OK, let's take a look at some of the modifiers in Blender.
And let's start with the Boolean modifier for that, I'm going to create a new cube here.
I'm going to duplicate it.
Snap it back into place.
And then let's scale it a bit.
Something like that here.
We can always change that later.
And now what I'm going to do is head over here to the modify properties with our currently selected
object where we then applied to and in here we have all the modifiers that are currently available here
in Blender.
And here we have the Boolean.
I hope I pronounce that right.
And now let's say we want to have a difference here with that cube, we simply go on that thing and
select it.
And now you can see that it already did the cut, but we can't really see what's going on unless we
hide this here so we could hide it.
Or what we could also do is select this operator here, this cube, and then we go over to our object
properties, go to viewport display and we put it to not textured, but wire.
So now, essentially, we have a live bullying view here, which adapts to whatever we do with that
shape here, and we can then also go back you to our edit mode and because that here is essentially
just another element here.
We can then further edit that, and that applies the changes here to the original cube that we pick
from.
So then whenever we are happy with that shape, what we can do is go back here to that object where
we have the modifier on.
And then here we can go on that little error and say, apply.
So now that operation is actually done, but we still have this cube here in the scene, which we can
then just get rid of.
So now let's take a look at the bevel modifier, which enables us to make a high pulley out of this
geometry.
We want to go back here to our modified tap and then we add the bevel modifier.
And as you can see right now, it just basically champers everything.
If you're familiar with Freddie Mac's, this is the equivalent to the chamfered modifier.
And in here we have different limit method types.
Let's say we want to put that here to angle.
Then it looks at this curve here, and it takes that as one continuous angle here, so it puts the chamber
then accordingly.
This works for something very simple like that.
But in general, the more control is given when we use the bevel weights.
So let's take a look at the weight method.
We put the modifier here to weight, and right now the result is that we see nothing because we have
to go over here to our edit mode.
And then while we are in the edge mode, we can say select sharp edges, which is also looking at the
angle here to do that, but we can also manually select edges.
So now with that selection, let's bring up our item here and in here.
You see, we have the mean bevel weight, which we want to put up to one, and now we basically tell
it, we want these particular edges to reflect then our chamfered ring within our bevel modifier.
We have these expandable options.
And in here, we can also change the amount and the segments.
So all these settings here play a role in what it looks like once we add our subdivision surface on
top, which in four D-Max is the tool was smooth and you have these two options here.
This one here is only when you want to render something.
This one here actually puts the subdivisions on it.
And the reason why we don't really see it here is because we have optimal display on.
Once we uncheck that, you will then see that our mesh actually subdivide.
And since we have one massive ngon here on top, we get this overlap.
So we're going to switch over here to our Vertex mode.
Select that vertex point and that one.
And then we make a connection here by pressing J.
J for join and also down here.
So now we can see that we still have some overlapping going on, and this is where some of these other
options here come into play.
So usually what then makes the difference is to change this year from sharp to arc.
As you can see now, we don't have any more overlapping.
You can also try some of the others here.
But, for example, the patch gives us this pinch here, which we don't really want.
So let's have it set to an arc, and we can also toggle on and off here.
Our subdivision modifier to actually see what that looks like.
So if we compare the patch to the arc, then you can see that this year actually comes with a bit of
a curve where the other is perfectly straight.
We also have another setting here where we have the loop slide.
So really, it's a matter of trying these things out and see what works best.
So it appears as if disabling the loop slide is actually producing a better result than having it enabled.
It seems to bring it further here to these edges makes it more accurate and.
The other thing is that if we press tap, we can go over to our object mode and we actually see everything
without the modifiers.
So essentially our end result is seen in the object mode and then in the edit mode, we have our modifiers
stack and we can work on it.
So when working on High Poly Object, we could also add a material to it to make it a bit more obvious
how our high poly actually looks like.
And I'm going to add a bit of a roughness here to it, a bit of a glossy look.
And that way we can better see, do we have any pinching and how does it look overall, especially if
we go here into object mode?
So the most important thing is that while we have our modifiers on it in the edit mode, we can further
go ahead and change this geometry, for example, these two edges here.
I'm going to give it a bit of a bevel here.
And now there's one thing that is a bit of a problem, which is that we have our currently selected
and beveled edges shown as blue.
This is how you know, these edges have some weight information on it.
However, these edges here we currently can't see because they are hidden by the high poly geometry.
Only once we go into the X-ray mode with all Z, we see these edges.
So in that case, it makes sense to have a toggle for this mode here, which is basically another way
of frame mode that really shows everything.
So I want to have this here on a toggle, and in order to do that, we can, for example, use the interactive
tools here, which has this on that button here.
So that allows us to toggle back and forth in between.
And I like to put that on free.
However, on a free, we currently have this search menu here, which lets us search for everything
in Blender pretty much, which is kind of useful, but I'm going to put that on f five instead of free
and then put that toggle on free, which kind of mimics Freddie Mac's.
And that's really the reason why I want to do that, because that's what I'm used to.
So let's go over here to our preferences.
And then here under the key map, let's look for free and under key binding.
We see that we have a here on the search menu, so I'm going to right click in here and actually, no,
I'm going to click in here and now I'm going to put that on F5.
So now if we go here, we have it on that five.
Before that, we didn't have anything on that five.
So now we can go ahead and say, right click Assign Shortcut and EV free.
So now we have a toggle for it.
And here on a four, we have this toggle.
So when we were doing this gem offering here on that corner, you see how the edge weight automatically
gets put wherever we did that action.
But it also puts it here into places where we might not want to have it, because if we look at it here
in the object mode, it has a bit of a pinching here and it's not really necessary to have it because
it's one continuous flow.
So I'm going to select these four edges and then here we can go back, basically put the weighting to
zero.
And now you see, we have this continuous flow year, which looks much better.
So just when I recorded that Boolean part of the tutorial blender 2.9 one came out and it now has a
button where you can put it to exact.
And essentially, it does an even better job when it comes to handling complex geometry.
So I just installed that.
And there's also another thing that I want to show you that I just discovered it's called J-Mac tools.
So it's a really cool plugin that helps us with a Boolean operations and some other hot surface related
tools, and we're going to take a look at it in just a moment.
You can download it here once again if you go and download ZIP and then you just activated through Blender.
And if you look down here, there's a link to the documentation that's also worth checking out where
everything is perfectly explained and listed.
So I already have it installed, and then it will pop up here as James tools.
So before we look at the James plug in, let's take a look at the mural modifier, which is another
very important one.
So let's apply it, and the reason why we don't see anything is that we have a few additional buttons
here that might help in that case.
So enabling bisect now actually gives us the result that we expect.
So it's often a matter of trying out here in combination with these buttons to get the expected result.
So right now, being in the object mode means that we see our final result.
If we go over to the edit mode, we see our currently selected object with the modifiers applied to
it, so we can toggle that on and off, but we can also leave it on and then make changes here to our
geometry while these modifiers work in the background.
So something that is important to consider is that the hierarchy of these modifiers plays an important
role.
And right now we have the mirror modifier above the subdivision modifier.
The hierarchy is basically inverted here in Blender.
Whatever we have at the bottom is actually at the top, or at least when you come from for the max.
So this here is the latest modifier and the reason why it does this thing here is that we have it currently
above the subdivision.
Now, if we drag that under this subdivision, you see that we have a much better result here.
So essentially, the subdivision modifier should always come last.
And in general, I don't like to have this on while I still work on something.
So it's something that I like to put on at the very end when I'm pretty much done with my high poly.
But while I work on it, I want to see what my edge flow looks like, and that makes it much easier
to work on.
Sorry, guys, right now you're looking at a freeze frame.
What I did was I put the edges back where my pivot point is and then I go over to the mirror modifier,
I go to the arrow and I apply it.
So our mirror modifier will always look at our quick origin point, which in this case here is in the
center of the original box that we were spawning before we made any modifications to it.
So if we want to change it, let's say we want to have it mirror around here, then we can make use
of our quick origin again.
Let's select these faces and then under our favorites, we have the quick origin and now we have this
point right here and we are then able to make another mirror.
I'm going to put it here to Z, and this is essentially how you can do that.
Now, you may probably not want to have this edge here.
So then again, it's a matter of putting that modifier here under the bevel.
So if we have it above it, we have this edge.
And if we put it under it, it actually has one continuous flow here.
So once again, the hierarchy is important, and what is also important is to check the settings that
we have here because right now we don't have this, you said to bisect.
And let's take a look at what that means in our edit mode.
We still have the selection for these bottom faces here.
And essentially, if we drag that here into each other, then these faces will remain.
So if we go over to object modes, you can see we have some pretty funky geometry here.
And now if we come over here and put that to bisect, it pretty much welts that for us.
So this can sometimes be a little bit confusing, or it might be something that you forget to put on.
So just make sure to really check your mirror settings, and in most cases, you probably want to have
bisect on.
So that had welts.
So now I can go ahead and I'm going to apply this mirror modifier once again.
And what I want to do is select these faces here.
Also on that side, and then let's get rid of them.
So because we are in the material preview mode, it doesn't show the black face cowl.
If we go in the viewport shading, it becomes clear that we only have faces here to the outside, and
this is not double sided geometry.
So this is important because now that we put on the solidify, we actually get our thickness here.
It's essentially the shell modifier in Freddie Mac's.
And what it enables us to do is to add a thickness here to it.
So as you can see, it does some weird stuff here.
And that's again, because we have to consider the hierarchy if we put the solidify modifier and drag
it here to the beginning.
We get a much better results.
However, it still looks a little bit strange, like you can see that this curve here is not really
the same as this year.
So in order to make that the best it can be, we go in here and then we tell it to go into the complex
mode.
And now you see, we have a really nice results, the best it can be.
And that is basically that modifier here.
And it works, of course, also hand in hand here with our subdivision.
And this is how we can create something like that here and give it thickness.
So now let's take a look at our J MASH plug in.
I'm going to go ahead here, delete this and let's once again spawn a cube, and then I'm going to make
a copy of it.
And let's just leave it like that here.
So now with our J MASH plug in, we can pick this box here.
And then we put it to difference.
And now you see it automatically did that operation for us.
However, I'm going to undo that and then I'm going to uncheck a play.
Immediately and hit difference again.
So now we are able to basically change our bullying here in real time.
And we didn't have to go through all these steps that we did previously.
So essentially, it already puts it to wire and it just helps us being faster with the bullying.
And then we can also again go ahead.
And let's say we want to Bevell this year make a nice shape out of it.
And then we say, apply selected bullying.
And that leaves us here with this geometry.
And another very cool thing about it is that we can then hit that bevel button, which brings up this
dialogue, and it automatically adds these modifiers here to our stack, consisting out of bevel and
weighted normal, which further helps to make this more nice looking here for us so we can adjust the
width here.
Let me go over here to the wireframe.
Adjust the width, and now if you apply this, it will automatically collapse these modifiers.
So don't get confused about that.
In most cases, we want to be non-destructive, so I'm going to just close it.
And essentially, this is how you can be really fast.
And this plug in, as you can see, helps a lot with it.
We can also go ahead and click on that button to get rid of these modifiers.
It still leaves the weighted normal on.
I'm not sure why, but it's not like this causes any issues for us.
And then if we want, we can just go back and apply it again.
So now I'm going to snap here into that auto graphic sight view, and let's take a look at the primitive
mode.
Once we enable that, it will tell us that we have several kind of options here.
And for starters, we can choose between different primitive types.
So I'm going to go over here and start with a circle.
And now, wherever we have the mouse cursor and press control and left click, it will spawn it.
So in my case, I'm going to have it here.
And with the mouse wheel, we are able to control how many segments we want.
So I'm going to have.
Eighteen and then I confirm that with the left mouse button, and now we're able to look around and
this stays there.
But now we still don't have a shape, so I'm going to press Eve and drag out this shape.
Here goes in both ways.
And let's say we want to have it something like that here.
Then all we have to do is confirm it by pressing control and left.
So now we did that.
You can see we have this geometry now here.
It's solid, but we still have this object here.
So that might be a little confusing at the beginning, but all you have to do now is press escape.
And now we're left you with this primitive.
So then once again, we can just say difference.
And there we go.
We now have a Boolean operation here on this object.
So in that case here, I actually want to go back to that object and say unbelievable, because now
that we have these new primitive here, we want to have to bevel it to gain in order for it to take
effect here to this new operator.
So let's have something like that.
And then once again, we are able to move that around and do a live Boolean operation here.
So this is pretty amazing stuff, and then of course, we can take a look and see if it maybe messes
it up a bit in that case here, our Bevell segments might be a bit too wide.
So it's then a matter of adjusting it a bit, but you can see that we can do pretty complex stuff in
a very fast time.
And then when we're happy, we can say apply, and that leaves us then with this geometry here.
So what we can also do is use that primitive mode here and make our own geometry if we toggle over to
the poly line.
We can then press once again control and left, and then we're able to make our own lines here.
Might not be very pretty what I'm doing here, but just to demonstrate it.
And then whenever we're happy, we say control and left, and that leaves us here with that shape,
which we can then once again extrude out.
And by the way, if we go, for example, here in the top view and press G, we're able to move it around.
So now let's say we are happy with that.
We can then regain control and left.
And then I'm going to hit the escape button to confirm.
And for example, in that case, that severed a union.
So this time, I'm actually not going to do the unbelievable just to demonstrate to you that we can
also just hit the apply while we have the bevel modifier on top.
And it will then automatically merge it and add the bevel to it.
So let's apply.
And here we go.
So let's go back to the primitive mode once more.
Let's say we are looking at a face here from the orthographic view.
And let's take the rectangle here, for example.
Now let's draw that anywhere.
And if we want to center that, we can make use of this cursor.
If we press control and the green button, it will center it here on the Z-axis.
And if we put it anywhere else and then hit that blue button with control, it will set it on the y
axis.
And if we press the white button, it will center it on both axis so that it will be in the center of
our face.
So that's a quick way to have it aligned.
And then we can just proceed and make our Boolean operation here.
So in that case here, let's have a difference.
And then we can still, of course, change the position.
Right now it's in the center.
But as you know, we were able here to also move our operator around.
And then we can also go over to our edit mode and, for example, use a bevel on it and then apply it.
So that makes for a quick way to work here with this primitive mode.
And what we can also do is add a mirror modifier by clicking on Mirror.
So that will be a non-destructive modifier that we can add on top and that we can toggle on and off.
And if we like it, we can then apply it.
But I'm just going to delete it.
Another way that we can use the Mirror is by clicking on these buttons, and it will then not add a
modifier, but to the mirror operation instantly.
But the good thing is that the other modifiers are still intact so we can toggle them on and off.
So I'm just going to go ahead and clear that scene out here.
So let's get out of this primitive mode and let's have another cube.
And now let's take a look at this array modifier and we have two of them here.
So it's already pretty much giving it away.
This one here allows us to work on a specific axis can only be one, or we can also change it here in
that direction if we want to.
And that allows us to do this kind of operation here.
Whatever we duplicate here will automatically become an instance.
So if we go over here to the edit modes, it's becoming a bit more obvious, and it also adds a modifier
that we can toggle on and off if we want.
And then if we are happy with it, we can either apply it or in that case, I'm just going to get rid
of it.
Now let's also take a look at the circle area.
So what is important to consider for this circle area is that it's basing it here on our cursor.
So this one right here, which by default is in the center of X, Y and Z, will be the origin from
where on we do this circle array operation.
So then same principle as before applies.
We have these instances here now, and if we like it, we can collapse this modifier or if we want to
move it around, we can press a and that will select everything, and we're then able to move it while
we still maintain our modifier and can make changes to it.
So if you're coming from Freddie Mac, you might be familiar with Reset X form in Blender.
We also have a Reset X form.
And for example, if we have this stack of arrayed objects and I'm just going to apply it here, the
modifier, and now we push that out here to the side.
That means we changed the orientation of it.
And by pressing control and Amy, we bring up this dialogue where we can reset all these different values
here.
We can do it individually for location, rotation, scale or just for everything here.
And now, if you take a look at what happens to the pivot, it jumps back here to X, Y and Z zero.
So this might also be a good thing to just quickly reposition our pivot back to zero.
And then, for example, we could just use that again here and have more of these instances.
So lots of use cases for that, and that is where you can find that.
So if you ever have a need to flip your normal normals, you can do that here in our edit mode.
And now let's say we are in phase mode and we have everything here.
Select it and we want to invert these normals.
Then we press shift and end, and then nothing seems to happen.
But we have this dialog appearing here now.
Recalculate normals.
And if you say inside, you can see now the normals are flipped.
So sometimes there's a use case for it.
Not too often, but that's where you can find that I'm going to select everything that we have here
in the scene and just going to clear it out and let's have another cup here in the scene.
And I also want to subdivide it.
I'm not sure where this extra x, y and Z came from this black one here, but we don't need it, and
I'm going to turn it off here under stress.
So now let's take a look at a cool new feature that got introduced with Blender 2.9.
And it's the extrude manifold.
Let's select it here in that submenu of the extrusion command.
And now, if we are in the phase mode, we are now able to select an individual phase and extrude essentially
here to the inside.
That would have cost some issues with the regular way of extruding.
And now we have some sort of a smart extrude here.
So that's a pretty cool new feature.
And just to demonstrate how it used to be before we have our extrude command here on D, and it's always
possible to extrude it to the outside, but to the insides, we would get this.
So this is essentially the difference with this manifold extrude that we don't have to stress about
that anymore.
We can also make an extrusion here to the inside.
So let me just undo that.
And just to make it extra obvious now here we don't have these extra phases to deal with.
So it's a pretty cool new feature.
But for now, I'm going to leave our old extrude shortcuts that we have set up for D because I'm not
sure how much use I'm really going to make of that, but I'll see in the future.
So now I want to take a look at curves in Blender, also known as shapes, or in Freddie Mac's, we
call it.
Going to get out of the extrude mode and I want to select edges here.
So let's switch over to edge mode and to demonstrate that better, I'm going to make a bevel here.
So now, while still being in edge mode, I press shift and ault, and this will also select these edges
here.
So now we can take that and press shift indeed, and then snap it back into place.
And now with this active selection, we can press people and separate that out.
So now we can go over to object mode and select this, and we could also isolate it here to make it
more obvious.
And now what we have is basically edges with vertex points.
I'm just going to go back here to the added more to make that more obvious.
We have our Vertex points and here we have our edges.
So right now, this is not a curve yet.
What do we have to do is take this selection and then we go over to object and we say convert to curve.
So now it's officially in curve, and you can see now that this symbol here changed to being a curve.
So over here in that tap, we can then go over to geometry and we can then add depth to it.
So this is how we do that.
So as you can see, this is far from ideal because we don't have an even flow here where wherever we
have like a 90 degree angle, it kind of messes it up like that.
And in case you wonder what we can do about that, we do have a fix if we put it to 2D.
So this is how I would actually expect it to also work in 3D.
And you might wonder, Well, let's just always put it to 2D so we could do that.
But the problem is that if we also want to have that information, then we can have that.
So I'm just going to take these and let's say we want to have something like that here now.
We don't have any even flow here.
And if we put it to 2D, it will then flatten it back here.
So this is a bit of an issue right now, and I hope that eventually one day they're going to fix that
because right now in the 3D mode, we have these inconsistent flows here and 2D is the only one that
fixes that.
Either way, I'm not actually using that that often either, but that's just something to be aware of.
And also, we can change the resolution here so we can bring it down like that all the way to basically
just being four sides.
Or we could really crank it up a lot.
So this is up to us.
And then Phil Capps does, as the name suggests, it keeps it here.
So these are basically splints in Blender, also known as curves.
So then whenever we're happy with it, we can go back here to object and say, convert to mash.
So now it's regular polygon geometry here.
And another thing that we can use the J MASH plugin for is to make that same selection here just to
demonstrate it that we did before.
So here's our selection.
I'm going to snap it back.
And now what we can do is hit that mesh two curve button over here, and it automatically does this
step for us that otherwise we have to go over here to object for.
And we're ready then to work with it.
Same applies as before.
Of course, we have to go in the 2D view here or our 2D mode in order to get rid of these uneven edges.
But another useful tool that we have here in our James Block in.
So let's also take a look at text in Blender.
Let's press Shift A and that pops up our default menu here and here we have text.
So once we have that in the scene, it will always appear like that here.
And right now, we can't change it for that.
We have to press, tap and go over to edit mode.
Now we are basically in an edit mode specifically for text.
So now we can just type in here, whatever we want, and then we have our 3D text here.
And then it's also pretty similar to what it is with the shapes we go over here and that pops up this
menu where we then we can, for example, extrude it.
And what we can also do is add a bit of depth, and that will basically give us a bit of a bevel here
around it, for which we can then also change the resolution if we want.
And this is how we can make text in Blender.
So I really think that this is as good as it gets here for our fundamentals of blender.
Let's go ahead and have some fun.
I'm going to delete that text here to clear out our scene.
And let's make a Vulkan cannon round and then we let it drop to the floor.
First of all, I'm going to put our units here two centimeters, and then I'm going to have to link
to the reference image in the description.
I want to go over here to our front view, and then we're going to add a reference image.
So now I'm going to navigate here to my reference.
Like I said, I'm going to provide it in the link and now we don't see it because we still have to check
extras on here.
So now we see what we actually added in here as reference image, and now I'm going to go ahead and
create a cylinder and then put it here, according to the sizes that we see on the ref image radius
of 1.5 centimeters.
And then we have a depth fear of sixteen point eight.
So now we see that this is way smaller than our reference image.
That's why we grabbed the reference image, and now we just scale it down here till it fits our cylinder.
I'm going to put the cylinder to the x ray mode, and now we see better how we can scale it to really
fit it.
So just a little bit more adjustment here and now let's just make sure it's centered as good as it can
be here.
I'm actually going to push it a little bit more here to the right side.
So now we have a nice center position here, and we can also make use of this measured tool to see if
we actually got it right.
And yes, we did.
This is free centimeters.
So let's make use of a new tool here that we haven't looked at before.
It's the loop cut.
By default, it will always align to the center, and I'm going to make one connection there in the
center.
But if we keep our mouse button pressed, we can decide where we want these loops to be.
So I add two more loops there at the top and then also one here at the bottom.
So now with these loops, we can go in Vertex mode, and I'm just going to align it a bit here to our
reference image.
Just use the scale tool and make sure it's a uniform scale.
The same here.
And then let's also take that here and do the same thing.
So let's just make sure we fit it here to our reference, maybe this one here a little further down.
And then I'm going to actually go over here to that perspective and drag a reference image a little
bit back out there so that we have these more isolated.
So now let's take another look here at this, and I'm comparing it with our reference image.
And basically what I want to do is go in each mode and then I'm going to bevel it here.
To make it nice and round, so over here, I'm also going to select the edge loop and I'm going to make
use of the Bevel tool once more in half.
Then these two sub loops in there, which now I'm selecting as a ring and scale it down.
And this year up a bit.
So let's take another look here.
On the upper part, and I want to go in vertical mode and select these parts here and just make a bit
of a uniform scale.
And now vertical scale to make that a bit more thin.
Here at the upper part, I'm also going to make loop selection.
And then I want to bevel that here as well, and I'm going to select this center part and press M and
collapse into the center.
So right now, we're only concerned about making this look good here and that 20mm Vulcan round later,
we're going to duplicate it and drop it to the floor, which is going to be a lot of fun.
So right now, I notice that I don't like how I have these bullets selected, but it doesn't rotate
around it, as you can see here.
So we can change that in the preferences if we go over to navigation and then we hit that orbit around
selection button and now we always have our selected object in the center.
And I prefer that very much.
So I'm going to go ahead here with this tool once more and add some extra loops here, according to
our reference image, where we have this extra ring.
Now I'm going to go over here to our face mode and I'll make a selection for the projectile and I press
the power button and I separated out by selection.
So I'm going to hide that selection so that we can focus on this.
You're going to make a loop selection, press F to fill it, then switch over to our face mode and then
let's make an inset on it just a little bit.
Now we can use the extrude command that we have on DH and bring that all the way down.
So now on the upper right at the scene collection, I'm going to hide this, activate this, and now
we can also click on this little icon there on the left side so that we can actually work on it so we
don't always have to go out out of the edit mode.
I'm going to do the same thing here.
I'm going to make an inset after we filled it, and now I'm just going to bring this all the way down
here.
And as you can see, we have a bit of a bevel there.
So what I'm doing is just another inset and then followed by yet another inset.
And that way, we can also just have a bit of a bevel.
So we don't always have to use the Bevell command, we can also basically use the inset.
It doesn't always have to be one action.
I'm going to have a subgroup here and I'm going to use the bevel on it.
And now I'm selecting these two etched loops and I want to give it another bevel.
And then I'm going to make a ring selection here on the inner parts and make a uniform scale on it so
that it looks like a reference going to do the same here on that edge loop.
And I'm going to get another bevel loop here in the center, just using the mouse wheel and then selecting
it and scaling it in.
And here at the top, we also have this detail on the reference.
I'm going to use the loop cut tool once again to bring that edge exactly where we want and have it,
followed by another bevel.
And then let's select that edge loop and once again, let's scale it down.
So here we have it now, we can also invite the rest of it.
And one thing we still have to do is here at the bottom.
Let's go over here.
Select this and then bring it in with the inset.
And I'm going to follow up with another inset and press control to give some depth to it.
Let's do another inset and then once again control to bring it down.
And yet another inset, which I'm going to collapse and then with the Vertex selection, I'm just going
to bring that down a bit.
So now it looks like we should probably bring that up again so that this actually could stand right
now.
This doesn't seem to be accurate.
So now we have taken care of that.
And essentially that is the model that we want to have.
I'm going to play a material to it.
Let's go over here to that material preview mode.
And we can use the color picker on our reference image.
And then I'm going to bring up the metallic.
And what we can also do is put the shade smooth.
And then what I also want to do is bring the roughness down so that this becomes more glossy.
And now let's do the same thing here for the upper part where we have free different material types,
if you look at the reference image.
I'm going to select the face at the bottom and press control and plus to grow the selection.
And then I'm going to make a new material here for it.
And just make it dark.
And let's assign it.
So now I'm going to make a selection here for a ring and also press control and plus to grow it, make
a new material and then let's use that color picker again to pick up on the actual color that we see
in the reference and also assign it.
And now for the upper part, obviously, we have a blue.
So what I want to do here is take it in the face selection mode.
And now we just have to grow it once more so that we also have these faces there where it goes to the
inside.
Let's have a new material and then let's once again pick up some of these blue colors that we have there.
We can always modify that later, but then we assign that.
And now we have quickly done our colors set up here, according to our preferences.
I'm going to select these two objects, press control and Jay to join them.
And now what we can do is bring up the James tool and add the beveled to it.
I'm not going to use the bevel weights.
Let's just use this here and now.
Let's see what that did to the James tool.
Let's further lower our amount here on the bevel.
Zero point zero five should do the trick, and that way we have basically a perfect high poly, but
this part there doesn't pick it up.
So let's carefully bring down the angle.
And now you see, OK, 15 degree angle did the trick, and everything else still looks good.
So we don't necessarily always have to use the bevel weights.
We can also just use the angle method.
Let's go back to all materials for that ring part.
I want to bring up the metallic ness and also lower the roughness to make it nice and glossy.
And on the blue, I'm not going to have metallic.
It looks like it's just painted on, but let's make it a bit more glossy.
So I think that pretty much does it.
I'm not going to add text to it, I know we have to add on the reference, but instead, let's just
take a look at this.
He looks good.
And yeah, I was just pressing Elle to select the element and bring it up.
And now we can press Control Z to undo that because everything looks good.
I'm just going to delete the reference image because essentially that bullet is done, but I just want
to make that ring a little bit bigger.
So I'm going to go over here to Vertex mode while we are in the X ray mode to make that a bit bigger
there this ring.
So now what I want to do is use the air raid tool here.
We can do that also with a J MASH plug ins.
And now let's have 10 instances here.
Let's close that and let's navigate to our modified tap.
Where now we have these free modifiers?
Edit here, and let's add another error modifier.
I'm going to put x two zero and then Y to one or actually a little bit more than that so that we have
some space in between there and now.
Let's increase the count to seven something like that.
I mean, you can have as many as you want, but it's going to be also heavy on the performance.
So let's drag that up here so that we can let it fall.
And I'm not sure what these objects are here.
They say they are empty, so I'm just going to delete them as the next thing lets collapse these error
modifiers.
So once we collapse them, everything here becomes essentially one element.
I'm going to press p and say separate by loose parts.
So now we can individually select each one of these elements.
What I want to do now is press a so that we select everything, and now we need to give each one of
them its own pivot point.
Because right now, everything links only to one pivot point.
So let's go to object set origin to geometry.
So now you can see everyone actually has the pivot point in the center, and now we got to get some
physical magic to it.
So we go over to the physical properties.
We add a rigid body.
I'm going to put the mask 2000 so that it drops really heavy because that's not always accurate.
I'm going to leave it as active where it sees type and the collision type.
I put it to convex hull that works pretty well.
Now with this selection, I'm pressing a to select all the others once again.
And then we want to go over to where it says rigid body and we say copy from active.
So what that does?
Once we hit it, it applies our physic properties to each one of these objects.
So now they all have it.
Next, I'm going to have a circle here added to our scene, going to increase the count for it to 128
so that it's nice and round.
I'm going to go over to the edit modes, make a loop selection and drag it down here with extrude.
Also going to select the upper edge loop.
And I'm going to bevel it so that we have this also nice and shaded and smooth going to scale it up
a bit and then select all the upper ones here and also center it a bit more so that once we let it drop,
it's actually falling into the center of this object here.
Speaking of which, let's go to rigid body and make this one here a passive type.
The ones that we let fall are active.
I'm going to make a selection here on this and make a copy with shift and D and then join it together
with control and j and put it to passive.
So with this selection active, we can then go over to our layout mode and you can see now that we have
to put our shading back on.
So let's do that and now we can snap into the auto graphic view and this extra one here, we just going
to position it already on the floor so that this is a collision type for the other ones that we let
drop.
So in our time frame, let's say 30 frames because we don't need to really load 250.
Let's play that animation.
And then once it's done, loading, you can see here how that bullet is passive type now, once it's
done, loading.
We can then pass the animation and let's put it here, maybe to frame 29 where we have this nice still
image, basically.
Well, next, let's press a to select everything, and then we have to go to object and apply visual
transform.
Because if you want to reload your scene after you saved it that way, it will stay in place.
So now let's add a point light to our scene.
We don't see anything yet, but we have to go here and do the proper render mode there on the upper
right.
Now you see that light actually affecting our scene.
I want to go in the light properties, expand the menu and add context shadows, which further makes
it look nice here.
I'm gonna also add another light, which is the sunlight this time.
It doesn't really matter if we drag it up or not, I think.
But this one too, I want to enable the contact shadows eourt mode served its purpose.
Now let's go to the shading mode here.
Let's also enable our material view that shows us the lights, and now it's time to make this look good.
Let's switch this to Wilt's.
Let's press shift in a to get the at menu, and we're going to add an environment texture.
Let's connect this year to the color slot, and then we open the default blender HDR images that already
ship with blender found here.
I'm going to add the courtyard scene, and now things start to look interesting.
As you can see, we got a proper scene reflection from our texture map.
Now, let's just find an interesting angle on here.
And then what we can do is on the right side, we go into our scene properties.
This one here.
And let's enable ambient occlusion.
I'm going to bring that down a bit doesn't need to be so strong, but just enough to have some extra
depth added to it.
And then what we can also at is some bloom.
The default is too strong.
We actually have to crank it up to make it less.
So it's a matter of just looking at it and trying out the different settings pretty much still looks
good.
Screen space reflections is a very important one.
Now we have a proper reflection from within our 3D models.
I want to turn off the half rest raise, so we have it looking better.
And then we won't be needing everything here, but here on the shadows, we can, for example, if we
turn off soft shadows, it becomes a bit harder.
But that's really up to us what we like.
And then what else do we got here under color management?
We can have some different contrast modes.
So if we put that to you to high contrast, you will see that everything gets a bit stronger here on
our image.
So once again, that's a matter of trying it out.
And then this actual plate that we have here, let's add a material to it.
And now with a screen space reflection, if we turn that here dark and then we add it to being metallic,
we get some nice mirror reflection here on the floor.
So first, let's make it metallic.
And that already adds a whole lot of interesting depth here to it, and then with the roughness, we
got a proper reflection going here, which is pretty nice.
So I'm going to go back to the scene properties for our lights.
And then what we can also do is go back to screen space reflection.
And if we adjust the etch fading, we can sort of tune how much visibility we want to have on it.
So maybe I put that to let's leave it at zero point one somewhere around there.
So now there's just one more thing to do, which is zooming out here just to make it clear this is the
currently selected object, and I just want to shade smooth it so that we have some nice edges there.
And then we can also scale it down so that it fits this better here and it's not so in-your-face and
too big.
So now I'm just going to bring that up because we just scaled it.
And essentially, now we have this scene here, we just need to add a camera to it, shift in a.
And then you can see the camera is now facing a completely different direction.
So in order to look through the camera, we position it here, something like that and press control
all numpad zero.
Now let's go to the camera settings because we're actually looking through it now.
We can still use the mouse wheel to zoom in and out, and if we go here to the camera settings, we
can also change a bit the parameters here, and we can even put it to different focal length.
I mean, not even, but of course, but we can also put it to orthographic view if we want.
So now we would just have to scale back in year.
And for example, this year might make a nice picture.
So I'm just going to zoom out a bit with the mouse wheel once again.
We're still in the camera.
And then what we can do is also add depth of fields to add some extra interest here to it, bring that
focus distance down.
And maybe so that it highlights the one that's standing up here.
That's really the one that we want.
And there might be better angles that you can experiment around with might not be the best render every
year, but just as a quick demonstration, how to do that then we can put our render passes up to have
a better quality on the sampling.
And we hit that render button and essentially just wait for it to be done.
And that is how to make renders in Blender.
Obviously, there is much more to it, but to give you a quick introduction of that here as well.
So here's our image, and one thing that I forgot to mention is if we want to close that year and let's
say we want to change our resolution, we do that here under the output properties.
You can see if we change this year, it reflects our dimensions there.
So I'm just going to leave it in 1920 and ten eighty.
We can also change the image output, PNG or JPEG.
And then when we're happy, we go on render once again.
And that concludes the introduction to Blender tutorial.
I hope you liked it.
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And stay tuned for more tutorials to come very soon.