coffee foam. And this one is
3:00:51super easy and it's another chance to
3:00:53talk about um another type of texture
3:00:55which you can find on sites like
3:00:56Polygon. Um but we need to add coffee
3:00:59foam to this. And um to do that we need
3:01:02to start with an object that is going to
3:01:04obviously fill the top of this. And
3:01:06obvious you know we could go in here and
3:01:07we could like add in a circle and do
3:01:09that kind of thing. But it's also smart
3:01:12to think about like how can I save time
3:01:14by reusing part of my mesh that I
3:01:16already have. So, I already know the
3:01:18exact size that the the foam to fit my
3:01:22mug because I already have a mug here
3:01:24with a circle in it, right? Look at this
3:01:26line. That is a circle. If I could just
3:01:30take that and make it a new object. I
3:01:32can use it. So, to do that, I can select
3:01:35that line and then hit shift D. Right,
3:01:37I've got my circle now. Then I want to
3:01:40hit escape. Okay, so it's now just
3:01:42brought it back to where it was. And now
3:01:44I'm going to hit P. P is how you
3:01:47separate something to uh a new object.
3:01:49So you're separating part of the the
3:01:50mesh. So now I'm going to hit selection
3:01:53like that. And now if I go over to my uh
3:01:57outliner here, we should see two mugs.
3:01:59So this is my original mug and then this
3:02:00is my mug.00001.
3:02:03Okay. So I'm going to call this my foam.
3:02:06Like that. And now I'm going to go into
3:02:09edit mode. Uh let's put it in edit mode.
3:02:14All right. And I'll turn off the uh that
3:02:16little view there so that I can just see
3:02:18where is it. Hold on a second.
3:02:22All right. Okay. So, you have to go into
3:02:24uh wireframe mode in order to see it
3:02:25there. But yeah, that is my uh my
3:02:28circle. Um and yeah, I should just be in
3:02:30my layout mode, shouldn't I? Not in
3:02:31shading. I should be in layout. So, I'm
3:02:33going to go here. Let's do the same
3:02:34thing. Wireframe mode. Okay. So, this
3:02:37circle obviously isn't being rendered
3:02:39because there's no face on it. So, if I
3:02:41go into here into wireframe, um I need
3:02:44to create a face on that. And I can do
3:02:45that by hitting F. Okay. So, I've now
3:02:48got a face and it's completely flat
3:02:50across it. And this is okay. And this
3:02:52would, you know, it'll work for most
3:02:53things. But there is a small detail that
3:02:56you notice when you look at like like if
3:02:57you've got uh um if you got coffee on
3:02:59your desk right now, if you have a look
3:03:00at it where the coffee line like where
3:03:03the water meets the actual uh edge
3:03:05there, there's like surface tension and
3:03:07it actually rises up against the edge
3:03:10there. And you might think that is like
3:03:12a negligible detail, but that line there
3:03:15always catches light and when it's
3:03:18missing, the eye goes like that looks
3:03:20fake. So, it's a very small thing, but
3:03:22we can add that line in here very
3:03:24simply. So, in edit mode, going back in
3:03:27wireframe mode. So, with our solid face
3:03:28here, I can create an inset. Okay. Have
3:03:31we talked about insets? I'm trying to
3:03:32think. Yeah, we did a little in. Yeah,
3:03:34we've done some insets. Okay. But yeah,
3:03:36you hit I. Okay. To do an inset. Um, and
3:03:39that's just like creating a line like uh
3:03:42that goes all the way around that one
3:03:43single face there. And now I can put it
3:03:45like Yeah, let's go right there. And
3:03:48then right underneath it, I'm just going
3:03:50to Sorry. Yeah, right here. I'm going to
3:03:52hit G and then Z to bring it down like
3:03:56so. And then now let's have a look at it
3:03:58in solid view mode. And look at that.
3:04:02So, I've now got it and it's pretty
3:04:04good. I might just do another inset cuz
3:04:06it's got this like crimped kind of
3:04:08effect there. So, I'm going to hit I
3:04:09just so that it's not so noticeable on
3:04:11that uh portion.
3:04:13Okay. Nice. And now all the all I need
3:04:16to do is rightclick it and say shade
3:04:18smooth. So now I've got a little raised
3:04:21edge to it. Excellent. By the way, quick
3:04:25little opportunity to talk about um uh
3:04:27something like it's kind of hard to see
3:04:29that raised edge there. It is there, but
3:04:31it's just like the lighting doesn't
3:04:33really make it um visible. So sometimes
3:04:36when you're modeling, it can be helpful
3:04:37to change the way things are displayed
3:04:39here. So there's a really powerful tool
3:04:41in the top right hand corner. Um, the
3:04:43default lighting is studio. If you go to
3:04:46matcap and then click this ball here,
3:04:48you've got all these options which can
3:04:51show you different views. Um, it's
3:04:53actually how I uh create some of my 3D
3:04:55uh my YouTube thumbnails cuz some of
3:04:57these look really beautiful. But like
3:04:59you can see that's so much more useful
3:05:02um for seeing what that edge actually
3:05:04looks like there on that. Um, and
3:05:06there's some like this which are
3:05:08designed to like show you where there is
3:05:10like artifacting on your mesh because
3:05:12it'll reveal um problems with the mesh
3:05:14that you otherwise might not have seen.
3:05:17Um, and these are new in uh Blender 5.0.
3:05:19Um, they redid the Mac caps, I should
3:05:21say. Um, but anyways, it's cool. It's
3:05:23nice to have, but we don't really need
3:05:25it. Okay, so to give it a coffee foam
3:05:28texture, I'm going to hit N to bring up
3:05:29my properties over here. And then I'm
3:05:31going to download my coffee foam atlas
3:05:34texture. So, let's hit download. And
3:05:35then with it selected, I'm going to hit
3:05:37apply. And if I go into rendered view
3:05:38mode, it should look like that.
3:05:41[laughter]
3:05:42Let's go to the uh UV editor. Okay, cuz
3:05:46I don't think it's been UV unwrapped.
3:05:48Nope, it has not been UV unwrapped. And
3:05:51then I'm going to go into top view mode
3:05:52by hitting seven. And then I'm just
3:05:54going to say U and then go unwrap angle
3:05:56based like that. Now, I want to see this
3:05:59on my coffee atlas cuz this is a special
3:06:01texture and it's called an atlas
3:06:03texture. I'll show you what it looks
3:06:04like. Okay, so it looks like this. And
3:06:07this is a bunch of different coffee
3:06:09foams that you get to choose from. And
3:06:11so with in edit mode with this UV uh
3:06:14selection here, I need to scale this
3:06:16down over the coffee foams. And then I
3:06:20just move them around to the one that I
3:06:23want. Like what sort of coffee foam do
3:06:26you want on your mug? Right? Like some
3:06:29bubbles.
3:06:31Uh funny story with the coffee foam.
3:06:33like every uh the annoying thing about
3:06:36having like an asset company is every
3:06:38subject there is it's like trying to
3:06:41reinvent the wheel cuz like how do you
3:06:42create a texture for coffee foam? Um
3:06:45because you could photograph it but then
3:06:47how do you get the detail of like the
3:06:48bubbles right cuz like bubbles you can't
3:06:50get the shape of those bubbles like so
3:06:53we use like substance first like we
3:06:55hired somebody to make some very
3:06:57expensive um substance materials. I
3:06:59can't remember what we paid $2,000 or
3:07:01something like that. Um, but then there
3:07:03are some things which are just like
3:07:05really hard to do procedurally with
3:07:07Substance. Substance, if you don't know,
3:07:08it's like a completely uh separate
3:07:10texturing software. Um, it's very
3:07:13complicated, all nodebased. Um, but we
3:07:15got somebody like super skilled and it's
3:07:17just really hard to get the detail of
3:07:20bubbles here. Um, and then we had a guy
3:07:22on her team who was like on Saturday.
3:07:24He's like, "Look, I don't know if this
3:07:25is going to work, but I just I took some
3:07:28photographs of some coffee and then I
3:07:30took it into Substance Painter and I
3:07:32manually placed the bubbles so that they
3:07:34all have the exact like shape of the
3:07:36detail and it worked." And it was like
3:07:41sometimes the cheap and easy. I mean, it
3:07:43was, you know, it still took him a day
3:07:45to do it, but like it actually it
3:07:47actually works. Um, but yeah, it's kind
3:07:50of like we just have to guess what's
3:07:51actually going to work for it. Um, and
3:07:53just kind of wing it. But anyways, you
3:07:55can pick whichever one you want. I can't
3:07:56even remember which one I used for the
3:07:58ch. Oh, yeah. It was that one at the
3:07:59top. That was what I used in the
3:08:00animation. Um, but I'll let you choose
3:08:03cuz you've got nine choices to choose
3:08:05from. Some of them frothy espresso
3:08:07looking, but that was the one that I
3:08:09went with. Now, if you go to render it,
3:08:11you might find I'm not actually seeing
3:08:14it on this one. First time I brought it
3:08:15in, there was um uh in the shading tab
3:08:20because it treats this as like alpha.
3:08:24Yeah. So, it I I thought it treated that
3:08:26as like alpha. We don't really need that
3:08:27alpha. Like alpha will make something
3:08:29like transparent. But there's nothing
3:08:31transparent on this. So, if you see any
3:08:32like see-through stuff or stuff or
3:08:34whatever, you might just have to
3:08:36disconnect that. I don't need metallic.
3:08:38I do need the roughness, the base, and
3:08:39the normal. So, I'm going to keep those.
3:08:42And I also don't need my AO. So, I'm
3:08:44going to uh controll X on that. And
3:08:47there we go. So, that was the very
3:08:50basics of UV unwrapping. Uh, if you want
3:08:53to go further and learn how to UV unwrap
3:08:55something a lot more detailed with hard
3:08:58flat surfaces, placing the cuts in the
3:09:00right spots to avoid stretching, um, as
3:09:02well as how to UV unwrap something
3:09:04smooth and organic. Um, and then texture
3:09:07it using procedural textures, painted
3:09:09textures, that's all covered in my
3:09:11course called the beginners academy,
3:09:13which I designed for people who have
3:09:15finished this tutorial uh, and want to
3:09:18go further. So, if you're interested in
3:09:19that, the link for that is beneath this
3:09:21video. Otherwise, let's continue on with
3:09:24finalizing our donut scene.
3:09:28In this video, I'm going to show you how
3:09:29to use the new scatter on surfaces
3:09:31modifier that was introduced in Blender
3:09:335.0 to add some lovely sprinkles to our
3:09:36doughnut. But first, we need to model
3:09:39those sprinkles because you can't
3:09:41scatter nothing. Um, and I want to add
3:09:44my sprinkle on top of my doughnut or
3:09:47close to it just so that I can see
3:09:48relatively the size of it is correct for
3:09:51the donut. Um, and so how can you do
3:09:53that? How can you add an object and
3:09:55place it somewhere in the same motion?
3:09:58Um, and you can do that by moving the 3D
3:09:59cursor, which is this little guy down
3:10:01here. And sometimes it's in a weird
3:10:04place and you're like, why did it end up
3:10:05there and how can I move it? So you can
3:10:08move it by holding down shift and then
3:10:10right mouse dragging. And then that'll
3:10:12place it on the surface underneath uh
3:10:15your mouse. Um so yeah, it's placed it
3:10:18right there. Um I might actually move it
3:10:20up a little bit. Just kind of Yeah, just
3:10:22about there. Yeah. So I want to see it
3:10:23just above my donut. All right. So now
3:10:26we need to add a new object and that is
3:10:28going to be a cylinder, of course. So
3:10:30add mesh and then cylinder. You could
3:10:33also use a sphere if you wanted to if
3:10:34you want to get like round sprinkles.
3:10:36I'm not a fan of those. They're too
3:10:38crunchy and just like I don't know. I
3:10:41always like the long ones. So, we're
3:10:42going with the long sprinkle with the
3:10:44cylinder. And just like before, we're
3:10:46going to go in the last use settings
3:10:49here. I'm going to change my radius to
3:10:51the smallest cuz I mean, hey, we're
3:10:53making a sprinkle. And yeah, let's
3:10:55start. Let's start there. Um, so
3:10:57probably should be a little bit bigger
3:10:58than that. So, um, obviously if you just
3:11:00like click and drag on this, it's just
3:11:02way too sudden movement. But holding
3:11:04shift, might remember I mentioned that.
3:11:05that that'll use like smaller
3:11:07increments. So, I think that's Yeah,
3:11:10that's pretty good. And then I'll just
3:11:11increase the depth of this to make it a
3:11:14little bit longer, you know, something
3:11:17like that. It's just a a starting block
3:11:19before we actually start editing it. The
3:11:21main one though is the vertices. So, I
3:11:26want to add like a really um Oh, oh, oh
3:11:30gosh, I hit the wrong button on my zoom
3:11:31it tool and I flew in there. But, all
3:11:33right, we can work with this. I want to
3:11:35add a rounded corner to my uh sprinkle
3:11:38there. So, we're going to be using a
3:11:40subserve modifier. Um, and if we were to
3:11:43add it on a mesh with 32 vertices, every
3:11:46level of subdiv. So, it' go 64 and then,
3:11:49yeah, 128, right? So, um, way too much.
3:11:52So, I'm going to drop this to six
3:11:54vertices. So, super low poly, but, uh,
3:11:57it's what we're going to use. All right.
3:11:59Now, add my subsurf. Uh, I'm going to
3:12:01move me just to the side here. So, I'm
3:12:04not blocking everything. That's kind of
3:12:06the the optimal place I've found for me
3:12:09is like just right on that line. I only
3:12:11have to move my head sometimes when I do
3:12:12that, but otherwise I shouldn't be
3:12:13blocking too much. Anyways, um now add
3:12:16modifier generate. And we're going
3:12:18subdivision surface. And there we go.
3:12:21So, um the reason we've got this uh
3:12:24diamond shape is as I've mentioned
3:12:25before, it's using the like middle
3:12:27points of each face essentially. So, it
3:12:29has to go from here to the middle point
3:12:31of this giant long face. So to here. So
3:12:34it's now averaging out those points. But
3:12:36if I want to make a tighter, rounder bit
3:12:38around here, I just have to basically
3:12:41move add a point here to to add that
3:12:44that roundness to it. So it only goes to
3:12:46there. And then I would also do another
3:12:48one here so that it's the the same thing
3:12:49on the bottom. So in edit mode, tab. I'm
3:12:53going to hit CtrlR uh to add my loop
3:12:56cut. And then it's obviously saying
3:12:57where do you want to place that loop
3:12:58cut? So click there. And then just slide
3:13:01it up to the somewhere near the top.
3:13:04Like that. Click. And then do the same
3:13:06for the bottom. Control-r. Click. Slide
3:13:08to the bottom. Okay. And now let's have
3:13:11a look at that. Just have a look in
3:13:12relation to the size of the donut. Do we
3:13:14want any bigger? Do we want to change
3:13:16the size? All right. Now, um, yeah, I'm
3:13:20going to rightclick it and I'm going to
3:13:21say shade smooth just so that I can see
3:13:23how that looks. Okay. Now, we could
3:13:25begin scattering at this point. Um, but
3:13:29if we did, we would end up with the same
3:13:31this exact same sprinkle all over it.
3:13:33And that much repetition to your eye
3:13:35just looks fake. Like every single
3:13:37sprinkle. Actually, the way they make
3:13:38sprinkles is just like from a piping
3:13:40bag, right? So, you just literally just
3:13:42pipe out a bunch of uh this, you know,
3:13:46uh, piping, right? Glaze. Um, and then
3:13:48it dries and then you just like break it
3:13:50up so they all end up in different sized
3:13:52um, shapes and stuff. So, we need to add
3:13:55more sprinkles uh just of different
3:13:57shapes and sizes. So, what I'm going to
3:13:59do is I'm going to first of all uh
3:14:01rename this by hitting F2. I'm going to
3:14:03call it oh boy late in the day sprinkle.
3:14:07Okay. And now we haven't really
3:14:10mentioned [clears throat] collections
3:14:11before, but they're basically buckets
3:14:12and you can move things in and out of
3:14:14buckets. So, there's a default one that
3:14:16comes in here. Um but you can move it
3:14:18out of this whole collection by just
3:14:20taking the sprinkle, clicking, and
3:14:22dragging it up. So, I'm going to drop it
3:14:23into my scene collection there. And the
3:14:25reason I'm doing that is now I'm going
3:14:27to select this whole thing and I'm just
3:14:29going to exclude. Okay. So, now when you
3:14:32hit exclude, it's not going to show up
3:14:34in your viewport or your render. It's
3:14:36effectively like it has vanished from
3:14:38the scene, but you can easily bring it
3:14:40back there. So, it's just a way to like
3:14:41quickly edit, you know, a bunch of
3:14:43different things and then bring back the
3:14:44rest of your scene. [snorts] Okay. So,
3:14:47here is my sprinkle. I want to create
3:14:49variants of it. So, first I'm going to
3:14:50go into front view mode and then focus.
3:14:53So, one and then numpad period. Now,
3:14:56what I want you to do is to create some
3:14:58variance by duplicating your sprinkle
3:15:00and creating different twists and turns
3:15:02and shapes and things. And I'm not going
3:15:04to walk you through uh doing this. You
3:15:06should be able to do it if you've been
3:15:07following the series. But also, I want
3:15:09to tell you something more important
3:15:11that every Blender user needs to hear.
3:15:13Blender needs your help. When you
3:15:16download a Blender, you might remember
3:15:17that it didn't ask for your credit card,
3:15:19which is good. Means that everybody in
3:15:21the world can have free access to 3D and
3:15:23try it out. But what's bad is that
3:15:26Blender doesn't have as much money as it
3:15:28needs to develop the software. There are
3:15:31so many areas of Blender that they want
3:15:33to improve. They want to develop, but
3:15:35they lack the funds. Texture painting,
3:15:38the whole physics engine, sculpting
3:15:41tools, the compositor. So, the
3:15:44headquarters of Blender, which is in
3:15:45Amsterdam in the Netherlands, if you
3:15:47didn't know, uh they hire some full-time
3:15:50developers to work there in their
3:15:52offices and also some full-time
3:15:54contractors from around the world to
3:15:55contribute and work on these features.
3:15:57Um, and they get the funding from that
3:15:59from the dev fund, which is the engine
3:16:02that enables Blender. So, if you have
3:16:04been enjoying this donut series and
3:16:07you've been enjoying Blender, please
3:16:10donate. If you can go here and join a
3:16:12monthly donation of 5, 10, or if you're
3:16:15a high roller, 25 or higher is amazing.
3:16:19This will enable more people who can't
3:16:21afford this to uh to try out Blender to
3:16:24to download it and so the software can
3:16:27remain competitive cuz I don't know if
3:16:28you know this, but Autodesk made $315
3:16:32million from 3ds Max and Maya last year.
3:16:35Blender doesn't have that money. So, if
3:16:37you want Blender and Open Source to win,
3:16:39we do need people to donate. So, please
3:16:41consider the link is underneath this
3:16:43video. You can click that and um please
3:16:46uh make a donation. All right, with that
3:16:49spiel out of the way, we can get back to
3:16:52it. So, I'm going to bring back my scene
3:16:54now. All right, pull it out. And um
3:16:58yeah, let's let's let's move this into a
3:17:00new collection. So, we briefly talked
3:17:02about collections, but they're
3:17:03essentially buckets. They're just ways
3:17:05to organize objects into different
3:17:06buckets. And you can reference those
3:17:08buckets in different parts of Blender.
3:17:10But that's basically it. So, I want to
3:17:12create a bucket, a collection for my
3:17:14sprinkles. Now, you can create a new
3:17:16collection by hitting that little button
3:17:18at the top there, and you can just
3:17:19create a bunch of different collections
3:17:20and rename them. But if you want to move
3:17:23something and create a collection at the
3:17:25same time, you can do that as well. So,
3:17:28if you select all your objects here or
3:17:30you select them here in the outliner,
3:17:32then you just hit M. M to move. You can
3:17:35move it to an existing collection or you
3:17:37can create a new collection and move it
3:17:38there. So that's what we're going to do.
3:17:40So I'm going to call this sprinkles.
3:17:43Okay. And now that I've got that, I'm
3:17:45actually going to uncheck it because we
3:17:47don't actually need to see the sprinkles
3:17:49um visibly in order to reference them in
3:17:52our scatter system. So otherwise they
3:17:54just kind of get in the way there. So
3:17:56all right. So here it is. Exciting
3:17:58moment. With your icing selected, we are
3:18:01going to add in a modifier and it is the
3:18:06brand new scatter on surface modifier
3:18:10which is only there as of Blender 5.0.
3:18:13If you don't see it, you're not using
3:18:155.0 or at least you're not using a
3:18:17version later than 5.0 if you watch this
3:18:19at a later time. So, scatter on surface.
3:18:22All right. So, so many little settings
3:18:25and things, but it's very well made.
3:18:27It's uh I actually love it. It's a
3:18:29fantastic modifier. I'm so happy that it
3:18:31exists. Um, but anyways, the first thing
3:18:33we need to reference is here. What
3:18:35object are we scattering? That's the
3:18:37instancing here. Okay. So, we're not ob
3:18:40uh uh instancing one object. We're going
3:18:43to do the entire collection. So, go
3:18:44collection and then here, click on
3:18:46sprinkles. And look, we've got
3:18:51not what we expected. What's going on?
3:18:54Um, so the first thing we need to do is
3:18:57uh first of all, why is there only one
3:18:59of them? That's because density is
3:19:00really low. If we increase density, we
3:19:02get more of them. But still, it's it's
3:19:04just getting worse. Andrew, what's going
3:19:06on? Um, so first of all, uh, underneath
3:19:09instancing, you need to check pick
3:19:11instance. That's the first thing. And
3:19:13that is so that it doesn't reference the
3:19:15entire group as one thing to be uh,
3:19:19scattered. you're instead referencing
3:19:21the individual parts of that collection,
3:19:23which is the individual sprinkles. And
3:19:25then as well as that, it has reset the
3:19:27transform because like it bases it off
3:19:29of how far away is it from the center of
3:19:31the thing. But if you go reset, then it
3:19:33actually bases it on the point of those
3:19:34sprinkles. Okay, cool. So, ooh, look,
3:19:37we've got a alien looking landscape or
3:19:40something, right? Um, but yeah, you can
3:19:42see you can increase this. The higher
3:19:44you go, the more sprinkles you will get.
3:19:47Um, how do we change the rotation? So
3:19:50underneath transform. Oh, right here.
3:19:52Right where my head and everything is.
3:19:55Transform. Okay. You get extra settings
3:19:57here. So, we want to change the
3:20:00alignment axis. Um, and you can just
3:20:02cycle through it until you get the
3:20:03correct one. But yeah, it looks like Y
3:20:05is the one. And then also, man, I should
3:20:08just Hang on a sec. Let me just move me.
3:20:10Yeah,
3:20:12a little bit. Yeah, there we go. Okay.
3:20:15Randomize. So, this is cool. Um so if we
3:20:17add randomize here, check that box, then
3:20:20go here. Now we can randomize and add
3:20:23slight variances to um how it is being
3:20:25rotated. So to rotate on the Y-axis, we
3:20:30just increase that to 360. And look at
3:20:32that, we've got sprinkles on the
3:20:34doughut. But we can go further. We can
3:20:36do so much more. Um there's a setting at
3:20:39the top here which is called surface
3:20:41offset because you can see how it's like
3:20:42they're submerged in the icing. Now,
3:20:45sprinkles do submerge a little bit in
3:20:47wet icing, but probably not as much as
3:20:49this. So, I just want to increase this
3:20:52very, very slightly. So, if I just hold
3:20:54down shift and kind of drag out, I can
3:20:56get it to they're just resting on top
3:20:58like that. You wouldn't believe, by the
3:20:59way, how much effort it was to create
3:21:03this in Blender. Previously, like bit of
3:21:05brief history on scattering in Blender.
3:21:08The old old way uh was to use the
3:21:11particle system in Blender which was
3:21:13like old and legacy and it was badly
3:21:16coded and it kind of worked but it was
3:21:18you know it was annoying. Um and then
3:21:20they came out with geometry nodes which
3:21:22was all mathbased and mathematical but
3:21:24to do stuff like this required so much
3:21:27work to set it up and then now they've
3:21:29come out with scatter on surface which
3:21:32is still geometry nodes. So, if you
3:21:34don't know geometry nodes, there's a tab
3:21:35at the top there. You can click it and
3:21:37this is what it looks like. It's nodes,
3:21:40right? Um, but the cool thing is is that
3:21:43this just comes packaged with Blender
3:21:45now. And this is already done. So, the
3:21:47guys at the Blender Institute that uh,
3:21:49you know, need your money, right, so
3:21:51that they can keep working, they came up
3:21:53with this uh, crazy math-based thing.
3:21:56So, it's got all the options that we
3:21:58need that everyone will ever need. and
3:22:00then only one person needed to do it and
3:22:02then we can all access it for free. So
3:22:04it means that creatives don't have to
3:22:06dive into math just to scatter some
3:22:08sprinkles on a donut, which is what the
3:22:10last three versions of this doughnut
3:22:12tutorial had to do. And then everyone
3:22:13complained that it was too technical.
3:22:15And it's like, yeah, I know, but how
3:22:16else you going to get the sprinkles on
3:22:18the donut? Anyway, all right. So the
3:22:20next thing you're probably wondering
3:22:21looking at this is um how do we scatter
3:22:24it in just a specific area? Okay?
3:22:26Because you'll see, and in fact, if you
3:22:28select your icing and then uh forward
3:22:30slash, we've got sprinkles everywhere,
3:22:33the underside, etc. So, we only want
3:22:35them around the top of the donut. So,
3:22:38how do we do that? Well, there is a way
3:22:39to reference an attribute inside of
3:22:42this. I'll show you soon. Um, but the
3:22:43attribute we're going to use is called
3:22:45weight painting. And you can activate
3:22:47that by going uh at the top of your
3:22:49screen there and changing from object
3:22:51mode to weight paint mode. Um, and I'm
3:22:54going to deactivate my sprinkles so that
3:22:56I can just see the icing. Now, if you
3:22:58were to click and drag across it when it
3:23:00is active in this state, you'll see that
3:23:02you get like a a heat map. And as you
3:23:04can probably guess, where it is red is
3:23:06going to be where your sprinkles are.
3:23:07And where it is black, it's where your
3:23:08sprinkles are not going to be. And if
3:23:10you want to get technical, weight paint
3:23:12mode is actually adding an attribute to
3:23:14the mesh, which is where it is red, that
3:23:16is a value of one. Where it is black is
3:23:19a value of zero. and then varying values
3:23:22between there. Essentially a heat map of
3:23:24values which are stored in the mesh and
3:23:26then other parts of Blender can
3:23:28reference this. So it's a very quick way
3:23:30to just do some painting on a mesh um to
3:23:33to reference in different things. Now uh
3:23:36what is not clear though is that when
3:23:37you're painting in this mode, if you go
3:23:39into the uh isolated view by hitting
3:23:42forward slash, you might notice that you
3:23:44have accidentally painted through your
3:23:46mesh. I wish it wasn't like this,
3:23:49although I understand why it is because
3:23:50people that are rigging often want this
3:23:52turned on. But your brush, you want to
3:23:54check front faces only because if you
3:23:57don't do that, then you'll still get
3:23:59your sprinkles underneath your doughnut.
3:24:01So, now that I've got that, um, I'm
3:24:04going to Yeah, I mean, you can like
3:24:06paint over the mesh like this. A quicker
3:24:08way to do it would be to, um, go into
3:24:12here where my head is, data, then go
3:24:14into edit mode, right? Like this, right?
3:24:16So edit mode, everything is selected. If
3:24:19I drop my weight to zero and then say
3:24:21assign, then go back into uh weight
3:24:24paint mode. Everything is black because
3:24:26this vertex group thing here, this is
3:24:28the weight paint, right? So you can
3:24:30select everything if you want and just
3:24:31make it entirely one or you can um make
3:24:35it entirely zero. Anyways, now that I've
3:24:37got that, as you can tell, I've got
3:24:39front faces on. Now I can do my
3:24:40painting. All right. So where do you
3:24:42want your sprinkles to go? You just do
3:24:43that painting, right? Um, and you can
3:24:46have, you know, you can change the
3:24:48weight of the brush as well. If you want
3:24:50there to be like a lot that's kind of
3:24:52just like on the edge, right? You could
3:24:54do something like that. But generally,
3:24:56you know, it doesn't have to be that,
3:24:59you know, that perfect. You know, I'm
3:25:01just doing this as an example of how you
3:25:03could, you know, really do. You could
3:25:04also go like weight one and then turn
3:25:06the strength down. And then now as you
3:25:08paint, you get like, you know, different
3:25:10amounts of buildup. But, you know, how
3:25:12detailed do you want?
3:25:15Like, do you want I don't think
3:25:16anybody's ever going to look at your
3:25:17doughnut render and go like, "Wow, the
3:25:19distribution of those sprinkles is
3:25:21amazing. You did a great job
3:25:23distributing the sprinkles."
3:25:25But they might notice it if it if it
3:25:27looks fake, you know? So, it's it's one
3:25:28of those things that seems like
3:25:31pointless in 3D. Like, you watch, you
3:25:35know, like Planet of the Apes, like the
3:25:38making of that that latest one. I don't
3:25:39know the name of the the latest one, but
3:25:41I was at Sigraph and I was watching a a
3:25:43talk where they had the most amazing the
3:25:46guys at Wetter know how to do a
3:25:47presentation, but it was just like full
3:25:50of detail and like tiny like cuz they
3:25:53had like monkeys in the the the rapids
3:25:57and like just the sheeting and the the
3:26:00the plants had to have just the right
3:26:02amount of of wind or else you and so
3:26:05like artists are just slaving over every
3:26:08single detail. And I'm sure a lot of
3:26:10them were like, "Come on, who's going to
3:26:11notice?" You know, and it's like, people
3:26:13will notice if it looks fake. That's
3:26:15what they'll notice. Um, but they won't
3:26:17know specifically what you did, but
3:26:18they'll know if it looks fake. Anyways,
3:26:21so we've done our weight painting. I did
3:26:24a lot of detailed weight painting there.
3:26:26But now, how do we make our sprinkles
3:26:29just appear in that place? Oh, yeah.
3:26:30Bring it back by clicking that. Um, we
3:26:33do it here where it says distribution
3:26:35mask. Okay. So instead of this uh single
3:26:38value from 0 to one, we can change it to
3:26:41click this little spreadsheet looking
3:26:44icon. I don't know why they went with
3:26:45that icon, but anyways. Then from the
3:26:47dropown, we want to select group. Okay,
3:26:51which is the name by the way inside of
3:26:53data. It's right here. So if you wanted
3:26:55to change that to be
3:26:57sprinkle
3:26:59distribution, you could um and then
3:27:02just, you know, click it there. But
3:27:04yeah, that's that's what it's
3:27:05referencing. By the way, make sure
3:27:07you're not using it cuz you can see
3:27:09there's distribution mask and density.
3:27:11They both have this icon. If you instead
3:27:13used it here, you would see like almost
3:27:16nothing. And that's because it's now
3:27:18overridden what was there, a density
3:27:20value of 900 with a value of 0 to one
3:27:24across those areas. Whereas a
3:27:26distribution mark will keep the density
3:27:28of 900, but it'll multiply it by the
3:27:32values of 0 to one here. So it's uh it's
3:27:34important you get the right one.
3:27:36Distribution mask, not density. But
3:27:38there you go. Great. Cool. So they're in
3:27:41the right places generally. You know,
3:27:43you can play around with it obviously.
3:27:45Um but now let's talk about some other
3:27:47settings you might want. Like for
3:27:48example, the density. How much how many
3:27:51sprinkles do you want? Now, the big
3:27:55question people have when they're
3:27:56looking at this, they go, "How do you
3:27:58stop the sprinkles from intersecting
3:28:01each other?" And unfortunately, there's
3:28:05not an easy answer because this is not
3:28:07easy to do. There there's a such a thing
3:28:10as like circle packing. That's the
3:28:12closest thing, which is like you could
3:28:14run an algorithm to try to combine
3:28:17circles of different radiuses to kind of
3:28:20fit together as best they could, but
3:28:22just it's it's complex. That's kind of
3:28:24like a simulation and we just we can't
3:28:26do it easily here. The closest thing we
3:28:28have is called distribution method plus
3:28:32disk which when you click that and by
3:28:35the way you can only see that option if
3:28:37you're using density method not amount.
3:28:39So amount will let you uh actually use a
3:28:42specific amount of uh sprinkles but then
3:28:46you don't get this extra option here.
3:28:48Whereas density bases it on the scale of
3:28:50the object in relation to the scene and
3:28:52yada yada. But anyways, on disk gives
3:28:54you this little setting, minimum
3:28:56distance. And what it does is
3:28:58essentially every single one of these
3:29:00points here, it goes there's a point,
3:29:02there's a point, there's a point,
3:29:03there's a point. And then when you
3:29:04increase this value by whatever amount,
3:29:07it will add a circle around it, right?
3:29:10And if you increase that circle and you
3:29:12increase that circle, right? Eventually,
3:29:15if this one, for example, had a value of
3:29:18this size, this little dot here would be
3:29:21removed because it is now colliding with
3:29:24the value of this one. So, this one
3:29:26would override that one. So, this one
3:29:28gets xed. So, if we increase this, you
3:29:30can see that is exactly what happens.
3:29:33All right. So, I'm holding down shift as
3:29:35I just play with that value there. But
3:29:37you can see that's removed some of the
3:29:39intersections, but there are still some
3:29:41more. So you might be tempted like, "All
3:29:43right, let's increase that even more.
3:29:45Let's increase it like cuz I want to get
3:29:47I want to get rid of this one, right?
3:29:49Let's increase it again, right?" And you
3:29:51go, "Aha, I fixed it. No more
3:29:53intersection." But now the problem is
3:29:56the the radiuses are so big that they're
3:29:58deleting each other and you now have
3:30:00what looks like meticulously tweezed
3:30:03places uh sprinkles placed along the
3:30:06doughut um rather than randomness.
3:30:09Right? So, we've gone from the chaos to
3:30:11something that just doesn't look right
3:30:13to the to the eye. So, really what I do
3:30:16is I just drop this to be as low as I
3:30:20can get it before it's starts to feel
3:30:24like too manicured. Right. That still to
3:30:26me feels a little too manicured. I might
3:30:29go like that. I might even go a little
3:30:31bit lower. Yeah. See, that feels chaotic
3:30:34to me. I like that. And then what I do
3:30:37generally is um I just change this seed
3:30:40amount here. The seed amount not very
3:30:43well named but I understand why they did
3:30:46it. But it's it's just a randomness
3:30:48amount like a distribution amount. Okay,
3:30:50you find it in a lot of like procedural
3:30:51workflows but it's like you can cycle
3:30:53through here. There's an infinite number
3:30:55of uh numbers here. And by the way, it's
3:30:57not like you know one is any better than
3:31:00a thousand or 10,000. Like these are
3:31:02each individual. It's just a random
3:31:04number generator to uh give you
3:31:07different variations. So, you could do
3:31:08that as many times as you want to try to
3:31:11find the best distribution that has the
3:31:13least amount of intersections. That's
3:31:15probably the best that you can do um
3:31:18with what we've got. The other the other
3:31:20thing as well is that sprinkles
3:31:21sometimes are not laying flat right on a
3:31:24on a donut. Sometimes they might be a
3:31:26little bit skewed like that and that can
3:31:28kind of help with the intersections. So
3:31:30here where I've got randomize, I'm going
3:31:32to increase which one? The X, right? Not
3:31:37too much or else it'll just look weird,
3:31:40but a little bit makes sense for what
3:31:42we've got. The other thing that we
3:31:45should do as well is with our sprinkles,
3:31:48if we just bring them back by clicking
3:31:49on that little check box at the top
3:31:51there, um the point at which they are
3:31:55spawned onto the icing is where the
3:31:58origin point is of the uh of the mesh
3:32:01there. And we haven't talked about that
3:32:03either, but that's kind of you could
3:32:04think of it as like the center of mass
3:32:06for the object. It's we're not using
3:32:09physics, but like that's kind of how you
3:32:10think of it. It's like generally
3:32:12speaking, it should be in the center of
3:32:14an object, but you can see here with it
3:32:16being there, if it was spawned like
3:32:19here, for example, the whole sprinkle is
3:32:21going to be over here, right? So, if
3:32:23you've got those circles of radiuses, it
3:32:26might be intersecting something when it
3:32:27shouldn't. Um whereas if you select all
3:32:30of them like this, then you rightclick
3:32:32and then you say set origin origin to
3:32:35geometry, they will now be at the exact
3:32:38center of that sprinkle and it'll just
3:32:39be a little bit better and there'll be
3:32:41slightly less um intersections. Um but
3:32:45that's that's the best we can do. The
3:32:46alternative way to like have sprinkles
3:32:48on a donut where they're not
3:32:50intersecting like this would be to use a
3:32:52physics engine. Um there's a rigid body
3:32:55physics engine in Blender.
3:32:57Unfortunately, it's not very good. It's
3:32:58very slow. It's one area that they're
3:33:00looking to overhaul with more funding.
3:33:03Yes, I found another way to throw it in
3:33:04there. Um, if more people donate, we can
3:33:07have good physics in Blender. That's
3:33:09what I want to tell you. Um, but for
3:33:11now, this is uh this is the best we got.
3:33:14Or the other way is you could actually
3:33:15apply this. You could say apply all my
3:33:17sprinkles. Um, you would have to realize
3:33:20first, realize the instances, so they're
3:33:22actual objects, then apply them. Um, but
3:33:25you could then actually physically move
3:33:28each of these little ones like that. But
3:33:31I wouldn't recommend doing that. I think
3:33:32it is overkill. It's not and um it's not
3:33:35needed and it's not going to help you
3:33:37for the next step because we got to have
3:33:38random colors. So yes, colors. Let's
3:33:41make our sprinkles look not like tic
3:33:44tacs. So yeah, if we go uh enable our
3:33:48sprinkles, right? You know, we can come
3:33:50in here. We can give it a material and
3:33:54you know we could we could pick a random
3:33:55color you know get a purple one and then
3:33:57go yeah now I want to make a yellow one
3:33:59or whatever right the problem with this
3:34:02method is although this works and it is
3:34:05fast is um that you'll always have the
3:34:10green one will always be that bent one
3:34:12that little squiggly one right and your
3:34:14eye can kind of pick up on things like
3:34:16that um it's also like hard to control
3:34:19the colors right? Because I can't
3:34:21control how many blue ones or purple
3:34:23ones or whatnot I get across my
3:34:24doughnut. So, it's also not ideal. So,
3:34:27there is a much better way which
3:34:28involves, as I briefly mentioned before,
3:34:30random colors. So, you start with your
3:34:33material like this. And we're actually
3:34:36going to give the exact same material to
3:34:38all of our sprinkles. So, um let me just
3:34:41disable those and I'll select all of my
3:34:43sprinkles here. Um, and if I want to
3:34:45give them all this same material, all I
3:34:48would do is the last sprinkle, as long
3:34:51as that's got a material, I can hit Ctrl
3:34:53L. Ctrl L. And that will transfer data
3:34:56from one object to many objects. And
3:34:59then you're just looking for materials
3:35:00like that. And now you can see the uh
3:35:03where it says material, there's a little
3:35:05number next to it, and that actually
3:35:06tells you the number of users that are
3:35:08sharing that data. So there's six
3:35:09sprinkles now, all sharing it. And you
3:35:12know to be good good little artist um we
3:35:15should call it uh sprinkle or sprinkles
3:35:18I don't know. Anyway um cool. So now if
3:35:21we go to the uh shader tab I'm going to
3:35:24show you how we can we can make this
3:35:25look cool. So let's go back to the
3:35:27shader view. Okay great. So there is no
3:35:31limit really to what you can do with
3:35:32nodes. Um you can plug things in and do
3:35:34this and that and it's it's really cool.
3:35:36There's a bunch of nodes. If you hit
3:35:38shift A and just go in here. There's
3:35:40like all sorts of attributes you can
3:35:41call in and do complex things and you
3:35:44can get really technical. So, it's it's
3:35:45a lot of fun. Um, but the one that we're
3:35:48going to use is underneath object info.
3:35:51If you bring in this node, um, you'll
3:35:54see that there's there's a bunch.
3:35:55There's like location, you know, you
3:35:57could drag that into the, uh, color, you
3:36:00know, there's there's all sorts of
3:36:02things that you can do with this. The
3:36:03one we're looking for is random. Okay.
3:36:05Okay. So, what this is doing is it's
3:36:06saying every time there's an object that
3:36:09is using this material, we're going to
3:36:12pick a random value for that object
3:36:15between zero and one. Okay? And you
3:36:17would actually see if you were to
3:36:19duplicate this sprinkle again and again
3:36:21and again and again and again, which by
3:36:23the way, um, you can do by just holding
3:36:26down shift R after you do a duplicate,
3:36:28and you just get more and more and more
3:36:30sprinkles. Um you can see that they all
3:36:32now have a value between 0 and one and
3:36:34that's been converted into color form
3:36:36because zero is black and then one is uh
3:36:38white. Right? So that's what um that's
3:36:42what this is doing. So 0 to one giving
3:36:44it that scale. Um have I run out of
3:36:46undos? I've run out of undos. Well I
3:36:49have to assume that was yeah that was
3:36:51the last one. Okay, there we go. Um so
3:36:54that's not very useful in this format
3:36:55like zero to like like black to white.
3:36:58It's it's not that fun. But we can
3:37:01convert those single float numbers 0 to
3:37:04one into color format by between here
3:37:07and here dropping in a color ramp node.
3:37:11So if you go add or shift A and then go
3:37:14color and then go color ramp, then if
3:37:16you just drag this in and drop it until
3:37:18that line lights up, drop it in there.
3:37:21Now I can say instead of it being black
3:37:24at this end, let's make this a blue
3:37:27color. And instead of it being white,
3:37:29let's make it a orangey color. Right?
3:37:33And now I've got a range of those.
3:37:35Right? And you can see as if I was to
3:37:38duplicate, right? You get kind of like
3:37:41variance across this, right? Every
3:37:42single one of those is getting like a
3:37:44new little position somewhere in this um
3:37:48little uh gradient over there. Okay. And
3:37:51that's cool. And that would, you know,
3:37:53if you looked at our donut now, you
3:37:55would see that we're now getting a nice
3:37:58range of different colors across it.
3:38:00However, it's not quite accurate. If you
3:38:02look at photographs of donuts, there's
3:38:04there's not really like the yellow
3:38:06sprinkles are all the exact same shade
3:38:08of yellow. The blue sprinkles are all
3:38:10the exact same shade of blue. And it
3:38:11makes sense because they mix up the the
3:38:13the sprinkle uh icing uh I was gonna say
3:38:17batter just the icing sauce icing. Icing
3:38:21they just mix that up with one like lot
3:38:24of food color. They get just the color
3:38:26right and then it's piped out and then
3:38:27that becomes the sprinkle. So they all
3:38:29have one constant color, not a range of
3:38:32colors like this. So, um, by the way,
3:38:35here's a little a little tip cuz you
3:38:36you'll notice this that like when you
3:38:38click on something else like your icing
3:38:40or you're hiding your sprinkles, like I
3:38:42can't get back that material with all my
3:38:44sprinkles on it, right? So, I have to go
3:38:46here. I have to enable it just so that I
3:38:49can click on it just so that I can tweak
3:38:51the color. It's annoying. You don't need
3:38:53to do that. We've got a material here
3:38:55that says sprinkles. So, we can hide it.
3:38:57And then what I do is I just select my
3:38:59icing and then I add a new material
3:39:01underneath it. And then I which you do
3:39:04by clicking the little plus button
3:39:06there. So click the plus and then in the
3:39:08dropdown you're looking for
3:39:11sprinkles. Okay. And this won't affect
3:39:13your icing. Like you can stack multiple
3:39:15materials on one object. And then
3:39:17although we're not going to do it in
3:39:18this tutorial, you can assign certain
3:39:20parts of that material to different
3:39:22parts of your mesh. For example, you
3:39:24could assign it like that. Um but you
3:39:26can also just leave it unassigned and
3:39:28then that way you can like quickly
3:39:29reference it. So that's what I like to
3:39:30do. So I've still got my glaze at the
3:39:32top there. And then whenever I want to
3:39:33change my sprinkles, they're there and
3:39:35it's being shared across all the
3:39:36sprinkles that are hidden. Anyways, so
3:39:38as I mentioned, I want it to be a
3:39:40constant color. How can I make this look
3:39:42like a constant color? You can do it by
3:39:44changing these handles from instead of
3:39:46it being linear interpolation to a
3:39:49constant interpolation. And look at
3:39:50that. Now it is a hard line. It's not a
3:39:55a gradient across it. You only get all
3:39:57of this blue or all of this uh orange.
3:40:00So, you know, if you wanted to make a uh
3:40:03Halloween donut,
3:40:05right, you can go for something
3:40:08I I moved to United States a couple of
3:40:11years ago, coming up on two years ago.
3:40:14And uh I I'm just learning that that's
3:40:17the colors of Halloween cuz we don't
3:40:18really do Halloween in Australia where
3:40:20I'm from. Like some people do, but it's
3:40:22really a kind of a rare thing that
3:40:24people are into. But it's always Yeah,
3:40:26it's the black, orange, the green, and
3:40:29the purple seems to be the uh the colors
3:40:31that people like decorate their houses
3:40:33with and stuff. And Reese's Pieces
3:40:35really lean into that. They love that
3:40:37they're one of those colors. [laughter]
3:40:40You know, you can do you could do like
3:40:41fun stuff, right? You can make up a
3:40:43Halloween looking uh donut if you wanted
3:40:46to. Um what I'm going to do for mine is
3:40:50um I'm going to make mine look like
3:40:52pastel. Um, so I like to go with like a
3:40:55shade of aqua, kind of like that. And
3:40:58then I'm going to go with purple like
3:41:01that. And this is a a tip, by the way.
3:41:03You never want to go like 100%
3:41:06um like saturated like that. Um, that's
3:41:10weird. Why is no donut got that exact
3:41:13Well, they are. They're just being
3:41:15washed out. Okay, they don't look very
3:41:18very extremely saturated, but anyways.
3:41:20Um, you never want to go like fully
3:41:22saturated like that because it can like
3:41:24using different uh the way you render
3:41:27it. If you put it like through a like a
3:41:30a contrast, you kind of like boost
3:41:32highlights or like make things more
3:41:33contrasted, it can kind of like blow out
3:41:35the colors. So, it's it's generally a
3:41:37good idea to leave things mostly
3:41:39unsaturated like this. It's also just
3:41:41like more pleasing on the eye if you
3:41:43don't have too many things that are
3:41:45like, you know, extremely intense. Um,
3:41:48and now this is the other thing as I
3:41:50mentioned, right? I can now choose the
3:41:52exact ratio of my sprinkles. More blue,
3:41:56more purple, more pink, more yellow. And
3:41:59I just have an exact easy slider to
3:42:03choose this. Um, and this is really fun.
3:42:05This is like where you get to be
3:42:06creative and go like, what kind of what
3:42:09kind of donut am I going to be making
3:42:10here? You know, um, like this. you know,
3:42:14you can make some white ones.
3:42:17But yeah, generally as a a rule of
3:42:19advice um when you're when you're making
3:42:22something um like this and you've got
3:42:25lots of colors, lots of potential color
3:42:28choices, it's best to try to go with
3:42:30like one primary color, like one that is
3:42:33making up the predominant color choice,
3:42:36right? So you go like mostly purple and
3:42:38then like a few splashes of other colors
3:42:41and it just helps it. It's it's almost
3:42:43like it helps your brain digest what
3:42:45it's looking at. Whereas if you just
3:42:47went like evenly distributed across all
3:42:50of them or get an equal share, it just
3:42:52starts to look a little bit like noise.
3:42:55Um, by the way, the other thing that you
3:42:57might want to do at this point, oh, I'm
3:42:58already using it. I'm using medium high
3:43:00contrast. Um, but we're going to be So,
3:43:02by default, your color management, it
3:43:05kind of looks like this. So, your colors
3:43:07look a little bit washed out. And we're
3:43:09not going to get into color management,
3:43:10but essentially like everything is kind
3:43:13of a little bit desaturated. Um, and
3:43:15it's designed so that it makes it easier
3:43:17to grade, but it's not really designed
3:43:18for a final render when you're using the
3:43:21none look. Instead, you're better off
3:43:23using uh medium high or high contrast or
3:43:25for a YouTube thumbnail. Very high
3:43:27contrast. That's what I use. Um, and
3:43:29these aren't like bad. It's not like
3:43:31they're doing like a rough like contrast
3:43:33grab or something. This is like a proper
3:43:35S- Log um uh sorry S scurve uh
3:43:38conversion. Um nothing is peaking. It's
3:43:41all it's all this. I I use these all the
3:43:43time. Medium high. Medium uh yeah or or
3:43:46high. Um anyways, so that's pretty good.
3:43:49And then I might grab my Oh, yeah. I got
3:43:51to fix this again. Let's make that back
3:43:52what it was. Let's move that back.
3:43:56Get a few more blues in there. Bit of
3:43:59pinks, bit of whites, bit of yellows.
3:44:01I'm going to make my icing as well a
3:44:04little bit hotter. And I'm going to
3:44:08tweak it a little more towards the
3:44:10purple range. Just a little bit. Back at
3:44:13the sprinkles. The other thing I forgot
3:44:15to mention as well, um, sprinkles are
3:44:17actually a little bit shiny if you look
3:44:19at references. So, a little bit shiny.
3:44:21And then the other thing it really
3:44:22needs, and this does make a big
3:44:23difference, is subsurface scattering.
3:44:25So, just like before, dragging down on
3:44:27that radius to make them all one. And
3:44:29then I'm increasing the weight to be one
3:44:31and then I just dropped this scale to be
3:44:32something really low. But that will make
3:44:34a big difference. I was before I was
3:44:37like practicing for this this uh video
3:44:40um and I was like why are my sprinkles
3:44:41just not looking good? They weren't
3:44:43looking as good as um you know a
3:44:45previous render I'd done and I forgot
3:44:47subsurface scattering. And it does make
3:44:49uh a huge difference. So there we go.
3:44:52We've got a nice looking donut. Before
3:44:54you go ahead, what I'd like you to do is
3:44:57to try to create your own style of
3:45:01doughnut. Um, you could try substituting
3:45:04the long sprinkles for like rounded
3:45:07sprinkles or like star- shaped
3:45:08sprinkles. Um, you could change the
3:45:10doughnut color to be something else. You
3:45:12could make more donuts by just stacking
3:45:14donuts on top of each other. Um, here
3:45:16are some ideas that uh my team and over
3:45:18the years we different doughnut versions
3:45:20and stuff we've we've created. Um, but
3:45:23you can do a lot. So have fun just
3:45:25experimenting and trying to create
3:45:27something of your own with your own
3:45:29creativity uh injected into it. And
3:45:32it'll also just kind of teach you to
3:45:33kind of think independently and like
3:45:35where is this thing and locate that and
3:45:37it's you know just a way of like
3:45:39bringing back that information. And also
3:45:41as your homework uh add some sprinkles
3:45:44to your plate if you want. Um I won't
3:45:47show you how to do it because it's
3:45:48basically the same steps as before
3:45:51scattering on surface. The only thing uh
3:45:53I'll mention is that you do need to
3:45:54apply your solidifier modifier so that
3:45:56you can actually paint on the correct
3:45:58side of your plates and they will appear
3:46:00um as long as that's done. But it's
3:46:02super simple. So I trust you all be able
3:46:04to do that. Anyways, that's it for this
3:46:06video. Join me in the next part, the
3:46:08final part, as we do the lighting and
3:46:10rendering.
3:46:13Welcome to your final serving of
3:46:16doughut. In this part, we are going to
3:46:19be lighting, rendering, and making our
3:46:21donut actually look good. The final
3:46:24piece of the puzzle. Um, which is the
3:46:27most fun, honestly. Um, because
3:46:29currently it just kind of looks like a
3:46:31early '90s test render or something.
3:46:33Very, very bland. So, let's make this
3:46:36actually look good. Uh, we're going to
3:46:38be moving around some stuff. And you can
3:46:40see that if you like move an object, you
3:46:42always leave behind something, right?
3:46:44And this is just annoying to deal with.
3:46:46So to fix this, you parent things to
3:46:50other things. So for example, if you
3:46:52want the icing to be connected to the
3:46:54donut, then you first select the icing,
3:46:56you shift select the donut, then you hit
3:46:59CtrlP
3:47:01to parent. Um, and there's you can
3:47:03parent to the object or object keep
3:47:05transform. I always choose keep
3:47:07transform otherwise it can like clear
3:47:09the original location and you kind of
3:47:11lose its location. So always uh keep
3:47:13transform. And so there you go. So now
3:47:15when we move the donut um the icing is
3:47:17going with it. Importantly, you'll
3:47:20notice that in the outliner you can't
3:47:22see the icing anymore. The icing has
3:47:24gone. Where is it? And this can be
3:47:26confusing sometimes. You're like,
3:47:27where's that object? And it's because
3:47:29it's parented to the donut. So it's now
3:47:31underneath in this little drop down
3:47:33here. It's in there. It's also a good
3:47:35idea to use like what is connected to
3:47:37what as a hierarchy. So for example, the
3:47:39donut is connected to the plate. So, I'm
3:47:43now going to select the donut, shift,
3:47:45select the plate, ctrl P, keep
3:47:47transform. And so, now I can move the
3:47:50doughnut with the icing by itself or the
3:47:51plate with the donut. I'm going to do
3:47:53the same thing for the foam on top of
3:47:56the mug. Ctrl P. Keep transform. And
3:47:59then also the plate and the cup. I'm
3:48:02going to parent to the plane, the table.
3:48:05I'm going to say keep transform. So, now
3:48:07all of our objects are in here, right?
3:48:09They're all parented. And you know,
3:48:11they're all found underneath this. So,
3:48:13we got to make sure that it's actually
3:48:15named correctly. So, I'll call that
3:48:16table. This is going to be called plate.
3:48:19And
3:48:21I think we're good. Okay.
3:48:23Excellent. Now, I've actually got two
3:48:26lamps in mine. Um, most of you don't.
3:48:29You've just got the one, so I'll just
3:48:30delete that. Um, but yeah, let's go into
3:48:32lighting. The fun bit. Actually making
3:48:35this look cool. Okay. So, we want this
3:48:37to look like a sunlit cafe. At least I
3:48:39do. You're welcome to do whatever you
3:48:41want, but if you want to play along,
3:48:42that's what we're doing. So, um, with
3:48:45our lamp here selected, you can see that
3:48:47we've got a number of different types
3:48:49here. We've got point, sun, spot, and
3:48:52area. I generally usually just use
3:48:54between point and sun. Occasionally, a
3:48:57spot lamp if I'm doing I just want to
3:48:59like focus on one specific thing, but I
3:49:01rarely use an area lamp because there's
3:49:03not much difference between that and a
3:49:04point lamp with a radius essentially
3:49:07like making it larger. Um, but in our
3:49:09case, we want to look like a sun, a sun
3:49:11lit. So, I'm going to check sun. And oh
3:49:15boy, we've got a nuclear blast of
3:49:18sunlight. So, generally I keep this
3:49:21around uh 10 cuz that's actually what it
3:49:24like maxes out at when you just like
3:49:25drag it over. It comes in at 10. Um, so
3:49:28that's yeah, that's about what we'll
3:49:29use. I also changed the temperature,
3:49:31which is I don't think I think it was
3:49:334.5 they introduced this. Um, but yeah,
3:49:36you can now adjust this. So this is a
3:49:38black body scale. So like the closer
3:49:41like the lower this Kelvin scale is, the
3:49:43more it's like fire and like you know
3:49:45incandescent bulb and then like warm LED
3:49:49and then you can get to like skylight
3:49:51and you can go all the way and it's just
3:49:53like crazy blue. But anyways, so
3:49:55sunlight um you know until it looks
3:49:57right to you. [laughter]
3:49:59Um I don't know something. That's a bit
3:50:02too much. Let's go. Oh boy. I don't even
3:50:05know now. I I feel like I was just
3:50:07twisting that too much. Now I'm not
3:50:08actually sure what looks like sunlamp.
3:50:10Anyways, good thing is we can change it
3:50:11later if we want to. Um, now the
3:50:14interesting thing about a sunlamp is it
3:50:17doesn't actually matter where it is
3:50:18positioned. You can see if I position
3:50:20this close to my donut or my thing like
3:50:23nothing happens. Whereas a point lamp
3:50:25obviously is very largely dependent on
3:50:28its location cuz there is the inverse
3:50:31square law where like light falls off at
3:50:34what is it uh four times for every
3:50:37doubling of distance. So a huge sharp
3:50:40fall-off but sun because it's so far
3:50:42away there's no fall-off and so it
3:50:43doesn't matter where it actually is. So
3:50:45the only thing that matters with sun is
3:50:47the rotation of it. Right? So I'm just
3:50:50going to rotate that to look like early
3:50:52morning sunshine. Right? because it's
3:50:54going to, you know, trying to tell a
3:50:55story with a donut. It's challenging,
3:50:57but we're trying. So, early morning,
3:51:00somebody's got their coffee in a cafe or
3:51:02something. Um, that's what we're going
3:51:05with. Oh, look at that. My mug is just
3:51:07slightly off the table. And now it is
3:51:10not. Excellent. Now, this by itself is
3:51:14uh is pretty boring, right? If you were
3:51:16to do a render of this, which you can do
3:51:18just by hitting uh F12, right? That's
3:51:21it's okay. But it's like this feels too
3:51:24naked, right? It's just being blasted
3:51:26with light everywhere. It helps to try
3:51:29to shape it and kind of highlight what
3:51:31is important, which is these two
3:51:32elements. The rest of the scene that can
3:51:35just Yeah, it's not important to us,
3:51:37right? So, we can throw that into
3:51:39shadow. Um, and it's also an opportunity
3:51:41to make it look like there's a a scene
3:51:43outside of the view there, which you can
3:51:44do by casting shadows um into the scene.
3:51:47So, I want to basically set up two
3:51:50blockers to make it look like this is
3:51:52shining in through a window. Um, and as
3:51:55is typical with uh with 3D, you don't
3:51:58have to model the windows because we're
3:51:59not looking at them. You they can just
3:52:00be blockers. So, I'm going to hit shift
3:52:03A. And for my blocker, I'm going to use
3:52:05a plane. Okay. So, it brings in this.
3:52:08I'm going to move it over there. I'm
3:52:11going to go R and then X. holding down
3:52:14control until it says 90 at the top of
3:52:16the screen there. Do a single click. Um,
3:52:20all right. That is my first blocker. And
3:52:22then I need another blocker going uh
3:52:24this way. So I'm going to have like a
3:52:25slither of light going across there. So
3:52:27shift D. Move this to Oh boy. Y then X
3:52:35R Z to rotate it by 90°. And then here
3:52:39we go.
3:52:43like that. All right. And then I'll move
3:52:45this one over a little bit. Maybe just
3:52:47make it a little bit bigger.
3:52:49Okay. To just try to shape it to just
3:52:52get some of that light to be a little
3:52:54bit more targeted. I'm also going to
3:52:56move this mug just further in the back.
3:52:59Um, so I'm going to hit G. And yeah, if
3:53:01you want to lock something to a specific
3:53:02act, like I want to move it along the X
3:53:04and the Y, but not the zed. We talked
3:53:06about this with scale, but applies for
3:53:08everything. So, if I hit G and then
3:53:10shift zed, it'll move it along the X and
3:53:13the Y, but not the Zed. And so, this is
3:53:16an easy way if like you've got, you
3:53:18know, that it's touching the ground
3:53:20where it needs to, but you just need to
3:53:21move it around, you can quickly move
3:53:23things by G and then shift Z, and it'll
3:53:25move it around the plane, but it won't
3:53:27lift it off of the table, which is uh
3:53:29useful. All right. And then I'll move my
3:53:31plate over like so.
3:53:34And yeah, that looks okay. All right.
3:53:39Now, yeah, like I said, this this this
3:53:42looks okay, but it also looks kind of a
3:53:44little bit like film noir, right? And
3:53:46what does film noir look like? Looks
3:53:48fake. Looks very like curated and
3:53:50designed in a comic strip, right? And
3:53:52the big telltale for that is like we've
3:53:54got almost complete darkness over here,
3:53:57right? Um, and the real world is not
3:53:59that like that. If this was a cafe, you
3:54:02would have things bouncing off uh other
3:54:05objects to the left hand side outside of
3:54:07frame. But not only that, this is a
3:54:09sunrise. It's not happening on Mars or
3:54:11anything like that. So, the sky is blue,
3:54:13generally speaking. So, uh there needs
3:54:16to be some blue light as well. So, what
3:54:19I'm going to do is Oh, look at this.
3:54:21We've got our blockers and yeah, let's
3:54:24actually move my light and my blockers.
3:54:28So, shift selecting those. I'm going to
3:54:30hit M and I'm going to create a new
3:54:32collection and I'm going to call this
3:54:34lighting. Um, and then we can call these
3:54:37two objects. By the way, if you want to
3:54:38rename two objects and at once, uh, you
3:54:41can do it by I was just trying to
3:54:43remember the hot key.
3:54:45[laughter and gasps] Uh, there you go.
3:54:47It's Ctrl F2. Um, which is the same
3:54:50hotkey I think. Actually, no, I don't
3:54:51think it is in Windows, but anyways,
3:54:53Ctrl+ F2 and then you can just say uh
3:54:56find and replace or you can just say set
3:54:58name and then you can say new and I can
3:55:01just call this blockers or blocker and
3:55:05then just say okay. And there we go.
3:55:06It's call it blocker and then the other
3:55:08one blocker.00001. Okay, cool. So now I
3:55:12uh as I said I want to create some
3:55:13skylighting. So I'm going to add a new
3:55:16lamp or I could duplicate the sun. I'll
3:55:18just duplicate the sun. So, I'll move
3:55:20this over to there. And I'm now going to
3:55:22hide I'll call this one sun, right? My
3:55:25original one. And then this new one I'm
3:55:27going to call sky. And I'm going to
3:55:30change this to be a point lamp. Like
3:55:33this. Um, and now I'm going to disable
3:55:36the sky. And this is actually a good tip
3:55:38to do. It's a really uh bad trap that a
3:55:41lot of beginners do is when they're
3:55:42they're working with lighting, they end
3:55:44up just kind of like throwing in lights.
3:55:46But you have to work in isolation. You
3:55:48should only be looking at each light
3:55:50separately to understand what purpose it
3:55:52actually has on the scene. So, hiding my
3:55:55my sun lamp. I'm going to position this
3:55:58up high because the sky is high even
3:56:01though there would be like a window
3:56:02there. Something about actually let's
3:56:04just see the scale in relation to get
3:56:07real mathematical here. The scale of the
3:56:09doughut in relation to how tall would
3:56:12the window be? Maybe up to about I don't
3:56:15know. um about there, let's say. And
3:56:18let's move it over a little bit. Okay.
3:56:21And then
3:56:23let's uh increase this. Let's remove the
3:56:27tint. And instead, I'm going to make
3:56:29this like you can actually like keep the
3:56:31tint, right? Make it go like all the way
3:56:33to that. But I want to have a little bit
3:56:35more control over it. I might want to
3:56:36make it look a little more purplish or,
3:56:39you know, we're not going for something
3:56:40entirely photorealistic. We're going for
3:56:43like exaggerated realism. um which can
3:56:47often look way better than real realism.
3:56:50So this you can see this is a soft
3:56:52color. This is like moonlighting but it
3:56:54just needs to be a little bit just so
3:56:57that there's the hint that there is
3:56:58skylighting along with the uh sun. Now
3:57:01the other big factor that it's missing
3:57:03is that the skylighting is not casting
3:57:05shadows like this. Right? If the sun was
3:57:08away and it was just being lit by like
3:57:10think of like an overcast day, right?
3:57:12The sky itself, the entire dome is the
3:57:15size of the light. So the radius of our
3:57:18lamp here needs to increase right by a
3:57:21lot. Now this uh this is a very
3:57:26underused value like it's one of the
3:57:28most important values when it comes to
3:57:30lighting is the radius of something
3:57:32because it's the softness of the shadow.
3:57:34As an example, let's just bring this in
3:57:36or actually hang on. Let's just increase
3:57:38this so we can actually see it. What can
3:57:40I do? Exposure. There we go. All right.
3:57:42So, this is uh like the default it comes
3:57:44in like this. Okay. And you can see how
3:57:46harsh those shadows are. So, as a as a
3:57:49rule, harsh shadow is very good at
3:57:51revealing detail. So, we often use it a
3:57:53lot at Polygon cuz we need to show the
3:57:55the detail of textures along a surface.
3:57:57So, if you want to highlight the
3:57:58sprinkles or something like that, you
3:58:00would use a very small radius like this.
3:58:02So, it's really sharp um shadows.
3:58:05Whereas if you want to reveal more of
3:58:07the form and just the overall color of a
3:58:10surface, that is when you would use a
3:58:12larger radius, right? As a general rule.
3:58:15And it has a huge impact on uh on
3:58:17lighting. The other big thing is is
3:58:19distance. So there's I mentioned briefly
3:58:21the inverse square law. Um a lot of
3:58:23beginners, you know, they're going like,
3:58:25oh, it's like skylighting. I'll just
3:58:26position the lamp up here, right? The
3:58:28problem with that is because of the
3:58:30inverse square law, every doubling of
3:58:33distance, so from like here to here,
3:58:36right, it's going to uh well, hang on.
3:58:38From here to here, what am I thinking
3:58:41of? But basically, like from the the mug
3:58:44to the end of the donor, it could lose
3:58:46something like a third of its energy.
3:58:49Um, it's it's a it's just an uh what do
3:58:52you call it? It's not something that is
3:58:53obvious, but it is really really
3:58:55important. So something needs to be far
3:58:57away or appear to be far away. You got
3:58:58to try to make it look really far away
3:59:00basically. Um [snorts] so you know
3:59:03something up in up up in the air
3:59:05basically. All right, let's clear that
3:59:07and let's increase it and go back to the
3:59:10radius. So nice large radius in the sky.
3:59:14You know, it's not as big as the sky
3:59:16actually is, but you know, something
3:59:19like that. So we've got smooth lighting
3:59:21over everything. And now with my sun.
3:59:23Haha, look at that. We've got the tinge
3:59:26of blue lighting in the air. Um, but we
3:59:29have the lovely hot, warm sun uh coming
3:59:32through as well. All right, the final
3:59:34lamp that I need is that bounce lighting
3:59:36for the rest of the cafe. So, I'm going
3:59:39to duplicate my uh skylighting there.
3:59:42And I'm going to position this. I mean,
3:59:44you know, how what's the height of the
3:59:46ceiling or what is it even bouncing off?
3:59:48Who knows? There could be a wall here
3:59:49and it's bouncing off that. This is more
3:59:51where you get to control um you know
3:59:54what it what is it that you're actually
3:59:55doing. So again, I'm going to hide my
3:59:57sky, hide my sun. So I'm just looking at
3:59:59this bounce lighting coming off the
4:00:01wall. Um and I'm going to uh clear this
4:00:04to make it look uh just like white
4:00:06light. Um and by the way, if you want to
4:00:08change something to the default value,
4:00:10just mousing over a color here, just hit
4:00:13backspace and now it goes to its default
4:00:14value. I can also backspace on the power
4:00:16and it goes to its default value of 10.
4:00:19Um, so that's a handy one to know. And
4:00:21again, I will
4:00:24Yeah, I mean, I can have a little bit of
4:00:26control over this cuz there could
4:00:27actually be a lamp off in the distance
4:00:28there. We don't really have a lot of
4:00:30rules for this bounce one. I'm just
4:00:32looking at trying to fill in the
4:00:34darkness there. Right. Right there.
4:00:37Because without it, and we'll call this
4:00:38uh indoor bounce, right? If you don't
4:00:43have it, it just looks too dark. So,
4:00:45there needs to be something there just
4:00:47to fill in this area of our donut. All
4:00:50right. So, that's what I'm looking at
4:00:51there. Something about that. Let's look
4:00:55at it from the camera view. And I think
4:00:58now my skylighting is uh a little bit
4:01:00too blue. I'll dial it back a little
4:01:02bit. I think it might actually be a
4:01:05little bit too bright. So, let me just
4:01:06dial that in. In which case, now I can
4:01:09make it a little more saturated.
4:01:11Pull it in.
4:01:14Okay. How's that? Okay. That's the sun.
4:01:19That is the indoor by itself.
4:01:23Okay. All right. And that's pretty good.
4:01:26That is not bad. Now, you can play with
4:01:27it a little bit. Um, but that's
4:01:29generally we've got it in the right
4:01:31place. Now, I'm going to move my camera
4:01:33in a little closer. So, I'm going to
4:01:34check this little uh camera view thing.
4:01:37And, uh, sorry, lock toggle lock to uh,
4:01:40camera view. And now I'm just going to
4:01:42move around and just pull the camera in
4:01:43a little bit just so we've got a tighter
4:01:46view of our donut. And then again, just
4:01:48make sure you uncheck that so that we
4:01:50can uh move around freely without it
4:01:51interrupting. Okay. Now, some of you
4:01:54might be wondering, how can we improve
4:01:56this so it doesn't look crap? [laughter]
4:01:59Because what we are using right now, um,
4:02:02this is called the EV rendering engine.
4:02:04And it's the reason we've got this kind
4:02:07of fuzzy noise to our shadows. It's the
4:02:10reason we have some of our objects are
4:02:12not really casting much of a shadow in
4:02:15our scene. Um, and it's also the reason
4:02:18you might notice that as you like rotate
4:02:20around, right, you got like wow, look at
4:02:23this like bright lighting on the plane
4:02:25here. And watch what happens as I move
4:02:27the camera just disappears. [laughter]
4:02:31So Eevee is a game engine. So it's doing
4:02:33a lot of game hackery and that means it
4:02:35is largely it is due to being screen
4:02:39space meaning that it's doing bounce
4:02:41lighting here. Okay. So it's bouncing
4:02:44the off the plane onto this wall here.
4:02:47However, it's it's only visible um it
4:02:51can only see what the camera sees. So
4:02:53it's called screen space. And that means
4:02:55that the moment that this moves away and
4:02:57we no longer have that bright light
4:02:59reflecting off there, it doesn't know
4:03:00that that plane exists and that
4:03:02something should bounce up there. So, it
4:03:04can result in these like large changes
4:03:05of lighting. It's kind of the biggest
4:03:07issue if you're making animations um and
4:03:10the camera's flying through some spaces
4:03:12and you don't want to have lighting kind
4:03:14of changing all over the place. I've got
4:03:15a whole video on EV if you want to watch
4:03:17that. Um I talk all about this and go
4:03:19into more detail. Um but, you know,
4:03:21these are kind of one of the the biggest
4:03:23limitations. Now, the main thing you
4:03:25should be trying to do if you're using
4:03:26the EV rendering engine is the default
4:03:29value right here for steps is wrong.
4:03:32Like there's no reason it should be that
4:03:34low. Steps, you could think of this like
4:03:36accuracy. Um, now if I increase this to
4:03:4016, which is the maximum value, look at
4:03:43how much better those shadows are.
4:03:44Right? This is the before and then this
4:03:47is the after. Okay? And it's even more
4:03:49stark here. Right? Look at look at how
4:03:51much more connected that is. And then if
4:03:53I go back to here, look at all this
4:03:55extra crap, right? It's it's basically
4:03:58an accuracy amount and it should be
4:04:01maxed out unless you're working on a
4:04:02really really poor computer and it
4:04:05happens to stall it or something, you
4:04:07know, but even then you you double it at
4:04:08least go to 12. Um, but that by itself
4:04:11will improve the look of shadows. Um,
4:04:14the other thing as well is my icing. I
4:04:17just want to check. Okay. Oh no, that's
4:04:20the sprinkles.
4:04:22Okay. Yeah. Yeah. Yeah. Yeah. Okay. So,
4:04:23I think I said that I had the scale of
4:04:25my icing too high on my donut. I think a
4:04:2803 looks good. And on my sprinkles, I'm
4:04:30also going to drop that. I'll make it
4:04:3206.
4:04:34Nope. Nope. Nope. Let's go 08. So, we
4:04:38want a little bit, you know, this is a
4:04:40little bit of pass through here, but not
4:04:42a crazy amount or else. Yeah. And that's
4:04:45this is quite common to do, right? If
4:04:47you're making something, you might set a
4:04:49value when you're in one state of
4:04:50Blender and then when you add in
4:04:52lighting from, you know, a more extreme
4:04:54like sunlight coming in, you start to
4:04:56notice that some materials actually,
4:04:57yeah, it doesn't look good. Um, and so
4:04:59you need to adjust it and that's a
4:05:01totally fine thing to do. Um, there's
4:05:03not really any way uh around it. Now,
4:05:05the fuzziness, this fuzziness that you
4:05:07can see right here, um, that is a result
4:05:09of the samples. So samples you can think
4:05:12of I mean it's it's like samples per
4:05:16pixel on a screen and like basically the
4:05:18more samples you have the clearer it's
4:05:19going to be. Now what you're actually
4:05:22looking at right now is the viewport
4:05:24samples which is set to 16. When you do
4:05:26your render it will kick in and use this
4:05:28amount which is 64. So see how fuzzy it
4:05:31looks there. I do my render and it comes
4:05:33in not so fuzzy. There is still fuzz.
4:05:36There's always going to be a little bit
4:05:37of fuzz, but at least it's not uh, you
4:05:41know, crazy. But yeah, if you want to
4:05:43increase it, you can uh, you know,
4:05:45double that or whatnot. You can have fun
4:05:46with that. Another thing that can
4:05:48improve the realism of an EV render is
4:05:51using a light probe. So, as I mentioned,
4:05:53with the light bouncing off here, as it
4:05:55fluctuates around, it's kind of throwing
4:05:57light as it goes around. But the other
4:05:59issue is that for example um the the it
4:06:04doesn't actually know that light is
4:06:06hitting the underside of the donut here
4:06:08and it would blast out in that direction
4:06:11because it can't see what is behind the
4:06:13donut right now. It also can't see um uh
4:06:17like light that would be hitting the
4:06:18edge of this plate here and then
4:06:20bouncing it back this way. Right? It
4:06:22can't see it because from where the
4:06:24camera is, it just can't see those
4:06:25objects. So, if you wanted to um add
4:06:28that, you could add in a light probe
4:06:31volume. So, I'll show you what that
4:06:33looks like. Uh first of all, I'll just
4:06:35shift rightclick on my donut just so
4:06:37that that's the point it comes in at.
4:06:39I'm going to say shift a light probe
4:06:42volume. So, this will cast like a grid
4:06:45of ping pong balls over your scene. And
4:06:48I say ping-pong balls cuz I'll show you
4:06:49what they look like soon. Um, but
4:06:52basically you want to scale this to look
4:06:55to kind of encapsulate everything you've
4:06:57got in the scene. And we've got way too
4:06:58much vertically, so I don't need all
4:07:00that much there. Um, and you want the
4:07:03ping pong balls, these little balls, to
4:07:05be sitting just above the surface of the
4:07:08table. Again, I go into way more detail
4:07:10in my EV video, which you could watch if
4:07:13you were interested in this. You really
4:07:14want to dive into EV, by all means. Um,
4:07:17I think I probably only need about
4:07:18three. No, I'll go four. Why not? Um,
4:07:21okay. And then now that you've got this,
4:07:23if you hit the bake light c, you'll see
4:07:26that the scene gets a little bit
4:07:27brighter. So, this is how it looked
4:07:29before and this is how it looks after.
4:07:31And you can uh improve this a lot by
4:07:33just like shuffling the balls around.
4:07:36So, that now I've got one ball that is
4:07:39going to be let's say
4:07:43let's go a little bit. Oh boy. Here and
4:07:46here. So, I've got one that's going to
4:07:48be resting right on the edge of that
4:07:49plate there. And I want one inside the
4:07:52donut. All right. And now, let's do that
4:07:54now. All right. And now we've got more
4:07:56bounce coming from there. So, each of
4:07:58these you can think of like little lamps
4:08:01that are going through the scene and
4:08:03able to see things from the other side
4:08:06that the camera cannot. So, it's able to
4:08:08break that limitation of something being
4:08:10screen space. And you can see that looks
4:08:13better. So, this is with the light probe
4:08:15on. And then if I was to turn my probe
4:08:17off and do another render. So this is
4:08:20with it off. This is with it on. All
4:08:21right. So very big difference.
4:08:24Definitely worthwhile having a light
4:08:25probe if that's what you're going to use
4:08:27uh to do your render. Uh and by the way,
4:08:28if you want to visualize what they can
4:08:30see and uh underneath viewport display,
4:08:33you can enable data and then each of
4:08:35these points become little ping pong
4:08:37balls. That's why I think of them like
4:08:38that. Um, and you can see the actual
4:08:40light that was captured at each one of
4:08:42those points and, uh, essentially, yeah,
4:08:44what light it's going to be throwing out
4:08:46into the rest of the scene. And the
4:08:48final thing that's going to make a big
4:08:49difference to your final render here,
4:08:52um, and one of the big reasons that this
4:08:54feels like a, you know, a CG computer
4:08:56graphics render is that right now
4:08:59everything has the same amount of focus.
4:09:02And that is physically impossible with a
4:09:04real camera. There's no way to have
4:09:06something that doesn't have um depth of
4:09:08field unless you were using a pinhole
4:09:10camera, believe it or not. Um but
4:09:12anyways, so to get that look, to get
4:09:15depth of field, we're going to select
4:09:16our camera object in our outliner and
4:09:19then down here there is a checkbox for
4:09:21depth of field and ooh already it's
4:09:24starting to look cool. Now you just
4:09:26select the object that you want to be in
4:09:28focus. So you click the little eyropper
4:09:30tool and then you want to click on the
4:09:32object. Now, if you've got what I have
4:09:33here, you can see it's always clicking
4:09:35on the volume um because it thinks that
4:09:38the volume is in front of it. But
4:09:39anyways, yeah, I can now just click on
4:09:41my icing object there. And um you can
4:09:45see now this is the before and then this
4:09:48is after. So, you can see in the
4:09:50background there that noisy uh you know
4:09:54concrete texture that isn't relevant to
4:09:56the viewer um is now buttery smooth. And
4:10:00that's a really nice way to not only
4:10:02make something look more realistic, but
4:10:04also to guide the viewer to what is
4:10:06important cuz that is one of the biggest
4:10:09problems you have as an artist is you're
4:10:10giving somebody an entire image and
4:10:13you're trying to tell them like what is
4:10:14the important bits like what should they
4:10:17be looking at and they don't know if
4:10:18everything has just got like hyper noise
4:10:22and detail and color and everything. So
4:10:23you're trying to guide it and that's one
4:10:25of the tools uh to do that. And one
4:10:27final other tip as well. Um because the
4:10:30the biggest like downside to using EV is
4:10:33like the shadows just don't feel crisp
4:10:35enough. They don't feel like tight
4:10:36enough to the object. It's kind of a
4:10:39little bit too it's a little bit too
4:10:40blurry. If you select a lamp like this
4:10:43one here, the sun lamp, and then you go
4:10:45to your shadow settings here, there is a
4:10:47box that says jitter. And you won't see
4:10:49any change in the viewport unless you
4:10:51were to go to your viewport settings and
4:10:53enable jittered shadows. But I don't
4:10:55think you should cuz it's just when
4:10:57you've got that enabled, it just like
4:10:58every time you move it, it just jitters
4:11:00around and it's super annoying. But if I
4:11:02was to do another render now, you will
4:11:04see that the shadows just feel a little
4:11:07bit more accurate, especially in the
4:11:09background there, right? Um, and
4:11:11essentially it's uh I believe it's like
4:11:13rendering each like multiple versions of
4:11:16the lamp at like because it's got a
4:11:18radius on it, a little soft radius. Um,
4:11:21so enabling jitter can work a lot better
4:11:23for like soft lamps like what we've got
4:11:26here. So, um, there you go. So, that's
4:11:28one of the other tips. But if you want
4:11:31to go very realistic and you want to
4:11:34avoid the light probes, you want to
4:11:36avoid all these settings like jitter and
4:11:38all this kind of thing and you just want
4:11:40to you just want to make something and
4:11:42then just have it come out beautifully,
4:11:44then you should be using a different
4:11:45rendering engine. You should be using
4:11:48cycles, cycles, cycles, cycles.
4:11:52Now, my recording has slowed down
4:11:54because it's using my CPU. Um, this is
4:11:58cycles. Now, I'll actually uh I'm going
4:12:00to just turn that off for a sec cuz it's
4:12:02slowing down my computer. The first
4:12:03thing you should check if you want to
4:12:05use cycles because some of you just
4:12:06tried that then and much like my
4:12:09computer, I don't know if you can hear
4:12:10that, but it has started to wor up. the
4:12:14fans are like, "Whoa, this is using
4:12:17maximum uh maximum heat." Right? So,
4:12:21first of all, go to your edit and go to
4:12:23preferences and then go to system. Then
4:12:26at the top there, you've got cycles
4:12:28render devices. Um, what you want to see
4:12:30is if you have any graphics card on your
4:12:33computer that you can use to render, you
4:12:35should be using it. So, if you've got an
4:12:38Nvidia card, you would be clicking CUDA
4:12:40or optics. Optics is preferable. So, if
4:12:43you've got a card that supports optics,
4:12:44use the optics one. HIP is for AMD
4:12:47cards. Open API is for Intel, I believe.
4:12:50And then metal. You'll see metal if
4:12:53you've got a Mac. Um, in my case, I've
4:12:56got a uh Overkill RTX Pro 6000 Blackwell
4:13:00Workstation Edition, which I just got,
4:13:02given to me by the kind folks at Dell.
4:13:04They gave me a Whisbang um Dell T2 Pro,
4:13:09and uh it's amazing. I think it costs
4:13:11like $20,000 or something stupid. Just
4:13:14the card by itself, I think, is like
4:13:1615,000. It's It's ridiculous. It's
4:13:19obviously enterprise and prolevel. But
4:13:21for the three people watching this that
4:13:23happen to own a studio, if you really
4:13:25want to deck it out and give artists
4:13:27stuff that they'll never have to worry
4:13:29about render times, this is the card. It
4:13:31is amazing. So, if you've got one of
4:13:34those cards, use it. And then make sure
4:13:37here where it says device, you want to
4:13:39make sure instead of CPU, it is using uh
4:13:41GPU instead.
4:13:43And now you can see how much faster that
4:13:46is. Right now this is in 4K on my
4:13:50computer and this is the size of the
4:13:51window here. If you want to like speed
4:13:54up your render, you can also just change
4:13:56the size of the window, right? I can
4:13:59drop the size of this like this, right?
4:14:01So, it's only going to be rendering on
4:14:04how much it can see here, right? So, as
4:14:06I move around, you can see it's much
4:14:08faster now because the size of that
4:14:10window is so much smaller. Um, so that's
4:14:12another thing you can do if you want to
4:14:14be able to move around whilst it's uh
4:14:16whilst it's rendering. Now, the
4:14:18fuzziness that you can see here, that is
4:14:21samples. So it's still the same term
4:14:22samples, but the difference is is that
4:14:25cycles is a path tracer, not a
4:14:28rasterized engine like uh uh EV. So path
4:14:32tracing means that you don't have to
4:14:33deal with any probes or anything like
4:14:35that. It can see what is behind the
4:14:37donut. It can see between the sprinkles.
4:14:40So it's actually casting like a bounce
4:14:43off this sprinkle into that sprinkle
4:14:45into that one. It's also doing it on the
4:14:47other side of the doughut that we can't
4:14:49see. It's actually shooting rays from
4:14:52the camera out into the scene and
4:14:54whatever it hits, it's collecting that
4:14:56information. So, it is much more
4:14:58physically accurate. It is the gold
4:15:00standard for rendering um that um you
4:15:03know computer graphics researchers use
4:15:05and you know every movie VFX shot is
4:15:08generally nowadays using path traces. It
4:15:11results in a way better image but
4:15:13obviously you have to pay for it with
4:15:15render times. Now, one thing as well is
4:15:17uh this noise that you can see here when
4:15:20we do our render, it's going to kick in
4:15:22a D noiseise, which is going to clear
4:15:23that up. But you can also enable it in
4:15:25your viewport. And then as you move
4:15:27around, you can see that it's uh it's
4:15:29still got like a little squiggle to it.
4:15:32Um but it is uh it's obviously much
4:15:35clearer and it's easier to see things uh
4:15:37with that on. But now that I've got
4:15:38that, I can do a render. It's going to
4:15:40load in everything. The first time you
4:15:42use cycles, by the way, it might be
4:15:44slow. Um, especially the first time if
4:15:46you use a card like an Nvidia card or
4:15:48AMD or anything like that, it will be
4:15:49slower. Um, but after that, it should be
4:15:51relatively quick. I say relatively
4:15:54quick. I've got the fastest card
4:15:56available right now. And you can see
4:15:58it's no longer instantaneous. It is well
4:16:01over 20 seconds. There we go. 23
4:16:04seconds. Okay. But the difference,
4:16:07right? Like if I go to right EV
4:16:12like there is a big difference there. I
4:16:13mean, actually, that was um before I did
4:16:15the jitter. Actually, let me just let's
4:16:17really compare apples to apples. Okay,
4:16:20there we go. But yeah, there there
4:16:22definitely is a big difference,
4:16:24especially in the shadows, um especially
4:16:26in the reflections. So, there's it's a
4:16:29noticeable difference, but it's also a
4:16:31noticeable difference in the time,
4:16:33right? The EV1 is less than a second.
4:16:36The Cycles one is 23 seconds, and that's
4:16:38on the fastest uh card available. So,
4:16:41you're going to pay for it. And this
4:16:42matters most when you're doing
4:16:44animations because how many frames is
4:16:46there in one second of footage?
4:16:48Generally 24 to 30. Um I'm actually
4:16:51recording in 60 frames right now. So
4:16:53that would be uh 30 frames a second. So
4:16:5630 * 23 just to get 1 second of footage.
4:17:00So if you're doing an animation, that's
4:17:01where Eevee really um can speed up your
4:17:04workflow. But also like Eevee is just so
4:17:06much more accessible. Part of the reason
4:17:08I stuck to EV for all this tutorial up
4:17:10until now is that uh I learned from uh
4:17:13talking to people who did the previous
4:17:14donut that some people's renders were
4:17:16taking like over 20 minutes. Some people
4:17:18were over an hour to do one single image
4:17:22of the donut. And I couldn't believe it.
4:17:24I just I I thought, "All right, we have
4:17:26to use Eevee then because there's just
4:17:28no way people are going to be able to
4:17:30finish this thing." So Eevee definitely
4:17:32can get a great result. um it's not
4:17:35going to be as good as cycles, but like
4:17:37I said, the times you can't beat it.
4:17:39It's so much faster. Um so there's no
4:17:42shame in uh using it if you don't have a
4:17:44computer that uh can't do cycles. Now,
4:17:46you can experiment with your lighting.
4:17:48You can experiment with your scene. You
4:17:49can add in different assets. You can
4:17:51change the colors, make a whole bunch of
4:17:53different variants. If you want to go
4:17:55further, you know what I'm going to say.
4:17:57I have released a course and it is
4:17:59designed for people literally in your
4:18:01shoes right now that have just finished
4:18:03the donut and they want to know what
4:18:04they can do next to improve and learn
4:18:07more about Blender. So this course it's
4:18:09called the beginner's academy and it
4:18:11teaches you the core essential Blender
4:18:14skills which is modeling, texturing,
4:18:17shading, lighting, camera and rendering.
4:18:21And although we touched on all of those
4:18:23in this series, that's really just the
4:18:25tip of the iceberg because there's so
4:18:27many different techniques to modeling.
4:18:28There's so many different approaches to
4:18:30texturing and to rendering and to
4:18:32lighting. And we go through all in much
4:18:35more detail in this course. So if you
4:18:37finish this donut and you want to go off
4:18:39and learn by yourself, there is a whole
4:18:41YouTube full of tutorials out there. But
4:18:44if you want something that is targeted,
4:18:45more comprehensive, and will walk you
4:18:47through the 8020, the 80% of Blender's
4:18:51uh tools and techniques that you use 20%
4:18:53of the time, then this is the course for
4:18:55you. All taught by me, uh all taught
4:18:57using the latest Blender 5.0. Um and I
4:19:01hope that you will uh enjoy it.
4:19:03Otherwise, thank you for watching this
4:19:04entire series. If you want to join the
4:19:06course, you can click the link below.

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