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Blender Basic Materials Tutorial (Donut Part 4) — Transcript

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0:00Welcome back. How did you go making your
0:03plate? Hope you all attempted it. If you
0:06didn't or you got stuck, don't worry
0:08because I'm going to show you how to
0:09make it right now. So, if you had no
0:11problems with it, you might want to skip
0:13forward. This might be a little boring,
0:14but otherwise, I'm going to show
0:15everyone how I would go about creating
0:17the plate. So, uh, we need to add a new
0:20object to the scene. We can go to the
0:21add menu up there, or we can hit shift
0:23A. Um, and then from this list, we want
0:26to choose the object which most
0:27resembles what we want to create. If you
0:29ask me, that would be a circle. Okay, so
0:33just like before, the bottom lefthand
0:35corner, we can change some options here.
0:37The biggest one being radius. It's too
0:39big. So, drop that into about there. Um,
0:42and you will notice that you can see
0:44through it. Okay. And that is because
0:46there is no face there. This is just a
0:48string of vertices. And as I touched on
0:51briefly earlier, vertices don't show up
0:53in your render. Faces do. So we need to
0:56add a type of face underneath fill. So
0:59there's two options. Either of them will
1:01do. Engon is just one single face shared
1:04amongst the 32 or the triangle fan will
1:07mean uh there's one point in the middle.
1:09Um you can actually see it in this mode.
1:11One point in the middle and then it just
1:13creates um triangles to that point. I'm
1:15going to go with engon because you know
1:18it's never failed me [snorts] for this
1:20option. So I'll just use that. Okay.
1:23Now, we need to uh add more geometry to
1:26this because we need to create some sort
1:27of a lip for the plate. You can't just
1:29have a plate. It's always got to have a
1:31rim on or else that stuff slides off it,
1:33right? So, into edit mode by hitting
1:35tab. Um I'm to add some geometry. I'm
1:38going to extrude. So, I'm going to hit
1:40E. Okay. And in this state, it's now
1:43saying, yeah, where do you want to place
1:44it? And it's extruding it along the
1:45normal, which is that invisible line
1:47that faces out from the face in there.
1:49Um and I'm just going to do a single
1:51click right here. Um, now before we
1:54start scaling and pulling this out,
1:56you'll notice that obviously that's
1:58intersecting our mesh, we need to delete
2:00that face because we don't need it. So,
2:02I'm going to hit X to delete. And then
2:05what type of deletion? Not edges, not
2:07vertices, obviously, cuz that would be,
2:09you know, the entire line. Um, I want to
2:11delete just the single face on top. And
2:14there we go. So, now I can reselect that
2:16line by holding down alt and then left
2:18clicking on it. And now if I want to
2:20create like a lip, which is not just
2:22straight up, but a little bit out, I
2:24would just scale. So S to scale. And
2:27then just pulling my mouse out until it
2:29looks something like that. Do a click to
2:31confirm. Okay. And then I'm going to do
2:34another extrusion cuz I'm going to
2:35create like another bit like a little
2:36bit of a flat area. Okay. So E. And then
2:40I don't actually want to pull it
2:41upwards. Obviously, I want to pull it
2:43outwards. So what I do is I cancel the
2:45movement. And now that I'm in that
2:47state, I'm going to hit S to pull
2:49outwards like so. Um, by the way, I
2:52should show you as well. If after you
2:55have like extruded something, like let's
2:57say you do this, right? Oops. You if you
3:00did this, if you extruded and then you
3:03uh like cleared its position, but then
3:06accidentally clicked off it, you've now
3:09got double vertices all along this this
3:12line here. And that's horrible because
3:14it will it will create jagged artifacts
3:16in it. So this is a really super common
3:19problem that you will experience all the
3:20time. And the way to fix it is to select
3:23your entire mesh, then hit M to merge,
3:26and then you're going to go by distance.
3:29And you'll see in the bottom there that
3:31little thing that says removed 32
3:33vertices. And that has cleared up that
3:35problem. So I have to show you that cuz
3:37people will do it. It'll happen. And um
3:39that's how you fix that issue. But
3:41again, if you run into issues like this,
3:42use my unstuck yourself guide. Link is
3:44in the description because I did set it
3:46up so you guys can um hopefully get
3:49through this tutorial. All right, so as
3:51I said, extrude, clear its like
3:54movement, so its placement is exactly
3:56where it started from, but then I'm
3:58going to hit S to scale outwards. So now
4:00I've got a little flat rim to my plate.
4:04And then now that it's here, I'm going
4:06to do one further extrusion upwards. And
4:08this is just obviously the design of the
4:09plate that I'm choosing. So upwards. Now
4:11you can see it's like freehand like
4:13that. I don't like it. So I'm just going
4:14to lock it on the Z axis. So just hit Z.
4:17So it's going straight up like so. Okay,
4:21great. We've got a very jaggedy looking
4:24plate that you sometimes see in video
4:26games. You're playing Call of Duty or
4:27something. You get up close and you go
4:28like, "Look at that jagged old plate
4:30there." Um, which by the way is cuz in
4:33games the plate is like one of a million
4:36objects and they can only put so many
4:38polies into the scene. So little things,
4:41little details on um tables and things
4:44often end up a little low res. Anyways,
4:47go to your modifier stack. Um, and the
4:50first one we want to add to kind of
4:52smooth this out is our very favorite
4:55subdivision surface right where my head
4:58is. Um, or you can access it from the
5:00search subdivision. There we go. Okay,
5:04cool. And I'm going to go level two. And
5:06we've got that crimping effect happening
5:08to the middle of our plate there. So,
5:10just like before. And actually, let's
5:13hide my doughut and my icing just so
5:15that I can focus on the plate. And I'm
5:17also going to turn off the subdiv just
5:19so that I can select this single face
5:22here because just like before, the
5:24reason that's happening is it's like
5:25right on the edge there. It has to like
5:27convert all that into like a single
5:29point in the middle and it's just too
5:30ugly when it starts there. So, we just
5:32may have to make it start way further in
5:34the middle like that. And then when we
5:36do that, it's clear. It's practically
5:38invisible. You can only see it if you
5:40get really close, but you won't see it
5:42cuz it'll be under the donut and it'll
5:43be smooth. Anyway, um cool. Now, um I
5:47can tighten up the edges here cuz this
5:49is looking very very um smooth. So, I
5:51showed you before how you can add a loop
5:54cut. You can do CtrlR. Okay. And that'll
5:56add a loop cut in the middle. And then I
5:58just pull it out towards the edge like
6:00that to make a smoothed uh sorry a um
6:03sharpened
6:05uh point. Yeah. Anyway, um the other way
6:10to do it, which I didn't talk about, but
6:12you can do a crease. So, if we just hold
6:14down alt and then we select that line
6:16there, um you can do a crease. If you uh
6:18right click, you'll see you've got there
6:20edge crease or the hotkey shift E. So in
6:24this when you do shift E, you'll see at
6:26the top there you've you're pulling out
6:27basically a value from one to zero. Um
6:31and essentially what it's doing is it's
6:33like doing a fake kind of tighten on
6:35that edge there. So it's kind of like
6:36pulling it out and just making it a
6:38sharper point. It doesn't look as nice.
6:41You don't get as much of a bevel because
6:43there's no geometry being added there
6:45like you would if you were to actually
6:47do a loop cut. You get all this extra
6:48geometry. So, it's not it's not as good,
6:52but for like small things, it's, you
6:54know, it's generally fine to do
6:56something like that. All right, I'm
6:57going to do a shade smooth now cuz I
6:59want to see how that looks. And that's
7:01pretty good. Now, the only other thing,
7:04the exact same thing. It's weird that
7:05like three things in this small little
7:08scene have the exact same two modifiers,
7:11subserve and uh solidify. Um, anyways,
7:15generate, solidify. And just like
7:18before, we want this solidify to go
7:19first because otherwise it's doing it
7:21after the fact and then we get this like
7:23really annoying like hard line there. So
7:26just pull that up to the top. And now
7:28it's rounded. And look at that. Um but
7:31yeah, I might actually want to make this
7:34line a little bit harder. So I'll pull
7:37that in. It's still Yeah, there's just
7:39not enough geometry there. I This is one
7:41of the cases where you just need more
7:42geometry. So I'm going to add a loop cut
7:44here. And I'll add another loop cut
7:46underneath it. Like that. And now
7:51I'm going to just select this. And I'm
7:53just going to revert that edge crease.
7:54So shift E. And then I just go like
7:56minus one. Like so. And now it's just
7:59Yeah, the way it was before. But there
8:00you go. So now I've got a sharper edge
8:02on it. The only other thing I might just
8:04pull up this lip here. So alt select on
8:07that lip. G Z. And I'll just pull it up
8:10a little bit. Um, and there you go. And
8:13we would model from reference, but I
8:14actually had like a photo scan plate
8:16from Polygon, which we'll get to later.
8:19Um, but yeah, this is just modeling from
8:21that reference that I already had, but
8:23this is the design of it. So, there you
8:25go. Great. Now, let's bring back our
8:27donut and our icing. Now, I saw a
8:30comment on the last video that said, uh,
8:32you didn't make the donut lumpy like
8:34last time. It's so over. Why? Oh, ye
8:38have little faith. You think I would
8:40forget something like that?
8:43Maybe I did forget, [laughter]
8:45but I'm actually glad I did because this
8:47is a great opportunity to talk about a
8:49new tool. So, for those that haven't
8:51watched a previous version, before we
8:53did the icing, um, we made the donut
8:56lumpy, which I did by going into edit
8:58mode and then I just selected vertices
9:00using proportional editing and like, you
9:02know, like pul pulled it out, right? And
9:04just kind of like maybe I shrink some
9:05parts in this kind of thing. And the
9:08reason this is important is that this
9:09adds natural variation because you know
9:13you could have scientists working for a
9:16thousand years in a lab and they would
9:19never be able to create a donor as
9:21perfectly mathematically accurate as our
9:253D software has done. This is too
9:27perfect. there is natural variation and
9:30we need to see that for the eye to go
9:31this is you know a real you know uh
9:34something realistic right and it's hard
9:36to do this kind of thing after you've
9:38already added the donut sorry the icing
9:40because you can see it just has no
9:42bearing on the icing over the top right
9:44so some things in 3D are easier to do
9:47earlier than they are to do later and
9:49this is something you just learn as you
9:50do 3D like you'll you'll do so many
9:52projects where you just like you get to
9:54the end and you go like oh man why
9:55didn't I do that before I did this now
9:56this is
9:57I've like 3xed the amount of work and
10:00you just learn these things over time.
10:02However, there are certain tools um and
10:05there is one I'm going to introduce you
10:06to in a second that enable you to make
10:08these sort of changes after. Um by the
10:11way, there is a way like you can select
10:12both objects like this um which you you
10:16that is something that you can do in
10:17Blender now. You didn't used to always
10:18be able to, but you can now edit both
10:20objects together. So, I could do this.
10:22It does have like a clipping issue when
10:24you try to do like shrink fatten, but
10:26you can get some like natural lumpy
10:28variations going this way. Um, and you
10:31can do that. That's actually fine. But I
10:32do want to introduce you to a new tool
10:34that is in 5.0. Um, and it is if you
10:38select both of your icing and your
10:40doughut together, then you hit shift A
10:42and then you go lattice. There's a new
10:44option for lattice deform selected. We
10:47always had lattice, but it was very
10:48finicky to set up. But now you've got
10:50lattice deform selected. And that adds
10:52this what looks like a cube, like a
10:54bounding box over your object. Um, but
10:57it's not actually going to appear in
10:59your render. All it is is a defamation
11:02guide. So if you just select these
11:04points, you can see we are twisting the
11:07donut. But importantly, the actual donut
11:10is underneath. Like this is a modifier,
11:12right? So we're not actually changing
11:14the mesh at all. It's just doing this
11:17after the fact. And then if I just
11:18deleted my lattice, like it's it's gone.
11:20It's back to where it was. So this is a
11:22non-destructive workflow. These these
11:25little points here, they enable me to at
11:27any point in the future change and
11:28deform a mesh, which is actually really
11:30useful. And it's because you're not
11:32often in this the uh the exact
11:35circumstance where you know exactly what
11:37you're going to do and then at the end
11:38of it like you know the order in which
11:40to do things. Sometimes you're working
11:41with a client and they've got an idea
11:42for something and then far later on
11:44they're like, you know what, let's
11:45change the proportions of the car or
11:47whatever it is and you have to be able
11:49to like fix it without redoing all your
11:51mesh. So that's what a lattis can do.
11:55Now it comes by default with just this
11:56low res cube over it. But if down here
12:00you click this little uh data property
12:03uh for the lattice, you've got
12:05resolution here. So I can increase this.
12:07I can add in some more resolution here.
12:09And importantly, I want to add one in
12:11the middle here. Um, because the first
12:13thing you notice when you look at
12:14reference of donuts, um, is that besides
12:17the the lumpy shape, the bit around the
12:19middle of the doughut is often whiter
12:22and it's not as puffy. And when you look
12:24at how donuts are cooked, it's actually
12:26easy to see why. It's it's half
12:28submerged in the oil and then it is
12:31flipped over onto the other side and
12:33then the other side cooks. So, it cooks
12:34one side and then it cooks the other.
12:35and the bits uh sorry near the surface
12:39of the oil that's the the uh the oil is
12:42less hot, right? Because it's near the
12:45surface, so it's escaping. So that oil
12:46is less hot. The oil that's underneath
12:48it is much hotter and then it flips it
12:50over. And so again, you always have this
12:52bit around the middle that just isn't
12:54quite cooked as well as the other stuff.
12:57So it ends up being a little bit
12:58lighter. It's also less puffy. So no
13:00doughut actually comes out at that
13:02perfectly round shape. It's usually
13:04always kind of almost concave actually
13:06around the middle. So with this, I can
13:08select all of these points here like so.
13:13I have to shift select them. I can't do
13:14the alt click around it cuz it's not
13:16technically a mesh. Um, and then I can
13:18just scale it in like uh turn off
13:20proportional editing if you've got it
13:22on. And then just shrink it in like
13:25that. And that by itself will add just a
13:29little bit of realism to this cuz that
13:30is a detail that your eye won't notice.
13:32Everyone thinks donuts are just, you
13:34know, they're perfectly round, but
13:36they're actually not, right? They're
13:37always got this like concave kind of
13:38shape around it. So, that will add uh
13:41some realism, but then I can add in some
13:44little areas here where one part it got
13:48a little bit more puffy on that side, so
13:51that part's a little bit raised up. Um,
13:53and obviously this isn't as detailed as
13:55if you had, you know, if you were
13:57manipulating the the Taurus underneath,
14:00right? I can't do like, you know, small
14:02details. I can't, you know, sculpt in an
14:04area or do or do some crazy changes, but
14:07it's enough in in a pinch to do
14:09something like this. I'm just going to
14:11hide my plate. Um, which by the way, you
14:13can do it by hitting the eyropper, which
14:15is what I've been doing up there. So,
14:16not the eyropper, the eye icon. Um, you
14:19can also, um, do it by hitting H. So,
14:22you select an object in the viewport,
14:23you hit H, and then you hit Alt H to
14:26bring it back. So H or alt H um is a
14:29good hotkey to remember. [snorts] Um and
14:32then here, so at the bottom here, cuz
14:34yeah, the same thing will happen at the
14:35bottom. There'll be parts where like the
14:37donut looks a little bit like raised on
14:40the plate a little bit like this. Just
14:43around the middle here.
14:46Um
14:48like that.
14:51There you go. Something like that. But
14:53this is just just a small amount of
14:56defamation, right? It might seem
14:58unnecessary, but it does help. It really
15:00does help things to feel more realistic
15:03when you go to the trouble of doing some
15:05of this. Um, and it's super super
15:08important. Um, but we can also now apply
15:10it once I know that I like everything. I
15:12don't want to have this like lattice
15:14sitting over it forever. So, I can just
15:16apply that by going to uh apply and then
15:18selecting the donut. And I can also say
15:20apply there. Um, and now I can just
15:21delete this lattice. And now it's like I
15:24modeled that, right? All those shapes
15:26are now like baked into it. Um, and it
15:29looks good. As I said before, if you did
15:31want to do any more detail, you could,
15:33you know, shift select multiple objects,
15:35go into edit mode. Um, and then using
15:37proportional editing, you could also do
15:39some like more targeted tweaks. If you
15:43really wanted to, uh, you know,
15:44manipulate the donut, you could do that.
15:46So, there are things that you can do.
15:48Um, it does make a difference. it is
15:50important. Um, but you know, it is also
15:53optional, but it's it's an excuse to
15:54kind of introduce you to some more tools
15:56and things in Blender. So, I'm kind of
15:58glad that I uh didn't do it at the start
16:00because um we can introduce you to that
16:02that kind of thing. So, all right, we
16:04got a lumpy looking donut. Good for us.
16:06Now, now is the exciting bit. We can
16:09talk about rendering.
16:12Making this actually look good because
16:15this is gray. This is boring. This is
16:19called the 3D viewport view. Okay. The
16:23the reason this looks looks boring and
16:25flat is that this is cheaper for your
16:27computer to actually process just the
16:29shapes in like a gray. There's no
16:31shadows. There's no lighting. There's no
16:33surface interaction or anything like
16:34that. This is fast for your computer to
16:36see to create that pretty image that
16:38looks realistic with light calculations
16:40and everything. That is called a render.
16:43And you can do a render by either
16:45hitting F12 on your keyboard or by going
16:47to render and then saying render image.
16:51Huh. And now that has taken a snapshot.
16:53The problem is is it looks like not the
16:56view that we were looking at. So we're
16:57looking at this view. Why did we get a
16:58view up here? The reason is is that
17:00Blender will always take the render from
17:03the camera view. So remember that thing
17:06that's like way out in the middle of
17:07nowhere we haven't touched. It's taking
17:08the view from that that camera. And you
17:10can look through the camera by hitting
17:12the camera view icon over there.
17:15[snorts] So now that I'm here in this
17:17view, um, how do we move it in close?
17:19How do we get it close to our thing? So
17:20there's there's a number of like
17:23traditional ways to bring a camera into
17:25like in Blender. I'll actually show you
17:27the way I first learned to do this cuz
17:30it's actually just like natural to me.
17:32Um, but then I'll show you the method
17:33that actually most people prefer. So you
17:35can just with the camera selected, you
17:37can hit G. You can move things around
17:38like that. If you want to bring it in
17:41like just zoom to the like
17:43straightforward if you hit G and then
17:45middle mouse button that will like kind
17:47of what's it called? Dolly dolly in and
17:49out which can be uh very useful. Um and
17:52then if I want to like tilt it um I can
17:55like just hit rotate like that or I can
17:57rotate along the Z axis, right? Cuz I
17:59know how to like turn the camera. So,
18:01that was how I learned to use uh the
18:03camera and how a lot of people still
18:05like to do it. But a lot of new people
18:06prefer this because now in 5.0, it's
18:09actually just a button right here. If
18:12you click this button now, I can use the
18:15same controls that I used before um to
18:18to move the camera. Because if you don't
18:20have that checked, the moment you just
18:21like hit your middle mouse to like orbit
18:23somewhere else, it leaves the camera
18:25behind. Okay. But when you have when
18:27you're looking through the camera and
18:28you have this checked now, when I orbit
18:31around and I zoom and I do all the same
18:33controls as before, shift middle mouse,
18:35I can position the camera exactly where
18:38I want it. Get it right there um without
18:41having to worry. You just have to
18:42remember, don't then immediately orbit
18:45like you're going to go do something cuz
18:46the camera is still locked to your view.
18:48So, you have to make sure you uncheck it
18:50when you're done and then the camera is
18:52locked to that position there. Um, and
18:55by the way, this is like a small thing,
18:57but when you're working with like small
18:59objects, you often have to like change
19:01because Blender is like designed for
19:03like environment like like like big
19:04types of scenes. This this camera is
19:07just too big. So, if you go to the
19:09camera settings, click the camera thing,
19:11then go to viewport display. I just
19:14changed the display of this. This has no
19:16bearing on the actual like final render.
19:18This is just how it displays in your
19:20viewport so that it's not so gigantic
19:22it's taking over everything. All right,
19:24the other way you can quickly look
19:25through the camera is numpad zero. So
19:27numpad zero will take you in and out.
19:29All right, but now that I'm there, I can
19:31hit F12 and look at that. That is a
19:34different look. It It's still gray
19:35because the default materials are gray.
19:38Um, but you can see there is shadow
19:40there. But check this out. We can do
19:42even more. So besides just shadow, like
19:45you might notice looking, by the way,
19:46you can bring back a render by hitting
19:48F11. Uh, I should also mention, by the
19:51way, the first time you do a render, um,
19:53I think the first time, like, if you've
19:55just opened Blender for the first time
19:56and you hit render, it'll have to do a
19:58bunch of like shader compilations and
20:00stuff like that, it should only need to
20:02do that once. It shouldn't have to do it
20:04every time you open Blender. We're using
20:06EV, which is a rendering engine we'll
20:08talk about soon. Um, but this there is
20:11some of that. Every time you you render,
20:12like to when you create a new shader, it
20:14has to like develop those things. But
20:16anyways, it should it the first time it
20:18should be slow, but it should be quicker
20:20for every render after that. Okay, so
20:22there's shadow here, but you'll notice
20:23like in here there's no there's no
20:26detail whereas in the real world you
20:27would see like bounce lighting from the
20:29the end of the plate there. You would
20:30see like some crevice information. Um
20:32there would be it' be darker and things
20:34and that is because by default there's
20:36an option that is turned off. So if you
20:38go to your render properties at the top
20:40there, this has all the information just
20:43pertaining to how something is going to
20:44be rendered. And by default, ray tracing
20:48is turned off, which I think is a
20:50mistake. I think they should change it
20:51to default on because so many people
20:54don't like EV, this rendering engine,
20:57because they they think it just produces
20:58fake looking images. But when you turn
21:00on ray tracing, look at how much better
21:02that looks. Um, by the way, if you want
21:04to compare renders, you can change to a
21:06new slot and then uh you can do a
21:09render, another render, and then you've
21:11got the previous render and then uh the
21:13new render in slot two. And then you can
21:15flip back by hitting J on your keyboard.
21:18And that's a way you can like quickly
21:20compare settings, which is very useful.
21:22Um, but you can see with ray tracing
21:24turned on, this is off. Turned on, we
21:26get bounce lighting. So there's some
21:28light that's hitting the plate there and
21:29it's bouncing up. We've got like more
21:31information in the crevices. Um, and it
21:33just looks a lot more realistic than it
21:35did before. Um, you'll also have
21:37reflections when I show you some uh
21:39material properties. So, that is
21:40something you should have on all the
21:43time when you're using um EV. By the
21:45way, there is another rendering engine
21:47called Cycles, and it is much more
21:49realistic. However, it is a lot more
21:51slower. Um, it's honestly I I'm going to
21:55show you at the end a comparison between
21:57Cycles and EV, but it's actually
21:59negligible if you know the right
22:00settings for EV. So, I'm going to keep
22:02it on Eevee for the rest, which is
22:03actually good because Eevee is actually
22:06pretty powerful at doing most things.
22:08It's just it's it's a game engine style,
22:11so it's it's a rasterized rendering
22:13engine, whereas uh Cycles is a path
22:16trace rendering engine. Much more
22:18computationally heavy. Um whereas uh EV
22:21is much more faster. So, we're going to
22:22keep it on EV and I'm going to show you
22:23how to get really great results with it.
22:25And then at the end, we're going to flip
22:26it to cycles. So, if you want to see
22:28that final result, you can get it. But
22:30we're not going to start there because
22:31it's just not necessary and I don't
22:33think most people will actually need it.
22:34Okay. So, I'm going to talk about some
22:36materials. But first, um you'll notice
22:38like it's kind of annoying to have to
22:39like render something like go to render
22:41it every time you want to see um an
22:43image like that. And thankfully, you
22:44don't have to because in the top view
22:46here, these little icons, there is a
22:48mode here called render view mode. And
22:51this puts the render in real time. Look
22:55at that. I don't have to hit the render
22:58to wait to see my result. I can see it
23:00in my viewport. So, it used to be that
23:03like rendering engines were so slow that
23:06really to do a render was like a big
23:08task. You hit render and it would take
23:10hours to process something and it didn't
23:11look anything as good as this, right?
23:13But now rendering is like and computers
23:16are so fast that we can just have
23:17rendering running constantly whilst we
23:20are working and it's usually not
23:22computationally heavy. Um so this is
23:24yeah this is Eevee which is the the much
23:26faster one. um cycles would be a little
23:28slower, but still. Anyways, now that
23:31we're in render view mode, let's talk
23:32about materials. So, let's start with
23:35the like most different material. Let's
23:37go with the icing. So, looking at our
23:38icing here, if I want to make this look
23:40pink and change its overall appearance,
23:42if I go down to my material panel down
23:46here or material properties, um and then
23:49I can just click on new material. And
23:52now I've got a bunch of different
23:53options here. Okay. And these all do
23:55different things for um for for the the
23:59surface appearance. Like metallic will
24:01make it look like metal, right? Uh
24:03roughness will change like how sharp the
24:05reflection looks. Uh the base color,
24:07this is like the main one you want to
24:09change for almost every object. This is
24:11just the base color of the object. So
24:13obviously I can make that look pink like
24:16that. Let's pull in here a little bit
24:18closer. Focus on that. Um so I can make
24:20it look nice and pink. Uh, the other
24:23thing is is it's looking like way too
24:25diffused. It's almost like a chalk
24:26looking icing. But if I bring this back,
24:29I can make this look more shiny. I don't
24:31want to go like too far cuz then it's
24:32like mirror reflection. I want to go
24:35like, you know, somewhere around 2. The
24:38great thing is is we can really change
24:40these values at any point in the future.
24:42So when we add in other objects and
24:44there's different lighting setups, some
24:45of the settings can look a little off at
24:48that point. Um, so it's very very common
24:50to like once you've set up all your
24:52lighting and everything to like
24:53re-evaluate your materials, but this
24:55completely non-destructive. I can change
24:56these at any time. And now I could
24:59create some very simple materials. Like
25:01I could say, let's make this look black.
25:02Make it like a black shiny glossy
25:06ceramic mug. So, um, by the way, you'll
25:08notice I'm not going all the way to
25:10black. There's a kind of a unspoken
25:12Well, it's not unspoken. People speak
25:14it. um you shouldn't um uh go fully
25:17black or fully white or like same with
25:20like uh colors. You shouldn't go like
25:22100% saturation on a color because
25:24things start to clip. It's maybe a
25:27little outdated as like now color
25:28management is getting so good it's it
25:30knows actually how to handle saturated
25:32stuff and like dark things, but it's
25:35still like a general rule. Um, you never
25:38want to go like fully black because
25:40things are never truly like the real
25:42black is vant black, right? Which
25:44[snorts] is like just this material
25:46which is like scientifically created to
25:47like emit no uh reflection simplifying
25:51it. But yeah, so like things will even a
25:54black mug that looks really black to you
25:55is probably not entirely black. So it's
25:57still there's going to be a little bit
25:58of lightness to it. So I'm just adding
26:00that in there. Uh the roughness. This is
26:02where I can make this. If I wanted this
26:04to look like a, you know, shiny ceramic
26:06mug, I could do something like that.
26:07These are just placeholders, by the way.
26:09I'm just using this as an example of how
26:10to create very simple um materials. Uh
26:13the plate here, uh let's go. Yeah, make
26:16it just look a little bit shinier than
26:18by itself. And then the donut, let's go
26:21give it a, you know, brownish lightish
26:25color like that. Make it a little bit
26:27darker like so. Um, another value which
26:31is super important for something like
26:33icing and and uh the donut and it's it's
26:36really important for just two things
26:37which is food and characters and it is
26:41that um when light hits objects like
26:44this they are mushy right they're made
26:46of like organic matter and so light
26:49actually enters the object and it kind
26:51of scatters around inside it and then it
26:53re-exits it. Um, it's the reason why
26:55when you like look at your hand in front
26:57of a light or the sun or something, you
26:58can see the light shining through. You
26:59can even see your bones through your
27:01hand if it's a bright enough light. Um,
27:03so it's called subsurface scattering.
27:05And that value is underneath here where
27:07it says subsurface. If you go down here,
27:10um, you want to turn the weight all the
27:12way up to one cuz this is not the
27:14intensity of it. This is just like
27:15apparently this value is supposed to be
27:17zero or one. It shouldn't be somewhere
27:18in between. to control how much of it is
27:21the scale which is how much how far into
27:23the surface will the light penetrate. Um
27:26and then you can see here you can
27:27increase this or decrease this and you
27:29can see the light kind of get into it.
27:30Now by default it looks red which I also
27:34think is a mistake. Um it's very
27:35suitable for characters because
27:37characters need red cuz inside a
27:39character is blood right but for every
27:42other thing like food it shouldn't be
27:44red. Um, and confusingly and and I know
27:47there's a mathematical reason for this
27:49because of like how light in the physics
27:51of things, but like different
27:52wavelengths travel at different speeds
27:55right inside the surf. That's how I
27:58understand it. So they've they've made
28:00the color of the subsurface
28:02um
28:04RG and B separated here. So you can see
28:07we've got red as one, then we've got
28:11green as 2, and then blue as 0.1. So
28:14essentially, I need to clear all those
28:16out and make them one, which here's a
28:18tip. You can drag over multiple values
28:20in Blender. So if you just click and
28:22drag down across something, and then you
28:24can just type in one and then hit enter
28:26and it makes all of those one. Um, and
28:28then now I can, you know, tweak this. I
28:30can make this look a little bit more
28:32milky like that. But we can, you know,
28:34we can adjust those. I'll do the same
28:36thing for my donut here. Um, give it
28:38some subsurface. Turn that up. And then
28:40I'll set this to one. And then, yeah,
28:42let's just leave it at the default
28:43value. But you can see that that's with
28:46subsurface on. Actually, let me bring
28:47the camera in. All right. I'm going to
28:50go lock it. Bring this in. And I'm going
28:52to do a before and after render. So,
28:53this is how you can use these these
28:55slots. So, this is with subsurface on.
28:57Then I'll go to slot two. And now I'm
28:59going to select this. And I'll turn it
29:01off. And then I'll do another render.
29:03And now hit J back and forth. So, that's
29:05the difference that subsurface can make
29:08to something. You can see here where
29:09it's like fully dark. It's actually now
29:12the light is passing through it and
29:14that's what gives something a milky kind
29:16of look. Um, and it's, as I said, it's
29:18it's mostly true for things like food.
29:20You can see it. I take photos of it
29:21myself all the time when I'm out and
29:23about cuz I'm like, "Look at that
29:24subsurface." And my family think I'm
29:26weird. Um, but I I think it's cool. So,
29:29anyways, there you go. So, that's that
29:31subsurface. All right. Um, I'm gonna
29:33pull the camera out to here and then um
29:36let's add a table because this has to be
29:38a table. Uh we're going to do the
29:39texturing in the next part. Um but let's
29:41add a table. Now, normally if it was a
29:44table that you were um Make sure I turn
29:46that off while I while I orbit around.
29:48You know, if this was a large scene,
29:50right, uh whatever, you would have to do
29:52like model an actual table. If you know
29:54the camera is only going to be here,
29:57doesn't matter about anything except the
29:59top surface. So, all we need to model is
30:02shift a plane. That's it. That's our
30:05table. I I just have to scale it up a
30:08little bit. But this is our table. It's
30:11actually really common in 3D if you look
30:13at like breakdowns of 3D scenes in
30:15movies and stuff. Everything is fakery.
30:17They just like buildings are cards. They
30:20just like a a plane with a texture
30:22slapped on it. Nothing is real. Um you
30:25know, when the camera moves, they might
30:27have to like model things properly and
30:29people go like, "Oh, I have to model it
30:30now." Um but like if the camera's here,
30:32it doesn't matter. Just make it a plane.
30:34Um there you go. So, that's that's a a
30:38donut on a plate with a mug. And that
30:41for somebody who has never used 3D
30:42before, that's an achievement. Um, this
30:45is the kind of thing that like back in
30:46the '90s, you probably would have won
30:48like scholarships for and stuff if you
30:50could pull this off. This used to be
30:52insanely difficult. It is still pretty
30:55difficult cuz 3D is hard. Um, but yeah,
30:58if you have uh uh if you're new at it,
31:01this should make you proud. You you've
31:02pulled this off. If you want to save
31:04this, by the way, you can go image and
31:05then go save. Um, and then you can just
31:08save an image, PNG. You got all the
31:10options, JPEG, etc. Um, however, if you
31:13want to make this look good, in the next
31:15parts, we're going to be making this
31:17look much, much better by doing some
31:20texturing and making our table look good
31:22and adding some ceramic textures and
31:25things to different objects. But this is
31:27kind of the end of the modeling section
31:30of the doughut tutorial. Um so we we
31:34touched on you know basic primitives. We
31:36add slight defamations. Um we extruded
31:39some things to uh create like an organic
31:42looking shape. Did a little bit of
31:44sculpting. Um and then we created a mug
31:47right and then did some uh modifiers and
31:50subsurf to kind of uh create the general
31:52shape there. So those are kind of some
31:55of the techniques that you will need to
31:57learn to create lots of different
31:59objects in the future. Just some though.
32:01But there are so many other techniques
32:03and tools. Uh precision modeling,
32:06modeling mostly with hard objects, how
32:08to keep straight lines and then modeling
32:11something that is really custom and
32:12deformed. Getting those like largeish
32:15shapes there and just kind of like
32:16almost using the mesh like a guide mesh
32:18to kind of uh create shapes. And then
32:21actual characters like sculpting a
32:23character from nothing and then actually
32:25converting that character into something
32:27that looks and has like like subdivision
32:30so that the arm can move and then
32:31rigging that character so that you can
32:33actually move the arms like a puppet. So
32:35these are the kinds of techniques that
32:37we don't have time to go into in the
32:39donut but I do have time to go into in
32:41my course called the beginners academy.
32:44So all of these things you can see on
32:46the screen here are taught in that
32:47academy. If you only want to learn
32:49Blender for free and you just want to do
32:51this donut, that is fine. But if you
32:53want to go further and you want to learn
32:54how to actually think like a 3D artist
32:58and take an idea from your head and
33:00actually convert that into something
33:02that you can use, whether that be for 3D
33:04printing or for rendering or for
33:06whatever visualization purpose you have.
33:08Um, that's what this course is about.
33:10It's teaching you those foundational
33:12skills um to actually um create
33:15something that you want to create. So,
33:16if you're interested in that, uh the
33:18link for that is uh beneath this video
33:20and um it is designed for complete
33:22beginners who have finished the donut.
33:24But you've learned enough now that if
33:25you want to jump straight to that, you
33:27could. But if you want to continue on,
33:28we will jump into texturing next. I will
33:30see you in the next

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