Blender Master Course Part-2 Geometry Nodes, Simulations, Add-ons, and Character Animation

This text provides a comprehensive guide to various features and tools within Blender, a 3D creation software. It covers topics including candy creation using geometry nodes, creating a cotton candy tornado, understanding and using the merge by distance node to create snow particles, and manipulating textures with the separate XYZ node. The text teaches how to model a mushroom and distribute it across a plane, create animated dragons with custom wings and textures, and design a Sci-Fi portal scene using new geometry nodes. Furthermore, the resources offer a breakdown of creating lighting effects with gradient textures and RGB curves, generating clouds, and employing simulation nodes for animations. Finally, the materials explain setting up particle systems with interactions and collision physics, creating a character from modeling to clothing, and utilizing helpful Blender add-ons like BlenderKit and Cell Fracture.

Geometry Nodes and River Scene Creation: A Study Guide

Quiz

What is the purpose of the “Set Position” node in Geometry Nodes, and how is it used in the context of creating mountain-like structures? The “Set Position” node modifies the position of geometry points. In mountain creation, it uses noise texture to offset vertices, creating a displacement effect resembling terrain.
Explain the function of the “Combine XYZ” node when creating mountains. Why is it necessary? The “Combine XYZ” node restricts the noise texture’s effect to only the Z-axis. This is necessary to create height variations (mountains) without distorting the plane horizontally.
How does the “Edge Vertices” node contribute to creating a river that follows the base of the landscape rather than flowing over mountains? It calculates the position of vertices forming an edge, allowing for the measurement of edge lengths. By finding the shortest edges, the river path can be constrained to the base of the landscape.
Explain the purpose of the “Vector Math” node with the “Distance” operation in relation to the “Edge Vertices” node. How is its output used? It measures the distance between two vertices of each edge. The output is connected to the “Shortest Edge Paths” node, prioritizing paths with minimum distances (base of the landscape).
What problem does the “Resample Curve” node solve when creating the river path, and how does it address it? The “Resample Curve” node reduces excessive turns in the river path. It does this by controlling the number of points on the curve, smoothing the river’s flow.
How is a carving or space created for the river using the “Geometry Proximity” node? The “Geometry Proximity” node displaces vertices based on the river path’s geometry. The distance socket is connected to the offset in the second set position node, creating a carving effect.
Explain the “Ping Pong” operation within a Math node in the lollipop creation process. It creates a texture where the value changes from 0 to a specified scale value and then back to 0, allowing for repeating gradients.
Describe the purpose of the “Object Info” node, specifically the “Random” socket, when creating multiple lollipops with different colors. The “Random” socket generates a random value for each object instance. This value is used as a factor in the Mix Color node, assigning different colors to each lollipop duplicate.
Explain how the “Merge By Distance” node can be used to create snow particles. It merges points within a specified distance, reducing their number. Using “Distribute Points in Volume” to create points within a cube and then applying “Merge By Distance” to the result.
How does the “Separate XYZ” node function in both the Shader Editor and Geometry Nodes contexts? It takes a vector input and separates it into its X, Y, and Z components. It’s the opposite of the Combine XYZ node.

Essay Questions

Discuss the advantages and disadvantages of using Geometry Nodes for landscape generation compared to traditional methods like sculpting or heightmaps. Consider factors such as flexibility, control, performance, and ease of iteration.
Explain the role of proceduralism in the creation of the river scene. How does the use of nodes and mathematical functions contribute to a more flexible and adaptable workflow?
Discuss the importance of understanding the underlying mathematical principles behind nodes like “Vector Math,” “Map Range,” and “Ping Pong” for effective use in Geometry Nodes. Provide examples of how this knowledge can lead to more creative and efficient solutions.
Analyze the design choices made in the creation of the lollipop and gumdrop candy scene. How do the various nodes and techniques employed contribute to the overall aesthetic and realism of the final result?
Compare and contrast the “Face Neighbors” and “Vertex Neighbors” nodes, explaining their functions and providing examples of how they can be used in different scenarios to achieve specific geometric effects.

Glossary of Key Terms

Geometry Nodes: A node-based system in Blender for procedural geometry creation and manipulation.
Node: A processing unit in a visual programming environment that performs a specific function.
Procedural: Generating content through algorithms rather than manual creation.
Vertex: A point in 3D space that defines the corner of a polygon or mesh.
Edge: A line segment connecting two vertices.
Face: A flat surface bounded by edges.
Mesh: A collection of vertices, edges, and faces that define a 3D object.
Texture: An image or function used to add detail and color to a surface.
Shader: A program that calculates the color of a pixel on a surface, taking into account lighting, textures, and other properties.
Vector: A quantity having both magnitude and direction, often represented as a set of components (e.g., X, Y, Z).
Offset: To move or displace something from its original position.
Instance: A copy of an object that shares the same mesh data as the original.
Normal: A vector perpendicular to a surface at a given point, indicating its direction.
Modifier: A non-destructive operation that alters the geometry of an object.
UV Mapping: The process of projecting a 2D texture onto a 3D surface.
PBR (Physically Based Rendering): A rendering technique that simulates the interaction of light with materials in a physically accurate way.
Topology: The arrangement of vertices, edges, and faces in a 3D model.
Rigging: The process of creating a skeletal structure and controls for a 3D model to allow for animation.
Shape Key: A method for storing different geometric variations of an object, allowing for smooth transitions between them.
Driver: A system that allows a property of one object to be controlled by another.

Blender 3D Modeling, Animation, and Rigging Tutorial

This document is a briefing based on excerpts describing a tutorial on 3D modeling and animation using Blender, specifically focusing on geometry nodes and rigging. The tutorial covers a wide range of topics, from creating landscapes and rivers using geometry nodes to rigging a character’s face with shape keys and bones. Here’s a breakdown of the main themes and ideas:

I. Geometry Nodes and Landscape Generation

Creating Mountains with Noise Texture: The tutorial begins with creating mountain-like structures using geometry nodes.
It uses the “Set Position” node and “Noise Texture” to displace vertices of a grid.
“I’ll first add the set position node so press shift plus a go to geometry and in right select the set position node… now for the noise texture press shift plus a go to texture and here we have the noise texture.”
The scale of the noise texture is reduced and then magnified using a “Math” node with the “Multiply” operation, affecting only the Z-axis using the “Combine XYZ” node.
“I’ll first reduce the scale value of the noise texture to a much lower number like 0.1 or 0.2 and to magnify this effect of the noise texture we’ll be using the math node with the multiply operation.”
“RGB Curves” are used to define the shape of the mountains, and the overall effect is inverted by using a negative value in the “Multiply” node.
“to define the shape of the mountains we’ll be using the RGB curves node…to make them look like mountains we basically have to invert this effect of the texture and for this I’ll go to the multiply node here and take this value to a negative number.”
Creating Rivers: A path is created to represent a river flowing through the landscape.
“Edge Paths to Curve” node is used to create a path based on the grid, ensuring it considers the mountain geometry.
“to make sure that the path also considers the mountain s we created we’ll be connecting the geometry socket of the position node which is carrying all the information about the texture to the mesh socket in the edge parts to curve node.”
The path is constrained to the base of the landscape using the “Edge Vertices” node and “Vector Math” node with the “Distance” operation, connected to the “Shortest Edge Paths” node. This ensures the river avoids the mountains.
“with the edge vertices node we’ll be measuring the distance between the position one and the position two that is the the position between each of the two vertices forming an edge and we’ll be connecting it to the shortest Edge path node so that the path is placed only on the base of the landscape and not on the mountains”
The “Resample Curve” node is used to reduce the number of turns in the river path.
“since we’ll be using it to create a river so obviously we won’t need so many turns in the river so to fix this problem we have to use the resample curve node”
Creating River Carving: A carving or space is created for the river to flow.
A duplicate “Set Position” node is used to displace vertices based on the river path.
“to create the carving we’ll basically displace the vertices according to this path and for this we’ll be using another set position node”
The “Geometry Proximity” node displaces vertices based on the river path’s geometry.
“this node is basically used to displace the position of vertices of any particular object based on some other geometry which we add as the input in the geometry socket”
A “Vector Math” node and “Map Range” node are used to control the displacement effect in the Z-axis.
Adding Water: A plane is added to represent the water in the river.
A “Grid” primitive is added and scaled to fit the river carving.
The “Transform Geometry” node is used to position the water plane.
Edge Neighbors Node: Explanation of how the Edge Neighbors node works
“it will count the faces that are adjacent to an hedge”
“so we can use the edge neighbors node in order to tell the set position node that we want the changes to be applied only on some particular edges having a specific number of face count”

II. Creating Candies and Scene Composition

Lollipop Creation: A step-by-step process is described for creating a 3D lollipop model.
It uses the “Gradient Texture” with “Ping Pong” and “Multiply” math nodes to create patterns.
“to change this ending value like maybe you want to create a texture where the value changes from 0 to 0.5 and to achieve this result we’ll be using a math node with a special operation known as ping pong operation”
“Color Ramp” nodes are used for coloring and changing the thickness of the lollipop’s pattern.
The “Object Info” node with its “Random” socket assigns different colors to each lollipop duplicate.
“to assign different colors to each of the duplicates we’ll be using the object info node…if I connected to the factor then this will give a random color to the pattern each and every time we create a duplicate”
A “Bump” node with “Noise Texture” adds a 3D bump effect.
Gumdrop Candy Creation Gumdrop is created and given sugar crystals
Creating Candies Scene: Candies are instanced on a plane to create a candy land scene.
“Instance on Points” node places candies on vertices of a plane.
“to place these candies as the instances on different points of the plane we’ll first add the instance to points node”
The “Warner Texture” is used to displace the vertices of the plane, creating a random pattern.
The “Random Value” node controls the density of candies on the plane.

III. Advanced Geometry Nodes and Particle Systems

Merge by Distance Node: Explained to merge nearby vertices, edges, or points. It also used to create snow particles.
“when I reduce the distance we’ll have all the vertices and when I increase it the vertices will begin to merge with each other according to the distance value”
The “Mesh to Volume” and “Distribute Points in Volume” nodes are used to create points within a cube volume.
“to add the snow in this volume of the cube we’ll first convert it from mesh to volume then we’ll be Distributing the points in the volume by using the distribute points in volume node”
“Ico Sphere” are used as instances using the Instance on Points Node
Separate XYZ Node: This node separates the vector into X, Y, and Z axis
Value Node: A simple node to assign a single value to multiple nodes or sockets.
Adding Mushrooms: A UV sphere is modeled into a mushroom shape. Material and textures are applied to create the desired look.
“to model the mushroom we’ll be deleting the bottom half of the vertices”
Spotlight texture is used to create light spots on the mushrooms

IV. Character Modeling

Creating a 3D Character Head: The tutorial details creating a 3D character’s head from scratch.
It starts with a basic head shape and focuses on modeling key features like the mouth, nose, eyes, and eyebrows.
“in this chapter I’ll be using a cube and we’ll apply subdivision surface modifier to it”
Loop Cuts
Creating Hair: The tutorial explains how to use the particle system to create hair for the character.
A Vertex Group is assigned to tell the hair where to generate
“to get the hair particles only on the vertex group that we selected go to the vertex group settings and in the density select the hair vertex group”
The strand steps setting is used to generate hair particles on the vertex group that is selected.

V. Character Body Modeling and Rigging Preparations

Creating a Character Torso: The process involves creating a torso, arms, legs, and hands for the 3D character.
Merging Wrists with Hands Hands are merged with wrists and Loop Cuts are added
Transferring Weights: Character needs to follow the armature
“go to the weights menu and select transfer weights”

VI. Character Clothing Modeling

Modeling Clothing: Creation of a t-shirt, pants and shoes to give the character clothing
“we’ll be moving the vertices along the normals”

VII. Cloth Simulation

Cloth Physics: The tutorial delves into cloth simulation in Blender.
It explains how to pin vertices to control cloth behavior.
“you can delete the baking and remove this vertex group if you don’t want these vertices to be pinned”
It provides a table of parameter values for different cloth fabrics (cotton, leather, silk, etc.)
Creating Different Cloth Fabrics: Create and assign different materials to cloth
“just by modifying the properties”
“choosing the yellow color similarly let’s select the leather fabric and create a new material”

VIII. Final Character Rigging

Final Character Adjustments: The tutorial explains how to make any final adjustments needed to prep the character’s body.
Face Rigging Introduction A shape key is added so facial rigging is completed for face motion and rotation.
“To create such facial rigs or the controls we’ll be using the shape Keys feature available in blender”
Creating Face Shape Keys: Neutral face and shape keys are created
Creating Face Bones: Bones need to be created for motion
“we need to parent all these bones to that bone which is present inside the character’s head”
Press shift + a
Each bone must be named, left eye and right eye should both be named accordingly

IX. Face Rigging (Custom Shapes and Constraints)

Custom Shapes: Bones are converted to custom shapes
“we’ll switch from these small lines to some custom shapes which we created”
Bone Constraints: Bone constraints are being used
“to restrict them that is we want that this particular bone is restricted only to move on the x axis”

X. Drivers

Drivers are implemented for motion of the different shapes, expressions and bones.
“In order to connect this particular shape key with that control”

In summary, this document provides a comprehensive overview of a Blender tutorial covering a wide range of topics in 3D modeling and animation, including landscape generation, character modeling, cloth simulation, and character rigging with a particular focus on face rigging using shape keys and bone constraints. The tutorial’s step-by-step approach and the inclusion of specific node setups and parameter values make it a valuable resource for Blender users of all levels.

Blender Geometry Nodes, Modeling, and Material Techniques

Geometry Nodes & Procedural Generation

What is the purpose of the “Set Position” node in Geometry Nodes?
The “Set Position” node is used to modify the position of points or vertices within a geometry. It allows you to offset these positions based on various inputs, such as noise textures or proximity to other geometry, thereby deforming the original shape and creating intricate details.
How can a Noise Texture be used to create mountains or hills in Geometry Nodes?
A Noise Texture generates random values, which can be connected to the “Offset” input of a “Set Position” node. By increasing the number of vertices in a grid, the noise texture displaces these vertices along their normals to create a mountainous or hilly terrain. The scale and strength of the effect can be further controlled using Math nodes and RGB Curves.
What is the function of the “Edge Vertices” node, and how is it used to control the path of a river?
The “Edge Vertices” node provides information about the vertices forming an edge, including their indices and positions. This information is used to calculate the distance between vertices. By connecting this distance to the “Edge Cost” socket in the “Shortest Edge Paths” node, the path is constrained to edges with shorter lengths, effectively guiding the river to flow along the base of the landscape instead of over the mountains.
How does the “Geometry Proximity” node work, and what is it used for in the context of creating a river carving?
The “Geometry Proximity” node calculates the distance between the vertices of a target geometry and another input geometry. In the context of river carving, it displaces the vertices of the landscape based on their proximity to the river path. This creates a carving effect, making it appear as though the river has eroded the terrain.
How can the “Ping Pong” operation in a Math node be used to create repeating textures?
The “Ping Pong” operation in a Math node allows a value to oscillate between 0 and a specified scale value. When used with a Gradient Texture, it creates a repeating pattern as the texture goes from 0 to 1 and then back to 0. A Multiply node can then be used to control how many times this pattern repeats.

Modeling & Materials

What is the “Edge Neighbors” node, and how can it be used to selectively apply effects to a mesh?
The “Edge Neighbors” node counts the number of faces adjacent to an edge. By using a “Compare” node to check if the face count matches a specific value, you can selectively apply effects, such as offsetting the position of only those edges with a certain number of neighboring faces.
How does the “Merge by Distance” node work, and what are its applications?
The “Merge by Distance” node merges vertices that are within a specified distance of each other. This can be used to simplify geometry, create a “melted” effect, or generate interesting particle distributions. The “Mode” setting determines whether to merge all vertices within the distance or only those connected by edges.
How can different cloth fabrics be simulated using the cloth physics in Blender?
Different cloth fabrics can be simulated by modifying the material properties in the cloth physics settings, such as the vertex mass, tension, shear, and bending stiffness. Each of these values changes how the cloth reacts to environmental stimuli.

Candy Placement Solutions in Blender Geometry Nodes

The sources describe a problem with candy placement and offer solutions within the context of creating a candy world scene in Blender using geometry nodes.

Here’s a breakdown of the issue and resolutions:

Problem: Candies are not placed properly; they are passing through the plane.
Solutions:
Move the original candies upwards. This involves selecting the Gumdrop and Lollipop candies, entering edit mode, selecting all elements, and moving them upwards along the Z-axis. This adjustment in edit mode affects all instances, raising them above the plane.
Adjust the probability from the random value node. Reducing the probability ensures a more scattered distribution of candies, preventing them from clustering and intersecting with the plane.
Use the as instance option. The source explains that if changes are made to the main object, turning on the ‘as instance’ option applies those changes to the instances as well.

Transform Geometry Node in Blender: Uses and Applications

The sources discuss the Transform Geometry node and its use in the context of creating and manipulating objects within Blender’s geometry nodes.

Here’s a breakdown of the Transform Geometry node, as described in the sources:

Functionality: The Transform Geometry node is used to move, rotate, and scale geometry. It allows for adjustments to the position, orientation, and size of objects.
Usage Examples:
Moving a Tornado: The Transform Geometry node is used to move a cotton candy tornado upwards by adjusting the translation in the Z-axis.
Scaling a Tornado: The Transform Geometry node is used to change the scaling of a tornado using the scale values.
Rotating an object: The Transform Geometry node is used to rotate a lollipop. To ensure the texture of the lollipop isn’t altered during rotation, the “as instance” option in the Object Info node must be enabled.
Duplicating a Portal: The Transform Geometry node can control a duplicate of a joint geometry node. By adjusting the scaling value (e.g., setting the X-axis scaling to -1), the duplicated part can create a symmetrical structure, like a portal.
Animation: The transform geometry node can be added in between simulation input and simulation output nodes to create an animation .

Creating a Cotton Candy Tornado in Blender

The sources describe the creation of a cotton candy tornado using geometry nodes in Blender. Here’s a breakdown:

Basic Structure: A curve spiral node is used to create the initial spiral shape of the tornado.
Thickness: The curve is given thickness using the curve to mesh node, with a curve circle node defining the profile.
Transformations: The transform geometry node is used to adjust the position and scale of the tornado. Specifically, it moves the tornado upwards using the translation in the Z-axis and makes it bigger with the help of the scale values.
Appearance: The start and end radius, as well as the height parameter of the curve spiral, are adjusted to shape the tornado. The number of rotations can also be increased.
Volume: The mesh is converted into a volume using the mesh to volume node. Density is increased to make it properly visible.
Material: A principal volume shader is used to give the tornado a cotton candy material, with a pink color and slight emission effect. Emission strength is set to a low value, around 0.005.
Candies: Candies are distributed on the surface of the tornado using the distribute points on faces node. The instance on points node places the candies. A random value node, with a Boolean data type, is connected to the selection socket in the instance on points node to control the probability of candies appearing.
Randomness: A random value node is used to give the candies some random rotation.
Lighting: The lighting can be improved by creating a duplicate of a light and moving it in the X Direction.

Blender’s Merge by Distance Node: Simplifying Geometry

The sources discuss the Merge by Distance node and its functionality within Blender, especially in the Geometry Nodes editor. Here’s a detailed breakdown:

Function: The Merge by Distance node merges vertices that are within a specified distance of each other. It simplifies geometry by removing closely spaced vertices.
Distance Value: The distance value determines the threshold for merging. A higher distance value results in more vertices being merged. As the distance increases, vertices begin to merge with each other based on the set value. Reducing the distance will preserve all vertices.
Mode:
All: Vertices of different objects are merged together.
Connected: The vertices of each object are merged individually.
Practical Applications:
Simplifying Geometry: The Merge by Distance node helps in reducing the complexity of a mesh by merging vertices.
Creating Snow Particles: The Merge by Distance node is used to merge points together, and the points are then replaced with snowballs using the instance on points node. By controlling the distance, the number of points, and thus snowballs, is reduced because points within the specified distance are merged.
Controlling Detail: The Merge by Distance node can selectively remove detail based on the value in the x-axis. The value will be minus one in the beginning, zero in the middle, and positive 1 in the end. As a result, the merge by distance node will only get applied on that part where the value is greater than zero.

Blender’s Separate XYZ Node: Shader and Geometry Nodes Guide

The sources explain the Separate XYZ node and how it functions in both the Shader editor and Geometry Nodes editor within Blender.

Here’s a breakdown of the Separate XYZ node’s functionality and usage:

Function: The Separate XYZ node separates a vector into its individual X, Y, and Z components. It takes a vector as input and outputs the X, Y, and Z axes as separate values. This is the opposite of the Combine XYZ node, which takes X, Y, and Z inputs and combines them into a single vector.
Usage in Shader Editor:
When a vector from a Mapping node is connected to the Separate XYZ node, it separates the vector into its X, Y, and Z axes.
Connecting one of these axes (X, Y, or Z) to the output will show a black and white gradient on the object, representing the change in value along that axis.
In Blender, black represents a value of 0 or less, while white represents a value of 1. Thus, the gradient shows the value changing from -1 to +1 along the selected axis.
Usage in Geometry Nodes:
The Position node provides a vector that can be separated by the Separate XYZ node.
The separated X, Y, or Z values can be used to control other nodes. For example, connecting the X-axis output to the selection input of a Merge by Distance node will cause the Merge by Distance node to only be applied where the X value is greater than zero.
Example:
If a cube is used in the Shader editor, the Separate XYZ node can separate the vector into the X, Y, and Z axes.
Using the X-axis socket results in a change in color on the cube, which changes in the X-axis from -1 to +1. The value is -1 in the beginning, zero in the middle, and ends with a value of 1.
The same concept applies to the Y and Z axes.

The COMPLETE BLENDER MASTERCOURSE (Part-2) #blender #b3d #animation

The Original Text

you’re watching the part two of the blender Master course which is a continuation of the part one whose link is available in the description of this video and in this part we’ll continue with some more chapters on Geometry nodes compositing shape Keys particle systems physics and simulation and then we’ll even prepare the 3D model of a character then we’ll understand about the character rigging and even create a character animation so there’s nothing to wait for and let’s continue our journey of the second part of lender Master [Music] course in this chapter we’ll be learning about all these topics in complete detail and we’ll be using them to create this simple scene with the landscape the flowing rivers and some boats so to begin with let’s open the geometry nodes workspace now go to the geometry nodes editor and click on the new button to get a plane instead of this Cube we’ll be using the grid node so press shift plus a go to mesh and in Primitives select the grid node let’s place it over here now to scale it up I’ll go to the size option in the x and y axis and let’s increase it to something like 50 let’s also increase the number of vertices in both X and Y AIS to something around 10 or 12 and now the first node that we going to understand today is The Edge paths to curve node to add it here press shift plus a go to mesh and in operations here we have the edge parts to curve node so let’s select it and place it over here now what this node does is that it basically takes a mesh as an input and gives an output in the form of a curve and to be more specific it takes the edges of your mesh based on the start vertices and the next vertex index and then it converts the path of those edges into curves to understand it better I’ll take this node and drop it over here and we observe that everything disappears and that’s because we have not yet connected anything to the start vertices and the next vertex index in the start vertices socket we basically have to connect information about that particular index from where the path should start and suppose you want that the path should begin from the vertex having a particular index value so for this we have to use the index node and the compare node so press shift plus a go to geometry and in read select the index node let’s place it over here and now to add the compare node press shift plus a go to utilities and in math select the compare node let’s place it over here and now since we’ll be connecting the compare node to the index so I’ll change the input type from float to integer and the operation to equal now I’ll connect the index socket to the value a and the result socket to the start vertices now this compare node is basically acting as an input to tell the H parts to curve node that the starting vertex will be that particular vertex whose index value is equal to the value of B which is zero and now the next socket that you have here is the next vertex index and basically here we have to tell the socket that how should it connect the next vertex after the starting vertex and to use it we have to connect it to another node which is the shortest Edge path node to add it here press shift plus a go to mesh and in read here you will find the shortest Edge paths node so let’s select it and place it over here now the shortest Edge paths node will basically create the shortest path between the starting vertex and the ending vertex that will connect to the end vertex socket so if I take the next vertex index and connect it over here and for the end vertex I’ll select the index and the compare node press shift plus d to create a duplicate and place them over here now I’ll connect the result socket to the end vertex and let’s change the value of B from here and you will notice that as the value of B changes this part in the 3D view putut is also changing so to revise everything we use the edge paths to curve node to create this path between any two vertices then we use the start vertices socket and connected it to the compare and the index node in order to select which particular vertex we want as the starting vertex then we use the short Edge paths node in order to create the shortest path in between the two vertices and for the ending vertex we again use the index node and the compare node and connected it to the end vertex and you can also change the length of the path or this curve by changing the ending vertex from here now to view the original plane along with this path we’ll be adding The Joint geometry node so press shift plus a go to geometry and select the joint geometry let’s place it over here and connect the mesh socket of the grid to the Joint geometry node now to view the path or basically the curve we’ll be connecting it to the curve to mesh node so press shift plus a go to curve and in operations select the curve to mesh node and drop it after the edge parts to curve node to view it in the scene we have to connect something to the profile curve node and to extrude the path to look like a cylinder we need to connect the profile curve socket to the curve Circle node so press shift plus a go to curve and in Primitives select the curve Circle node place it over here and connect it to the profile curve let’s increase the radius from here and now you can see here that the path between the two vertices is now converted into a mesh due to the curve to mesh node and is looking cylindrical because of the curve Circle node now one thing to notice here is that this path or basically the cylinder is straight right now but if I turn on the wireframe from here then you can see that in this plane we have have many vertices so if I go to the end vertex and in the compare node if I increase the value of B then you will notice that in order to form a path between the two points or basically the two vertices it turns like this and is no more straight so basically it is forming the shortest path in between the vertex having the index value of zero and the end vertex having the index value of 36 now let’s also reduce the size of the cylender from here so we’ll be keeping it to something like 1.2 or 1.3 and now let’s also turn off the wireframe display from here and moving ahead let’s convert This Plane into Mount contains and for this we’ll be displacing the vertices in The Zed AIS with the help of noise texture so go to the geometry noes editor and first add the set position node so press shift plus a go to geometry and in right select the set position node since we’ll be working on the plane so we’ll drop it in between the grid node and the joint geometry node now for the noise texture press shift plus a go to texture and here we have the noise texture we’ll place it over here and connect the factor socket to the offset now the reason why we can’t see much effect here is that in the grid node the number of vertices is very low so I’ll select both of them and let’s increase it to something like 100 and now the noise texture is applied to make it look like Mountain I’ll first reduce the scale value of the noise texture to a much lower number like 0.1 or 0.2 and to magnify this effect of the noise texture we’ll be using the math node with the multiply operation so press shift plus a go to utilities and in math select the math node drop it over here and change the function to multiply and if I increase the value from here the effect of the noise structure will multiply in all the three axes but since we are making the mountains are basically the hills so we need this is to be applied only in The Zed axxis and so we’ll be using the combin XZ node so press shift plus a go to utilities and in Vector select the combine x z node and drop it after the multiply node it looks like this because by default it is connected to the x-axis but if I break this node Connection by holding control right clicking and dragging like this and connected to the Z axis and now we have these Mountain like structures and now to define the shape of the mountains we’ll be using the RGB curves node so press shift plus a go to utilities and in color select the RGB curves we’ll drop it after the noise texture node and now it’s connected over here now we have not yet studied about the RGB curve in the geometry notes and we’ll be completely understanding it in one of the upcoming chapters of the course but for now we’ll be using it to define the shape of the mountains so in the RGB curves node if I left click on any part of the curve a new handle will get created here and from here we can change the type of this handle so if I select the second one which is the vector handle and try to change the position of this handle then you will notice that the way this texture was looking on the plane will also change similarly if I select this handle over here and bring it down like this then this is how the texture looks now similarly if I bring the second handle close to the third one then the effect of the texture will increase so you can try to change the position of these handles and get different results each and every time however to make them look like mountains we basically have to invert this effect of the texture and for this I’ll go to the multiply node here and take this value to a negative number so I’ll keep it to something like – 35 or -40 and this is how it looks now the plane has also moved down because we added a negative value here and to fix this we’ll use the vector math node so press shift plus a go to utilities and in Vector select the vector math and place it before the offset socket and now to move it upwards and increase the vector value in the Z axis like this let’s keep it to something like 20 and now the plane has moved up in the Zed axis now one thing to notice in the geometry noes editor is that the edge parts to curve node that we added here is connected to this grid socket as a result it will only consider the original plane which was not having the mountains so to make sure that the path also considers the mountain s we created we’ll be connecting the geometry socket of the position node which is carrying all the information about the texture to the mesh socket in the edge parts to curve node so I’ll take this geometry socket and connect it to the mesh and now this path is also considering the mountains on the plane to increase the length of this path I’ll go to the end vertex and in the compare node connected to it I increase the value of B from here so let’s keep it to something like 4,000 or 6,000 and this is how it looks now we’ll be using this path in order to make the river flowing through the landscape and one more thing let’s also reduce the radius to something like 0.5 and now suppose we want that this path or basically the river doesn’t flow over the mountains but instead change its path on the landscape Whenever there is a mountain ahead and for this we’ll be using the edge vertices node to add it here press shift plus a go to mesh and in read select the edge vertices node let’s place it over here and in this node we are having four sockets the first two are the vert.x index and the last two are the position sockets so it basically gives the information as output about the vertices that form an H so as we all know that an H is formed by two vertices connected to each other so from the vert index one socket it will basically give the output of the index of the first Vortex similarly the vertex index 2 will give the output of the index value of the second vertex forming the edge then you have the position sockets which will tell you about the position of the two vertices through the position one and the position two node respectively now let’s also understand how we are going to use the edge vertices node in order to place this path or the river only on the base of the landscape and not on the mountains so if I turn on the vi frame display from here and zoom in then you can clearly see that the edges at the base of the landscape are having a different length as compared to the edges of the mountains if I take the annotate tool from here and select the annotate line then here on the base of the landscape a single edge is around this much long and this length is constant throughout the base however the length of the edge in case of these mountains is much larger than compared to the base of the landscape moreover unlike the edges of the base these edges of the mountains are having different lengths some of them are smaller and the others are longer so with the edge vertices node we’ll be measuring the distance between the position one and the position two that is the the position between each of the two vertices forming an edge and we’ll be connecting it to the shortest Edge path node so that the path is placed only on the base of the landscape and not on the mountains but before that I’ll select the annotate eraser tool from here and let’s remove these annotations let’s also go to the select tool again and turn off the wireframe display from here now we need to measure the distance between the position of the first vertex and the second vertex and for this we’ll be using the vector math node so press shift plus a go to utilities and in Vector select the vector math let’s place it over here and in the list of operations one of the operations that we have here is the distance operation so I’ll select it and if I connect the position one to the first Vector socket and this one to the second Vector socket then now this Vector math node with the distance operation will basically measure the distance between the position of the two vertices for each and every Edge and if we connect it to the Edge cost socket in the shortest Edge paths node then the Edge cost will only accept those vertices which have the minimum distance in between them so if I take the value socket and connect it to the Edge cost then in this case the path or basically the river is present only on the face of the landscape and not on the mountains now let’s revise this concept again we use the edge vertices node in order to calculate the position of the two vertices of each and every Edge then to calculate the difference between the two positions we used the vector match node with the distance operation and then we connected it to the hge C socket which only considers the minimum value as the input and since we already discussed that the length of the edges of the base of the landscape are smaller than those of the mountains as a result the shortest Edge paths node will try to find the shortest path between the two vertices that we selected using the comp and the index node and connected all of it to the edge paths to curve node in order to form this path and now moving ahead if I zoom in then you can see here that this path is having a lot of turns and since we’ll be using it to create a river so obviously we won’t need so many turns in the river so to fix this problem we have to use the resample curve node so press shift plus a go to curve and in operations select the resample curve and drop it in between the edge parts to curve node and the curve to mesh node now we can change the number of turns with the count value here so let’s keep it to something like 4 and this is how it looks now since we are making this path for the river so let’s also create a carving or basically some space for the river to flow so for this we’ll go to the set position node here which is carrying all the information about the base of the landscape such as the noise texture and the multiply effect applied to it and then to create the carving we’ll basically displace the vertices according to this path and for this we’ll be using another set position node so I’ll select this one press shift plus d to create a duplicate and place it after the first set position node and now we want that the displacement should be according to this curve or the path where the Riverway flow and for this we’ll be using the geometry proximity node we learned about it in the chapter number 38 of the course where we created a meteor apocalypse scene and to add it over here press shift plus a go to geometry and in Sample select the geometry proximity node now this node is basically used to displace the position of vertices of any particular object based on some other geometry which we add as the input in the geometry socket so I’ll take the mesh socket of the curve to mesh which is carrying the information about this path and connected to the geometry socket here and to see the effect I’ll connect the distance socket to the offset in the set position node now it looks like this because the effect of displacement is being applied in all the three axes and to control this effect only in The Zed axis I’ll be adding a vector math node here so press shift plus a go to utilities and in Vector select the vector math and place it after the geometry proximity node to control the effect of the displacement I’ll change the operation from add to multiply and now I’ll increase this Vector value in the Z axis so if I increase it to something like positive 1 then here you can see that the effect of the displacement on this entire plane because of this path or the curve is too high and to control this we’ll use the map range node so press shift plus a go to utilities and in math select the map range node we’ll drop it before the multiply node here and now we have the desired result if I zoom in you can see the carving for the river along this path and you can even control its size by the FR men parameter in the map range node so if I slightly increase it you will notice that the size and appearance of the carving around the path is also changing so I’ll keep it to a value of something like 0.4 and this is how it looks now for the water of the River we’ll basically be adding a plane in the geometry nodes editor and connect it to the Joint geometry node so press shift plus a go to mesh and in Primitives select the grid let’s place it over here and we’ll connect it to the Joint geometry node now a small plane is added at the same position as that of the original plane and if I increase its size in the X and Y axis like this then at a particular value you will begin to notice that the plane is now visible on the carving that we created so we’ll scale it up to something like 50 and if you want to move this plane upwards or downwards then for this you can use the transform node to add it here press shift plus a go to geometry and in operations select the transform geometry node and drop it after the grid node now with the help of the translation in The Zed axis we can control the position of the plane or basically the water of the river as per the carving created due to the path and now moving ahead let’s give some life to our scene by adding some material to it so since we are making a scene of a mountain so we’ll be downloading some PBR textures for the cliffs or the mountains so for this purpose I have opened this website of poly heaven.com and I’ll go to the browse textures then in the search bar I’ll type cliff and here we’ll get all the cliff or the mountain textures and we can select any of these for the base of our landscape so I think that we should go for this one which is coost Sandrock 02 so I’ll select this and click on the download button here now the zip folder will get downloaded and do ensure to extract it in the file explorer before using it in blender now we back in the scene and to apply the downloaded material first we’ll change this window to the Shader editor so click on this icon and select the Shader editor now here we have the default principle bstf applied and to add the downloaded PVR m material first we’ll select this principal bstf by left clicking on it and then press cr+ shift plus T and now this window will open from where you have to find that particular folder that we downloaded and extracted so I’ll open this folder then open the texture folder and here we have these four files I’ll select all of them and click on this principal texture setup now to apply this material to this base we’ll go to the geometry nodes editor from here and we’ll be adding the set material node so press shift plus a go to material and select the set material node and we’ll place it after this set position node which is having this information about the noise texture which we used to displace the vertices of this plane and you can see here that all these nodes starting from the noise texture to this multiply node are connected to the set position node here so I’ll go to the set material and from here we’ll select this material now to view the material let’s go to the render view from here now to get some lighting in the scene click here and we’ll turn off the scene world now the reason why you can’t see the texture properly is that if I go to the Shader editor from here then you can see in the texture coordinate that we have connected the UV socket to the to the vector and to get the material properly applied here I’ll take the generated socket and connect it to the vector and now we have this PBR material perfectly applied to the base now moving ahead let’s also create some material for the river that we created here so for this let’s again go to the geometry nodes editor from here and we’ll be creating a duplicate of the set material node and connect it to this curve to mesh node which we use for creating the path so I’ll select the set material node from here press shift plus d and I’ll drop it here let’s go to the material properties and to create a new material click on the plus button then click on the new button and to add this material in this set material node click here and select the material. 001 now let’s go to the shade Editor to modify this material now let’s zoom out and here we have the default material applied for the material. 001 and to make it look like water I’ll first change the base color from here so let’s keep it to dark blue color right now you can see that this blue material is only getting assigned to the Past set we created and not the entire River so to fix this problem I’ll go back to the geometry nodes editor and we’ll connecting the set material node to this GD and the transform geometry node which are carrying the information about the plane that we added below it in order to make the river so with the set material node selected press shift plus d and place it after the transform geometry node and now we have this blue material applied to the entire River to make it look like realistic water I’ll go back to the sharer editor again and now we’ll be using the noise texture so press shift plus a go to texture and select the noise texture let’s place it over here and we’ll be connecting it to the bump node in order to give the water a 3D look so press shift plus a go to vector and select the bump node let’s place it over here take this Factor socket and connect it to the height and take this normal socket and connect it to the normal in the principal bstf to see the difference here I will increase the scaling in the noise texture to something like 50 or even higher and now this is how the texture of the river is looking right now now finally we will be modeling some boats to place on this River so for this press shift plus a in the 3D view Port go to mesh and select the cube to focus only on the cube press the forward slash button now to change this into a boat tab into the edit mode I’ll first scale it up in the y- axis so press s and Y and scale it up like this let’s also scale it up slightly in the xaxis so press s and x and scale it up like this now press three for the face select mode and now we’ll be selecting this bottommost face and we’ll extrude it to make it look like a boat so press e to extrude it and let’s extrude it in the Zed axis like this press s to scale it down and this is how it looks now we’ll be keeping the model very simple and basic but let’s also create an inser on the top face and we’ll extrude it downwards also so with this face selected press I to apply the inser then left click to find finalize press e and extrude it downwards like this then left click to finalize and now this is how the structure of our boat is looking right now now if you want you can even extrude these smaller faces at the side and scale them down so to do this I’ll select this face press e to extrude it like this and let’s scale it down and left click to find Li I think that we have extruded it too much so press G and Y and let’s bring it back in the Y AIS similarly I will select this face press e to extrude it like this and S to scale it down and with this the basic structure of a boat is now ready if you want to make it look even more more complex then for this you can add a cylinder with a flag over it so for this I’ll press shift plus a again go to mesh and add the cylinder tab into the edit mode to reduce its thickness press s and shift plus Z and scale it down like this now to increase its height press s z and scale it up like this let’s also move it slightly upwards in The Zed axis so press G and Zed and move it over here now to add a simple flag at the top we’ll use the plain object so let’s come out of the edit mode press shift plus a go to mesh and select the plane move it upwards in The Zed axis and place it over here let’s tab into the r mode and to rotate it properly press r y and type 90 to get a rotation like this let’s also scale it up in the Y AIS like this and now we have a simple boat ready for the scene so let’s come out of the edit mode to join all these separate parts together I’ll select all of them press crl plus J to join all these objects now to remove the focus from this boat and get back the entire scene we’ll press the forward slash button again and this is how this boat is placed in the scene to place it properly on the River Press 7 to go to the top view let zoom out press G and place it over here let’s tab into the edit mode press a to select everything and scale it down like this let’s also rotate it in the Zed axis so press r z and rotate it like this now let’s come out of the edit mode press zero on the numpad to go to the camera view let’s enable the lock camera to view from here and this is how this river scene with the boat is looking right now let’s do one more thing which is to move this boat slightly downwards in The Zed axis so we place it over here and left flick to finalize and now let’s give this boat some simple materials so for this let’s go to the material properties click on the new button let’s change the the base color to the brown color by reducing the brightness from here and you can see that this brown color is applied to the boat as well as the flag to assign some separate color on material to the flag simply go to the edit mode deselect everything and I’ll select this face go to the material properties click on the plus button create a new material and to assign this material click on the assign button let’s change the base color to red color and come out of the edit mode with this we have the boat ready in the scene with this simple River and these mountains created with the help of geometry nodes and with this our scene is now completely ready however before ending this chapter we’ll be understanding one more geometry note which is not related to this scene but it is still very important and it is The Edge neighbors node so to understand this node we’ll be adding a plane in the scene so press shift plus a go to mesh and select the plane press G and Y and place it over here now tab into the edit mode press s to scale it up like this and let’s move it over here now to increase the number of vertices right click and select subdivide and we’ll increase the number of cuts from here to something like three or four now what I’ll do is that I’ll turn on the X select mode by pressing two then I select some random edges from here create a duplicate of them by pressing shift plus d and move it in the y direction over here now let’s come out of the edit mode and here we have this plane with these duplicate edges placed over here now if we go to the geometry nodes editor from here and click on the new button then we have this default setup of the geometry nodes now to change the position of this plane I will add the set position node so press shift plus a go to geometry and in right select the set position node let’s place it over here and if I go to the offset value and try to change it in any of the three axes you will notice that the change in the position is being observed on both the plane as well as the edges now let’s also add the edge neighbors node and understand it so press shift plus a go to mesh and in read select the edge neighbors node let’s place it over here and you can see that in this node we have this face count socket so basically what it does is that it will count the faces that are adjacent to an hedge to understand this better I’ll go to the edit mode of this plane and you can see here that if I select this particular vertex then the number of faces adjacent to it is two the first one is this face and the second one is this face however if I select this Edge at the corner then this one is having only one adjacent or the neighboring face so the face count for this Edge will be one and the face count for this Edge will be two in the same way if I select any of these edges then you can clearly see that there is no face adjacent to these edges as a result their face count will be equal to zero so we can use the edge neighbors node in order to tell the set position node that we want the changes to be applied only on some particular edges having a specific number of face count so if I come out of the edit mode and in the geometry nodes editor if we add the compare node by pressing shift plus a going to to the utilities and in math select the compare node and if I drop it over here then now I can use it to create a connection between the HED neighbors node and the set position node so first of all since the number of faces is an integer so I’ll change the input type from float to integer then I’ll change the operation to equal and now I’ll connect the face count to the value a and connect the result to the selection socket in the set position node now what it will basically do is that it will check that which particular Edge has a face count equal to the value of B which is zero and then whatever changes I do in the set position node will be applied to only those set of of edges right now since the value of B is zero and as we already discussed that the duplicate edges that we created here are having a face count of zero so if I go to the offset and try to change it then you will notice that only the position of these edges is changing which are having a face count equal to zero similarly if I increase the value of B to one then in this case the offset is being applied to all those edges who are having a face count equal to one and since we already observed that all the corner edges were having only one adjacent face as a result they were having a face count equal to one now if we increase the value of B from 1 to two then in this case the edges except the one at the corner and the duplicates are now being affected due to the change in offset values and this is how the edge neighbors node work it will simply count the number of faces which are adjacent to any particular Edge and then will allow you to make the changes accordingly and now I’ll delete this by pressing X press zero on the numpad to go to the camera view and this brings us to the end of this chapter in this chapter we learned about a lot of different nodes and use them to create this hilly area along with this River then we even created this simple boat and place it [Music] here in this chapter and the upcoming chapter we’ll be learning about lots of new geometry nodes and we’ll use them to create this amazing scene of a candy world in blender and for this chapter we’ll be starting with the understanding of all of these geometry nodes so to begin with let’s first open the geometry nodes workspace from here and with this Cube selected go to the geometry nodes editor and click on the new button now the first node that we’ll be exploring today is the geometry to instances node so to add it press shift plus a go to geometry and select the geometry to instance node let’s place it over here and one thing to keep in mind is that this geometry to instances node is very similar to The Joint geometry node you can see that just like the joint geometry node this one is also having an oval-shaped socket as the input which means that you can connect multiple inputs to it to understand it practically I will add another mesh in the scene by using geometry nodes so press shift plus a go to mesh and in Primitives you can randomly select any mesh primitive for now I’ll be choosing the cone and place it over here if I take this mesh socket and connect to the geometry then you will notice that we are now able to see both the original Cube whose information is stored in this group input node as well as the cone that we added in the geometry nodes editor but you might be thinking that the same function could be performed by joint geometry node as well because if I press shift plus a go to geometry and select the joint geometry from here and then if I break the node Connection in between these two nodes and the geometry to instance by holding control right clicking and dragging like this and instead if I connect both of them to the Joint geometry node and then connect it to the output then in this case also you are getting a similar result however there was one slight difference which you might have noticed here with the joint geometry note connected both of these geometries meaning the cube and The Cone are joined together into a single geometry however in case of the geometry to instance node both the geometries are not converted into a single geometry but instead they’re converted into different instances so if I press contrl plus Z to undo 6 to seven times then with this geometry to instance note connected to the geometries you can see here that this cone is a separate instance object and the cube is a separate instance object and this was not the case when we were using the joint geometry node for now I’ll delete this join geometry node from here and since we are using the geometry to instance node you can remember it in this way that it takes these geometries as the input and the output is in the form of instance now moving ahead I can use these instances to be placed at different points by using the instance on points node so let’s understand this also by pressing shift plus a in the instance select the instance on points and we’ll drop it after the geometry to instance node right now this instance socket is connected to the points but we’ll disconnect it from here and connect it to the instance now suppose you want that this instances should be placed on the points of a plane then for this we’ll be connecting the grid node to the point socket so press shift plus a go to mesh and in Primitives select the grid node let’s drop it over here and we’ll connect it to the point socket now let’s scale up the Grid in the X and Y AIS from here so we’ll change it to something like seven or 8 and if I turn on the pick instance option here then now you will notice that the different geometries meaning the cube and The Cone are now being placed as separate instances on the points of the plane and I turned on the pick instance so that no two objects are placed over each other and see this is the advantage of adding the geometry to instance node if I would have used the joint geometry node then in that case it would have joined the two geometries into a single one and we would obtain the result where all the points are having the same instance which is the cube joint with the cone now moving ahead let’s create some candies for the candy world scene and for this press X to relate all of this and first we’ll be making a lollipop so let’s add a cylinder by pressing shift plus a then in the mesh select the cylinder from here tab into the edit mode press s and Zed and scale it down like this let’s come out of the edit mode and turn turn on the render view from here now to give it some material let’s go to the material properties and create a new material we’ll change its name to lollipop and press enter to confirm now let’s go to the Shader editor from here and we’ll be creating a material like this one for the lollipop and for this we’ll be using a completely new node which we have not yet used for creating any material in this course and it is the gradient texture node to understand it we’ll first add it in the Shader editor so press shift plus a go to texture and here we have the gradient texture so let’s select it and place it over here press crl + P to connect it to the texture coordinate and the mapping node to view the texture on the cylinder hold down control shift and left click on the gradient texture now just like always I’ll take the object socket and connect it to the vector and here you can see that it’s creating this gradient texture and it looks like this because we have selected the linear gradient type here if I change this gradient type to something else like diagonal or spherical then you will notice that the gradient is being applied according to that specific type you can understand it in this way that with the help of gradient texture it will basically show you the mixing of two colors and by by default the colors are black and white so in this case on the outer side of the face you are having this black color and as you approach the middle the color slowly turns into white similarly if I change it to radial then in this case it will take the Zed axis into consideration and the change in color will be from black to white in a circle like this now one more thing to notice here is that in one of the previous chapters I told you that in blender the black color is represented by zero and the white color is represented by a value of one so you can also say that here the value is equal to zero and as you complete the circle then in the end the value is equal to 1 but suppose you want to change this ending value like maybe you want to create a texture where the value changes from 0 to 0.5 and to achieve this result we’ll be using a math node with a special operation known as ping pong operation to add it here press shift plus a go to converter and select the math node drop it over here and change the operation from add to the ping pong here so I’ll select this and now with the scale value I can choose that particular value of the color at the ending position for example if I change the scale to one then it’s the same default result which shows the texture from a value of 0 to 1 and if I change the scale to zero then now everything will turn black because the gradient texture will Now operate from a value of zero which is the black color and will also end on zero which is again the black color so you can change the scale value to anything between 0 and 1 but for now I’ll change it back to the default one now to multiply this effect or basically get more of this texture here we’ll simply add another math node with the multiply operation so with this one selected I’ll press shift plus d and place it over here change the function to multiply and now I can increase the this value to multiply the effect so let’s keep it to a value of 10 and this is how it looks now the texture is basically going from 0 to 1 then because of the multiply node it again goes from 0 to 1 and similarly this happens three more times now moving ahead let’s also give some colors to this lollipop and we’ll be using the color ramp node for this so press shift plus a go to converter and select the color ramp let’s place it over here and change the interpolation type to constant now we’ll be using this color Ram to set three different colors for the pattern of the lollipops in such a way that whenever I create a duplicate of it we get a different color each time so for this I’ll first change this black color by increasing the brightness and let’s keep it to the blue color now let’s select the white pointer and change its color to the green color and to add one more color in this color ramp click on the plus icon and change the color to red color this time now let’s properly place them so that all the three colors are evenly distributed in the color ramp node and yes there’s also one shortcut by using which you can evenly distribute these pointers which is to click on this drop down and select distribute stops from left and now they will get distributed at equal positions from each other now I’ll be adding another color ramp which we will be using in order to change the thickness of this pattern so press shift plus a go to converter and add the color ramp let’s place it in between this ping-pong node and the material output and change the interpolation to constant now if I select the white pointer and move it like this then you will notice that I can easily change the pattern of the lollipop so we’ll be using the first color Ram to give some colors to it and the second color Ram to change the pattern of the lollipop now in order to mix both of them we’ll be using the mixed color node so press shift plus a go to color and select the mixed color node let’s drop it over here we’ll connect this color ramp with the different colors to the color B and now we have this red color applied to this lollypop however if I create a duplicate of this object by pressing shift plus d then you will notice that this one is also having the same color but to assign different colors to each of the duplicates we’ll be using the object info node so press shift plus a go to input and select the object info node from here and in this node you can see that we have a random socket so if I connected to the factor then this will give a random color to the pattern each and every time we create a duplicate so now if I press shift plus d to create a duplicate then this one is having a red color and similarly if I do it one more time then this one is having the green color so this was the use of the random socket in the object info node for now I’ll delete both of these duplicates by pressing X and let us select this one now to give it a 3D bump effect I’ll first connect the principal bstf here and to add the bump node press shift plus a go to vector and select the bump node let’s place it over here and connect it to the normal in the principal bsdf for the input we’ll be using the noise texture node so press shift plus a go to texture and select the noise texture from here and we’ll be connecting it to the height socket of the bump node now I’ll take the object socket in the texture coordinate node and connect it to the vector in the noise texture let’s also change the scaling and the strength of the bump effect so first of all I’ll increase the scaling to something like 14 15 let’s reduce the strength of the bump effect to a very low value like 0.1 or maybe 0.05 let’s go to the top view in order to see the material properly and to make it look shinier I’ll go to the roughness option in the principal bsdf and let’s reduce it to something like 0.1 and now it is having a very shiny surface is now for the Stick of the lollipop go to the edit mode press shift plus a and add a cylinder let’s scale it down in the X and Y AIS simultaneously so press s and shift plus Z and scale it down like this left click to finalize and to rotate it press r y and type 90 in order to rotate it by 90° in the Y AIS press G and x and move it over here then left click to finalize and to assign it a specific material go to the material properties click on the plus button and let’s create a new material so I’ll change the base color to something like Brown let’s reduce the brightness from here and and make the base color dark brown then click on the assign button and now let’s come out of the edit mode now if you want that the lollipop should be more curved or rounded then for this you can use the bevel modifier to apply it go to the modifier properties click on ADD modifier and in the generate select the bevel modifier now I can use the amount value here in order to change the amount of bevel so I’ll keep it to something like 0.05 and now this is how this lollipop is looking in the scene now moving ahead we’ll also be creating a gumdrop candy you must have seen it it has these small sugar crystals over it and to model it in Ender we’ll first add a cube in the scene so press shift plus a go to mesh and select the cube press G and Y and move it over here and now we’ll be applying the subdivision surface modifier so go to the modifier properties click on ADD modifier and in generate select the subdivision surface let’s increase the levels viewport to a value of two and this is how it looks now to make it look smooth simply right click and select shade smooth and to give it a shape like a gumdrop candy tab into the edit mode press control+ R to create a loop cut then left click and move it down like this and once you finalize the position left click to confirm and now let’s create the material for it so go to the Shader editor again click on the new button now to get random colors for each Gumdrop candy we’ll be using a color ramp node so press shift plus a go to converter and select the color ramp let’s place it over here and change the interpolation type to constant now I’ll change the color of the black pointer by increasing the brightness from here and for the first one I’ll be selecting the pink color then I’ll select the second pointer and for this one we’ll be choosing the green color to add another color click on the plus button and change its color to the yellow color this time and yes one more thing you can select select any random colors here it’s not mandatory that you have to select only these particular colors for the Gumdrop now to distribute these pointers evenly I’ll click here and select distribute stops from left now I’ll take this color socket and connect it to the base color and to get a random color each time you create a duplicate let’s add the object info node so press shift plus a go to input and select the object info node let’s drop it over here and connect the random socket to the color Ram now if I create a duplicate of this then we’ll get different random colors for now I’ll delete the duplicate and select the original one again now to give it a 3D bump effect go to the Shader editor press shift plus a go to vector and select the bump node let’s stop it over here and connect it to the normal in the principal bsdf for the input we’ll be using the noise texture node so press shift plus a go to texture and select the noise texture let’s drop it over here and connect the factor to the height socket now to make sure that the texture is properly applied I’ll select the noise texture press ctrl+ T in order to get the texture coordinate and the mapping node now just like always connect the object socket to the vector and this is how the bump effect looks now I will reduce the strength in the bump node to something like 0.1 or 0 08 let’s also change the scaling in the noise texture in order to give it a random look so we’ll keep the scaling to something like 11 12 and this is how it looks it now has this light bump effect applied to it and now to distribute some sugar crystals all over this object we’ll go to the geometry nodes editor from here and click on the new button now press shift plus a go to point and select distribute points on faces we’ll drop it over here now to place sugar crystals as the instances in place of these points we’ll be using the instance on points node so press shift plus a go to instances and select the instance on points let’s place it over here now everything will disappear because we have not connected anything to the instance so let’s make the sugar crystals to be used as the instance here so in the 3D view Port press shift plus a go to mesh and select the cube press G and Y and move it over here and to make it look like sugar crystals we’ll go to the material properties from here click on the new material and we’ll be making it transparent so go to the transmission and increase the weight to a value of one now since we are in the EV render engine so we need to do some more changes in order to get the material properly so first of all turn on the screen space reflection from here and if I click on it then here I have the option of refraction so I’ll turn this on as well now go to the material properties scroll down and open the settings change the blend mode from opaque to Alpha blend and turn on the rate race refraction to view the sugar crystals on the candy I’ll select this Cube from here which is basically the Gumdrop candy that we created and to use the sugar crystal as the instance I’ll select this cube. 001 and drag it into the geometry nodes editor now take this geometry socket and connect it to the instance to view it properly let’s go to the solid mode and you can see that the size of the instances is too high so we’ll change the scaling from here so I’ll select all the three axis and reduce it to something like 0.02 and to view the candy along with the crystals we’ll be adding The Joint geometry node so press shift plus a go to geometry and select the joint geometry node let’s place it over here now take the geometry socket in the group input node which is carrying the information about the original candy and drop it into the geometry socket of the joint geometry node let’s go to the render view again and this is how this Gumdrop candy along with the sugar crystals is looking right now let’s also increase the number of these sugar crystals from from the density option here so let’s keep it to something like 40 or 50 and this is how it looks if you want to get a better view of the candy then go to the render properties and change the render engine to Cycles now one more thing that you can see here is that the shadows of these sugar crystals are visible on the candy and to solve this problem simply select this bigger sugar crystal that we created go to the object properties from here then in the visibility you have the ray visibility and here one of the options is Shadow so if I turn it off the shadows of sugar crystals will no more appear however to bring it into effect for these instances as well simply select the candy and in the object info node carrying the sugar crystals turn on the as instance option and now you can see that the Shadows of the sugar crystals are no more present on the candy so basically you can use the as instance option if you want that the change you did to the main object should also be applied to the instances and with this these two candies are now completely ready and we’ll be placing them on different points of a plane so for this I will first select this sugar crystal and hide it in the viewport as well as the rendered version then I’ll select both of these candies press G and Y and place them over here now pressure plus a go to mesh and select the plane go to the geometry nodes editor and click on the new button now tab into the edit mode right click and select subdivide and let’s also scale it up like this now come out of the edit mode to place these candies as the instances on different points of the plane we’ll first add the instance to points node so press shift plus a go to instances and select the instance on points let’s place it over here now we’ll bring the object info node for both the candies so I’ll first select this Cube which is the gum drop and drop it over here similarly I’ll go for the cylinder which is the lollipop left click and drag it over here now since we need to use both the objects as the instances so we’ll be using the geometry to instances node so press shift plus a go to geometry and select the geometry to instance drop it over here connect this geometry socket to the geometry to instances similarly connect this one also and now take this instances socket and connect it to the instance here right now they are being placed over each other because we have turned on the pick instance option so I’ll turn it on and now we have the two candies placed as instances on different points of the plane let’s also reduce their size from the scale option slightly so let’s keep it to 0.9 and this is how it looks now now now moving ahead we’ll be creating the basee where we’ll place all these candies so for this let’s add a grid node here so press shift plus a go to mesh and in Primitives select the grid node let’s place it over here and now we’ll connect it to the point socket in the instance on points node let’s also increase the size of the plane from here so we’ll keep it to something like six or seven now in order to view the plane along with these instances or basically the candies let’s add the joint geometry node so press shift plus a go to geometry and select the joint geometry node place it over here and connect the mesh socket of the grid node to the Joint geometry now here we have this plane in the scene now if you remember when we were making mountains in some previous chapters in order to convert a plane into a mountain we were using the noise texture node in the geometry nodes editor we used it to displace the vertices in a particular direction and make hill-like structures so just like the noise texture we can also use some other textures like the Warner texture in order to create some random pattern on this plane so for this we first need to add the set position node so press shift plus a go to geometry and in right select the set position position node let’s place it over here and now also connect this geometry socket to the point socket in the instance on points now we’ll be using this offset socket and we connect it to the Warner texture in order to see its effect on this plane so press shift plus a go to texture and select the Warner texture let’s place it over here now I’ll take the distance socket and connect it to the offset and now if I change the angle then you can see that the vertices of this plane are now slightly displaced the reason why the effect of this Warner texture is very low is that the number of vertices in the grid is set to a very low number number so let’s increase it to a much higher value like 24 and because the number of vertices has increased as a result the number of these instances are basically these candies on different points of the plane has also increased to solve this problem we will use the random value node and connect it to the selection socket so press shift plus a go to utilities and select the random value node let’s place it over here we’ll change the data type from float to Boolean and if I connect the value socket to the selection in the instance on points the number of these instances or the candies will reduce and that’s because the probability value in the random value node is set to 0.5 meaning that for each point the probability or the chances of having a candy placed at that vertex will be equal to 0.5 so to further reduce the number of these instances I’ll reduce the probability to a very low number like 0.05 and now we only have these few candies in the scene in order to view and understand the Warner texture properly on the plane I’ll reduce this probability value again and we’ll keep it to something like 0.01 for now now you can see here that the effect of this Warner texture is too high right now to reduce it simply go to the scale value and let’s bring it down to something like 0.5 and this is how it looks now right now the effect of the Warner texture node is being applied in all the three axis however to get this effect only in The Zed axis we have to use the combin XY Z node so press shift plus a go to utilities and in Vector select the combined XY Z node let’s place it over here and to connect this socket to The Zed axis first I’ll break this node connection and then I’ll take the distance socket of the Warner texture and connect it to the Z axis so with this we have the effect of the Warner texture node applied to the of this plane in Only The Zed axis now if you want to increase the size of this plane first I’ll select these two candies let’s hide them by pressing H and if you want to hide them even from the render view then click on these camera buttons now to increase the size of this plane go to the grid node and let’s increase the size to something like 25 and let’s also increase the number of vertices here so I’ll select the vertices in the x and y axis and let’s increase it to a much higher number like 70 or 80 and this is how it looks the plane is having the Warner texture applied to it and the number of candies have increased because we have increased the number of vertices from here now to improve the lighting in the scene I’ll select this lamp and we’ll change its type from point to Sun let’s reduce the strength of this light from here so let’s keep it to a value of 10 or maybe let’s reduce it to five and then to adjust the rotation of this light press R and move your cursor like this then left click to finalize now one more problem that we have in the scene is that these candies are not placed properly like all of them are passing through the plane and to fix this problem we first need to get the original candies back in the scene so go to the scene collection let’s unhide them from here and I’ll be selecting both of them from the scene collection so I’ll select the cube which is the Gumdrop candy hold down the control button and select the cylinder which is the original lollipop now press G and Y and place it over here and now to move these instances upwards I’ll select the Gumdrop first tab into the edit mode press a to select all then move it upwards by pressing G and Zed and in this way when I move it in the edit mode all the instances will also begin to move in the Zed axis so let’s finalize this position by left clicking and then come out of the edit mode now I’ll select this lollipop tab into the edit mode press a to select all and we simply need to rotate it but if I press r y and rotate it like this then you can see that the texture that we applied on the lollipop is also getting changed so to solve this problem first I’ll undo the rotation come out of the edit mode select this plane and in the geometry nodes editor you can see that we have this object info node with the cylinder selected which is the lollipop so to rotate it we’ll be using the transform geometry node and connect it after the object info node so press shift plus a go to geometry and in operations select the transform geometry node let’s place it over here and now if I try to change the rotation like this you will notice that the texture is still getting changed so simply go to the object info node and turn on the as instance option and after this we’ll get back the original texture now in the rotation I’ll change the value in the Y AIS and round off it to – 90° and let’s also bring it upwards in The Zed axis so I’ll keep it to something like 2.5 and this is how it looks now I think that there are too many candies in the scene so I’ll change the probability from the random value note and we’ll reduce it to something like 0.5 and we now have lesser number of candies now moving ahead at the center of this plane we’ll be making a cotton candy tornado and to create the basic structure of the tornado we’ll be using a node which is the curv spiral node to add it over here press shift plus a go to curve and in Primitives select the curve spiral let’s place it over here to view the curve spiral in the scene hold on control shift and left click on the curve spiral node let’s also go to the solid mode for now and here we have the simple curve spiral added in the scene now the first option that you have in this curve spiral node is the resolution which is basically the number of points in the curv spiral node higher the resolution smoother will be the curve spiral and it will have a much better look then the next option that you have is the rotations and it simply means the number of rotations in a fixed length of the Spiral right now let’s increase it to something like five then here you have the start radius option which basically means the radius of the start of the curve or simply the bottom area then you have the end radius and it means the radius of the end of the curve spiral or simply the radius of the top area then the next parameter is the height and as the name suggests it controls the height of the curve spiral and now by default the rotation of the curve spiral is clocked Wise from the beginning however if I turn on this reverse option the direction of rotation will be reversed and now it will be anticlockwise from the beginning of the Spiral for now let’s turn off the reverse option and to convert it into a tornado we first need to give some thickness to it as a result we’ll be adding the curve to mesh node here so press shift plus a go to curve and in operations select the curve to mesh node let’s place it over here and for the profile curve we’ll be using the curve Circle node and connect it over here so press shift plus a again go to curve and in Primitives select the curve Circle node let’s place it over here and and connect it to the profile curve now to reduce the thickness go to the curve Circle node and reduce the value of radius from here so we’ll keep it to something like 0.4 and now let’s view it with the rest of our scene so for this we’ll be connecting this curve to mesh node to the Joint geometry and let’s also delete the viewer node from here and now here we have the curve spiral placed at the center now to move it up and change the scaling of this tornado we’ll be using the transform geometry node so press shift plus a go to geometry and in operations select the transform geometry node connect it after the curve to M node and the US the translation in The Zed axis we will change its position so let’s increase it and move it upwards like this let’s also make it slightly bigger with the help of the scale values in the transform geometry node so let’s increase it to something like two or three now to make it look like a real tornado let’s first reduce the start radius from here so we’ll keep it to something like 0.2 or 0.3 let’s also reduce the end radius value from here and if you want to make it bigger in terms of height then you can also increase the height parameter from here and now we have the basic structure of the cotton candy tornado ready in the scene now let’s also go to the render View and right now only its shape is resembling the tornado to make it look like a real tornado we need to convert it from a mesh into volume so for this we’ll be using the mesh to volume node to add it here press shift plus a go to mesh and in operations select the mesh to volume node let’s place it over here after the transform geometry node now this tornado is slightly visible in the scene however we need to increase the density and the number of rotations in order to make it properly visible so first of all go to the rotations and increase it something like 10 so I’ll change it to value of 10 10 now let’s reduce the height to something like 2 m let’s also go to the scale parameter in the transform geometry node and slightly increase it to something close to a value of three then to increase the density of the volume you can go to the mesh to volume node here and increase the density to something like 2 or three and with this the tornado almost looks ready however it’s up

to you how you want to change these values you can keep the number of rotations to any value which you think will look the best similarly you can change the start radius value from here or maybe the end radius value like this you can even control the height of the Spiral from here then you have the scaling options here so you can adjust these values yourself now to make it look like a cotton candy tornado we’ll be giving it some material so press shift plus a go to material and select the set material node let’s drop it after the mees to volume node then go to the material properties click on the new button and let’s change the name of this material to Cotton Candy go to the set material node and select the cotton candy material now in order to create the cotton candy material we have to change the window to the Shader editor and now we’ll be using the principal volume node so I’ll delete the principal bsdf press shift Plus a go to Shader and select the principal volume Shader let’s place it over here and now I’ll connect the volume socket to the volume in the material output let us change the color from here so let’s change it to pink color increase the brightness from here and adjust the color like this now go to the emission strength and we’ll be using this emission strength and the emission color in order to create a slight emission effect around the tornado so I’ll go to the emission strength and we have to give it a very small value like 0.01 and for the emission color we’ll set the same pink color that we assigned here so with my cursor over this pink color I’ll press crl + C and to paste this color in the emission color I’ll take my cursor over this white area and press crl + V I think that we should reduce the emission strength to a much lower number like 0.005 and with this we have a simple tornado with slight pink emission effect added around it now the next thing that we’ll do here is to distribute these candies on different points on the faces of tornado and to achieve this result we’ll open the geometry noes editor again and first we’ll be adding the distribute points on faces node so press shift plus a go to point and select the distribute points on face place it over here and since it takes only the mesh as an input as a result we can’t connect it using the volume node in the mesh to volume so I’ll take the geometry socket in the transform geometry node and connect it to the mesh now to view the points on the tornado take the point socket and connect it to the geometry in the joint geometry node now here we have these points distributed on the different faces of the tornado to reduce the number of these points you can reduce the value in the density parameter to something like 0.5 or 1 and now the number of these points has reduced now to replace these points with the IES we’ll be using the instance on points node so press shift plus a go to instances and select the instance on points let’s place it over here after the distribute points on faces now if you remember at the beginning of this chapter we learned about the geometry to instance node and we used it here in order to convert these candies into different instances then we used it on the instance on points node to place them at different points on the plane as instances and for the tornado also I’ll be using the instance socket in the geometry to instance node and will connect it to the instance socket in this instance to points node now first of all let’s go to the density value and reduce it to something like 0.01 now even though the density is reduced however you can clearly see that there are no candies placed around the tornado all of them are appearing on the top of the tornado and this is because we reduce the density in the distribute points on faces and it is not the best way if you ever want to reduce the number of instances being placed on the points of faces if you remember we used the random value node with the Boolean and connected it to the instance one points in order to fix the probability of these can candies appearing on the plane and similarly we’ll be using the same node in order to place these candies as the instances on different points of the tornado so let’s create its duplicate by pressing shift plus d and let’s place it over here we’ll connect it to the selection socket in the instance on points let’s also increase the density in the distribute points on faces node so we’ll increase it to a value of 10 and then to reduce the number of these instances I’ll go to the probability parameter in the random value node and let’s keep it to something like 0.002 and this is how it looks we now have these candies placed at different points on the faces of the tornado but now the number of these instances is too high so I’ll directly go to the value of density and reduce it to something like five and let’s also increase the probability to something like 0.003 or 0.4 and finally this is how the scene looks now we have this tornado with the candies around it and right now all of these candies are having the same rotation which is their original rotation and to give some random rotation to each one we’ll use the random value node so I’ll select this one press shift plus d to create a duplicate and place it over here change the data type to to vector and connect the value socket to the rotation in the instance on points to increase the randomness select all the three maximum values and let’s increase it to something like 10 so you can try to change these values like the density the probability and the amount of Randomness in the rotation by using the maximum values the higher the number in the maximum more will be the randomness in the rotation of candies then to generate a different output with the same value of rotation you can go to the seed option and if I change it then it will generate a different result now let’s do one more thing which is to improve the lighting in the scene so I’ll select this light in the same collection press shift plus d to create a duplicate and move it in the X Direction like this let’s also move it in the Y AIS and place it over here now press R to rotate the light and left click to finalize let’s reduce the strength of this light to something like two or three and now this is how our candy world is looking right now now moving ahead the next topic of today’s chapter is understanding the separate components node so first let’s add it in the geometry nodes editor press shift plus a go to geometry and in operations here we have the separate components node so I’ll select it and place it over here in this node you can see that it takes geometry as an input and provides output in the form of mesh curve Point Cloud volume and instances in simple words it helps to separate the different components of geometry so if I go to the Joint geometry node and place the separate components node after the joint geometry node then in this case it will only display that component which is connected to the output in this case the mesh is selected as a result it is showing only the mesh component of the object similarly if I connect the volume then in this case it will only show the volume component which is the tornado then if I connect the instance to the output then now here we have all the instances are basically these candies being displayed in the scene so you can use the separate components node if you ever want to separate the different components of an object into mesh instances volume Etc and then you can work on that specific component easily however for now we’ll remove the separate components node by pressing X and let’s connect the joint geometry to the group output again and now it’s the time to understand the last concept of today’s chapter which is the sample index node to understand it we’ll be adding a cube in the scene so press shift plus a go to mesh and select the cube press G and x and move it over here let’s also turn on the solid mode from here and now with this Cube selected go to the geometry nodes editor and click on the new button now to add the sample index node press shift plus a go to geometry and in Sample select the sample index node let’s place it over here now the sample index node has the geometry socket as the input a value socket and the index parameter so it basically takes a geometry as an input and then it will retrieve a particular value based on the index number to understand it practically let’s connect it here now to view the Cube I’ll take the geometry socket in the group input and connect it to the group output and suppose you want to place a particular object on one of the vertex of this Cube like if I go to the geometry noes editor press shift plus a go to mesh and in Primitives select a UV sphere let’s place it over here and now suppose I want this UV sphere to be placed at that position where a particular vertex of this cube is present but for that I need the exact position of that particular vertex and this is where the sample index note can help us since by default the point is selected as the domain therefore we can use use this node to retrieve some information or some value about that point which has an index equal to zero and since we need to calculate the position so we also need to change the data type from float to Vector now to tell this node that we want to retrieve the position we’ll be using the position node and connect it to the value socket so press shift plus a go to geometry and in the read category select the position node let’s place it over here and connect it to the value socket so now this sample index node will retrieve the position of that point of the cube whose index value is equal to zero and to use this value in order to place the UV sphere at that specific point of vertex we have to use the set position node so press shift plus a go to geometry and in right select the set position node let’s place it over here connect the mes socket to the geometry and for the output we’ll be using the joint geometry node so press shift plus a go to geometry and select the joint geometry node let’s place it over here and to view the UV sphere I’ll take the geometry socket of the set position node and connect it here let’s switch to the wireframe mode in order to see both the cube and the UV sphere right now the offset values are set to 0 m as a result the UV is placed at the center of the cube however if I take the value socket of the sample index node which has the information about the position of that vertex of the cube which has an index equal to zero and connected to the offset then now you can see that the position of the UV sphere will change to that specific location where the vertex of the cube has an index value equal to zero similarly if I change the index value to one then the position of the UV sphere will change accordingly so this is the use of the sample index node however we won’t be practically using it in this chapter so for now I’ll delete this by pressing X and let’s go back to the the scene let’s also turn on the render View and this is how the final scene looks now today we understood lots of new Concepts in Geometry notes and even started with the creation of this candy world and yes with this we come to the end of this [Music] chapter in the previous chapter we begin with the creation of this candy world in blender with the help of geometry notes and in this chapter we’ll be understanding all these geometry notes in complete detail and we’ll also use them to finalize our scene so we are back in the scene that we created in the last chapter and in this one we’ll first start with understanding how the curves work in blender and that too by using geometry nodes so first of all I’ll switch to the solid mode and now you can add any object in the scene because we’ll then convert it into a curve by using geometry nodes so I will press shift plus a go to mesh and we’ll add a plane press G and x and move it over here to view it properly let’s go to the top view by pressing seven on the numpad and now here we have the plane to understand the concept of Curves in blender let’s also add a curve object directly in the 3D viewp so press shift plus a go to curve and select the bzier curve press G and x and move it over here and now we have this bzier curve and this plane which will convert into a curve with the help of geometry nodes so go to the geometry nodes editor and click on the new button now to get a curve instead of the plane press shift plus a go to curve and in Primitives select the basier segment let’s place it over here and with this we have this default basier curve created with the help of geometry nodes now in this node we have many options which help us to control the curve for example the first one is the resolution which determines the number of points in the curve if I reduce it to a very low value then the number of points will reduce and as a result the curve looks straight however to make it look like a real Curve will increase the resolution now the next thing that you have here is the start and using this you can control the position of the starting control point of the curve to understand it in a better way I’ll select this basier curve tab into the edit mode and now here you can see that these are the two control points of the curve and whenever I select any particular control Point these two handles will also appear using which you can change the rotation of your curve similarly if I select this curve which we created with this Bia segment node and try to change the start values then you will notice that the position of the first control point will change similarly you have this end parameter which determines the position of the end control point of the curve so if I change it you will notice that the position of the end control point is changing to understand it in a better way I’ll select this curve tab into the edit mode and this is the control point that we were talking about so if I press G and x and move it like this you will get similar results which you got by using the end parameter in the basier segment node now in this node we have two more options the start handle and the end handle and these will help to define the shape of the curve by changing the position of the handles of the curve so if I go for the first one which is the start handle and try to change its position then you will notice that the shape of the Curve will change similarly if I select this curve tab into the edit mode then with this control Point selected if I try to move this handle in the x-axis then in this case you will get similar results then the next parameter that you have here is the end handle and this one allows you to control the position of the end handle handle of the curve so if I try to change the position like this in the y- AIS then the position of the end handle will change similarly if I select this one tab into the edit mode select this end control point then select this handle and move it upwards in the y- axis then in this case also you will get a similar result so in simple words you have two options to control the position of the control points which is the start and the end and then you have two more options to control the position of the handles which is the start handle and the end handle now one thing that you might notice here is that in the edit mode for any control point we have two handles one is on the left and the other one is on the right and to control these handles individually we have another node which is the set handle position node to add it in the geometry noes editor press shift plus a go to curve and in the right category select the set handle positions we’ll place it after the Bia segment node and now with this node I can control the left and the right handles of the control points of the curve separately so from this option you can control that the changes should be applied to which particular handle the left handle or the right handle then to make the changes you can go to the offset socket and try to change the value right now by default the left handle is selected so whatever changes I make in the offset will be applied to the left handles so suppose I change the second value which is the Y AIS to something like three and then to achieve the same result manually with this curve I’ll select it tab into the edit mode then first I’ll select this control point and this handle is the left handle of the control point so to achieve the same result as this one I’ll move it upwards in the Y AIS by 3 m then I’ll select this control Point select the left handle and we’ll move this one also by 3 m in the V axis so press g y and 3 and then enter to confirm now we have moved both the left Handles in the Y AIS by 3 m and you can see that we got the same result which we created with the help of this geometry node so by using the set handle positions node you can simply control the structure of the curve by changing the offset of the left and right handles and now let’s come back to the scene so I’ll delete these two curves from here and now we’ll begin with the creation of a cupcake for our scene so let’s first add a cylinder and then we’ll modify into a cupcake so press shift plus a go to mesh and add the cylinder press GX and place it over here now let’s tab into the edit mode then to scale it up in the X and Y axis press s and shift plus Z and scale it up like this then left click to finalize now to make it look better I’ll select the top Edge Loop by holding alt and left clicking here and we’ll apply the bevel effect by pressing control+ B and moving my cursor away like this now press three for the face select mode select the top face press G and Zed and move it down like this now for the top part press I to insert the face e to extrude it in the Zed AIS like this press I to insert again and let’s move the this face slightly upwards in The Zed axis so we’ll keep it to something like this now let’s apply the subdivision surface modifier to it so let’s come out of the edit mode go to the modifier properties click on ADD modifier and in generate select the subdivision surface let’s increase the level view port to something like two and to make it look realistic again T into the edit mode press crl plus r to add a loop cut here then left click and we’ll place it downwards here let’s add one more Loop cut by pressing crl plus r then left click and place it over here now let’s also scale up this part at the top so for this press three for the face select then I’ll select this top face and to increase the selection press control and the numpad plus button like this then press s and scale it up like this let’s also move it slightly downwards so press g z and move it down like this now let’s also add some whipped cream at the top and for this we’ll be using the spiral node in the geometry nodes editor so click on the new button so press shift plus a go to curve and in Primitives select the curve spiral node let’s place it over here and to view the spiral in the scene hold on control shift and left click on this node now to convert it into a mesh We’ll add the curve to mesh node so press shift plus a go to curve and in operations select the curve to MH node let’s place it over here and for the profile curve we’ll be using the curve Circle node so press shift plus a again go to curve and in Primitives select the curve Circle node place it over here and connect the curve socket to the profile curve now let’s reduce the radius from here so we’ll keep it to something like 0.3 or 0.4 then because we making the whipped cream so we need it to be inverted and for this I’ll change the height from postive 2 m to something like minus1 and now we have inverted the height then to make it look like whipped cream I’ll go to the start radius value and try to change it similarly we’ll also change the end radius like this so you can try to change these values like the height the start and the end radius in the curve spiral node and then the radius parameter in the curve Circle node also to fill this empty space at the starting and the end you can turn on the fill caps from here now to place it on the top of the cupcake we can use the distribute points on faces node however since we understood about the sample index node in the previous chapter so we’ll be using that node to place it on the top of the cupcake and yes it will be like a a homework for you to tell in the comments how you would have used the distribute points on faces node to place this on the top of the cupcake but for now let’s add the sample index node here so press shift plus a go to geometry and in Sample select the sample index node let’s place it over here now to view both the cupcake and this whipped cream in the scene we’ll be adding The Joint geometry node so press shift plus a go to geometry and select the joint geometry node place it over here connect the geometry socket to the Joint geometry then take the mesh socket of the curve to mesh node and connect it to the Joint geometry to view the output I I take the geometry socket here and connect it to the group output then I’ll delete the viewer note from here and now here we have the cupcake and the whipped cream placed below it and in order to place it on this top face we’ll be using the sample index node now we want to get the position of the top face so first of all I’ll change the data type to Vector then in the domain I’ll select the face and to retrieve the information about the position of the face I’ll be connecting the value socket to the position node so press shift plus a go to geometry and in read select the position node place it over here and connect it to the value socket then to place the whipped cream at that particular location which it will give as the output we’ll first add the set position node after this so press shift plus a go to geometry and in the right category select the set position node let’s place it over here and connect the value socket of the sample index node to the offset in the set position and now the whipped cream will get placed at the position of the face having the index value equal to zero now one way to know the index value of the top face is to keep on changing the index value from here and wait till you reach the top but a better way is to go to the edit option here then go to the preferences then in interface turn on the developer extras option now I close this window now tab into the edit mode and here on the top you will find this icon which is the mesh edit mode so if I select it then here in the developer category I have this option of turning on the indexes and this will display the index number of any selected vertex Edge or face so I’ll turn it on and now here you can see that since I have selected this top face so it is also displaying the index number of the selected pH so I’ll use this index number in the index parameter here and it looks like this because the subdivision surface modifier is place above the geometry nodes modifier to fix this click here then drag it and place it below the geometry nodes modifier and now the whipped cream is placed on the position of this top face to get back the node system select the geometry nodes modifier from here and now to move it upwards we’ll be using the transform geometry node so press shift plus a go to geometry and in operations select the transform geometry node place it after the set position node and now if I go to the translation in the Z axis and try to increase it you will notice that the position of the whipped cream is also changing now to place it perfectly we’ll do some some changes in the parameters of the Spiral node and also the transform geometry so first of all we’ll move it slightly downwards in The Zed axis so that this ending part of the whipped cream is not visible so go to the translation in The Zed axis and reduce it slightly to something like 0.6 M then to increase the number of rotations I’ll go to the rotation value here and let’s increase it to something like four and now because this part of the whipped cream is intersecting with the cupcake so I’ll go to the end radius and slightly reduce it to something like 1.05 or 1.06 and this is how it looks now let’s all also make it colorful by adding some material to it so turn on the render view then in the geometry nodes editor we’ll add the set material node so press shift plus a go to material and select the set material node we’ll place it after the transform geometry node and we’ll use it to assign the material to the whipped cream so go to the material properties click on the new button and since we have selected the original cupcake therefore this default material will get applied to the lower part of the cupcake so if I go to the base color and try to change the color from here then that specific color will get applied to this part of the cupcake however for the cre part we need to create a new material again and assign this material. 004 with the help of the set material node so I’ll click here and select the material. 004 let us change the color of this material to something like pink and for the lower part of the cupcake I will change this window to the Shader editor From Here and Now for giving it some texture we’ll be using the magic texture node so press shift plus a go to texture and select the magic texture let’s place it over here and connect the color socket to the base color now you can change the texture with the help of the depth parameter from here and if you want to reduce the color or add only some specific color to the texture then for this you can add the color ramp node so press shift plus a go to converter and select the color ramp place it over here and now with the help of these pointers we can adjust the color of the texture so first of all change the interpolation mode to constant then I’ll change the color of the first pointer by increasing the brightness and I’ll change it to light blue color then for the second color select this pointer let’s move it over here and I’ll change its color to the yellow color and if you want to change the scaling of the texture then select the magic texture press crl plus T to add the texture coordinate and the mapping node then take the object socket and connect it to the vector and now if I reduce the scale to something like one then now the texture looks like this so you can try to change the scale or the position of these pointers or their colors from here and in this way you can make your texture look better right now it looks perfect so we’ll finalize this however one more thing to notice here is that the texture that we created for the outside part of the cupcake is also applied to this part below the whipped cream and to fix this tab into the edit mode and with the stop face selected press control and numpad plus to increase the selection then I’ll go go to the material properties select this pink material and click on the sign button and now you can see that we have all the materials perfectly applied to the cupcake now let us also finalize our scene so go to the solid mode press 7 to go to the top view and we’ll be placing this cupcake on different places of this candy world so press G and move it over here press shift plus d to create a duplicate and let’s place this one over here similarly let’s create one more duplicate place it here and one last duplicate at this point now we have placed these four cupcakes in our candy world and let’s also move them slightly upward so press gz and move it up like this let’s do the same with this one so press gz and move it over here then I’ll select this one press gz and place it upwards and in the end I’ll select this cupcake press G and Zed and move it over here and with this our scene is now completely ready so let’s go to the render View and let us do one more thing which is to give some simple material to the base so I’ll select it go to the geometry nodes editor from here and if you remember we use this grid node connected to the set position to create this base and to assign the material I’ll take the set material node over here press shift plus d to create a duplicate and connect it after the set position node then go to the modify properties and create a new material let’s assign this material. 005 to the base of the candy world so click here and select the material. 005 now to modify the material we’ll go to the Shader editor from here and now to give it some random texture We’ll add the noise texture here so press shift plus a go to texture and select the noise texture from here now press contrl + T to connect it to the texture coordinate and the mapping node and now I’ll take this Factor socket and connect it to the base color also take the object socket and connect it to the vector and now to give some color to the texture We’ll add the color Ram so press shift plus a go to converter and select the color Ram place it after the noise texture change the interpolation to constant and now by using these pointers we can change the color of this texture so for the first color we’ll change it to the white color by increasing the brightness then for the second color we’ll change it to something like brown color so let’s take this over here then reduce the brightness in order to make it look like chocolate brown Now by changing the position of these pointers we can adjust the look of the texture also you can use the scale parameter in the noise texture in order to change the scaling of the texture so if I reduce it to something like one then this is how the texture looks let’s also bring the second pointer slightly here and now the texture looks perfect now to render the final image we’ll first place our camera at this position so for this press control alt and zero on the numpad then turn on the lock camera to view let’s adjust the camera properly and now this is how our final scene looks to render the image click on the render button and select the render image now this is the final rendered version if you want you can do more changes in the scene like try to increase the density of these candies try to change the texture on the base and in this way you can make your scene look better and with this we come to the end of this chapter today we learned about some new geometry nodes and we even finalized the [Music] scene in this chapter and the upcoming chapter we’ll be completing this scene and for today’s chapter we’ll be learning all these Topics in complete detail so the first topic for today’s chapter is understanding the scene time node so for this let’s first go to the geometry nodes workspace and in the geometry nodes editor click on the new button now we’ll be understanding the scene time node with the help of a UV sphere so press shift plus a go to mesh and in Primitives select the UV sphere let’s place it over here now suppose we want to create an animation where this UV sphere scales up in the Zed axis so first of all I’ll be adding a transform geometry node by pressing shift plus a then in Geometry go to operations and select the transform geometry node let’s place it over here and now with the help of the scale values in this node I can control the scaling of the UV sphere now even though I can insert a key frame at the scale value in The Zed axis and create the entire animation manually by using the timeline editor but an easier way to do it is to use the scene time node so first of all let’s add it here so press shift plus a go to input and in scene select the scene time node let’s place it over here now I can use this scene time node in order to create the animation of the UV sphere scaling down in the Zed axis but before that let’s also add the combine XYZ node to control the scaling only in The Zed axis so press shift plus a go to utilities and in Vector select the combine XYZ node let’s place it over here and now I’ll take take the second socket of the seene time and connect it to the Zed axis then I’ll take the vector socket and connect it to the scale now what the seene time note does is that it simply creates an animation where the scaling in The Zed axis will increase from a value of zero to Infinity however to view the uis sphere in the scene I also need to change the values in the X and Y axis to one and now if I play the animation by pressing the space bar then you can clearly see that the scaling of the UV sphere is increasing from a value of zero in The Zed axis and this is because of the scene time node and because I connected the second socket in this node the animation will be created as per the seconds however if I take the pointer to the frame number one and now if I take the frame socket and connect it over here and play the animation again then you can clearly see that this time the animation is very fast and that’s because we have used the frame socket here so in most of the cases we’ll be using the second socket in order to get a realistic animation now the next node to understand is the quadrilateral node to add it over here first I’ll delete all these nodes by pressing X then press shift plus a go to curve and in Primitives select the quadrilateral node let’s place it over here and connect it to the group output now let’s go to the top view by pressing seven on the numpad and so the quadrilateral is simply any closed shape which has four sides in fact you can change the type of quadrilateral from the mode option here so by default the first one which is the rectangle is selected and here you have the options like width and the height and using these values I can easily control the width and the height of the rectangle then the next available mode is the parallelogram and again I have the width and the height option and we have an additional option which is the offset parameter so by using the width I can control the width of the parallelogram then by using the height we’ll control the height of the parallelogram then from the offset value we can control the offset or basically the tilting of the parallelogram to the left or the right now the third mode available is the trapezoid and for those of you who don’t know what a trapezoid or a trapezium is it is basically a quadrilateral which has at least one pair of opposite sides parallel to each other now by using the height value we can control the height of the trapezoid in the Y AIS then we have the bottom width and if I change it then basically the width of the bottom side will change like this then the next option is the top width and by using it we can control the width of the top side of the trapezoid then we have the offset by which we can control the tilting of the trapezoid to the left or the right then we have the kite mode where I can change the width like this the bottom height and similarly the top height of this quadrilateral then we have the last option which is the points mode and you can use it to create any type of parallelogram simply by changing the position of the points for example in the point one if I try to change the position in the x-axis then you can see that the position of the first point will begin to change like this then you can do the same with the Y AIS or the Zed axis and yes you also have the option to change the position of all the four points of the Quad lateral now we’ll be creating this shield with the help of the quadrilateral node so first of all I’ll change the mode of the quadrilateral to kite and then to fill it we’ll be adding The Fill curves node so press shift plus a go to curve and in operations select the FI curve node let’s place it over here and I’ll change it to ends now in order to give some thickness to it we’ll be using the extrude mesh node so press shift plus a go to mesh and in operations select the extrude mesh node let’s place it over here now we’ll reduce the offset scaling to something like 0.2 or 0.3 and this is how it looks now we have applied the Extrusion effect to the quadrilateral and now suppose you want to scale down this top face and for this we’ll be using the scale elements node so press shift plus a go to mesh and in operations here we have the scale elements node let’s place it after the extrude mesh node and now if I try to change the scale value then the entire mesh object will begin to scale up and down however to apply the scaling only to the top face I’ll take the top socket and connect it to the selection in the scale elements node and now if I try to reduce the scaling then in this case only the top face is getting scaled down now to give some interesting pattern to our Shield we’ll be using the Dual mesh node to add it here press shift plus a go to mesh and in operations select the Dual mesh node let’s place it over here and as discussed in one of the previous chapters the Dual mesh node will convert the vertices into faces and the faces into vertices however to give it an interesting look I’ll split these edges and then scale down the faces so press shift plus a go to mesh and in operations select the split edges node place it over here and to scale down the faces I take the scale elements node from here press shift plus b to create a duplicate and place it after the split edges node now let’s also increase the scaling to something like 0.9 or 0.92 and now it looks like this if you want to increase the number of vertices in the mesh and give it an even more realistic look then for this we can use the subdivide mesh node before the Dual mesh so press shift plus a go to mesh and in operations select the subdivide mesh let’s place it over here and with this the number of vertices and the faces in the mesh has increased now to extrude these faces I’ll be adding the extrude mesh node so press shift plus a go to mesh and in operations select the extrude mesh node let’s place it over here let’s reduce offset scaling to something like 0.1 or 0.2 and this is how the basic structure of The Shield is looking right now now to add the original quadrilateral below the shield with the subdivision applied we’ll be using the joint geometry node so press shift plus a go to geometry and select the joint geometry node let’s place it over here and now I’ll connect the subdivide mesh node to the Joint geometry and now you can see here that we have the subdivided quadrilateral mesh placed below the shield now to ensure that the edges appear properly on the boundaries turn on the key boundaries in the Dual mesh node now one more thing you can see here that the bottom is not covered and to fix this problem we’ll simply connect the original quadrilateral with the fill effect because of the fill curve node to the Joint geometry now to give the shield some basic material we’ll be adding the set material node so press shift plus a go to material and select the set material node we’ll place it after the extrude mesh node and to create the material go to the material properties and we have this default material added here so let’s select it from the list in the set material node now let’s also do one more thing which is to rotate the shield and move it upwards in The Zed axis so press RX and type 90 let’s also move it upwards like this now to create the shield material I’ll first turn on the render view from here now for a better lighting I’ll select the light go to the object data properties and change the type of light from point to Sun let’s also reduce the strength to something like four or five then to move the Light press g y and place it over here let’s also move it in the x-axis and now to rotate the Light press R then X and rotate it like this and with this we have a proper Lighting in the scene let’s select the shield again and for the meting material I will change this window to the Shader editor so click on this icon and select the Shader editor now if I zoom out then here we have the default material applied to the shield but to make it look like a realistic Shield I’ll change the base color to gray by reducing the brightness from here let’s also increase the metallic strength to a very high value like 0.9 or 1 now to give the texture a 3D look we’ll be using the bump node so press shift plus a go to vector and select the bump let’s place it over here and connect it to the normal of the principal bstf then for the texture we’ll be using the noise texture so press shift plus a go to texture and select the noise texture now we’ll connect the factor socket to the height then to connect the noise texture to the texture coordinate and the mapping node I’ll select the noise texture and then press cr+ T now just like always I’ll take the object socket and connect it to the vector let’s also reduce the scaling in the noise texture to something like 0.5 or 0.7 let’s also reduce the bump effect to something like .1 or2 let’s also increase the detailing to its maximum value of 15 and now this is how our Shield looks right now however you can notice some minor issues at the side of the shield and to fix them we’ll go back to the geometry nodes editor from here and I’ll change the Extrusion value in this node to something like 0.13 or 0.14 and now the shield looks perfect now moving ahead we’ll also be adding some glow at the back of the shield by creating another material and assigning that material to the back face so first of all I’ll go to the material properties and create a new material let’s also create a duplicate of the set material node by pressing shift plus 3 and drop it in between the subdivide mesh node and the joint geometry let’s also change the material to material. 001 and to get a glowing effect effect I’ll go to the emission let’s increase the emission strength to something like 10 let’s also change the color and I will be assigning the green color and now we have the glow effect applied to the back pH in order to view the glow properly I’ll go to the render properties and change the render engine to cycles and this is how our Shield is looking right now you can see that it has the metal at the front and from the back the green light is emerging for now I’ll change the render engine back to Eevee now moving ahead let’s also add a plain below it which will be the base of the landscape so press shift a go to mesh and select the plane and to control the scaling and then number of vertices of the plane from the geometry nodes editor simply add the grid node so press shift plus a go to mesh and in Primitives select the grid node let’s place it over here now let’s increase the size to something like 30 m let’s also increase the number of vertices in the X and Y axis to a much higher number like 100 and now we’ll be creating a path on the plane and we’ll be adding some fls on that path of the plane and for this we’ll be using the Hedge path to selection node if you remember in this chapter we learned about the edge parts to curve node and the node that we going to explore today is also very similar to the edge parts to curve node so to add it here press shift plus a go to mesh and in operations select the edge parts to selection node let’s place it over here so by using the start vertices socket we’ll tell this node about that particular vertex from where the path should begin so let’s add a compare and the index node for this so I’ll press shift plus a go to utilities and in math select the compare node let’s place it over here then to add the index node press shift plus a go to geometry and in read select the index node let’s place it over here now I’ll change the input type to integer and the operation to equal now now if I take the index socket and connect it to the value a and take the result socket and connect it to start vertices then in this case we are simply telling this H pass to selection node that the path should begin with the vertex having the index value equal to zero Now to create a shortest path between any two vertices we’ll be using the shortest Edge paths node to add it here press shift plus a go to mesh and in read select the shortest Edge paths let’s place it over here now I’ll connect it to the next vertex index here and for the end vertex we’ll be creating a duplicate of these two nodes by pressing shift plus d and placing them over here we’ll be using them to define the index value of the end vertex so I’ll take the result socket and connect it over here now to view the path we’ll be distributing some points on that path so press shift plus a go to point and select the distribute points on faces let’s place it over here and now if I take the selection socket of the HED pass to selection node and connect it to the selection in the distribute points on faces then it will distribute the points only on the shortest path between the vertices having the index value as per these nodes right now the value of B in both the compare nodes is equal to zero and that’s why we can’t see any points here and now if I try to change the index on the end vertex then you will begin to notice hardly any points in the scene and this is because we need to connect something to the Edge cost in order to define the path and we’ll be connecting it to the random value node so press shift plus a go to utilities and select the random value let’s place it over here and connect it to the Hedge cost now this random value node connected to the Hedge cost will give some random value between 0 and 1 and the Hedge cost will only consider the value which is lower and then it will make the path accordingly now to increase the number of points first I’ll go to the density and let’s increase it to something like 100 let’s also change the index value of the end vertex to something like 5,000 or 6,000 let’s also use the joint geometry node in order to view the plane along with the points so press shift plus a go to geometry and select the joint geometry node place it over here and connect the grid node to the Joint geometry now these points are distributed on this path and to modify it let’s again try to change the index value of the end vertex and I’ll keep it to something like 8,000 or 9,000 and this is how it looks now now let’s also create the fls to place at these points so press shift plus a go to mesh and select the plane press GX and place it over here now first of all we’ll be using the geometry nodes to convert This Plane into a star so click on the new button then press shift plus a go to curve and in primitive select the star node let’s place it over here and now you can see that the plane is converted into a star you can control the number of points from here then you can even control the inner radius or the outer radius and you have the twist parameter to create this amazing twist effect on the star now the reason for adding the star node is that we’ll be using it to make the Flow by adding the petals at the different points of the flour so for this let’s first make the flow petals so press shift plus a go to mesh and select the plane press GX and move it over here then go to the top view by pressing seven on the numpad now to convert it into a petal tab into the edit mode press gy and let’s place it upwards now press two for the face select mode I’ll select the top face and to make the petal longer press gy and bring it up like this let’s also add some Loop Cuts so press crl plus r then left click and right click to finalize press one for the vertex select I’ll select this vertex press g y and move it up like this let’s also add two more Loop cuts on the sides so press crl plus r make a loop cut over over here then again press crl plus r and we’ll have another loop cut over here now I’ll select these two vertices press g y and move them slightly upwards in order to give the tip of the petal a slightly curved or rounded look now you can see that the petal is completely flat and to make it look curved let’s add some Loop Cuts so press crl plus r use the scroll wheel to increase the number of loop Cuts then left click and right click to finalize now to give it a rounded look turn on proportional editing by pressing O then press G and z and move it down like this let’s also increase the size of the proportional editing tool by using the scroll wheel and then left click to finalize now let’s come out of the edit mode now to make the petal look thicker tab into the edit mode press a to select everything or to turn off the proportional editing and press e to extrude it like this now let’s come out of the edit mode right click and select shade Smooth by Angle now to place these petals as instances on different points of the star I’ll select it go to the geometry nodes editor press shift plus a go to instances and select the instance on points let’s place it over here now I’ll take the plane. 002 which is the FL petal and drop it here then we’ll connect the geometry socket to the instance now we need to fix the rotation properly and for this we’ll be using the Align UL to Vector node so press shift plus a go to utilities and in rotation select the Align UL to Vector let’s place it over here and connect it to the rotation in the instance on points then press shift plus a go to geometry and in read select the normal and we’ll connect it to the vector socket in the Align UL to Vector node now I’ll select the FL petal tab into the edit mode press a to select everything then we’ll rotate it in the xaxis by 90° so press RX and type 90 I think that we should also reduce its thickness so press s y and reduce the thickness like this now let’s also rotate it in the Zed axis by – 90° then go to the top view by pressing seven on the numpad and see we basically need to place this FL petal at its origin point which is the yellow Point here so press g y and let’s place it over here and now this is how the basic structure of the flower looks let’s also do one more thing which is to go to the x-ray mode by pressing all plus Z then select these vertices press o to turn on the proportional editing press GX and make them look curved like this let’s come out of the edit mode and now this is how the FL petals are looking right now let’s also control the radius of the FL P so come back to the object mode select this FL and now with the help of the inner radius and the outer radius value in the star node I can control the radius of the FL pels so we’ll increase the inner radius first and keep it to something like 2 m then for the outer radius we’ll be keeping it to a value of somewhere near 2.5 M and so this is how the flare looks now I’ll do one more thing which is to select the FL petal again tab into the edit mode press a to select everything turn off the proportional editing and let’s scale it down in the Y AIS this will reduce their area like this and now the flow petals look perfect now if you want your flow petal to be like opened then for this in the edit mode press r y and rotate the flow petal like this so this is how you can modify the look of your flow like changing the rotation or the radius values now for the remaining part of the flow we’ll be adding a UV sphere at the bottom and for the stem we’ll be using the cylinder mesh so press shift plus a go to mesh and in Primitives select the UV sphere let’s place it over here then to add the joint geometry node press shift plus a in Geometry select the joint geometry node now we’ll connect the UV sphere to the Joint geometry and to move it downwards we’ll be using the transform geometry node so press shift plus a go to geometry and in operations select the transform geometry let’s place it over here and we’ll move it down in the Zed axis like this now for the stem part press shift plus a again go to mesh and in Primitives select the cylinder let’s place it over here and connect it to the Joint geometry now we have the cylinder placed over here and to control its position and the thickness I’ll take the transform geometry node press shift plus d to create a duplicate and place it over here first of all I’ll reduce the scaling in the X and Y axis let’s also make it longer by increasing the scale in the Z axis then move it down like this and now this is how the FL looks now let give some materials to the petals so I’ll go to the render view again then I’ll select the flower petal and change the window to the Shader editor click on the new button and now here we have the default material applied so for the material of the flower petal we’ll be using the emission and we’ll assign different colors to the different flow petals so first of all let’s increase the emission strength to something like 10 and to assign different colors let’s add the color Ram so press shift plus a go to converter and select the color Ram now I’ll take the color socket and connect it over here now to give a random color to each of the petals we’ll be using the object info node so press shift plus a go to input and and select the object info place it over here and connect the random to the factor socket now for the colors first of all I’ll change the interpolation to constant let us change the first color by increasing the brightness and I’ll keeping the red color now for the second pointer let’s change the color to the pink color then for the third one I’ll click on the plus icon here and change the color to yellow color now to place these pointers at equal positions from each other click here and select distribute stops from left now let’s also make the material for the rest of the flow like the UV sphere and the cylinder so for this let’s go to the geometry noes editor select the flow and before assigning the material let’s do one more thing which is to slightly scale up the UV sphere so we’ll increase the scaling to something like 1.2 and now it looks perfect now for the material press shift plus a go to material and select the set material place it over here now you go to the material properties and click on new material now you click here and select the material. 003 let’s also change the base color to the yellow and increase the brightness from here similarly for the stem we have the cylinder connected to the transform geometry node so let’s create a duplicate of the set material node and place it over here let’s create a new material and I’ll change the base color to green color let’s assign the material. 004 and now this is how the FL looks now now to place the FL at different points on the plane I’ll select the plane press shift plus a go to instances and select the instance on points we’ll drop it after the distribute points on faces then I’ll select the plane. 001 which is the FL and bring it in the geometry nodes editor now to use it as the instance I’ll take the geometry socket and connect it over here let’s reduce their size to something like 0.2 or maybe 0.1 and now this is how our scene is looking right now let’s also place the fls properly so press shift plus a go to geometry and in operations the transform geometry let’s place it over here let’s bring it slightly upwards in the Z axis like this let’s also reduce the density to something like 25 and change the seed value to get a different result now I think that we should do one more thing which is to change the color of these petals right now the emission effect is not visible properly so to solve this problem I’ll select The Petal again change the window to the Shader editor and instead of connecting the color ramp to the emission we’ll connect it to the base color let’s also reduce the emission strength to zero and finally this is how our scene is looking right now we have these flowers placed on the path which you can easily modify by going to the geometry nodes editor selecting the plane then in the end vertex you can change the value in the compare node then you can increase or reduce its density from here and with this we arrived to the end of this chapter today we learned about lots of geometry nodes created this simple FL placed it on the path we even created this Shield by using geometry notes and also added the glow effect to the back pH in the next chapter we’ll be learning about some more geometry nodes and we’ll also be finishing our scene [Music] completely in the previous chapter we begin with the creation of this scene where we created this shield with the help of geometry notes and even added some simple flowers around it and in this chapter we’ll be understanding about all these topics in complete detail and we’ll use them to finish our scene now we are back in our scene and the first topic for today’s chapter is understanding the merge by distance node so for this let’s first go to the solid mode and now I’ll be adding a UV sphere in the scene so press shift plus a go to mesh and select the UV sphere press G and z and move it upwards go to the geometry nodes editor and click on the new button now let’s add the M by distance node and understand how it works so press shift plus a go to geometry and in operations select the merge by distance node let’s place it over here now this node will basically merge the vertices of your geometry according to the distance value here if the distance between any two vertices is less than or equal to the distance value which we add here it will simply merge those vertices together and the structure of the geometry will change accordingly for example if I change the distance to a value of 0.5 M then it simply merged all the vertices who are having a distance of less than or equal to 0.5 m in between them so when I reduce the distance we’ll have all the vertices and when I increase it the vertices will begin to merge with each other according to the distance value and this is the use of the merge by distance node now if I tab into the edit mode press a to select everything then press shift plus d to create a duplicate move it in the x-axis like this then you can notice that as I increase the value of distance the vertices of both the UV spheres are merging with each other however if you want that the vertices of each UV sphere should be merged individually then for this you can change the mode from all to connected and now if I try to change the distance then the vertices of the U spere will now be merging individually now this note can also be used to merge different points together and to understand it practically we’ll be creating some slow particles in the scene so first of all I’ll delete this then press shift plus a go to mesh select the cube now we’ll be scaling it up according to that area where we want the snow to be added in the scene so tap into the edit mode press s to scale it up like this let’s also scale it down in the Zed axis move it upwards in The Zed axis and place it over here now let’s come out of the edit mode now in order to add the snow in this volume of the cube we’ll first convert it from mesh to volume then we’ll be Distributing the points in the volume by using the distribute points in volume node and in the end we’ll replace the points with the Snowballs so let’s go to the geometry nodes editor click on the new button to convert it into volume we’ll use the mesh to volume node so press shift plus a go to mesh and in operations select the mesh to volume node let’s place it over here and now to distribute the points in the volume we’ll use the distribute points in volume node so press shift plus a go to point and select the distribute points in volume we’ll place it over here and now we have these points here and suppose you want to merge them then for this you can use the merge by distance node to add it over here press shift plus a go to geometry and in operations select the merge by distance node let’s place it over here and now I can merge these points together by controlling the distance from here so we’ll keep it to something like 1.4 or 1.5 M and in this way the number of the points have reduced because all the points that were having a distance of 1.5 M or less were merged together now to replace the points with the snowball we’ll be adding the instance on points node so press shift plus a go to instances and select the instance on points let’s place it over here then for the Snowballs we’ll be using the icosphere so press shift plus a go to mesh and in Primitives select the icosphere let’s place it over here and connect it to the instance let’s reduce their scale to something like 0.2 or maybe 0.3 let’s also increase the distance to something like 2 m and now this is how these snowballs are looking in the scene now let’s also create some material so go to the render view let’s also slightly reduce the scaling of the Snowballs so we’ll keep it to something like 0.25 and the distance to something like 2.2 M and now it looks perfect so for the material I’ll go to the material properties click on the new button then let’s go to the emission and increase the emission strength to a value of something like five and to apply this material. 005 to the snow particles go to the geometry nodes editor press shift plus a go to material and select the set material node let’s place it over here and select the material which is the material. 005 now if you want you can even change the color of this icosphere to something like yellow or maybe red if you don’t want them to look like real snowballs so you can try to change the colors right now I’ll be assigning the red color now moving ahead let’s understand the next topic of this chapter which is the separate XZ node so for this first of all let’s add some random object in the scene so press shift plus a go to mesh and let’s add a cube press GX and place it over here let’s also change the render engine from Cycles to Eevee and now we’ll be understanding the separate XR node first in the Shader editor and then in the geometry nodes editor so click here and select Shader editor click on new material now to add the separate X node press shift plus a go to converter and select separate xit let’s place it over here now the separate xit node is exactly opposite to the combined xed node that we understood earlier so if I add it by pressing shift plus a going to converter and selecting the combine xet then you can see that this combined XZ node takes the input in the form of XY and Zed axis and combines it into a single Vector on the other hand the separate XYZ node takes the input in the form of a vector and separates it into X Y and Z AIS let’s also understand it practically so with this note selected if I press control plus T then now I’ll have the texture coordinate and the mapping node added in the Shad editor let’s delete the image texture from here and connect the vector of the mapping node to the separate exisit node let’s also take the object socket and connect it to the vector and now to view the result hold on control shift and left click on the separate XYZ node now the separate XYZ node is taking the vector and separating it in the XY and Zed axis right now we are using the x-axis socket and as a result you can see this black and white color on the cube which is changing in the x-axis so basically in the X x axis the vector is changing from minus1 to postive 1 in the beginning the value is minus1 and as I told you in one of the previous chapters whenever the value is anything less than or equal to zero in that case the color will always be black then the value increases to zero in the middle and then as it reaches the end the value will be equal to 1 now in a similar way if I take the y- axis and connect it to the output then in this case the change in color is being observed on the y- AIS like initially the value is minus1 then in the middle it’s zero and in the end the value is equal to 1 similarly if I take the Z axis and connect it over here then the

same thing happens in the Z axis also at the bottommost point the value is equal to minus1 then it increases to zero in the middle and at the top the value is equal to 1 so in simple words we can say that the separate XY Z node simply separates the vector into the XY and Z axis now let’s try the same with the geometry nodes also so I’ll select the plane go to the geometry nodes editor from here and now to add the separate xite node press shift plus a go to utilities and in Vector select the separate X node let’s place it over here now I’ll be adding the position I node to be used as a vector to be separated so press shift plus a go to geometry and in read select the position node let’s place it over here and connect it to the vector and now if I take the x-axis socket and connect it to the selection in the merge by distance stored then in this case the vector will get separated in the x-axis and we’ll be getting a result where in the beginning the value will be minus one then in the middle the value will be zero and in the end the value will increase to positive 1 as a result the merge by distance node will only get applied on that part where the value is greater than zero this concept is exactly similar to that in the Shader editor which we understood with the help of this Cube for example if I take the xaxis and connected to the output then initially the value was minus1 then it became zero and then it increased to positive 1 similarly in the geometry nodes also here the value is minus one here it is 0o and in the end the value is equal to one now let’s go to the geometry nodes editor again and so this was the concept of the separate XY Z node for now I’ll delete it from here let’s also delete this position node now let’s move to the next topic of this chapter which is the value node and to understand it let’s first select the plane then in the geometry nodes editor press shift plus a go to input and in constant select the value node let’s place it over here now the value node is the simplest node which helps to give an input of a value and the benefit of using the value node is that you can connect the same value to the multiple sockets for example you can see here that in the grid node the size in the X and Y AIS is equal to 30 m so if I take the value socket and connect it to the size in the X and Y AIS like this and increase the value to 30 and press enter Then in this case this value of 30 is being assigned to the size sockets here so this node is simply used to assign a single value to multiple nodes or sockets in fact in the density option here you can see that the density is equal to 38.6 so if I take the value socket which is carrying the value equal to 30 and connected to the density then in this case the density is reduced to a value of 30 now moving ahead we’ll be adding some mushrooms in the scene and for this let’s first add a UV sphere so press shift plus a go to mesh and select the UV sphere press GX and place it over here go to the front view by pressing one of on the numpad and now here we have this UV sphere added in the scene tab into the edit mode and to model the mushroom we’ll be deleting the bottom half of the vertices so first let’s turn on the x-ray mode by pressing alt plus Z then select these vertices press X and select delete vertices now press a to select everything and let’s scale them down in the Zed axis like this now I’ll select this Edge loop at the bottom by holding alt and left clicking here then let’s zoom out and change the view let’s also turn off the x-ray mode and now to make the bottom part of the mushroom press e to extrude right click to cancel the movement s to scale it down like this also press crl + r to add some Edge Loops over here use the scroll wheel to increase the number of loop cuts and then left click and right click to cancel the movement now let’s move them slightly upwards by pressing gz and place them over here now for the bottom part I’ll select this inner Edge Loop by holding alt and left clicking here now let’s extrude it by pressing e and Zed and extrude it like this let’s also scale it up at the bottom by pressing s and now it looks perfect we have the simple mushroom ready in the scene now for the material on the top of the mushroom go to the material properties create a new material and to assign this material to the top we’ll select this vortex in the middle this one and to increase the selection hold on control and numpad plus and let’s do it a few more times till the entire area on the top is covered and yes one more thing this material. 007 is the first material and so it’s the default material that automatically gets applied to the entire object however to create a material that will only get applied to the top I’ll create a new material from here and click on the assign button now let’s come out of the edit mode Let’s also change this window to the Shader editor now for the spotlight texture we’ll be using the warno texture so press shift plus a go to texture and select warno let’s place it over here press cr+ P to connect it to the texture coordinate and the mapping node and to view the output hold on control shift and left click on the wner texture now here we have these spots on the top and to control their appearance let’s add a color ramp node so press shift plus a go to converter and select the color ramp place it over here let’s change the interpolation to constant and now if I take the second pointer and move it like this you can clearly see that now I can easily control the looks of the spots from here also let’s reduce the scale value to something like 2.5 or maybe 2.4 and this is how the texture is looking now now to give some color to the mushroom let’s first select the principal bstf node and place it over here and now I’ll be adding another color ramp node which we’ll be using to give some colors to the mushroom so press shift plus a go to converter and select the color ramp place it over here let’s select the white pointer and we’ll change the color to something like red let’s also change the black color by increasing the brightness and now we have this white color on the spot let’s also apply shade Smooth by right clicking and selecting shade smooth and with this the top of our mushroom is now completely ready for the bottom part I’ll select this material. 007 and we won’t be doing much changes here we’ll only apply a simple noise texture so press shift plus a go to texture and select noise texture place it over here connect the color socket to the base color let’s also increase the scale value to something like 20 or 15 and now we have this simple material for the base with this the mushroom looks perfect to be added in the scene so to distribute it on the plane let’s select the plane switch to the the geometry notes editor from here and just like we place the flowers let’s also place the mushrooms on the plane but yes we added these flowers only on this part that we created using the edge pass to selection node which we won’t be doing in case of the mushrooms so first of all I’ll select both of these nodes which is the distribute points on faces and the instance on points press shift plus d to create a duplicate and place it over here now let’s reduce the density to something like five take the mesh socket of the grid node and connect it over here and for the instance let’s add the mushroom that we created so I’ll select this spere left click and drag it into the geometry nodes editor take the geometry socket and connect it to the instant socket now I’ll connect it to the Joint geometry node and now you can see here that we have so many tiny mushrooms distributed in the plane so first of all I’ll reduce the density to something like 0.5 let’s also increase their scaling to something like 0.3 or 0.4 and to move them upwards we’ll be using the transform geometry node so for this press shift plus a go to geometry and in operations select the transform gometry node let’s place it over here now with the translation value in the Z axis we’ll move the mushrooms up also I think that we should reduce the density further to a value of 0.25 and now to give some random rotation to each of the mushrooms we’ll be connecting the random value node to the rotation socket so press shift plus a go to utilities and select random value let’s place it over here change the data type to Vector connect the value socket to the rotation now to ensure that the randomness of the rotation is only applied in The Zed axis I’ll change the maximum values in the X and Y AIS to zero and now we have the randomness in the rotation only in The Zed AIS now the scene looks perfect so let’s go to the camera view by pressing zero on the numpad to adjust the camera click on this lock icon which is the lock camera to view and now let’s adjust the view like this let’s also zoom out also I think that we should reduce the size of these snowballs so I’ll select them and in the geometry nodes editor let’s reduce the scale value to something like 0.15 to place the camera properly you can do one more thing which is to select the camera from the scene collection press end then by using these values of the location and the rotation you can adjust the camera view perfectly so first of all I’ll change the rotation in the Y and Z axis to exact zero or maybe let’s slightly change the rotation in the Z axis let’s also move it in the xaxis like this then to move it upwards increase the location in the Z axis like this and so by simply adjusting these values you can easily control the camera view for now I think that this position looks perfect so let’s finalize it also I’ll change the render engine back to cycles and this is how our scene looks now if you want you can even download some texture for the base from websites like poly haven.com and apply them on this plane but for now I will only be adding a simple green color to the base so let’s select the base go to the material prop properties and create a new material let’s change the base color to green and to apply this material to this space we’ll be adding a set material node in between this grid node and the joint geometry node so press shift plus a go to material and select the set material node let’s place it over here and then select this material. 009 from the list and now we have the simple green material applied to the base also with this we arrive to the end of the chapter number 45 in today’s chapter we learned about some new geometry nodes some new blender Concepts and we even finalized this magical Shield scene [Music] in this chapter and the upcoming chapter we’ll be learning about lots of new geometry notes and by using them we’ll be creating a beautiful scene with some dragons and in today’s chapter we’ll be understanding all these topics in complete detail so to begin with let’s first go to the geometry nodes workspace and now we’ll be making some flying dragons like this one using geometry nodes now for making the dragons I’ll delete this Cube by pressing X now let’s add a curve in the scene so press shift plus a go to curve and select the basier curve let’s go to the top view I press seven on the numpad and to give it some thickness go to the geometry nodes editor click on the new button and now we’ll be adding the curve to mesh node so press shift plus a go to curve and in operations select the curve to mesh node we’ll place it over here and for the profile curve we’ll be using the curve Circle node so I will press shift plus a go to curve then in Primitives select the curve Circle node now we’ll connect it to the profile curve now to fix the radius of the curve we’ll be using the set curve radius node so press shift plus a go to curve and in the right category select the set curve radius let’s place it over here and by using the radius value we can control the radius of the curve now to make the radius look like it’s smaller at one end and bigger at the other end we’ll be using the spline parameter node so press shift plus a go to curve and in the read category select the spline parameter node we’ll place it over here and connect the factor socket to the radius now if I tab into the edit mode press a to select everything then press X to delete and select delete segments and then if we try to draw a curve by selecting the draw tool from here and now if I try to draw a curve like this then you can see here that the same thing is being applied to this curve also now this curve is created which will be used as the body of the dragon and to fill this face of the curve simply turn on the fill caps option here now we’ll be placing the dragon’s head on this face of the mesh but first of all we’ll convert this mesh into points and for this we’ll be using the mesh to points node so press shift plus a go to mesh and in operations select the mesh to points node let’s place it over here now this mesh to points node converted the vertices of the mesh into points however if I change the mode to faces then in this case each face of the mesh will be converted into a point point now to get the point only on that face where we wanted to add the dragon’s head we’ll be using another node which is the face area node so to add it here press shift plus a go to mesh and in the read category select the face area let’s place it over here now this face area node is simply used to compare the area of different faces however to use it practically we also need to add the compare node so press shift plus a go to utilities and in math select the compare node we’ll place it over here now I’ll connect the area socket to the value a let’s also come out of the edit mode and now you can see here that with the mesh to points node and the faces selected here we are having these points in place of the different faces of the mesh and by using the face area node we’ll be comparing the area of each of the faces in order to get only that point where we want to place the head of the Dragon so if I take the result socket and connect it to the selection then in this case this compare node with the greater than operation selected will only give the result of those faces who are having a face area greater than the value of B which is zero and if I begin to slightly increase this value then you will notice that the number of these points are reducing and that’s because those particular faces where these points were placed were not having a face area greater than this value of B so if I further increase it to something like 0.05 or 0.06 then you will now notice that we have only one point left in the scene and this is exactly that point where we need to place the head of the Dragon now to view the rest of the body along with this point we’ll be using the join geometry node so press shift plus a go to geometry and select the joint geometry node let’s place it over here and connect the mesh socket of the curve to mesh node to the Joint geometry now we have this body of the Dragon along with this point on that face we will be placing the dragon’s head now to make the head of the Dragon let’s add a cube in the scene so press shift plus a go to mesh and select the cube press GX and move it over here now to apply the subdivision to it go to the modifier properties click on ADD modifier and in the generate category select the subdivision surface modifier let’s increase the levels you port to a value of two let’s also apply this modifier from here and now to convert it into a dragon head we’ll be doing the changes in the edit mode first of all on the top right side you can see this butterfly icon which is the mesh symmetry option and suppose I click on the Y AIS now whatever changes I’ll do on any one side of the mesh it will also get reflected on the other side in the Y AIS so it’s basically used to create symmetry in the mesh while editing now let’s undo it and we’ll be keeping this Y axis turned on now let’s make a simple dragon head so I’ll select a Vertex at the top right side then press o to turn on the proportional editing then press G to move it like this let’s also reduce the size of the proportional editing tool by using the scroll wheel let’s move this point over here slightly upwards and then left click to finalize also I select this point press g z and move it slightly down like this and yes we’ll be making only a basic structure of the dragon’s head we won’t be going into too much detail and now for the front part I’ll select this Vortex press GX and move it forward like this let’s also go to the back of the head select any vertex press GX and let’s make it flat like this let’s also increase the proportional size and then left click to finalize now let’s make the eyes of the Dragon so first of all turn off the mesh symmetry in the Y AIS also turn off the proportion editing press three for the face select mode now for the eyes I’ll be selecting these two faces by holding the shift button let’s extrude them inwards by pressing e and then move your cursor like this and left click to finalize now the basic structure of the head is almost ready so let’s come out of the edit mode select the body and to place the head as an instance on this point we’ll be using the instance on points node so press shift plus a go to instances and select the instance on points place it after the mesh two points node and for the instance object we’ll be using this head that we created here so go to the scene collection we have this Cube here which is the head of the Dragon we’ll drag it into the geometry nodes editor then I’ll take the geometry socket and connect it to the instance now first of all let’s adjust the position properly so I select the head tab into the edit mode press a to select everything let’s move it in the x-axis like this and then leftt click to finalize now let’s also reduce the radius of this body or basically its size so I’ll go to the curve Circle node let’s reduce the radius from here and we’ll be keeping it to something like 0.5 and this is how it looks now now moving ahead we’ll be adding some spikes on the head of the Dragon so for this I’ll select the original dragon head then if I press shift plus a then go to curve then here we can see that we have a curve object which is named as empty here so I’ll select it and now in the geometry nodes editor you can see here that we are having a completely new node which is the dform curves on Surface node now if I go to the scam collection then you can see here that in front of the cube object we are having this empty hair icon and if I expand it then here we are having the curves object which is simply the empty hair that we added now the deform curves on Surface node simply allows you to deform the hair curves which are added on the surface of an object in this case this head of the Dragon will be the surface and we’ll be using the hair Curves in order to make the spikes on the head of dragon now with the curves object selected if I try to change the mode from here then we have three options available the object mode edit mode and the sculpt mode you can even press control+ Tab and select any of these three modes and yes in order to modify the hair we need to open the sculpt mode now in the sculpt mode we are having a completely different layout on the top we have the option to control the radius or the strength of the brush then here on the left hand side we have lots of different tools and to view them properly we’ll close this spreadsheet window so I’ll take my cursor over here right click and select join areas let’s close this window and now to expand this menu I left click and drag like this and in this way we can clearly see all the tools along with the names now to add the hair particles we’ll go to the brush settings or this toolbar and select this add tool and now if I left click and drag my cursor like this then these hair particles will get added on the surface of the mesh so you can use use the hair note system when you’re making a 3D character and want to give some hair to it in fact you have many other options too like if I select the comb and then left click and drag like this then you can see here that it kind of combs the hair similarly if I select the snake hook and then left click and drag like this then this is how it will modify the hair but suppose you want to remove this hair then select the delete and left click and drag like this now we’ll be using this hair in order to create the spikes on the head of the Dragon so first of all let’s select the ad then for the Symmetry I’ll turn on the mesh symmetry in the y AIS and now let’s draw some hair on the surface so I left click over here let’s add some more hair and guess one more thing if I simply left click one time then only one hair particle will get added however if I left click and drag like this then multiple hair particles will get added on the surface so in this case we won’t be creating too many hair particles like we’ll only require about 10 or 15 hair particles on both the sides something like this now after drawing the hair particles let’s go back to the object mode and now to give them some thickness or basically to convert them into a mesh we’ll be using the Curve to mesh node so press shift plus a go to curve and in operations select the curve to mesh node let’s place it over here and now for the profile curve we’ll be using the curve Circle node so press shift plus a go to curve and in Primitives select the curve Circle node let’s connect it to the profile curve like this let’s reduce the radius to something like 0.1 or 0.2 let’s also add the set curve radius node so press shift plus a go to curve then in the right category select the set curve radius node let’s place it over here and then for the radius we’ll again be using the spline parameter node so so press shift plus a go to curve and in the read category select the spine parameter node let’s place it over here and connect the factor socket to the radius now since we are making the spikes as a result we need to invert the radius and for this we’ll be using the map range node so press shift plus a go to utilities and in MTH select the map range node we’ll place it after the spline parameter node and now to invert the effect simply change the two Min value to one and the two max value to zero and with this we have these simple spikes ready on the dragon’s head to give them some more detail we’ll go to the sculp mode again so press control+ tab select the sculpt mode now with the add option selected if I left click anywhere on the surface then these spikes will get added there and for the detailing we’ll be using the snake hook tool so let’s select it also let’s go to the front view by pressing one on the numpad or maybe CR + 1 to view the opposite side now if I left click and drag my cursor like this then you can see here that it’s creating this amazing effect on the hair particles let’s do the same with the remaining ones also and in this way we’ll be making the spikes for the head of the Dragon so we’ll complete it like this and yes do ensure that the mesh symmetry in the Y AIS is turned on so that whatever changes you do on one of the sides also gets applied to the other side I think that we should also delete some of the hair particles so I’ll select the delete tool let’s remove some of them by left clicking and this is how it looks now we have this simple looking dragon head where we added some hair particles and then also converted them into these spikes now let’s also go back to the object mode again and one thing that you might have noticed here is that these hair particles that we created are not visible on the head of this Dragon so to to solve this problem I’ll select it and here we have added the instance on points node and we connected it to this object info node which is having this Cube object or basically the original dragon head now to have the hair curves also we’ll be using the geometry to instance node so press shift plus a go to geometry and select the geometry to instance we’ll place it over here let’s also bring in the hair particles or this curves object by dragging it like this we’ll connect it to the geometry to instance Lo and with this we have these hair particles or these spikes added on the dragon’s head now moving ahead if I select the Dragon go to the top view by pressing seven on the numpad turn on the edit mode and with the draw tool turned on if I try to draw a curve like this then you can see here that I can easily draw as many dragons as I want however we have another issue here which is that the rotation of the head is not properly aligned and to solve this we’ll be using the Align Oiler to Vector node and we’ll also be capturing the attribute of the face normals so let’s do it practically first of all let’s add the Align Oiler to Vector node by pressing shift plus a there in the utilities select this one and select the Align Oiler to Vector node let’s place it over here connected to the rotation and now for the proper alignment we need to capture the attribute of each of the face normals and for this we’ll be using the capture attribute node if you remember in one of the previous chapters we discussed about the capture attribute node in complete detail however in the latest blender version it’s slightly updated so let’s add it and understand how it works now so press shift plus a go to attribute and select the capture attribute node we’ll place it after the curve to mesh node where it is connecting with the mesh to points node previously this capture attribute node used to have a value socket for the input and an attribute socket for the output but now in the updated version it allows you to do the same thing but on your own so first of all I’ll change the domain to the face and to calculate the face normal we need the input in the capture attribute node to be the normal so press shift plus a then in geometry and in the read category select the normal node we’ll place it over here and connect the normal socket to this input socket in the capture attribute node and by doing this it is now capturing the attribute of the face normal and for the output we have this socket over here so let’s take the socket and connect it to the Vector in the Align Oiler to Vector node and now you can see here that the rotation is now properly fixed and all the dragon heads are properly aligned and yes one more thing even after doing all these steps if the rotation is still not properly aligned then you can try to change the axis in the Align Oiler to Vector node but in my case the x-axis is working with the pivot set to Auto so you can try to change the Axis or the pivot until you obtain the perfect alignment now moving ahead let’s also give some wings to the dragon so come out of the edit mode press 7even to go to the top view and to make the wings let’s add a plane so press shift plus a go to mesh and select the plane press GX and move it over here let’s tab into the edit mode press two for Ed select mode select this Edge Let’s scale it down in the Y AIS so press s y and scale it down like this now let’s add some Loop Cuts so press contrl plus r left click and move it over here let’s add another one by pressing cr+ R then left click and move it over here let’s add two more Loop cuts for the center so press crl + r left click and move it slightly upwards let’s add one last Loop cut by pressing c cr+ r left click and move it over here or maybe I think that we should add two more Loop Cuts one of them on the top side here and the other one at the bottom so press crl plus r add a loop cut over here then press crl plus r again and add another loop cut over here now press one for the vertex select mode I’ll select this vertex press GX and move it like this let’s do the same with this one also move it in the x- axis like this and now if I change the angle then you can see that the wing is completely flat right now to give it a 3D look press three for the face select mode I’ll select this face then with the shift key holded select the middle phas and this one also let’s extrude them in the Zed axis by pressing e and extrude it like this now let’s come out of the edit mode and to give it a better final look we’ll be using the subdivision surface modifier so go to the modify properties click on ADD modifier and in the generate category select the subdivision surface let’s increase the level viewport to a value of two and with this we have the simple Wing ready for the dragon let’s also apply the shade smooth and it now looks perfect so we created this Wing just by using a plane scaling down one of its Edge then we added some Loop and extruded up some of the faces in the Zed axis then we applied the subdivision surface modifier and this is the final result now to complete the pair of wings tab into the edit mode press a to select everything move it in the x-axis like this and do ensure that this origin point is visible here and it will be at the center of both the wings so let’s create a duplicate of this Wing by pressing shift plus d move it in the x-axis like this and to rotate it press r z and type 180 and enter to confirm and now we have both the wings ready now let’s place these Wings on the dragons so I’ll select the dragon and now we’ll be adding an instance on points node for this I’ll select this one which we use for the dragon and the dragon hit press shift plus d to create a duplicate let’s place it over here then for the points we’ll take the geometry socket in the group input node and connect it to the points let’s connect the output to the Joint geometry node and for the instance we’ll be using the wings so in the seam collection These Wings Are saved as plain so let’s select the dragon then in the seam collection left click and drag the plane into the geometry nodes editor now I’ll connect the geometry socket to the instance and with this we have the These Wings added as the instance on different points of the curve or the dragon now first of all let’s fix the scaling of These Wings in the beginning near the head of the Dragon the size of the wing should be bigger and then it should reduce as it approaches the end so to achieve this result we’ll be using this fly parameter node so I’ll take the factor socket and connect it to the scale and this is how it looks now and moving ahead let’s also fix the rotation of the Wings and for this purpose we’ll again be using the Align Oiler to Vector node along with the capture attribute node so first of all I’ll select the Align Oiler to Vector node press shift need to create a duplicate let’s place it over here I’ll connect it to the rotation in the instance on points then for the attribute let’s select the capture attribute node press shift plus d to create a duplicate and place it in between the group input node and the instance on points now if you remember while fixing the rotation of the dragon’s head we used the capture attribute node and connected it to the normal in order to calculate the face normal however in this case we have added these Wings on the points of the curve and as a result for the capture attribute node the input that we going to use will be the curve tangent node node to add it here press shift plus a go to curve and in the read category select the curve tangent node let’s place it over here and connect it to the empty socket in the capture attribute node now let’s also change the domain to point and then I’ll connect the output to the Align Oiler to Vector node now to get the proper alignment we need to change the axis to align the vector and this pivot axis however right now with the Y AIS selected here and the pivot set to Auto I’m getting the perfect alignment however it might be possible in your case that you want to change the Axis or maybe the Pivot Point into something else depending upon how your scene is set up but for now I’ll change the PIV back to Auto and this is how it looks now one more thing to notice here is that the first Wing is placed at the beginning of the curve where we have the head of the dragon and to solve this problem we’ll be using the trim curve node so press shift plus a go to curve and in operations select the train curve node place it after the capture attribute node and before the instance on points and by using this node we can basically cut or trim the curve depending upon the starting and the ending value for example if I try to INE in the starting value then you will notice that the wings on this side of the Curve will begin to disappear because we have tramed the curve however if I change the start value back to zero and try to reduce the end value then in this case the same effect is seen from this side of the curve so for now I’ll keep the end value to something like 0.96 or 0.97 and this is how it looks now now let’s also give some material to the dragon and for this let’s go to the material properties and create a new material let’s change its name to dragon and enter to confirm now let’s also add the set m material node in the geometry nodes editor so press shift plus a go to material and select the set material node we’ll place it after this curve to mesh node which is connecting to the Joint geometry node let’s select the dragon material and now to modify the material let’s go to the Shader editor from here and also turn on the render view now to improve the lighting in the scene I’ll select this light in the scene collection in the object data properties change the type of light to Sun reduce the brightness to something like four or five now let’s select the dragons again and in the Shader editor let’s add the Warner texture so press shift Plus a go to texture and select the wner texture place it over here press ctrl+ T to connect it to the texture coordinate and the mapping node now just like always I’ll take the object socket and connect it to the vector then for the output I’ll connect the distance socket to the base color and now we have this texture with the spots on the dragon now to get the scale texture that we do see on the bodies of snakes and dragons simply go to the Warner texture then in the second option which is the feature output select the distance to Edge and now you can see that we are having the scaled pattern applied on the dragon’s body now to give some color to the texture let’s add a color ramp so press shift plus a go to converter and select the color ramp let’s place it over here let’s change the first color and we’ll be keeping the dark green color similarly for the second color let’s change it to the light green color and now this is how the texture looks let’s also increase the roughness to a value of one and to give it a 3D look we’ll be using the bump node so press shift plus a go to vector and select the bump node place it over here connect the normal to the normal in the principal bstf and for the input take the distance socket of the wner texture and connected to the height in the bump node let’s reduce the strength to something like 0.3 or 0.4 and now the texture looks like this now let’s also give the material to the wings so let’s select the original wings now go to the Shader editor and click on the new button let’s also change the name of this material to Wings and now let’s add the Warner texture so press shift plus a go to texture and select the Warner texture let’s place it over here press crl plus T to connect the texture coordinate and the mapping node now take the object socket and connect it to the vector let’s also connect the distance socket of the wner texture to the base color now just like the texture on the dragon’s body I’ll change the feature output from F1 to distance to Edge and now to give it some colors we’ll be adding the color ramp node so press shift plus a go to converter and select the color ramp place it over here now I’ll select the second pointer let’s change the color to something like red and this is how the wings look if you want you can set any other color that you like maybe green color maybe yellow or blue color but for now I’ll be assigning the red color let’s also increase the roughness to a value of one now let’s also give some material to the dragon’s head so for this I’ll select the original dragon head which is this cube in the scene collection and we’ll give it the same material that we have assigned to the body of the Dragon so in the Shader editor click here and select the dragon material and now this is how the dragon head looks now and yes if you want to do some changes in this material which is specifically applied to the dragon’s head then you can click on this icon which will create a duplicate of this material and now if I do any changes in the material then it will only get applied to the dragon’s head however I think that the original material looks perfect so I won’t do any changes but for the eyes we’ll be creating a new material and will increase the emission strength in it so with the original head of the Dragon selected tab into the edit mode now select those two faces which we extruded in for the eyes so I select this pH and with the shift key hold it select this face go to the material properties and let’s create a new material and click on the assign button let’s go to the emission and increase the emission strength to something like 10 and I’ll change the emission color to Yellow now let’s come out of the edit mode and this is how the dragon is looking right now we created this simple texture for the dragon’s body and the head then we created this red texture for the wings and for the ice we have used this material with the yellow emission if you want you can even change the color of this emission to something else like red or blue and to see the emission effect properly I’ll change the render engine from EV to cycles and this is how our scene looks finally let’s also give some material to these hair particles or the spikes that we created so I’ll select them go to the shareer editor and create a new material also to assign this material to these particles go to the geometry nodes editor from here let’s add a set material node so press shift plus a go to material and select the set material node place it after the curve to mesh and from here I’ll select the material. 001 now let’s go back to the sharer editor again and for the texture we’ll be using the noise texture so press shift plus a go to texture and select the noise texture place it over here press C crl + P for the texture coordinate and the mapping node connect the object to the vector and for the output I’ll connect the factor socket to the base color now to give some colors to it we’ll use the color ramp so press shift plus a go to converter and select the color Ram let’s place it over here now I’ll take this black pointer of the color ramp and move it like this in this way we’ll add some more black color to these horns or the spikes I’ll also change the render engine back to Eevee for now and right now I think that the texture looks fine so I’ll be finalizing this one however if you want you can change the color of this texture to something else like red green or blue or anything else which you think would look the best for your scene but for now I’ll change it back to the black color and with this we come to the end of this chapter in today’s chapter we learned about some new geometry nodes created some amazing dragons then we even understood about the hair nodes which we use for creating the these spikes we even created These Wings and also created these amazing textures and the best part about using geometry nodes is that if I select these dragons and tab into the edit mode then with the draw tool enabled if I draw a curve like this then I can easily make a dragon out of it so try to play around with these things try to give some more details to the geometry of the wings or the head of the dragon or maybe you can try to give some different colors to the dragon and in this way you’ll be able to create a scene of your own and yes in the next chapter we’ll be learning about some more geometry nodes and we’ll also use them in in order to finalize our [Music] scene in the previous chapter we started with the creation of this scene where we Ed the geometry notes to create these dragons and in today’s chapter we’ll be learning about all these topics in complete detail and we’ll also be finishing this scene now we are back in the scene and the first thing that we’re going to do today is to create a sun for the background along with the Sun Ray and for this we’ll be using the quadratic Bia node so first of all in the 3D view Port let’s add some object so press shift plus a go to mesh and let’s add a cube let’s move move it in the Y AIS like this now let’s open the geometry nodes editor from here and click on the new button to add the quadratic Basia node press shift plus a go to curve and in the primitiv select the quadratic baser node let’s place it over here and connect the curve socket to the group output now this will create a quadratic Basia curve in the scene let’s go to the top view to see it properly now here we have this quadratic Basia curve added because of this node and the first option that we have here is the resolution which basically controls the number of points or the number of edges of the curve then we have have three more options using which we can control the appearance of the curve the first option is the start and this one will control the position of the first control point that is present over here so if I try to change the position like this then the changes will be seen on the first control point in a similar way here we have the middle option which will be controlling the position of the control Point present at the middle of the curve so if I try to change the position like this then that particular point is getting displaced then finally we have this end option using which we can control the position of the last control point which is present over here so by using the quadratic Basia node you can easily modify your curve by changing the positions of the start middle and the end control point now the next topic of this chapter is understanding the curve to points node to add it over here press shift plus a go to curve and in operations select the curve to points node let’s place it over here and as the name suggests the curve two points node simply converts the curve into points then from the count option here you can control the number of these points by changing the value like this so it’s a very simple node which you can use to convert your curve into point point and it has three modes the evaluated mode the count mode and the length mode we just discovered the count where we can easily change the number of these points but let’s also discover the other two so I’ll first select the evaluated mode and in this option the number of points will basically depend on the resolution of the curve so if I increase the resolution from here the number of these points will increase and if I reduce it the number of points will also reduce then the third option that we have is the length and in this method the number of points is controlled by the length value so if I increase it the number of the points will reduce and that is because the length value added here is the minimum distance between any two points so as the distance or the length will increase the number of points will reduce for now I’ll change it back to the count mode now suppose you want to convert these points into vertices then for this we have the points to vertices node to add it here press shift plus a go to point and select the points to vertices node let’s place it over here and this node will simply convert the points that we received as the input into vertices and yes because now we have converted the points into vertices as a result the output that we getting here is also in the form of a mesh previously while using the quadratic Basia node the output was in the form of a curve then by using the curve two points node the output was in the form of points and then by using the points to vertices node the points got converted into vertices and we are now getting the output in the form of a mesh now to extrude these vertices let’s use the extrude mesh node so press shift plus a go to mesh and in the operations select the extrude mesh node let’s place it over here change the mode from faces to vertices and now all of the vertices have now been extruded into edges in in fact because of using the extrude mesh node the number of vertices will also have been doubled because previously we were having the vertices only on the inner side but now after extruding the vertices into these edges we are now also having the vertices on this outer side to check this let’s add the mesh to points node so press shift plus a go to mesh and in the operations select the mesh to points node let’s place it over here and now you can check that previously we were having only these points but after using the extrude mesh node we are now having these extruded points now suppose you want more points to be add add it in the area between each of these two points then for this you can use the subdivide mesh node to add it here press shift plus a go to mesh and in the operations select the subdivide mesh node place it after the extrude mesh node and now as they increase the level from here the number of subdivisions will increase and due to this the number of points will also increase now to add some other object like a UV sphere or an icosphere as instances on these points we’ll be using the instance on points node so press shift plus a go to instances and select the instance on points place it over here now for the instance object I’ll be using an icosphere so press shift plus a go to mesh and in The Primitives select the icosphere node place it over here and connect it to the instant socket let’s also reduce the radius of the icosphere to something like 0.1 now these will be used as the sun rays and for the main Sun object let’s add a UV sphere so press shift plus a go to mesh and in The Primitives select the UV sphere let’s place it over here let’s also add the joint geometry node so press shift plus a go to geometry and select the joint geometry node now I’ll connect the mesh socket to the Joint geometry node let’s also reduce the radius to something like 0.6 or 0.7 and now it looks perfect now to give it some material let’s go to the material properties click on the new button then in the emission I’ll change the color to yellow or orange and the emission strength to something like 10 or 11 and now to use this material in the geometry nodes editor let’s add the set material node so press shift plus a go to material and select the set material node place it over here and the name of this material is material. 002 so let’s select this material from this list and we now have this emission material applied to the Sun however to view the emission effect properly we need to change the render settings in the previous versions of blender with the EV render engine we used to have a bloom settings here using which you could have made the emission look better however in the latest version which is blender 4.2 the bloom settings have been removed from here and to get the same results we now have to use the composting and blender but in reality it’s a completely different topic which we’ll be covering later on in this course but for now we’ll be using the composting in order to fix the emission material so to open the composting workspace click on this composting workspace option and this window will appear where we can do all the works related to composting so for those of you who don’t know composting is basically used to change the way your final renders look it’s more like an image editing tool and to understand it practically first of all turn on the use nodes option from here and since we need to view the changes in the 3D viewport so for this I’ll change this dope sheet editor into the 3D viewport so click on this icon and select the 3D viewp let’s also expand this window like this turn on the render view now here we have the Sun that we created and and to view the changes that we make in the compositor click on this icon and change the option of the compositor from disabled to always now to get the bloom effect go to the compositor press shift plus a then in the filter select the glare node place it in between the render layers and the composite and from here change the glare type to bloom now from here change the quality to high and let’s reduce the size to something like six also slightly increase the threshold and we’ll be keeping it to a value of something close to 10 and with this the emission on the material is now looking perfect and yes one more thing it might be possible that you were not able to understand even a single thing that we did in the compositor so you don’t need to worry about that because we’ll be learning the compositors in full detail in the upcoming chapters but for now simply use this glare node change the glare type to bloom reduce the size increase the threshold and set the quality to high and now let’s go back to the geometry nodes Editor to view the same results over here click on this icon and change the selection from disabled in the compositor to always now let’s also fix the rotation and the position of this sun and for this we’ll be using the transform geometry node so press shift plus a go to geometry and in the operations select the transform geometry node place it after the set material node now first of all I’ll change the rotation in the x-axis to 90 let’s move it slightly upwards in the Z axis also and place it over here one more thing to notice in the scene is that the bloom effect is applied not only to the Sun but also to the eyes of the dragon and the reason for this is that whatever changes you make in the composting always get applied to the entire scene and not just a single object now let’s also scale it up so go to the transform geometry node let’s increase the scaling in all the three ax to something like two and now it looks like this we have these dragons and the simple Sun at the back and with this we are now ready to finalize our scene so let’s go to the camera view by pressing zero on the numpad turn on the lock camera to view from here I’ll change the view like this let’s also zoom out so that we can have both the dragons as well as the sun in the scene if you want you can even add some more Dragons by selecting them tabbing into the edit mode Let’s also go to the top view by pressing seven on the numpad and you can easily draw your dragons like this let’s do one more thing we’ll be creating a dragon in front of the Sun Also so let’s draw the curve and you might also get some errors like this but simply press contrl plus Z to undo and draw the curve again let’s create one more dragon and now it looks perfect let’s go to the camera view by pressing zero on the numpad and this is how our scene is looking now we have so many dragons in the scene along with the glowing Sun at the back if you want you can even change the color of the emission by going to the material properties and you can change the color from yellow to something like orange or red then you can also go to the composting and change the bloom effect from the different settings here like the threshold value or the size and with this we now arrive to the end of the chapter number 47 today we understood about some new geometry notes and use them to finalize this [Music] scene in this chapter and the upcoming chapter we’ll be understanding lots of new geometry notes and we’ll also be creating this amazing portal scene in blender so in today’s chapter let’s understand all these Topics in complete detail now first of all let’s go to the geometry nodes workspace click on the new button here and the first thing that I’m going to do is to change this Cube into a UV sphere so go to the geometry nodes editor press shift plus a go to mesh and in The Primitives select the UV sphere place it over here and connect the mesh socket to the group output now we’ll be using this UV sphere to create a scene with some lighting emerging out of it and for this we’ll be using some curves placed as instances on the points of the UV sphere so let’s understand it practically so first of all let’s add the instance on points node so press shift plus a go to instances and select the instance on points place it over here then for the instance object we’ll be using the curve line node so press shift plus a go to curve and in The Primitives select the curve line place it over here and connect it to the instant socket now these are the curve lines that are placed as instances on the different points of the UV sphere and we’ll be using them to create some lighting emerging out of the portal or the UV sphere and it will be connecting to the area outside the portal so for this let’s first add a set position node so press shift plus a go to geometry and in the right category select the set position node place it over here now we want that only the end points of this curve line to be connected to the world outside this portal and for this we’ll be connecting this selection socket to a new node which is called the endpoint selection node to add it over here press shift plus a go to curve then in the read category select the endpoint selection place it over here and connect it to the selection socket in the set position node now here we have two options the start size and the end size and since we want to affect only the end point of the curve line we’ll keep the end size to one but we’ll change the start size to zero now we’ll go to the 3D viewport and let’s add some random objects around the Sci-Fi portal so press shift plus a go to mesh and as select a UV sphere move it in the Y AIS like this press shift plus d to create a duplicate place it over here let’s create two more copies and place them around the portal now moving ahead the next node that we’re going to discover is the sample nearest node to add it here press shift plus a go to geometry and in the sample select the sample nearest node let’s place it over here now this node is very similar to the geometry proximity node it takes a geometry as an input and in the output it gives the nearest indices to the geometry now suppose you want to use these UV spheres added in the scene as the geometry input in the sample nearest node so for this I’ll select all these four UV spheres and we’ll join them together by pressing cr+ J now they’re converted into a single object with the name Sphere in the scene collection so I’ll select the portal again let’s track the sphere into the geometry noes editor connect the geometry socket to the geometry in the sample nearest node and now the sample nearest node will take these UV spheres as the input or basically as the sample and in the index output socket it will give the nearest indexes now to use this index socket somewhere we’ll be using the sample index node so press shift plus a go to Geometry then in the sample select the sample index node place it over here then I’ll take the geometry socket and connect it to the geometry in the sample index node now we’ll be using the sample index node to calculate the position at that particular index so first of all change the data type to Vector then for the value socket we’ll be using the position node so press shift plus a go to geometry and in the read category select the position node let’s place it over here and connect it to the value socket then I’ll connect the index socket of the sample nearest to the index socket in the sample index node now I’ll connect the output to the position socket in the set position node now let’s also understand what all we did here again first of all we use this object info node which is carrying the information about these UV spheres then we connected it to the sample nearest node and the sample index node this sample nearest node was calculating the index value of the points nearest to the geometry of the UV spheres and we use this index value as the input in the sample index node in order to calculate the position of those indexes then we connected it to the set position node in order to see the changes however to actually see the changes in the scene we have to use the realiz instances node to add it here PR shift plus a go to instances and select the realiz instances node place it in between the instance on points and the set position node and now we notice some changes here if I go to the object info node and turn on the relative from here then this is how the end points of the curve line get connected to the Spheres also if I try to move the UV spheres then you can see here that these curved lines were also changing and now moving ahead you can see that these curved lines are very straight and to give them some Randomness we’ll be using some texture so first of all I’ll create a duplicate of this head position node by pressing shift plus b let’s place it over here then I’ll add the noise texture node so press shift plus a go to texture and select the noise texure place it over here now I’ll take the factor socket and connect it to the offset in the set position node also turn off the normalize and now the curve lines are having this random pattern now to increase the randomness even more we need to increase the number of control points of the curve right now since the curve line is completely straight As a result there are only two control points one at the beginning and another at the end and to increase the number of of control points we’ll be using the resample curve node to add it here press shift plus a go to curve and in the operations select the resample curve node place it in between the two set position nodes and now with the help of the count value you can control the number of these control points so we’ll keep it to something like 8 or 10 let’s also reduce the scaling so we’ll keep the scaling to something like 1 or 1.5 and then to reduce that number I’ll go to the uere node change the number of segments to something like six let’s also change the number of rings to something like five or six or maybe I’ll keep both of the values to eight and this is how it looks now and yes if I select these curved lines press G to move it that it creates a very interesting Thunder lighting type of pattern which we needed for the Sci-Fi portal but to give it some thickness we’ll be using the curve to mesh node so press shift plus a go to curve and in the operations select the curve to mesh node place it over here then as usual we’ll connect the profile curve to the curve Circle node so press shift plus a go to curve and in the primitiv select the curve Circle node we’ll connect it to the profile curve socket let’s reduce the radius to something like 0.1 then suppose we want that the radius should be bigger at one end and smaller at the other end then for this we have the spline parameter node to use it we first need to add the set curve radius node so press shift plus a go to curve and in the right category select the set curve radius place it over here and to add the spine parameter press shift plus a go to curve and in the read category select the spline parameter node place it over here connect the factor socket to the radius and to control the effect let’s add the map range node so press shift plus a go to utilities and in the math select the map range node place it over here now to have the bigger radius on this end and the smaller radius at the opposite end simply go to the map range node change the two Min to a value of one and the two Max to a value of zero now let’s also reduce the number of these curve lines again so go to the UV sphere node let’s change the number of segments and the Rings to something like five then to view the UV sphere along with these curved lines at the center let’s add a joint geometry node so press shift plus a go to geometry and select the joint geometry node place it over here and to add the UV sphere if I try to connect the original UV sphere to the Joint geometry node then the reason it looks like this is that we have reduced the number of segments and the Rings here so for now I’ll first undo and add a new UV sphere node so press shift plus a go to mesh and in The Primitives select the UV sphere let’s place it over here and connect the mesh socket to the Joint geometry node also you can see here that some of these curves are emerging out of this UV spere so to fix this select the original UV spere node reduce the radius to something like 0.5 or 0.4 and this is how it looks now if I press G to move it then you can see that it’s creating this interesting pattern let’s also do one more thing I’ll select these UV spheres tab into the edit mode and we’ll be placing them properly because right now they are not properly placed in the XY and Zed AIS so first of all I’ll go to the top view by pressing zero on the numpad then to select a particular UV sphere first I’ll deselect all of them then with my mouse over one of the UV spheres if I press L then that particular UV sphere will get connected press G to move it and place it over here similarly I’ll deselect everything again by left clicking anywhere else in the 3D viewport take the mouse cursor to another UV spere press L to select it press G g x and move it over here let’s also move it in the y- axis like this let’s do the same with the third one press G and move it over here now I’ll select the fourth one by first deselecting then press L and move it slightly close to this UV sphere now this is how our scene is looking let’s select this one also press g y and let’s move it over here and now the scene looks perfect now let’s come out of the edit mode and if you want you can even create an animation of it where the central UV sphere will be rotating like this so to create this animation press n to open the toolbar and in the item category right now the rotation in all the three axises set to zero so let’s insert a key frame for these rotation values at the frame number one then I’ll take this pointer to the frame number 120 change the rotation in all the three axis to something like 1800° press I to insert a key frame and now if I take the pointer to the frame number one and play the animation then this is how the animation looks with the rotating UV sphere now the next topic for today’s chapter is understanding the edge angle node so for this first I’ll add a plane in the scene so press shift plus a go to mesh and select the plane press G X and move it over here tab into the edit mode Press Two for the Ed select mode select this Edge now let’s go to the front view by pressing one on the Lum pad now with that Ed selected press e to extrude it like this and now we have a plane in the scene with one of the edges extruded like this now I’ll go to the geometry nodes editor click on the new button and to add the edge angle node press shift plus a go to mesh and in the read category select the edge angle node let’s place it over here now this edge angle node will simply calculate the angle in between any two faces separated by an edge now since it will give the output in the form of angle so we’ll also need some input sockets to accept these values so let’s add the extrude mesh node by pressing shift plus a then in the mesh go to operations and select the extrude mesh node let’s place it over here and now both the faces of the plane are

extruded now let’s go to the front view by pressing one on the numpad or maybe control+ one and now if I take the unsigned angle socket and connect it to the offset scaling in the extrude mesh node then now the offset scaling will be controlled on the basis of the angle that we are receiving from this node so if I tap into the edit mode and with this Ed selected over over here if I try to change the angle by pressing G then you will notice that the amount of offset scaling or basically the Extrusion is also changing if I bring both the planes in the same line then the offset scaling will reduce to zero however if I change the angle like this then this unsigned angle socket will consider the shortest angle in between both the faces and in this way we’ll control the offset scale value also but if I take the signed angle socket and connect it to the offset scale then this one also will calculate the angle in between both the faces and if that angle is less than 180° then the value will be negative and as a result the Extrusion gets applied to the opposite side and if I press G to move the edge and place it over here then you can see that this angle over here is less than 180° and as a result the Extrusion is being applied to the opposite side however if I take the unsigned angle socket and connect it again to the offset scale then in this case the Extrusion will get applied on this side only so with the unsigned angle it will simply take the shortest angle between the two faces and will apply the Extrusion accordingly however if I take the signed angle socket then in this case it it will check whether the angle is less than or equal to 180° and if the condition is true then the Extrusion will get applied to the opposite side and this is how the edge angle node works now we’ll be using this plane in order to make a portal around these UV spheres and for this I’ll go back to the front view by pressing CR + one on the numpad then take the unsigned angle in the edge angle node and connect it to the offset scale after that press G to move the edge and place it over here now press a to select everything then press GX and move it over here in such a way that this yellow origin point just touch is this Edge over here then to create the portal select this Edge then go back to the front view again now press G to move it like this and to make the first half of the portal we’ll be extruding this Edge so hold on control and if I right click anywhere then the edge will get extruded like this let’s do it one more time hold on control and right click over here now this is how the first half of the portal is looking right now let’s also come out of the edit mode and to add the faces on this inner side of the portal also we’ll be using the joint geometry node so press shift plus a go to geometry and select the joint geometry node place it over here and connect the group input to the Joint geometry now we also need to extrude this back part of the portal and for this we’ll be adding an extrude mesh node at the end so I’ll select this one press shift plus d to create a duplicate and place it after the joint geometry node now because of applying the Extrusion the inside faces here have again disappeared and to fix this we’ll again be adding a joint geometry node over here so I’ll select this one press shift plus d to create a duplicate and place it over here take this geometry socket and connect it to the Joint geometry node now one part of the portal is completely ready and to make the other part I’ll be adding another joint geometry node so I’ll select this one create a duplicate place it over here then for the duplicate part we’ll be adding a transform geometry node so press shift plus a go to geometry and in the operation select the transform geometry node place it over here now we’ll connect the geometry socket in the joint geometry node to this geometry socket in the transform geometry then for the output I’ll connect this socket to this joint geometry node and now let’s understand what exactly we did here see the original joint geometry node was carrying the information about this part of the fence however if you notice here closely we have connected it to this join geometry node two times first we connected it directly and second time we connected it using the transform geometry node and this transform geometry node will basically be controlling the duplicate that we created so if I go to the scaling value in the x-axis and try to change it then you will notice that at a value of minus one the portal looks completely perfect Also let’s move it in the x-axis like this let’s keep it to something like 1 M or 1.5 M now we’ll be placing this portal in place of these UV spheres surrounding the main UV sphere so I’ll select this press X to delete and to place this portal press 7 to go to the top view let’s move it in the x-axis and place it over here let’s go to the front view also and move it upwards in The Zed axis now to get the effect of these curve lines according to this portal I’ll select the UV sphere then in the object info node that we added here I’ll change the object from squere to plane now to ensure that this effect is visible all over the portal I’ll select it and move it down like this and then left click to finalize now let’s also give some material to the objects in the scene so I’ll go to the render view then to improve the lighting I’ll select the lamp go to the object data properties change the type of light to Sun reduce the strength to something like five or four let’s move it in the y- axis like this now rotate the light by pressing R and rotate it like this let’s create a duplicate of this light so press shift plus d move it in the y- axis and place it over here then press R to rotate it and keep the rotation like this so first I’ll select the center object then go to the material properties now this default material is added here so let’s add a set material node in the geometry nodes editor with this default material so press shift plus a go to material and select the set material node place it over here and in the list of materials we’ll be selecting this material now let’s go to the Shader editor from here and here we have the default principle bstf applied now to give it some texture we’ll be using the musk grave texture so press shift plus a go to texture and select the noise texture place it over here and as I already told you in the previous chapters blender has merged the musra texture with this noise texture and to get the same effect as the mus grave texture here we simply need to turn off the normalize option here now press ctrl+ T to get the texture coord and the mapping node take the object socket and connect it to the vector and to view the output I’ll take the factor socket and connect it to the base color now in the noise texture first of all I’ll reduce the scaling to something like one or two then I’ll increase the detailing to a value of 15 let’s also increase the roughness and I’ll keep it to something like 0.7 or 0.8 let’s also increase the Distortion to a value of something like 0.8 or maybe 1 now for the colors let’s add a color ramp so press shift plus a go to converter and select the color ramp place it over here now I’ll select the second pointer and change the color from white to Red then I’ll take the factor socket and connect it to the alpha in the principal bsdf the reason for doing this is that I wanted to make the black part slightly transparent Also let’s go to the render properties and I’ll change the render engine to Cycles then open the material properties again scroll down and in the viewport display settings do ensure that the blend mode is selected to Alpha hash or Alpha blend for now I’ll be selecting the alpha blend now let’s also work on the emission so for the emission color we’ll be keeping the same color that we get from the color Ram so I’ll take this color socket and connected to the emission color then I’ll increase the strength to something like 10 and to see the effect properly we also need to turn on the bloom settings so for this go to the composting workspace click on the Ed nodes and to add the bloom effect press shift plus a go to filter and select the glare node place it over here change the glare type to bloom and set the quality to high then I’ll keep the size to something like six and now I’ll go to the geometry nodes editor again and to view the effects here click on this icon and set the compositor to always and now the bloom effect is properly applied the reason why this portal is also glowing is that that the strength of the light in the scene is very high so I’ll go to the object data properties and reduce the strength to something like one let’s do the same with the other light also I’ll reduce the strength to a value of one and now this is how this material is looking right now if you want you can reduce the emission strength to something like five or six but I think that right now 10 looks perfect so I’ll finalize it and if you want you can even go to the render properties and change the render engine back to eveve and now this is how the scene looks you can also try to change the scale value here to something else or maybe the roughness and you can create a different type of material for this object at the center Also let’s add a plane below this so press shift plus a go to mesh and select the plane tab into the edit mode press a to select everything and scale it up 20 times let’s come out of the edit mode press g z and move it down like this now one thing that you can notice here after adding the plane is that in the material that we created here we are having some transparent Parts in the middle and that is because we connected the factor socket to the alpha if I remove it from here then previously it was completely black colored however by connecting the factor socket to the alpha this black color changed to transparent and as a result you can easily see through it now moving ahead let’s also modify this plane so I’ll go to the solid mode then click here and open the geometry nodes editor click on the new button and to control the size and the number of vertices of the plane let’s add a grid node in the geometry nodes editor so press shift plus a go to mesh and in The Primitives select the grid place it over here and connect it to the group output let’s increase the size to something like 20 or maybe let’s keep it to 50 and the number of vertices to something like 100 and now let’s add the split edges node so press shift plus a go to mesh and in the operations select the split edges node place it over here and to view its effect let’s also add the scale elements node so press shift plus a go to mesh and in the operations select the scale elements node place it after the split edges node and reduce the scale to something like 0.9 and now you can see here that because of the split edges node we are now having the separate faces scaled down due to the scale elements node now moving ahead the next topic for today’s chapter is understanding the face group boundaries node to add it here press shift plus a go to m and in the read category select the face group boundaries node let’s place it over here now this node simply finds the edges or the boundaries lying in a specific region to understand it in a better way I’ll take this boundary edges socket and connect it to the selection in the split edges node and now it will split the edges according to the face group ID that we input here now suppose you want some random edges so for the face group ID socket let’s use a noise texture node along with the compare node so press shift plus a go to texture and select the noise texture place it over here turn off the normalize then to add the compare node press shift plus a go to utilities and in the math category select the compare node let’s place it over here connect the factor socket to the value a and the result to the face group ID now let’s reduce the scale value to something like 0.1 and now let’s understand what all we did here hold down control shift and left click on the noise texture similarly with the control and shift key holded left click on the grid node also and in this way we are able to see this plane that we added along with the noise texture you can see that because of adding this texture we are having this black and white area and at the region where this black and white part mixes together or basically where we have this gray area this is the boundary which we used in the face group boundaries node if I delete the viewer note from here then you can see that now only those edges have disappeared which were present at the boundary in the noise texture to understand this concept in a better way let’s remove the split edges and the scale elements node then press shift plus a go to mesh and in the operations let’s add the extrude mesh node place it over here connect the mesh socket of the grid node to the extrude mesh and then connect the extrude mesh node to the group output now I’ll connect the face group on boundaries node to the selection let’s also increase the scaling of the texture to something like 0.5 then go to the extrude mesh and increase the offset scaling then only these edges are getting extruded that were present at the boundary in the noise texture and so this is the use of the face group boundaries node also to view the effect in a much better way I’ll change the mode to edges and reduce the offset scaling like this and now it’s very clearly visible that the Extrusion is being applied to only those edges where we are having this boundary in the noise texture so for now I’ll delete this viewer node let’s increase the offset scale scaling to something like 2 or maybe 1.8 let’s also reduce the scaling in the noise texture to something like 0.06 and this is how our scene looks now now moving ahead let’s also give some material to this plane so go to the material properties click on the new button and to set this material go to the geometry nodes editor press shift plus a go to material and select the set material node place it over here now I’ll select the material. 001 let’s go to the render View and to modify the material let’s go to the Shader editor from here now in the Shader editor press shift plus a go to texture and add the noise texture let’s place it over here press cr+ T to connect it to the texture coordinate and the mapping node now just like always take the object socket and connected to the vector and to view the results take the factor socket of the noise texture and connect it to the base color also turn off the normalize from here and we’ll be keeping the texture to exactly the same scaling as we did in the geometry nodes so let’s open the geometry noes editor from here and in the noise texture that we added here we set the scale to a value of 0.06 so in the Shader editor also I’ll change the scaling to a value of 0.06 and this is how it looks now also if you want you can set the detailing to something like 15 let’s also change the roughness and we’ll keep it to something like 0.6 or 0.7 and now it looks perfect to give some color to it let’s add a color ramp so press shift plus a go to converter and select the color ramp place it over here now we select this white pointer and we’ll give it to something like green color and if you want you can even assign this color to the emission color here so I’ll take the socket and connect it to the color in the emission section let’s also increase the emission strength to something like five or 10 then to make this black area slightly transparent I’ll take this Factor socket in the noise texture and connect it to the alpha in the principal bsdf now do ensure that all the parameters that you have set here in the noise texture are exactly same as the noise texture in the geometry nodes editor in this one we have set the detailing to 15 and the roughness to 0.642 so let’s go to the geometry noes editor again and in the noise texture I’ll change the detailing to 15 and roughness to a value of 0.642 now moving ahead let’s also give some material to the edges that we extruded here so for this let’s create a duplicate of the set material node so press shift plus d and place it over here then I’ll take the side socket of the extrude mesh node and connected to the selection the side socket is carrying the information about the extruded edges on the plane now let’s create a new material by clicking on the plus icon and then clicking on the new material button and to assign this material to the extruded edges click here and select the material. 002 now to modify this material go to the Shader editor from here let’s delete both of these nodes by pressing X and for the texture I will bring in the the same nodes that we used in this material. 001 so press a to select everything cr+ C to copy all the nodes then I’ll go to the material. 002 and press cr+ V to paste them now in the color amp I’ll select the second pointer and change the color to something like blue and this is how it looks now also let’s increase the scaling in the noise texture something like 0.15 let’s do the same with the material. 001 also go to the noise texture change the scaling to 0.15 Let’s also do the same in the geometry nodes editor so I’ll go to the scaling in the noise texture again and increase it to 0.15 and with this the material for the base or basically the plane is now completely ready and with this we now arrive to the end of the chapter number 48 in today’s chapter we learned about the understanding of lots of new geometry nodes and we use them to create this portal scene with this object and the portal then we even created a base where we used the face group boundaries node in order to extrude only the edges at the boundaries then we applied this beautiful looking material to it and in the next chapter we’ll be learning about some new geometry notes and we’ll also be continuing with the Sci-Fi portal [Music] scene in the previous chapter we begin with the creation of the Sci-Fi portal scene and in this chapter we’ll be learning about all these topics in complete detail and we’ll also continue with the scene and the first thing that we are going to do today is to give some basic material to this portal so to create the material go to the material properties and click on the new button also switch to the Shader editor from here and to view only the portal in the 3D viewport press the forward slash button let’s also add a light in the scene so press shift plus a go to light and select the sunlight let’s move it in the Zed axis like this press R to rotate the light and rotate it like this also let’s increase the strength of light to something like three or four and now let’s create the material so I’ll select the portal then in the Shader editor let’s add the noise texture so press shift plus a go to texture and select the noise texture place it over here press crl + T to connect it to the texture coordinate and the mapping node now just like always take the object socket and connect it to the vector now I’ll connect the factor socket of the noise texture to the the base color in the principal bstf and for the colors let’s add the color Ram so press shift plus a go to converter and select the color Ram place it over here now I’ll select this white pointer and change the color to the purple color let’s also reduce the brightness and this is how it looks now let’s also do some changes in the noise texture so let’s increase the detailing to 15 let’s also increase the scale value to something like 12 or 15 then in the principal bstf let’s reduce the roughness to something like 0.1 in order to add some reflection to it now to view the rest of the objects press the forward slash button again and this is how our scene looks now let’s go to the solid mode now moving ahead the first topic for today’s chapter is understanding the face neighbors node so for this let’s add a plane in the scene by pressing shift plus a then in the mesh select the plane let’s move it in the x-axis over here now tab into the edit mode press a to select everything and to subdivide right click and select the subdivide option let’s increase the number of cuts to a value of three let’s also scale it up and with this we have a subdivided plane in the scene now let’s come out of the edit mode now let’s open the geometry nodes editor from here and click on the new button to understand the face neighbors node I’ll first add the extrude mesh node here so press shift plus a go to mesh then in the operations select the extrude mesh node let’s place it over here now to add the face neighbor node press shift plus a then go to mesh add in the read category select the face neighbors node we’ll place it over here now we can connect this face neighbors node to the extrude mesh in order to extrude only some particular faces like we have two sockets the vertex count and the face count and so if I need that only those particular faces should get extruded who are having a particular number of vertices or faces neighboring that face then for this we can use this node to connect it to the extrude mesh node let’s also add the compare node in between so press shift plus a again go to utilities and in the math category select the compare node place it over here since the vertex and the phase count is an integer value so I’ll change the input type to integer then to set a value equal to the vertex count of the phase count I’ll change the operation from greater than to equal and now if I connect the vertex count to the value a and the result socket to the selection in the extrude mesh node then now you can see here that no Extrusion is being applied to any of the faces and that’s because due to the face neighbors node the Extrusion will get applied only to that particular face which is having the number of vertices around it equal to the value of B which is zero so if I tab into the edit mode press one for the vertex select then now you can see that each of these faces is having four vertices surrounding it so in order to extrude these faces I need to change the value of B to four and with this all of the faces are now getting extruded let’s understand it with the help of one more example so I I’ll change the value of B back to zero then I’ll select these two vertices over here and if I right click and select subdivide and now we have this one extra vertex added in between these two vertices also this particular face is now having five vertices surrounding it while the rest of them are still having four adjacent vertices so now if I go to the compare node and increase the value of B to four then you can see that all of these faces except this one will get extruded and if I change the value of B to 5 then in this case only this particular face will get extruded now the next socket that you have here is the face count and if I connect the socket to the value a and change the value of B to 1 then now nothing will get extruded and that’s because by using the face count node the comparison is made on the basis of the number of faces surrounding a particular face for example this selected face has exactly two faces adjacent to it one is this face and the second one is this face similarly this thing is true for all of these Corner faces because each one of them has exactly two faces neighboring it as a result if I go to the compare node and increase the value of B from 1 to two then now the Extrusion will get applied to only these Corner faces then if I select this face then this one has three faces surrounding it the first face is over here the second pH is this one and the third phas is this face so in simple words you simply need to check the number of faces that are adjusted to a particular face with the help of the edge and just like this face all of these faces that are present on the sides but are not the corner faces are having a face count equal to three so if I change the value of B in the compare node to three then in this case all of these faces will get extruded and so this is the use of the face neighbors node now just like the face neighbors node we also have a Vertex neighbors node to add it over here first I’ll delete this node by pressing X then to add the vertex neighbors node press shift plus a go to mesh and in the read category here we have the vertex neighbors node let’s place it over here and just like the face neighbors node this one also has the vertex count and the face count and as the name suggest this node will work on the vertices so if I tab into the edit mode press one for the vertex select then you can see that each of these vertices is being surrounded by a particular number of vertices and faces for example this vertex that is selected over here is surrounded by two vertices the first is this one and the second is this vertex so in this case the vertex count for this one will be equal to a value of two so if I go to the vertex count and connect it to the value a also I’ll change the value of B from 3 to 2 and now to extrude these vertices having the vertex count equal to a value of two go to the extrude mesh node and change the mode from faces to vertices now if I come out of the edit mode then you will notice that all these vertices having a Vertex count equal to value of two are getting extruded like this then you also have the face count socket which is used for comparing the number of faces surrounding a particular vertex for example if I select this vertex then it is being shared with two faces the first is this one and the second is this face similarly if I select this vertex then this is being surrounded by these four faces so for this vertex the face count will be equal to a value of four therefore if I take the face count socket and connect it to the value a then if I change the value of B to four and go to the object mode again then in this case all these vertices are getting extruded which are having the face count equal to the value of B which is four now moving ahead let’s understand the next topic of this chapter which is the face is planer node so for this let’s first remove these two nodes from here let’s also remove the extrude mesh node and connect the group input to the group output to add the face is planer node press shift plus a go to mesh and in the read category select the is face planer node let’s place it over here now the is face planer node or the face is planer node is simply used to check whether the triangles of the Quad or the Enon are planer or not see quad means any figure that has four sides and Enon means any figure having n number of sides now to understand this node in detail I’ll go to the top view by pressing seven on the numpad I’ll also turn on the annotate tool from here and select the annotate line and yes one more thing whatever changes I’m doing in the scene right now are only for making you understand the usage of this node so you don’t need to repeat these steps in your blender file now if I draw a line like this then now you can see that this quad is broken into two triangles this one and this triangle now in the geometry nodes editor if I press shift plus a then go to material and add the set material node place it over here then to create the material I’ll go to the material properties and create a new material Also let’s open the material preview mode and now if I try to change the base color from here and then if I remove the set material note from here by holding the alt button and dragging it like this then you can see that even though we are not using the set material node but still we are having the material. 004 applied and this is because it is the first default material that we created in the material properties for this plane object however if I create another new material and change the base color to the blue color this time then now to assign this particular material we need to use the set material node so I’ll place it over here select the material. 005 and now the material will get applied now if I connect the planer socket to the selection in the set material node then now this material. 005 will only get applied to those faces which are planer or in simple words the is face planer node will check if the triangle of the Quad or the Enon is in the same plane as others or not now if I tab into the edit mode and select this half of the plane by selecting all these vertices like this let’s select these also and now if I move them down by pressing gz and place it over here then now you will notice that some of these faces are not having this material. 005 but instead the default original material which was this original material is applied to these faces and this is because of the is planer node by connecting it to the selection socket we now got this material. 0 0 5 or the blue material applied to only those faces which were lying in a plane or simply those faces which were having the same normal in this case all of these blue faces are having their normal in the positive Z AIS for the top faces also which are blue colored however for these orange faces the normal or the perpendicular will be something like this which is not in the same axis as compared to the other faces now this is face planer node also has this threshold value which controls the threshold after which the face will no longer be considered to be planer to understand it in a better way if I slightly increase the threshold then at a particular value you will notice that this node is now considering these faces also to be planer and therefore applying the material. 005 to them so you can simply control the threshold to control the distance after which the face will not be considered as planer for now I’ll remove these annotations from here now let’s come out of the edit mode and delete this plane now moving ahead we’ll be creating a kind of path or a bridge that will take us to the portal for this let’s add a plane in the scene Also let’s switch to the mode so press shift plus a go to mesh and add the plane move it in the y axis and place it over here also let’s move it slightly upwards in the Z axis and then to change its scaling using the geometry nodes click on the new button let’s add the grid node so press shift plus a go to mesh and in The Primitives select the grid node place it over here connect the mesh socket to the group output and let’s increase the size in the Y AIS to something like 20 M let’s also increase the size in the x-axis so something like 2 m now to extrude the plane let’s add the extrude mesh node so press shift Plus a go to mesh then in the operations select the extrude mesh node place it over here after the grid node and now suppose you want to scale down the top face then for this we’ll be using the scale elements node so press shift plus a go to mesh and in the operations select the scale elements node we’ll place it over here to scale down only the top face I’ll connect the top socket to the selection let’s reduce the scale and also in the extrude mesh node turn off the individual now suppose you want to apply some Distortion to the sides then for this we’ll add the set position node so press shift plus a go to geometry and in the right category select the set position node place it over here then to create the Distortion we’ll connect the offset to the noise texture so let’s add it by pressing shift plus a then in the texture select the noise texture place it over here connect the factor socket to the offset to view the Distortion effect properly we also need to subdivide the mesh so let’s add the subdivide mesh node so I’ll press shift plus a then in the mesh go to operations and select the subdivide mesh node we’ll place it over here let’s also increase the levels now the Distortion is being applied to all of the faces however we needed the Distortion effect on all the faces except the top for this we’ll be connecting the compare node to the selection socket in set position node and we’ll be using it to control the faces where the noise texture is applied so press shift plus a go to utilities then in the math category select the compare node we’ll place it over here change the input type to Vector connect the result socket to the selection and now to select all the faces except this top face I’ll change the operation to not equal then as we know that the normal of this top face is in the positive Z axis so I’ll go to the value of x B and change the Z axis to one then for the vector a we’ll be using the normal node so let’s add it over here go to the geometry and in the read category select the normal node we’ll place it over here connect it to the vector a and now the Distortion is being applied to all of the faces whose normal is not in the positive Z axis also right now the noise texture is being applied in all the three axis meaning the X Y and Zed axis and in order to apply the noise texture only in the X and Y AIS we’ll be using the combined X node so press shift plus a go to utilities then in the vector select the combine XYZ node we’ll place it over here let’s also connect the factor socket to the Y AIS now let’s reduce the scaling in the noise texture so we’ll reduce it to something like 1 or 1.5 now moving ahead suppose you want that this path or the bridge should have two materials for the top the material should be same as that of this portal and the bottom it should have the material that we added to the floor then for this we’ll be using the set material node along with the a face planer node so press shift plus a go to material and select the set material place it over here first of all let’s apply this material. 003 which is the same material that we applied to this portal then for the distorted part we’ll create a duplicate of this node place it over here and change the material to the material. 001 which we use for the floor now in order to get this material. 003 which is the purple colored material only on the top face we’ll be using the is face planer node so press shift plus a go to mesh and in the read category select the is face planer node place it over here connect the planer socket to the selection and now if I hide this floor by pressing H then you can see that this green material which we applied to the floor is now applied to the sides of the portal now even though this green material is applied to the sides and the bottom however we still have some of the faces with this purple material of the portal so to increase or decrease it you can try to change the value of threshold so if I increase it the portal material will increase and if I reduce it the portal material will begin to disappear also you can increase the levels in the subdivide mesh to five in order to get a much better look on the bridge now let’s let’s go to the solid mode again let’s unhide the floor and to place it properly in the scene let’s go to the front view by pressing one on the numpad Press G to move it and place it over here let’s go to the side view now move it in the Y AIS like this and now this is how our scene is looking right now now it’s time to finalize the scene so first of all let’s add the camera view at this position so press control alt Zer on the numpad and we now have the camera over here then turn on the lock camera to view and let’s change the position like this let’s also zoom in now we’ll be doing some changes in the scene to make it ready for rendering so first of all go to the render View and now we’ll be creating a sky texture for the background so for this go to the Shader editor from here and with any of the object selected simply click here and change the Shader type to world now we have this node system over here using which we can control the materials applied to the world to get the sky as the background let’s add the sky texture over here so press shift plus a go to texture and select the sky texture place it over here connect the color socket to the color in the background now to make it look like realistic Sky first I’ll increase the ozone value to 10 then we need to change the sun elevation to either a value close to 0° or 180° right now I think that the sun elevation of something like 180 or 181 looks perfect it’s giving this look of a sunset at the background then coming back to the scene now we’ll be creating some fire drops and for this let’s add a UV sphere in the scene so press shift plus a go to mes select the UV sphere let’s move it in the Zed axis and place it over here to focus only on the UV sphere press the forward slash button now tab into the edit mode to make it look like a droplet first I’ll select the stop vertex then press o to turn on the proportional editing and if I press G to move it in the Zed axis and move it like this then now we have a shape which kind of looks like a droplet to make it look even better I’ll turn off the proportional editing and with only the top Vortex selected I’ll move it in the Z axis like this and now it looks perfect so we’ll come out of the edit mode also to give it some material I’ll change the Shader type to object and we’ll be assigning this material. 001 which we assigned to the floor however in this case we need to make it look like fire drops so we need to do some changes in the material also so we’ll create a duplicate of this material by clicking on this icon so first of all I’ll increase the scaling in the noise texture to something like 6 or 7 let’s also change the color so I’ll select the second pointer which is green color right now and change the color to something like orange and now this is how the fire drop looks now also I think that we should reduce the scaling in the noise texture to something like 7 or maybe 7.5 and now it looks perfect now to use it as the rain drops throughout the scene I’ll first go to the solid mode then press the forward slash button to remove the focus from the Raindrop and now we’ll be adding a cube in the scene then we’ll convert it into volume and distribute these raindrops inside that volume so press shift plus a go to mesh and add the cube tab into the edit mode Let’s scale it up 20 times now come out of the edit mode and let’s go to the geometry noes editor from here click on the new button and to convert it into volume let’s add the mesh to volume node so press shift plus a go to mesh and in the operations select the mesh to volume node we’ll place it over here now to distribute some points in the volume let’s add the distribute points in volume node so press shift plus a go to point and select the distribute points in volume place it over here let’s reduce the density to something like 0.1 then to add the rain drop as an instance on these points we’ll be using the instance on points node so press shift plus a go to instances and select the instance on points we’ll place it over here and for the instance object we’ll be using this raindrop which is saved with the name Sphere in the scene collection so let’s select the cube again and drag the sphere into the geometry nodes editor now I’ll take the geometry socket and connect it to the instance let’s reduce the scaling to something like 0.2 Also let’s reduce the density even further so we’ll keep it to something like 0.03 and now I think that it looks perfect so let’s go to the camera view by pressing zero on the numpad let’s also turn on the render View and now this is how our scene is looking however as you can clearly see the number of these raindrops is still very high so for this I’ll try to reduce this density in the mesh to volume node so let’s keep it to something like 0.1 or maybe let’s slightly increase it to 0.3 let’s also increase the scaling in all the three axes to a value of something like 0.3 D5 let’s also change the rotation in the y- AIS in order to give the raindrops a slightly tilted look now let’s also do some changes in the material by going to the Shader editor let’s select the original raindrop from the scene collection and in the Shader editor first of all I’ll break this note Connection in between the factor socket and the alpha in the principal bstf so hold on the control button right click and drag like this let’s also increase the scaling in the noise texture to something like 14 or 15 then to give it a glowing effect we’ll increase the roughness to a value of something close to 0 0.8 or 0.9 now our scene almost looks ready however we also need to fix the rotation of this path or the bridge that we created so go to the top view by pressing seven on the numpad let’s move it in the y axis like this then go to the side view and we need to bring it down as well so press gz and move it down like this let’s go to the camera view again let’s select the portal along with this Fireball that we created and let’s move them in the Z axis upwards like this and then left click to finalize let’s go to the render view again and now this is how the final scene is looking if you want you can do some changes in the material of the central Fireball that we created for example I think that we should remove the connection between the factor socket and the alpha so let’s remove it previously we connected both of them together in order to replace the black color in the texture with a transparent look but right now this material is giving a much better look then if you want you can also try to change the material of the floor for example in this green material we can change the color to something else like the red color or any other color of your choice so try to do these changes in the materials also try to change CH the parameters in the geometry nodes editor like the Extrusion the noise texture also if you remember in the previous chapter we animated this Fireball from the frame number one to the frame number 120 so you can try to create an animation with this and this brings us to the end of chapter number 49 of the blenda master [Music] course in this chapter and the upcoming chapter we’ll be learning about lots of new geometry notes and we’ll be using them in order to create this lighting scene for today’s chapter our Target will be to understand all these topics ICS in complete detail and begin with the creation of this lighting scene now first of all let’s go to the geometry nodes worksspace and the first topic for today’s chapter is understanding the gradient texture node so for this first I’ll delete this Cube by pressing X then press shift plus a go to mesh and let’s add a plain object in the scene now to understand about the gradient texture node in the geometry nodes we first need to understand about the same gradient texture node in the Shader editor so for this click here and select the Shader editor from this list click on the new button and to add the gradient texture simply press shift plus a then go to texture and from here select the gradient texture we’ll place it over here then press crl plus T to add the texture coordinate and the mapping node then as usual take the object socket and connect it to the vector and to view the output first of all let’s go to the render View and to apply the gradient texture hold on control shift and left click on the gradient texture node let’s also go to the top view by pressing seven on the numpad and just like the name suggest the gradient texture node simply gives a gradient as the material now instead of understanding it in terms of the Colors Let’s also try to understand in terms of mathematical value so with this gradient texture applied the value will change from minus1 to 1 in the same direction where the color changes initially at this position the value is minus one and I have explained it to you A lot of times that whenever the value is less than or equal to zero then the color which is assigned is always the black color as a result at this position we see that the color is black then the value increases from minus1 to 0 so even at the value of 0 which is at the center the color is black and then the value begins to increase from 0 to 1 and since the value is getting increased from zero as a result we see a shift in the color from complete Black to the white color now let’s also understand the gradient texture node in the geometry nodes editor so for this click on this icon again and select the geometry nodes editor click on the new button to control the size or the number of vertices of this plane press shift plus a go to mesh then in The Primitives select the grid node place it over here connect the mesh socket to the group output and you can also see that by adding the grid node the material that we applied which is the gradient texture has also disappeared and that’s because whenever we add any object using the geometry nodes then in that case we need to use the set material node in order to assign the same material but for now we won’t be assigning any material to this plane let’s also go to the solid mode and now before adding the gradient texture node in the geometry nodes editor let’s also add an extrude mesh node so press shift plus a go to mesh then in the operations select the extrude mesh node place it over here it looks like a cube because it has extruded the face depending upon this offset scaling value but suppose you want that instead of adding any particular number here the offset scaling should instead depend upon the gradient texture so let’s start TR to do it so press shift plus a then go to texture and select the gradient texture place it over here connect the color socket to the offset scaling and you can see that we got some unexpected result Also let’s do one more thing which is to increase the number of vertices of this grid to something like 50 I’ll also increase the size in order to view it properly so I’ll change it to a value of 5 m and now this is how our plane is looking after connecting the gradient texture to the extrude mesh node now to understand what exactly is happening here hold on control shift and left click on the gradient texture and then similarly left click on the grid node now you can see here that the viewer node is only connected to the grid node and the gradient texture and as a result you get the same result that we saw while understanding the gradient texture in the Shader editor now just like before the value at this part is equal to minus one then in the middle it is zero and in the end the value is equal to 1 also if I again hold the control and the shift button and left click on the extrude mesh node then now this viewer node is connected to the extrude mesh and the gradient texture node and you can see here that the color is changing from complete Black to the white color as a result in in this case also the value on this part which is touching the bottom is equal to minus1 then as it approaches the middle the value increases to zero but since the value is still less than or equal to zero as a result it is still black colored and as soon as the value becomes positive the color again changes to White similarly this gradient texture connected to the offset scale initially gives a value of minus1 to this part as a result the Extrusion gets applied in the opposite direction then as it approaches the middle the gradient texture sends the value of zero to the offset scale and therefore this middle part is not extruded and then again again as it approaches the end the value increases to positive 1 and therefore the offset scale will be positive and therefore the Extrusion is seen in this upward Direction so in simple words the gradient texture changes the value of the offset scale from minus1 to a value of positive 1 now you can also see that this gradient texture node has some gradient types for example the linear quadratic easing and with each one we get a different type of result for example if I select the radial then now you can see that the value changes from this point in the radial Direction in simple words if I go to the top You by pressing seven on the numpad then over here the value is equal to zero then it increases like this and in the end the value is again equal to positive 1 also if you look closely then the Extrusion is also getting applied in a similar way on this part over here there is no Extrusion and so it is completely flat then as we approach this end we notice some slight Extrusion similarly on this part there is some more Extrusion and as it approaches the end the Extrusion effect even increases more so in this case with the radial gradient type selected the value changes from this point in a radial Direction and in a similar away the offset scaling in the extrude mesh node is also changing now if I go to the top view by pressing seven on the numpad and suppose you want that instead of the gradient texture being applied only once it should be repeating itself then for this we need to use the math node with some specific operations so press shift plus a go to utilities and in the math category select the math node place it over here let’s also connect it to the offset scale and now if I click on the operations list then over here we have this ping pong operation so I’ll select it and by using this operation I can control the value at which the gradient ends so initially the value will still be equal to zero however whatever value I insert in the scale here will get applied as the ending value for example if I change the scale to one then in this case the value is changing from 0 to positive 1 that is from the black color to complete white color however if I reduce the scale to something like 0.5 then in this case the value will change from 0 which is black to a value of 0.5 which is a mix of black and white or simply the gray color so for now I’ll change the scale back to one then create a duplicate of this node and place it over here and we we’ll be using this node in order to multiply this effect so from the function I’ll select the multiply and then if I try to increase the value from here then you can see that the effect of gradient texture is getting multiplied so if I keep it to a value of 10 then in this case the effect of gradient texture is applied 10 times for example here the value will be equal to zero then somewhere over here the color is completely white and as a result the value will be equal to 1 then again the value decreases to zero and the color changes to White and it continues in a similar way also if I try to change the view like this then you can see that because of multiplying the radiant texture effect the Extrusion is also getting affected so for now I’ll delete the viewer node from here and now this is how our plane looks right now now moving ahead the next topic for today’s chapter is understanding the RGB curves node so for this I light a plane in the scene so press shift plus a go to mesh and select the plane let’s move it in the x-axis over here and just like the gradient texture node we’ll be understanding the RGB curves node first in the Shader editor and then in the geometry noes editor so click here and select the Shader editor let’s also go to the render View and now for understanding the RGB curve node I’ll also need the gradient texture node so let’s do one thing I’ll apply the same material that we previously used to understand the gradient texture node so click here and select this material. 001 in your blender file it might be possible that this material gets saved simply with the name material instead of material. 001 now just like we did in the geometry nodes editor we’ll be adding the math node with the multiply and the ping pong function so press shift plus a go to converter and select the math node place it over here change the operation to ping pong change the scale value to positive 1 then for the multiply I I’ll create a duplicate of this math node and place it over here let’s also change the function to multiply and change the value to 10 let’s also change the gradient type from the linear to the radial and now it looks like this let’s also go to the top view by pressing seven on the numpad and now finally we can add the RGB curves node so press shift plus a go to color and select the RGB curves node we’ll place it over here now this RGB curves node is used to control the way the RGB channels look for those of you who don’t know what RGB is it basically means red green and blue color and these three colors are the prim colors of light by using different values in the RGB channels you can create any type of colors to understand it in a better way let’s add a color ramp node so press shift plus a go to converter and select the color ramp place it over here and you can see that over here the color mode is selected as RGB also if I click over here and change it to RGB then it allows you to input any value in the red green and the blue channels and depending upon these values you’ll be getting a unique color each and every time so for example if I take this color to the red color then you can see that the other two values have changed to zero and the value in the red channel is equal to 0.81 if I increase it to a value of one then in this case the brightness will increase similarly if I select the second pointer and change the color to the blue color then now you can see that the other two values which is of the red and the green channels is zero or approximately equal to zero you can try to change the position of this pointer in order to change the value to exact zero and in the blue channel the value is equal to positive one now if I take the RGB curves node and drop it after the color ramp then in this case I can use this node to to control the RGB channels over here you can see that we have four options C RGB C stands for the combined channels meaning that if this one is selected then we’ll be controlling all the three channels collectively then the next one is the r and this one will control the red Channel similarly G controls the green Channel and B controls the Blue Channel now if I click anywhere on the curve a point or basically a handle will get created and if I left click and drag like this then the position of the handle will change and we’ll notice some differences in the color by moving this handle in the upwards Direction like this the brightness has increased similarly if I take this handle and bring it down then in this case the brightness will reduce and this is how the colors are looking right now so by changing the way this curve looks you can control the way how the colors look on your object also if I click anywhere else on the curve then another point or another handle will get created and I can use both the handles in order to modify the way the colors look in the material if you want to reset all the things that you did here simply click on this icon and select reset curve so basically this is how the RGB curves node works in the Shader editor for now I’ll delete this plane from here by pressing X let’s select This Plane again and now let’s understand the RGB Curves in the geometry nodes so click here and select the geometry nodes Editor to add the RGB curves node press shift plus a go to utilities then in the color select the RGB curves node now we’ll drop it after the math node with the ping pong operation just like before if I click anywhere on the curve a handle will get created and if I try to move the handle then you will notice that it manipulates the way the gradient texture was looking so it completely depends upon you about how you want the texture to look on on the object also you can select the end handles over here by left clicking and if I drag it like this then the position of this handle will also change so try to adjust the different Handles in order to change the way the gradient texture or basically the Extrusion value looks because of connecting the offset scale to the gradient texture so for now we’ll be keeping it very simple I’ll bring down this end point over here and by doing this you can see that the height is also reduced so there is no right or wrong curve which needs to be there in the RGB curves node it completely depends upon you about how you want your scene to look like so try to play with the different handles of the curve also you can try to change the values in the math node and get different types of results you can also do the same with this math node with the multiply operation and we’ll be getting some different results but for now I think that it looks perfect so I’ll finalize this now moving ahead we’ll now be creating some lighting in our scene so for this let’s first go to the solid mode and to create the lighting let’s add some random object in the scene so press shift plus a go to mesh and I’ll select the plane let’s move it in the Z axis over here then go to the geometry nodes editor and click on the new button now to to control the scaling of the plane from the geometry nodes let’s add a grid node over here so press shift plus a go to mes then in The Primitives select the grid node PR it over here connect the mesh socket to the group output let’s increase the size to something like 2 m or maybe 2.5 M now to make the lighting we’ll be using some curve lines as the instances so press shift plus a go to instances and select the instance on points place it over here and for the instance object let’s add a curve line node so press shift plus a go to curve then in The Primitives select the curve line node place it over here connect the curve so to the instance now we have these curve lines placed as the instances on different points of the grid and suppose you want that the end points of the curve line should be touching the nearest surface of this plane then for this we have the sample nearest surface node but to use it we also need to add the set position node so press shift plus a go to Geometry then in the right category select the set position node we’ll place it over here then press shift plus a again go to mesh and in the sample select the sample nearest surface node we’ll place it over here now the sample nearest surface node will sample any value of the surface which is nearest to the points of the curve line also in the data type you have many options like the float integer vector and whatever you will select here that particular data type will be sampled by the sample nearest surface node now we also have the mesh socket in this node where we need to connect the target mesh object or in this case this plane that we have added here so go to the scene collection left click and drag the plane into the geometry nodes editor take the geometry socket and connect it to the mesh socket in the sample nearest surface node also in the object info node select the relative option and now suppose you want that this value socket in the output should sample or basically generate the position of the nearest surface then for this first of all change the data type to vector and then we’ll connect the value socket to the position node so press shift plus a go to geometry and in the read category select the position node place it over here connect it to the value now for the output I’ll connect this value socket to the position in the set position node now you can see here that the position of these curved lines placed as the instances has changed however it is still not perfect if I select these curve lines and press G to move it you will notice that we can’t move them upwards to fix this problem we need to use the realized instances node so press shift plus a go to instances and from here select the realiz instances node place it in between the instance on points and the set position node and also if you remember I told you that we needed only the end points of the curve lines to touch the surface of the plane to achieve this result we need to connect the selection socket in the set position node to the end point selection node so press shift plus a go to curve and in the read category select the endpoint selection node place it over here take the selection socket and connect it to the selection in the set position node since we need only the end point to be selected so change the start size to zero and now you can see that we have these curve lines added over here with the end points snapped to the nearest surface of this plane also if I press G to move them then they’re also changing in The Zed axis this time and this is because of the realiz instances node that we added after the instance on points node now since we’ll be using these curved lines to make some Thunder Lighting in the scene so we also need to add some Distortion to it right now they’re completely straight and to add some Distortion we need to add another set position node so I’ll select this one press shift plus d to create a duplicate and place it over here now for the Distortion we’ll be using the noise texture added to the position node so for this press shift plus a go to utilities and in the vector select the vector math node place it over here now we need to connect this node to the position socket in the set position node so we’ll connect it like this then for the two Vector values we’ll be using a position node and the noise texture node so press shift plus a go to geometry and in the read category select the position node place it over here connect it to any of the two vectors then for the other one let’s add the noise noise texture node so press shift plus a go to texture and select the noise texture place it over here connect the factor socket to the vector now to apply the Distortion effect properly we also need to increase the number of control points in the curve Lines by default they have only two control points one at the beginning another at the end so to add more control points we’ll be using the resample curve node so press shift plus a go to curve then in the operations select the resample curve node place it over here now we finally have something which looks like the Thunder lighting however if I try to move it down by pressing G then you can notice that it’s still not perfect so to solve this problem you simply need to change the value in the offset so let’s reduce it to something like – 0.8 or maybe – 0.5 and now if I try to move it by pressing G then in this case the lighting looks much better than before now to make it look real we also need to convert it into a mesh so let’s add a curve to mesh node so press shift plus a go to curve then in the operations select the curve to mesh node place it over here for the profile curve we’ll be using the curve Circle node so press shift plus a go to curve then in The Primitives select the curve Circle node place it over here connect the curve socket to the profile curve Also let’s change the radius to something like 0.1 and now to make it look like it has bigger radius over one end and smaller at the other we’ll be using the set curve radius node so press shift plus a go to curve then in the right category select the set curve radius node place it over here for the radius we’ll be using the spine parameter node so press shift plus a go to curve then in the read category select the spline parameter node let’s place it over here take the factor socket and connect it to the radius in the set curve radius node now since we need the bigger radius on the top and the smaller radius at the bottom we need to invert the the radius and for this we’ll be using a map range node so press shift plus a go to utilities then in the math select the map range node we’ll place it after the spline parameter node and to invert the radius simply change the two Min value to one and the two max value to zero now to fill these top faces go to the curve to mesh node and turn on the fill gaps Also let’s further reduce the radius in the curve Circle node so we’ll keep it to something like 0.05 and now this is how the lighting scene is looking right now also if you want to increase their number

then simply go to the grid node that we added initi and by increasing the number of vertices here we can increase the number of curved lines that we used as the instance here so let’s go to the vertices option in the X and Y AIS and increase it to something like five to place them apart we can increase the size from here so let’s keep it to something like 3.2 or 3.3 M let’s also keep the number of vertices to four instead of five and this is how it looks now and also if you want the lighting to look a bit different then you can try to change the scale value in the noise texture that we added over here so if I reduce it to something like 2.5 or maybe two then it looks like this all so to increase the number of points you can go to the resample curve node and increase the count value from here also to make the turns more sharp you can go to the roughness value in the noise texture and try to increase it like this and finally I think that the Thunder Lighting in the scene looks perfect we also arrive to the end of the chapter number 50 today we learned about some new geometry nodes and use them to create the simple scene in the next chapter we’ll be using some more new geometry nodes to create some clouds in the scene and to finalize our lighting [Music] scene in the previous chapter we begin with the creation of this lighting scene and in today’s chapter we’ll be understanding all these Concepts in complete detail and we’ll be using them to finalize our scene so we are back in the scene where we created this plane with the help of gradient texture and the RGB curves node then we created this thunder lighting with the help of all these geety nodes and now the first topic for today’s chapter is understanding the instance to points node now the instance to points node is different from this instance on points node that we have used a lot in this course we use this instance on points node in order to place a particular object as the instance on different points of another object and in the output we used to get these instances but let’s also understand the instance two points node by adding it in the geometry nodes editor so press shift plus a go to instances and select the instances to points node let’s place it over here and now this node basically takes the instances as the input and converts them into points so here if I take the instances socket in the instance on points node and connect it to the instances in the instance two points node and then to see the result if I hold on control shift and left click on the instances to points node then you you can see here that at the position of the instances we now have these points added now suppose you want to place a particular object as the instance on these points then for this we can add an instance one points node after the instance two points node so I’ll select this one press shift plus d to create a duplicate and place it over here then for the instance I’ll be adding a simple Cube so press shift plus a go to mesh and in The Primitives select the cube object we’ll place it over here connect the mesh socket to the instance now before moving ahead let’s also place all these nodes properly in the scene so that there’s no confusion so I’ll move these nodes that were connected to the set position node over here similarly let’s select these nodes and move them up like this now suppose you want to change the position of these cubes that we added here then you can do it directly from the position socket in the instance to points node so to give them a random position let’s first add a vector match node so press shift plus a go to utilities then in the vector select the vector match node let’s place it over here connect the vector socket to the position then for the first Vector socket let’s add a position node so press shift plus a go to geometry and in the read select the position node place it over here connect it to the the first Vector then to add some Randomness to the position we’ll be connecting the random value node in the second Vector so press shift plus a go to utilities and select the random value node we’ll place it over here change the data type from float to vector and connect the value socket to the vector socket and now because of the vector math node with the add operation connected to the position and the random value some random value between 0 and 1 is being added to the position of all of these cubes placed as the instances also you can control the amount of Randomness from the minimum and the maximum values here so if I go for the minimum values select all the three that is the X Y and Z axis and try to change them like this then the amount of Randomness will also change basically higher the difference between the minimum and the maximum values more will be the amount of Randomness let’s also go to the max values and change it to something like 0.4 or maybe 0.5 and now for each of these cubes a random value between – 0.3 and postive 0.4 will get added to their position now we’ll be using these cubes that we added here in order to make some clouds in the scene so for this we also need to add some Distortion to the cubes that we have placed as instances over here so for this we’ll first add a set position node after the cube node so press shift plus a go to Geometry then in the right category select the set position node place it over here and if you remember we did the same process in the Thunder lighting that we created in the last chapter we use the set position node over here connected it to the vector match node with the add operation and connected the two Vector sockets to the position and the noise texture so for this one also we’ll be connecting the vector match node to the position socket and this Vector match node with the add operation will be connected to the position socket and the noise texture so I’ll select all the three nodes let’s create a duplicate of them and place them over here now I’ll take the vector socket and connect it to the position to increase the Distortion let’s first go to the noise texture and increase the scaling to something like five let’s also increase the number of vertices so go to the cube node select the number of vertices in all the three axis and increase it to something like four or five now to make these cubes look like clouds we need to convert the mesh into volume so for this we’ll be adding the mesh to volume node after the instance on points so press shift plus a go to mesh and in the operation select the mesh to volume node we’ll place it over here and now you can see that the mesh is converted into volume let’s also increase the density from here in order to see it properly now even though the cubes are converted from mesh to volume but to make them look like real clouds we need the volume to be distributed all over this area without any empty spaces in between and for this we need to distribute some points in the volume so for this we’ll be using the distribute points in volume node so press shift plus a go to point and select the distribute points in volume node place it over here we have all these points distributed throughout the volume volume and to again convert it into volume or make it look like Cloud we need to convert these points into volume so let’s add the points to volume node so press shift plus a go to point and select the points to volume node we’ll place it over here and now if I change the view again you will notice that we still have these empty spaces but to fill them up with the clouds simply go to the distribute points in volume node and increase the density from here this will increase the number of points and as a result the volume will also begin to increase let’s also increase the density in the mesh to volume node like this and now this is how the clouds are looking in the scene to view the Thunder lighting along with these clouds we’ll be using a joint geometry node so press shift plus e go to geometry and select the joint geometry node we’ll place it before the group output now I’ll take the volume socket and connect it to the geometry in the joint geometry node to view the result here first I need to remove the viewer node from here so I’ll select it and press X and now you can see that we are having the clouds along with the Thunder lighting however we also need to change the position of the clouds in order to place them properly in the scene so for this I’ll go to the set position node that we added over here and try to change the offset in the xaxis like this so we’ll keep it to something like minus one and to be more accurate let’s go to the top view by pressing seven on the numpad and we can now see everything properly so we’ll move it in the x axis like this let’s also move it in the y axis like this also if you want to increase the size of the clouds you can go to the size option in the cube and try to increase it like this however for now I think that the scene looks perfect so we’ll finalize this and yes if I select the clouds and try to move them by pressing G then you can see that it’s creating this amazing effect along with the Thunder lighting and with with this our scene is now ready to finalize so first of all let’s go to the render view to improve the lighting in the scene I’ll select this lamp go to the object data properties and change the type of light to Sun let’s also reduce the strength to something like four or five let’s also create a duplicate of this light so press shift plus d move it in the xaxis over here press R to rotate the light let’s also rotate it in the x-axis like this and now it looks perfect so first of all we’ll be creating a material for this plane and if you remember we made a material using the RGB curves node and the gradient texture in the Shader editor you can even check it from the material properties we have this material. 001 that we created in the last chapter so to add this material over here press shift plus a go to material and select the set material node we’ll place it over here and from the list of the materials I’ll select the material. 001 and you can see that we have this gradient texture with the red and the blue color that we created in the Shader editor so if you want you can try to change the things like the handles in the RGB curves to give it a different look like this or maybe the colors in the color ramp like you can set any other color maybe yellow or the green color but for for now I’ll go with the blue color only but we reduce the brightness to change it to the dark blue color now the plane looks perfect and now we can create the material for the clouds and the Thunder lighting so first of all let’s go to the geometry noes editor again select the cloud and now we have to create two separate materials one for the cloud and the other for the Thunder lighting so go to the material properties click on new material we’ll change the name of this material to cloud and let’s create one more material click on the new button and change its name to lighting to apply these materials I’ll go to the geometry nodes editor and we have two nodes connecting to the Joint node one of them is the curve to mesh node which is carrying the information about these Thunder lightings and the other one is the points to volume node which is carrying the information about these clouds so let’s add two set materials node so press shift plus a go to material and select the set material node place it over here let’s create a duplicate and place it after the curve to mesh node now for the first one I’ll select the cloud material and for the second one I’ll be selecting the lighting material to modify the material let’s go to the Shader editor from here also since we’ll be making the material for the clouds let’s also change the render from EV to Cycles now do ensure that in the material properties this Cloud material is selected now since the cloud is not a mesh but a volume so instead of the principal bstf node we’ll be using the principal volume node so I’ll select this press X to delete then to add the principal volume node press shift plus a go to Shader and select the principal volume node place it over here connect the volume socket to the volume in the material output now we have the clouds in the scene to change their color go to the color option and to make them darker I’ll reduce the brightness from here then you have the option to control the density so if I increase it the density of the volume will increase then you have the option to control the emission strength and the emission color but we won’t require these things right now however however if I try to increase the black body intensity to something like 0.1 or maybe 0.2 then you will notice a slight glow of red color around the clouds in the scene but I think that we should reduce it to a value of approximately 0.15 and now it looks perfect moving ahead let’s also create the material for the lighting so I’ll select it from the material properties and for this one we’ll be using the noise texture so pressure shift plus a go to texture and from here I’ll select the noise texture then to add the vector mapping and the texture coordinate node press crl + T then just like always take the object socket and connect it to the vector now to view the output here I’ll take the factor socket and connect it to the base color if you want you can increase the scaling from the scale parameter over here but for now we’ll be focusing on giving some color to the lighting so for this we’ll be using the color ramp node so press shift plus a go to converter and select the color Ram let’s place it over here now we’ll be changing the first color which is black to white color by inreasing the brightness from here then I’ll select the second pointer and for this one we’ll be choosing the light blue color so I’ll take my pointer over here then to increase the amount of blue color I’ll move this pointer in this direction also we’ll go to the emission let’s increase the emission strength to something like two and for the color we’ll be using the same color that we get from the color Ram so I’ll take the socket and connect it to the emission color to view the emission effect properly we need to do some changes in the composting so I’ll open the composting workspace from here then click on the use nodes to see the changes that we do in the 3D view Port also so I’ll change this window which is the dop sheet Editor to the 3D view Port so click on this icon and select the 3D view Port also I’ll enable the render view by clicking over here and now to improve the effect of a mission we’ll be using the glare node in the compositor so press shift plus a go to filter and select the glare node we’ll place it over here to ensure that you see the changes in the 3D view Port also click on this icon and change the option in compositor from disabled to always then to get the bloom effect which is required for the emission I’ll change the glare type from streaks to bloom also change the quality from medium to high and now with the help of these parameters I can easily control the bloom settings in the scene so first of all I’ll reduce the size to something like 7 then if you want you can even try to change the threshold value but for now I think that the scene looks perfect we have this amazing Bloom effect applied in the 3D viewport which is giving a realistic look to the emission material that we added to the lighting in the scene let’s go to the geometry nodes workspace again and to view the same changes over here also click on this icon again and in the compositor select the always option and now I think that the scene is completely ready and it’s totally up to you if you want to change the color of your clouds or maybe the color of lighting to something else like the dark blue color or maybe the red color so you can do the changes accordingly but for now let’s also go to the camera view by pressing zero on the numpad let’s enable the lock camera to view from here I’ll zoom out if you want you can also change the color of the background to a specific color and to do this go to the World Properties by clicking on this globe icon then in the color if I set any particular color then that color will be applied as the background in the 3D view port and with this we now arrive to the end of the chapter number 51 in this chapter we used a lot of geometry notes in order to finalize this amazing lighting [Music] scene in today’s chapter we’ll be understanding about the simulation nodes or the simulation Zone also we’ll be creating an amazing animation with the help of these geometry nodes so first of all let’s go to the geometry nodes workspace by clicking here then to add the geometry no system click on the new button in the geometry noes editor now if I press shift plus a then here we have a category which is known as simulation and in this we have the simulation zone so let’s add it over here and now you can see that we have a system of two nodes and each of them is having the name simulation so in simple words we have one simulation input node and one simulation output node by using these two nodes we can create some simulations or some animations in the scene and that to by using the geometry nodes only now the way the simulation Zone works is that it takes an input then performs some operation in the middle which depends upon the nodes that we use and then it gives the result from the simulation output node and the simulation or the animation that it creat Crees changes from one frame to the next frame so let’s understand this practically first of all I’ll take the geometry socket of the group input node and connect it to the geometry socket in this simulation input node then for the output I’ll connect this socket in the simulation output to the geometry socket in the group output node so now that all of the nodes are connected with each other you might be expecting that it would have created an animation but if I press the space bar to play the animation then you will notice that no animation is created till now let’s take the pointer in the timeline editor back to the frame number one so to create the anim we need to add some nodes in between the simulation input and the simulation output node so suppose you want to create an animation where the position of this Cube changes by a particular distance in a particular axis so for this let’s first add the transform geometry node using which we’ll control the position of the cube so press shift plus a go to geometry and in the operations select the transform geometry node we’ll place it over here and now if I go to the translation in the y- AIS and change it to a value of 0.1 M then now what will happen is that the simulation nodes will create an animation where the position ition of this Cube will change by 0.1 m in the Y AIS and this will happen each and every time the frame changes so if I press the space bar to play the animation this time then now you notice that we have this animation where the position of the cube is changing in the Y AIS by 0.1 M frame by frame also you can try the same thing with the other parameters in the transform geometry node for example if I take the pointer to the frame number one again and suppose I change the rotation in the Y AIS to 5° and if I again play the space bar then this time we have an animation created where the position as well as the rotation of the cube is changing with each and every frame now suppose you want to create an animation where we can see each of these cubes frame by frame and it should be like the scaling will also reduce as the number of Cubes will increase so let’s try to create it practically first of all I’ll change the rotation value back to zero then to view the cube each and every time the frame changes let’s add the joint geometry node so press shift plus a go to geometry and select the joint geometry node we’ll place it after the simulation input node and connect the group input to the geometry socket in the joint geometry node let’s also increase the translation to 1 M and now if I take the pointer back to the frame number one and play the animation again then you can see here that it creates an animation where we can see each and every Cube separately in the 3D viewport whose position is being changed by a value of 1 M and this is because we added the joint geometry node and connected it to the original Cube also if you want to create the animation where with each passing frame the scale value also reduces then for this you can either go to the scale parameter in the transform geometry node or you can add the scale elements node but for now I’ll be using only these values to create the animation where these cubes will scale down so if I change the value in all the three axes to 0.95 then in this case the scaling of each of these cubes will reduce to 0.95 times the cube on the previous frame so if I take the pointer to the frame number one press the space bar to play the animation then you will notice that the position as well as the scaling of the cubes is changing with each and every frame so this is how the simulation Zone works in the geometry nodes editor it creates the animation depending upon the nodes that you add in between the simulation Zone and the change with each frame will depend upon the values that we add in the different parameters of these nodes now moving ahead we’ll be creating an animation where we’ll be controlling the position of the cube or any object by using another object like an empty object in the scene so for this first of all I’ll remove the transform geometry node from here by pressing X let’s connect the geometry socket in the joint geometry node to this geometry socket in the simulation output node let’s also take the pointer back to the frame number one now since we want to create the animation where the position of this Cube will depend upon some other object like the empty object or something else so in the view Port press shift plus a then go to empty and select the plane axis let’s scale It Up by pressing s and now you can see that an empty object is created which does not have any mesh or volume it is simply existing in the scene so I’ll select the cube again to control the position with respect to the empty axis that we added we need to add the transform geometry node after the group input so press shift plus a go to geometry and in the operations select the transform geometry node we’ll place it over here and one thing to notice here is that we have not added this transform geometry node in the simulation Zone whichever nodes we add in between between the simulation input and the simulation output will only be considered the part of the simulation zone now I’ll go to the scene collection let’s track the empty object into the geometry noes editor and to use the empty axis to control the position of the cube first I’ll change this to relatives and control the location socket to the translation in the transform geometry node now before playing the animation if I go to the 3D view port and select the empty axis and try to move it then you will notice that a copy of the cube is also moving along with it so for now I’ll right click now with this empty axis selected if I press the space bar to play the animation and try to move the empty axis like this then you will notice that we have these multiple cubes being added in the scene depending upon the position of the empty axis to make it look better let’s select the cube again go to the frame number one let’s also bring the empty axis back to the original position so I’ll select it press alt plus G to clear the location of the empty axis now with the cube selected I’ll go to the geometry nodes editor let’s scale down the cube to something like 0.7 and suppose we want that in the animation the scaling of the cubes should also change then for this let’s add the scale elements node in the simul ation zone so press shift plus a go to mesh and in the operations select the scale elements node let’s place it over here now if I change the scale value to a value of 0.9 or maybe 0.91 then this time with each of the passing frame the scaling of the cube will also reduce to 0.91 each time so to play the animation I’ll select the empty axis again press the space bar and if I press G to move it like this then you will notice that it’s creating this amazing animation where the scaling of the cubes is also reducing now I’ll take the pointer back to the frame number one let’s also clear the location of the empty axis by pressing alt plus G select the cube again and in the geometry notes editor we’ll do some changes in the scaling in order to make the animation look much better so first of all I increase the scaling in the scale elements to something like 0.96 let’s also change the scale in the transform geometry node from 0.7 to a value of 0.8 now let’s select the empty axis again press the space bar to play the animation and move it like this and with this we have a beautiful animation created where we have so many different cubes and their size is also changing and we are able to control all of this just by moving the empty axis now I’ll go to the frame number one again let’s also clear the location of the empty axis One More Time by pressing alt plus G select the cube and now suppose you want to save this animation in the timeline editor and for this we need to insert different key frames at the different frames of the different positions of the empty axis in the timeline editor so first of all I’ll go to the side view by pressing one on the numpad select this empty axis and with this empty axis placed on the 3D cursor I’ll press I to insert the key frame now we have a key frame inserted at the frame number one let’s take the pointer to the frame number 40 let’s also change the position of this empty axis by pressing G and I’ll place it over here let’s insert a key frame at this position also so press I and we have another key frame inserted over here now if I take the pointer back to the frame number one and play the animation then you will notice that we have an animation like this being created in the 3D view port to make it look better I’ll select the cube again and we should change the scaling in order to give it a much better look so I’ll go to the transform geometry node and in the scale value I’ll enter the value equal to 1 this will scale up the cubes and for the animation I’ll change change the value of scale in the scale elements node to something like 0.92 also if you want we can create this animation with some other object like maybe a UV sphere and to do this instead of the group input node we’ll be using the UV sphere node so press shift plus a go to mesh and in The Primitives select the UV sphere node we’ll place it over here connect the mesh socket to the geometry in the simulation input let’s also connect the mesh socket to the geometry in the transform geometry node let’s take the pointer back to the frame number one and play the animation again now we have this UV sphere being animated and just like this you can replace the UV sphere with any object that you like for today’s chapter we’ll be creating a simple star in the scene and replacing the UV sphere with that star so to model the star let’s first add a plane in the scene so press shift plus a go to mesh and add the plane tab into the edit mode to focus only on the plane press the forward slash button let’s also go to the top view by pressing seven on the numpad and we’ll need some more vertices so right click and select subdivide now to model the star I’ll select this vertex let’s move it up in the Y AIS like this and place it over here then I’ll select this vertex let’s move it in the xaxis like this then select this vertex move it up in the Y AIS and place it over here let’s do the same with this one also we’ll move it in the x-axis like this and now we need to change some position of the vertices in order to finalize the star so first of all I’ll select these top three vertices and we’ll move them down in the Y AIS like this also we need some more points in between these two edges I’ll right click and select subdivide again then I’ll select these two vertices move them down in the Y AIS and place them over here let’s also scale them down in the x-axis so so press s then X and scale it down like this to make it look symmetrical I’ll select this vertex and move it down slightly in the Y AIS let’s also select these two vertices at the bottom and scale them down in the xaxis like this now our sty looks completely ready to give it some thickness press a to select everything and extrude it in the Zed axis now let’s come out of the edit mode and this is how the star is looking in the scene now to give it a realistic look let’s apply the bevel modifier to it so go to the modifier properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of of segments to a value of three and now it looks perfect to give it a smooth look I’ll right click and select shade smooth Now to create the animation by using this star instead of the UV sphere I’ll first press the forward slash button to view the rest of the objects then I’ll select this UV sphere and we’ll copy all these geometry nodes from here and paste them in the geometry notes of the star that we created so press a to select everything crl plus C to copy now let’s also delete this from the scene so press X to delete select the star go to the geometry noes editor and click on the new button now I’ll select these two noes press X to delete and to paste the notes that we copied simply press control+ V the reason why we see a UV sphere is that in the geometry notes editor we added this UV sphere to be used as the input so I’ll delete it from here then I’ll take the group input and connect it to the simulation input and also to the transform geometry node Now to create the animation again I’ll go to the top view This Time by pressing seven on the numpad let’s take the pointer back to the frame number one select the empty AIS let’s also delete all the key frames that we previously inserted over here so in the timeline editor press a to select everything X and click on delete key frames now at the frame number one the position will be at the 3D cursor so press I to insert the key frame let’s take the pointer to somewhere near frame number 20 let’s give it a random position so press G to move it and place it at any random position let’s insert a key frame by pressing I and we’ll do the same thing a few more times in order to create the complete animation so let’s take the pointer to the frame number 40 and this time I’ll change the position of this empty axis to over here press I to insert the key frame take the pointer to the frame number 60 let’s move it down like like this press I to insert the key frame again then I’ll go to the frame number 80 and this time I’ll move it over here let’s insert a key frame again and let’s do the same thing one more time at the frame number 100 let’s place the empty access over here press I to insert the key frame and now the animation is ready to be seen so I’ll go to the frame number one press the space bar to play the animation and now we have this animation created with these stars that are moving and scaling down now let’s also give it some glowing material so for this let’s first go to the render view then I’ll select the stars and change the window to the Shader editor click on the new button and since we need to make the glowing material so in the principal bsdf I’ll go to the emission let’s change the color from here and let’s keep it to something like pink color and yes it completely depends on you that which specific color you need as the emission color for these Stars let’s also increase the strength to something like two or maybe three and to apply this material let’s go to the geometry nodes editor again then press shift plus a go to material and select the set material node we’ll place it over here and from the list of the materials I’ll choose this material. 001 to view the emission effect properly go to the compos in turn on the use nodes then press shift plus a go to filter and select the clear node place it over here change the clear type from streaks to bloom change the quality to high let’s reduce the size to something like six and to view the result let’s go to the geometry noes workspace and from here change the compositor settings from disabled to always with this we now have these glowing stars in the scene and if you want you can even control the amount of this glow from the composting workspace like you can try changing the bloom size and in this way you will be able to modify the scene so try to play around with these set settings try to change the color of the stars or the emission strength or maybe the position of the mty axis in order to create a different type of animation and with this we now arrive to the end of this chapter today we learned about the simulation Zone and even created a simple animation using [Music] it for those of you who do not know anything about compositing it is basically a tool in which you simply use the note system in blender in order to enhance an image or a sequence of images it also includes the things like changing some specific colors in the image the glowing effect in the image and many more interesting things which can easily be done simply by adding a node in the editor and all this will give you renders a completely different and a unique look so in this chapter we’ll be understanding about how this compositing works in blender and we’ll also be learning about some compositing nodes so we have opened a new blender file and to begin with working with the compositing we first need to open the compositing workspace so on the top you have this workspace named as compositing so I’ll select this and in this workspace here we have the compos depositor editor then below this we have the dop sheet editor and in the end we also have a timeline editor now the dop sheet editor and the timeline editor will be used only if we are working on a sequence of images or in simple words an animation but if we are working on still images then we won’t require the dop sheet editor and the timeline editor now to work on the compositing we first need to bring in some nodes so for this first click on the use nodes option and this will enable the compositing nodes in the workspace now we have these two nodes one is the render layers which is the input and and then we have the composite node which is the output so the render layers node will give the input of the image on which the compositing is to be done and it will give the most recent rendered image of that particular file as the input then that image will be used as an input by the composite node or any other node which is connected in between the render layers and the composite node so suppose I go to the layout workspace again and we have this default cube in the scene now if I want the rendered image of this simple default cube in the compositing workspace then for this simply click on render and from here select the render image now we have this rendered image let’s close it for now let’s go to the compositing workspace again and right now this render layers is not having the image that we rendered and that’s because we added this node before rendering our image so to fix this problem click on this cross icon then click here and select the scene now you will notice that on the top of this render layers node we are now having the image that we rendered also whatever changes we’ll do in the compositing will get applied to this render image now in order to view the changes that we do here directly in the compositing workspace we have to use choose a node which is called the viewer node to add it over here press shift plus a go to output and here we have the viewer node so let’s select it and place it over here now if I take the image socket in the render layers and connected to the image socket in the viewer node then now we have this rendered image of the default Cube added at the back of the editor also do ensure that this backdrop option is turned on in order to view the image in the compositing editor now suppose you want to change the size of the image at the back then for this we can use the scale node so press shift plus a go to transform and here we have the options like the rotate scale and transform and we can use any of these in order to change the rotation scale or the transformation of the image at the back so if I select the scale and drop it in between the render layers and the viewer node then with the help of the X and Y values I can control the scaling of this image so let’s skip it to something like 0.6 or 0.4 then suppose you want the image to be rotated then for this we have the rotate node to add it over here press shift plus a go to transform and select the rotate let’s place it over here and yes you can also place it after the scale note as it won’t make any such difference now if I go to the degree and try to increase it then you will notice that the image at the back is getting rotated so with the help of the rotate node you can easily control the rotation of this image now moving ahead suppose you want to control the position of this image then for this we have the translate node to add it over here press shift plus a go to transform and select the translate node we’ll place it over here and by changing the values in the X and Y AIS we can easily control the position of this image now moving ahead we also have a node which serves the purpose of these three nodes the translate rotate and the scale node and this is the transform node so first of all let’s delete the three nodes by pressing X let’s also connect the image socket in the render layers back to the image socket in the viewer node now to add the transform node press shift plus a go to the transform category and here you will find the transform node so I’ll select this and place it over here and now you’ll notice that we have four parameters the first two are the X and Y values which simply controls the position of the image then we have the angle which will be controlling the rotation of the image then in the end we have the scale value which as the name suggests will be controlling the scaling of the image now let’s try to do some very simple things with this image at the back and by doing this we’ll also be understanding about a very simple compositing node which is the brightness contrast node to add it over here PR shift plus a go to color and in the adjust here we are having the brightness contrast node so I’ll select this and place it over here now this brightness contrast node is connected in between the render layers and the composite node however to see the changes at the back we also need to connect it to the viewer node so if I take the image socket and connect it over here then you will notice that the transform geometry node will get disconnected and that’s because the viewer node can only take one input at a time so let’s undo this and now instead of connecting the transform geometry node directly to the input we’ll be connecting it to the brightness contrast node so I’ll take the image socket in the brightness contrast node and connect it to the image socket in the transform node and now you can see then the image will be received from the renderers by the brightness contrast node and the result will be transferred to the composite node as well as the view viewer node now in the brightness contrast node we are having two options the first one is the brightness and the second one is the contrast and just like the name suggest the brightness parameter will control the brightness or basically the amount of white color in the scene so if I increase this value you will notice that the scene is now looking very bright also if I take the brightness value to a negative number then you will notice that the amount of black color will increase so the brightness value can be used in both the ways if you take it to a positive value the brightness will begin to increase and if you take it to a negative value the brightness will reduce and the amount of Darkness or the black color will increase now the second option that you have is the contrast and contrast basically means making the brighter pixels even more brighter and the darker pixels even more darker so if I increase the contrast from here you will notice that we are now having two contrast colors in the image one of them is complete white color and the other one is complete black color and now suppose you want that this image at the back should get rendered so for this simply click on render and select render image and here you will notice that the image that is finally rendered will also have the compositing effects applied to it if you want to save the final image then simply click on the image option and from here you can save the image at your desired location now let’s close this window now with this we have learned about the basics of compositing in blender and now suppose you want to use the same compositing nodes for some external image and not for the one that you render in the blender file and to do this go to the compositing workspace again and now we need to open the image editor in the workspace so for this I’ll be converting this dope sheet into the image editor so for this simply click here and from the list of the editors select the image editor now for this chapter I’ll be adding that image which I rendered in the chapter number 51 of this course where we created this lighting scene by using geometry notes and yes if you have not yet completed that chapter then you can get the same rendered image in the description below now I hope that you have downloaded that image now to open that image click on the open Button then open that particular folder where you have saved that particular file then select it and click on open image now we have this image added in the image editor let’s zoom out and to use this image in the compositor editor we need to use the image node so to add it PR shift plus a go to input and here we have the image node so I’ll select it and place it over here we’ll be using this image node which will act as an input for the rest of the nodes we can also delete the render layers noes from here so I’ll select it and press X to delete now let’s take the image socket and connect it to the image in the brightness contrast node and to add this image in the image node click on this icon and from this list select that particular image now we have the image added at the back and if you you notice closely the contrast effect that we applied with the help of this brightness contrast node can also be seen on the image at the back so whatever changes I do in the compositor nodes now will simply get applied to the image that we are receiving as the input now moving ahead we’ll be using the RGB curves node to add it over here press shift plus a then go to color and in the adjust select the RGB curves node let’s place it over here now if you remember we understood about the RGB curves node in one of the previous chapters also while understanding the geometry nodes we explored that this C stands for the combined channels R stands for the red Channel then G stands for the green Channel and b stands for the blue channel so for those of you who don’t know RGB means red green and blue channels and these are the three primary colors which can be used in order to create any particular color then in the middle of the RGB curves node we have this graph using which we’ll be controlling the red Channel or the green Channel or the blue Channel or all three of them by selecting the combined Channel now to modify this curve simply left click on any point on the curve and this point will get created and then if I left click and drag it like this the position of this point will change in the curve and you will also notice some differences in the image in simple words if I try to move the pointer in the upwards Direction then in this case the brightness of the image as a whole will increase and on the other hand if I take this pointer downwards then in this case the brightness of the image will reduce if you want to reset the curve back to the original then simply click here and from this dropdown menu select the reset curve now if you notice closely we have two more pointers in the RGB curve which are present by default one of them is this pointer on the top and the other one is this pointer at the bottom now both of them have some specific function now with this bottom pointer selected if I try to move up then in this case the brightness of all the black pixels will increase and that is because this particular pointer controls the black or basically the dark pixels and this one at the top controls the white pixels so by moving this pointer upwards the brightness of the black pixels will increase and if I try to move it down then in this case the brightness of the black or the dark pixels will reduce so similarly if I select this pointer at the top which is controlling the white pixels and bring it down like this then in this case the brightness level of the white pixels will begin to reduce and if I move it upwards then the brightness of the white pixels will be increased so you can use the RGB curves node in order to control the brightness of the image whether you want to increase it or if you want to reduce it so you can use the RGB curves node for this also there’s one more use of the RGB curves node which is to control the contrasting in the image if you remember we understood about the contrast option in the bright contrast node and you can achieve the same result by using the RGB curves node also so for this you simply need to create a point over here and move it up then create another point over here and we’ll move it down so we need to make a curve which has an s- like shape and by using the position of these pointers you can control the amount of contrasting and the way your image looks so to add the contrast effect in the image you simply have to create a curve like this one and then you won’t even need the brightness contrast node also if I change the value in the contrast back to zero then you can see the effect in a much better way that if I try to move these pointers then the contrast of the image colors changes like this also if you want to see the final image in this image editor then simply click here and select the viewer node now this is the image that is generated after compositing is applied and if you want to save this image then go to the image option and you can save the image from here now one more thing if you want to close this side tool bar then simply press the N key and now you have more space to work in the compositor now we just discovered the combined channels in the RGB cves node but as I already told you we have three more options the red channels the green Channel and the blue channel so let’s just cover each one and we’ll first start with the red channel so I select it and now I can use this curve to basically increase or reduce the amount of red color in the image so if I select a point in the middle and move it up like this then in this case the amount of red color in the image will increase to see the result properly let’s increase the size of this image editor and now we can see the result properly so by moving this pointer in the upwards Direction you will increase the amount of red color and when moving this pointer down the amount of red color will reduce and now the image looks like this so when the pointer is in the middle there will be a balance in the red color by moving it up the amount of red color will increase and yes it will also depend on which particular position you are placing your pointer for example if I move it in the right also then in this case the image will look slightly different from the previous result but again in simple words the amount of color will depend on the position of this pointer now moving ahead let’s also discover the green Channel and in this one also if I left click in the middle then a pointer will get added and if I move it upwards then in this case the amount of green color will increase and if I move it down then we’ll hard ly see any green color in the image similarly if I select the blue Channel then create a point in the middle and move it up then in this case the amount of blue color will increase and if I move it down then we’ll hardly see any blue color in the image now moving ahead let’s also discover the color balance node so first of all I’ll remove the brightness contrast node so hold on the ALT key left click and drag it like this press X to delete it then if you want you can also remove the RGB curves node from here so hold down the ALT key again left click and drag it away and press X to delete it then to add the color balance node press shift plus a then go to color and in the adjust select the color balance node let’s place it over here and also connect it to the transform node that is connected to the viewer node now in the color balance node we have three different options first one is the lift second is the gamma and the third is the gain and for each of these three options we have this color wheel and a brightness controller so this node is used to balance the colors in the image according to these three options so the first one which is the lift controls the dark areas or the shadows in the image then the second one which is the gamma controls the midtone area and the last one which is the gain controls the brighter areas are basically the highlights in the image so in the Thunder lighting image that we have here the lift will control this darker area which is the background and the clouds the gain will control this thunder lighting and the gamma will control the midtone areas where we are having a balance of the highlights and the Shadows now if I go to the first option which is the lift and try to change the color in this color wheel to something like the green color then you will notice that the maximum effect of this color correction will be seen on this background and the clouds and that’s because they were more like the shadow regions or the darker regions in the image you wouldn’t be able to see much difference in the lighting of the image you can try the same with other colors also like the blue color or maybe the red color the change in the color will be observed much more on the darker areas like the background and the clouds if you want to reset the color back to the white color then simply place your cursor on this color wheel and press the backspace button in a similar way if I go to the brightness bar and try to reduce the brightness then you will notice that the effect of the reduction in brightness is mostly visible on the background and the clouds but not on the lighting and the Shadows or the reflections created by it now moving ahead let’s also discover the gain option which controls the lighting in the scene let’s also press crl plus Z to undo and press the backspace to reset the color now we have the original image and in the gain option if I increase the brightness from this brightness slider then you will notice that the brightness of this thunder lighting region has increased much more in comparison to the rest of the image similarly if I go to the color wheel and try to change it to the red color let’s also reduce the brightness and now you can notice that the color of ther lighting is now changing according to the color wheel you will also notice that the color of the clouds is also changing and see that’s because the majority of light in the scene is coming from this thunder lighting which is being controlled by the gain parameter here let’s also change it back to the default color and now let’s move to the gamma so this one will control the color balance in the midtone regions of the image and if I try to change the color then you will notice that the color change is visible on almost all the regions of the image be it the clouds or the Thunder lighting or even the plane so by using this option you can try to do the color correction of the mid tones or in most of the cases the entire image for now let’s reset the color to the default value let’s also reduce the brightness and yes in most of the cases you’ll be using the lift or the gain because these two will help you to control the colors in the darkest and the brightest regions respectively now moving ahead we’ll be exploring the Hue saturation value node so first of all let’s remove the color balance node from here so hold down the alt button then left click and drag this away press X to delete and now to add the Hue saturation value node press shift plus a go to to color and in adjust here we have the Hue saturation value let’s place it over here and connect the image socket to the transform node now this node is based on a color model which is HSV which obviously stands for Hue saturation and value by using these three parameters we can create any type of color and to understand it in a better way you can look at this image and understand how each of these three parameters control the different things in colors now let’s also understand this concept in a practical way in the compositing editor so first we’ll go to the value parameter and if I reduce it you will notice that the image will become darker and if I increase it the brightness of the image will increase so the value parameter controls the amount of brightness in the image because if I reduce this value to zero then we’ll have no brightness and if I increase it to its maximum value of two then in this case we’ll be having the maximum brightness however if you want to increase the brightness even further then you can click on this value and suppose I enter five then in this case it will now be controlling the value from 0 to 5 previously if I press control+ Z the value was between 0 and but after I type any particular number here for example if I type seven then in this case the amount by which you can control the value or basically the brightness will increase like this so now it is giving us the option to control the value from zero to a value of 10 but for now I’ll reduce this value to something like 2 or 1.5 now the next parameter that we have is the saturation and this one will control how colorful our image looks so if I reduce the saturation to zero then in this case there will be no colors in the image and it looks like a black and white image however if I begin to increase this value you’ll start to notice some colors in the image and if I take it to the maximum value of two then in this case the image becomes very much colorful by default at a saturation value of one the image looks like this with a higher brightness however if I increase the saturation value to its maximum then now the image looks much more colorful than before and now the last one that we have is the Hue parameter and in this image you can see that the Hue basically controls the colors that you’ll see in the image so if I try to change this value then you will notice that the colors in the image will be begin to change so with each different value in the Hue parameter we’ll be having some different colors at the default value equal to 0.5 we’ll be having the original image however if I try to increase or reduce the value then in this case we’ll be having some different colors depending upon the value in the Hue parameter now moving ahead the next node that we going to discover will be the blur node to add it over here press shift plus a go to filter then in the blur category select the blur node we’ll place it over here and now this is a very simple node which can be used to create the blur effect in the image and to do this you simply have to change the values in the X and Y parameters over here so if I try to increase the value in the X to something like 40 or 50 then you will notice that the image is getting blurred in the x-axis or basically the horizontal Direction similarly if I take this value back to zero and change the value in the y axis to something like 60 then in this case the blur effect is being applied in the y- AIS or the vertical Direction however in most of the cases you will need a blur effect which is uniform throughout and to achieve such a result you need to ensure that the values in the X and the Y Y axis are equal so if I enter 60 in both the X and Y parameters then you will notice that we are now having an equal blur effect applied in both the directions and now moving ahead we’ll be discovering the glare node so for this let’s first go back to the layout workspace and now to understand the glare node we first need to make something in the scene which has some emission material applied to it so to understand it in a better way I’ll first delete the cube from here by pressing X then press shift plus a go to mesh and select the monkey object let’s go to the camera view by pressing zero on the numpad let’s rotate the Mony object in the Zed axis by pressing R and Zed and rotate it like this let’s also change the camera’s position by clicking on this log button and let’s keep the camera view to something like this now moving ahead we need to create some material for the monkey object so first of all let’s go to the render view now to create the material I’ll change this window of the timeline editor into the Shader editor so for this click on this icon and select the Shader Editor to create a new material click on the new button and now we’ll be creating a material with some noise texture and the emission applied to it so for this press shift plus a then go to texture and select the noise texture we’ll place it over here and to connect it to the texture coordinate and the mapping node press crl + T and just like always I’ll take the object socket and connect it to the vector I’ll take the factor socket and connect it to the base color and to add some colors let’s add the color ramp node so press shift plus a go to converter and select the color ramp we’ll place it over here with the first pointer selected I’ll change the color by increasing the brightness and I’ll be keeping the red color then for the second pointer I’ll select it and change the color to something like yellow I’ll select the first pointer again and change the color to Blue instead of red also I’ll change the interpolation type from linear to constant let’s select the yellow pointer and change the position like this now to control the scaling go to the noise texture and we’ll increase the scaling like this let’s also increase the detailing and the roughness also to something like 0.8 and now to use the same material for the emission also I’ll go to the principal bstf then in the emission I’ll first increase the emission strength to something like four or five and for the color I’ll take this color socket in the color amp node and connected to the emission color now you can see here that we are not able to see the effect of emission properly on this material and to solve this problem we have to use the glare node in the compositing editor so first of all go to the compositing workspace and right now we are having this image that we added however to get the image that we’ll render in the 3D viewport we first need to remove this image node so I’ll select it and press X to delete then press shift plus a go to input and from the scene select the render layers let’s place it over here connect the image socket to the image in the blood node now let’s go to the layout workspace again then go to render and select render image this image is now rendered but it looks like this because all the changes that we did in the compositor are now being applied to this rendered image so I’ll close this window then go to the compositing workspace now first of all I’ll remove this blur node so I’ll select it and delete it by pressing X let’s also remove this Hue saturation value node so I’ll select this and press X to delete now I’ll take the image socket and connect it to the image in the transform node then I’ll take the image socket and connect it to this composite node now finally we can add the clear node and see how it works so press shift plus a go to filter and select the clear node let’s place it over here to view the result over here take the image socket and connect it to the transform node and now you will notice some changes in the rendered image now in the glare node by default the glare type is selected as streaks and as a result in the rendered image you can see these streaks added at each and every place where we are having the emission material then from here you can control the quality of the glare in most of the cases the best option is to select the high quality then and the iteration means the number of times to run a particular filter through the algorithm the higher the value of iterations the better will be the result but it will take some more render time so mostly you’ll be keeping the iteration value to something like three or four then if you want to control the number of these streaks then you can use the streaks parameter from here so if I reduce it the number of streaks will reduce in the streaks effect and if I increase this value then the number of streaks in the effect will increase then the next thing that you have is the angle offset and by using this parameter you can control the angle of these streaks for example if I keep this value to zero then the angle offset is equal to 0° and the streaks look like this however if I change the angle offset to 45° then in this case the angle of the streaks will change like this then the next thing that you have is the mixed parameter and the mixed parameter takes the value from minus1 to positive 1 if I take the value of mix to its minimum value of minus1 then in this case the effect won’t be applied at all and you will be seeing the original image then if I increase this value and take it to a value of zero then in this case we get the streaks effect applied and then if I increase the value of mix to its maximum value of one then in this case we’ll be seeing only the streaks effect and not the rest of the surroundings so to get a realistic result we’ll be keeping the mix value to zero and now it looks perfect also if I go to the glare type option then you have four more glare types and the first one is the most important which is the bloom so I’ll select this and with the bloom you can basically control the glow of the emission first of all let’s reduce the size from here and we’ll be keeping it to something like four or five and right now the glow effect is being applied to all the parts that had the emission material but to give it a realistic look we need the glow effect to be applied only to certain regions and not to all the regions and for this we have to use the threshold value so if I begin to increase it you will notice that the glow effect has reduced or in simple words it’s only being applied to some specific regions as per the threshold value so if I increase it it will only apply the glar effect to the pixels that have a value

greater than the threshold value and if I reduce it then the glare filter will get applied to many more pixels for now I’ll keep the threshold to something like 3.5 or 4 now to understand the remaining layer types I’ll be creating a duplicate of this node so press shiftless D and move it over here then I’ll take the image socket and connect it to the image in the transform node and now we are having two clear nodes with the bloom type selected and as a result the amount of glow in the rendered result has also increased but if I change the clear type to the ghosts then this specific type will create a haze over the image and create this special dispersion effect just like the other types you can control the iteration value from here or the mix value and similarly the threshold value moving ahead the next type that you have is the fog glow and this one will basically stimulate some glow around the bright objects in the image it’s very similar to the bloom effect that we added over here to see the effect in a better way simply increase the size from here and you will notice that the glow effect has now increased now the next one that you have is the simple star now the simple star is very similar to the streaks type that we saw initially the only difference between the two is that the simple star will create the streaks which look like a simple star so you can try to change the different glare types and these parameters and in this way you can give your emission material a unique look however in most of the cases we only use the bloom effect along with the streaks clear type and with this we now arrive to the end of the chapter number 53 today we learned about how the compositor Works in blender and also about a wide range of important compositor [Music] notes in the previous chapter we begin with the introduction of the compositor and used it to create some changes in the rendered images and in today’s chapter we’ll be moving one step ahead in the blend compositor and we’ll be understanding about the concept of layers masks so to begin with I’ve opened this file that we created in the last chapter where we made the simple material for this monkey object and worked on the compositing now since we need to work on the compositing in this chapter also so first of all we need to render this image of the monkey model so click on render and select render image now this image is rendered with the compositing effects applied now let’s close this window and open the compositing workspace from here now the concept of layers and masks are basically used used to define a region where the effect of the compositing is to be applied layer basically means a separate image or a separate video which is to be used as the source then we have the mask which is used to create a specific region in the image where you want the effect to be seen now first of all I’ll remove this clear node with the Ghost type so hold down the alt button left click and drag it away press X to delete and with this we are having only the rendered image with the bloom effect applied to it now in the compositor you can see that we have the render layers node and that’s because it is acting as a source of the rendered image also if I press shift plus a then go to input and select the image node and drop it over here then this node will also act as a layer because it will also be a source of an image in the compositor so this one will be one of the layers and this image node will be the other layer now to open an image click on this open Button then open any image that you wish to add in the compositor so for now I’ll be selecting this image which we created in one of the previous chapters of the course you can find the link of this image from the description of this video now click on the open image now suppose you want to combine this rendered image as well as the image that we added so to view both of them together we need to add the mixed node so press shift plus a go to color and in the mix select the mix color node we’ll place it over here let’s also connect it to the transform node using the image socket and now the reason why you see a white image is that in the mixed node we are having three parameters the first one is the factor and the other two are the images in the first image we use this rendered image of the monkey object but since we have not connected anything to the second image it gives us the option to select any particular color then by using the factor value we can control the mixing of the two images if I change the factor value to zero then you will be seeing only the original image or in other words only the first image will be visible if I begin to increase this Factor value and take it to a value of 0.5 then in this case there will be an equal mixing of both the images with each other also you can try to change the color from here to maybe blue or green and you will notice the same change in color in the final image also however if I increase the factor value further to something like one then in this case only the second image will be visible which in this case is the orange color now to use this image that we added over here as the second image I’ll take the image socket and connect it over here with the factor value of one it is showing us only the second image and not the first one however if I reduce the factor value to something like 0.5 then in this case we are able to see both the images mixed with each other in this case also if I reduce the factor value to zero then we’ll be seeing only the first image then if I begin to increase this value we’ll begin to see a mix of both the images and if I further increase the value of factor to something like one then only the second image will be visible so for now let’s reduce this value of factor to something like 0.8 or 0.9 and this is how it looks now also if I click over here then you have several blending modes and with each one you’ll be getting a different type of result for example if I select the dark in blending mode then in this case for each of the color components it will take the smallest of the two values being Blended and as a result the result will look like this similarly if I select the multiply then it will will look like this and now moving ahead we’ll be understanding about the concept of masks in compositing so to add a mask over here press shift plus a here we have a category known as the mask and in this category we have two options the Box mask and the ellipse mask so if I select the Box mask and place it over here and to view the result I’ll connect the mask socket to the viewer node and with this we have the simple box added over here similarly if I press shift plus a again then in The Mask if I select the ellipse mask place it over here connect it to the viewer node then now we are having the shape of an ellipse added over here now suppose I have to use this ellipse mask to control the region where this multiply effect will be applied so first of all I’ll break the node Connection in between the glare node and the multiply node so hold down the control button right click and drag your cursor like this let’s also connect the image socket in the transform node back to the viewer node now I have removed the image of this monkey from the multiply node as a result we now have the option to control the color in place of the first image for now I’ll be keeping the gray color and to use this ellipse mask node in the multiply node simply take the mask socket and connect it to the factor now this node will control that particular area where the effect of the multiply node will be applied so to change this area we need to change the settings in the ellipse mask node such as the width or the height so first of all I increase the width like this let’s also increase the height also we can create a vget effect in this image to achieve this result first I need to break the note Connection in between this image node and the multiply node so hold down the control button right click and drag your cursor like this then I’ll take the image socket and connected to the image one then for the second color I’ll change this to the gray color let’s also bring down the brightness from here and we want this gray color to be applied not in this region inside but instead on the outside region for this we have to use the invert color node to add it over here press shift plus a then go to color and from here select the invert color node we’ll place it after the ellipse mask node let’s also reduce the factor value to something like 0.6 or maybe 0.7 and now you will notice that we are having a kind of vget effect applied to this image I’ll also delete the Box mask node from here so I’ll select this and press X to delete now first of all I have this ellipse mask node which we used to create this mask in the form of an ellipse then we use the multiply node in order to create a multiply effect on this original image then in the option of adding the second image we use the gray color for creating the simple vgate effect around the image however when we directly connected the ellipse mask to the factor in the multiply node this multiply effect was being applied to the inner region and to invert this effect on the outer region we have to use the invert color node so we connected it to the factor socket in the multiply node and with this we have the simple wiet effect also you can make this effect softer by using the blur node so for this go to the compositor press shift plus a then in the filter go to blur and select the blur node place it after the invert color and now if I select the X and Y AIS and increase the value to something like 100 then here you will notice that the vigant effect is looking much better than before if I remove it from here then previously the effect look like this however after using the blur node this this is how the final result looks also if you want you can try to change the factor value in the invert color node to change the multiply effect but for now we’ll be keeping it to the value of somewhere near 0.75 or 0.8 similarly you can also try to change the values of the width or the height in the ellipse mask node and in this way you’ll be able to change the region where the effect is being applied and with this we have now understood about the concept of the layers and the masks in the compositor and with this we now arrive to the end of this chapter [Music] in the previous two chapters we begin with the introduction of compositors in blender then we studied about the concept of layers and masks in blender and in today’s chapter we’ll be understanding about the Crypt mat now we have the default blender seene and to begin with the understanding of the crypt mat we first need to create three suzan models in the scene so first of all I will delete this Cube by pressing X then press shift plus a go to mesh and select the monkey model let’s also go to the camera view by pressing zero on the numpad let’s rotate it in the Zed AIS like this let’s turn on the lock camera to view from here and change the view like this let’s also create a duplicate of the suzan model by pressing shift plus d let’s place it over here let’s also rotate it in the Zed axis like this let’s create another duplicate so press shift plus d again and place it over here let’s rotate this one also in the Zed AIS like this and now the scene looks perfect for the background we’ll be adding a plane in the scene so let’s turn off the lock camera to view now press shiftless a go to mesh and select the plane let’s move it downwards in The Zed AIS and place it over here now tabing to theed edit mode Let’s scale it up to maybe 20 or 30 times let’s go to the camera view again now for the back side first I’ll enable The Edge select mode by pressing two then I’ll select these two edges let’s extrude them in the Z axis like this then left click to finalize let’s go to the camera view again now to give the corners a smooth look I’ll select these three edges let’s apply the bevel to it so press crl + B increase the number of segments with the help of your scroll wheel then left click to finalize now let’s come out of the edit mode right click and select shade Auto smooth now if you remember in the previous chapter we understood about the concept of masks where we discussed that the masks in the compositor are used to define a particular region where the effect of the compositor will be seen and today’s topic which is the Crypt mat is an amazing feature that will automatically generate the mask for each of the objects or any materials in the scene now to practically understand about the cryptomator the interview let’s also improve the lighting in the scene so press seven on the numpad to go to the top view select This Light press shift plus d to create a duplicate and place it over here let’s create one more duplicate by pressing shift plus b and we’ll place it at the back of the three monkey models let’s place it over here then I’ll select this light let’s move it over here so that it is slightly away from the objects in the scene similarly this one also let’s move it over here now let’s go to the camera view by pressing zero on the numpad and this is how the scene looks then if you want to give some material to the light then go to the object data properties with the light selected and change the color from here for now I’ll change the color of the selected light to something like pink or maybe blue let’s select the other light from the seene collection let’s change the color of this light also so let’s keep the color to light blue color now I’ll select the plane go to the material properties and to create a new material click on the new button now go to the base color and let’s change the color to something like red then I’ll select the monkey object go to the material properties click on the new button and for this one I’ll be assigning the green color let’s apply the same material to the other monkey objects also so I’ll select this one go to the material properties click on this icon and select the material. 002 let’s do the same with this one also I’ll select it go to the material properties click here select the material. 002 also if you want to give them a slightly smoother look then you can right click and select shade Auto smooth let’s do the same with the other two also by right clicking and selecting the shade Auto smooth now in order to use the Crypt mat feature in the compositor we first need to enable the Crypt mat in the properties editor so for this go to the view layer properties from here then scroll down and here you will have a category known as the Crypt matat from here enable the Crypt mat in object material and the asset now before moving to the compositor first need to render this image so click on render and select the render image now here we have the rendered image so let’s close this window and now we are ready to go to the compositing workspace so click here and to add the nodes enable the use nodes option now you can see here that in the render layers node we are having many more outputs related to the Crypt mat I’ll change the dop sheet editor into the image editor in order to see the output so click here and select the image editor let’s also add the viewer node over here so hold down the control and shift button and left click on the render layers node now the viewer node is added over here let’s also close this side toolbar by pressing the N key now in the previous versions of blender these sockets in the render layers node related to the Crypt mat were very useful but in the recent versions of blender we can understand about the Crypt mat without even using these sockets also in the image editor click here and select the viewer node now we are having the final image both in the compositor as well as the image editor coming back to the concept of Crypt mat we need to add the Crypt mat node so press shift plus a go to mask and here you have two op s the Crypt mat and the Crypt mat Legacy node the Crypt mat Legacy node is that node that was previously used in the older versions of blender however in the recent versions blender added this normal Crypt mat node which we need to use right now so I’ll select it and place it over here now in this the scene is selected where we have these monkeys and if I click over here then it gives you the option to select the crypto mat layer so we have three options the crypto object the crypto asset and the crypto materials so with the crypto object selected it will enable us to create a separate mask for any of the objects and whatever changes we do in the compositor will only get applied to that specific object so to assign a particular object we need to click this plus icon and now we need to select that particular object from the image at the back where we want to create the mask so for now I’ll be selecting this first monkey object which has the name suzan 002 so I left click and here you can see that the suzan 002 is added as the matte object Also let’s add the scale node in order to scale down the image at the back so that it’s properly visible so press shift plus a go to transform and select the scale image we’ll place it over here let’s reduce the scaling in the X and Y AIS to something like 0.5 or 0.6 and now it looks perfect moving ahead if you want to view the mask that the Crypt mat node created then simply take the image socket in the Crypt mat node and connect it to the viewer node now you can see this image at the back or this image in the image editor that a mask has been created in that area where we had the suzan do2 object similarly if I take the mat socket and connect it to the viewer node then you will notice that only the area of this monkey object object which is the suzan .002 is colored as white because of the crypt mat and the entire region around it is colored as black now this also means that I can do any changes in the compositor and apply it only to this specific mask region so for this I’ll again connect the scale node to the viewer node and just for understanding this concept I’ll be adding the Hue saturation value node so press shift plus a go to color and in the adjust select the Hue saturation value node we’ll place it over here let’s also connect the Hue saturation value node to the scale node and now suppose I do any changes in any of the parameters of this node like the Hue value or the saturation value then the change will be visible on the entire image however by using the Crypt mat node we can apply this effect only on a particular object so for this I’ll take the matte socket and connect it to the factor in the Hue saturation value node and now you can see in this image that the compositing effect because of the Hue saturation value node is now being applied only to this monkey object which is the suzan 002 similarly if you want to select any other object also then click on this plus icon again and now you can select that particular object by simply left clicking on it it’s also displaying the name of the objects where the cursor is placed so if I select this monkey object also then the same changes will get applied to the suzan .001 so this is the use of the cryptomator which allows you to create a mask for a specific object or a material or an esset and by using it you can apply the compositing effect to only some selected objects in the scene also suppose I need to remove a specific object from the Crypt mat node then for this click on this minus icon and select that object that you want to remove so if I select this suzan 002 then in this case the Crypt mat node will no longer work on this object and you can also see this over here in the mat objects where it shows the name of only the suzan .001 which is this monkey object now moving ahead the next option that we have is the crypto asset so I’ll select it let’s also remove the suzan .001 by clicking on this minus icon select the suzan model and now the crypto asset allows you to apply the compositing effects to some selected objects which have a specific relation in between them to understand it in a better way let’s go to the layout workspace and suppose I select this monkey object and with the shift key hold it if I select the plane at the bottom then both of them are selected and we’ll be making this plane the parent of the suzan model so let’s understand it by doing it practically first of all press contrl plus p and the parent menu will appear now select the object and with this we have assigned the plane to be the parent of the suzan model which means that if I select the plane at the back and try to move it then in this case even if we have not selected the suzan model it will still move with the plane now before going to the compositing workspace we first need to to render this image again so click on render and select the render image now the image is rendered so let’s close this window and open the compositing workspace again now in the Crypt mat node if I click this plus button and take this pointer to the plane then as expected it shows the name plane however if I take the pointer over this monkey object then in this case instead of showing the suzan do2 name it is still showing plane and that is because we made this plane the parent object of the suzan model this means that if I left click either on the plane or on this suzan model then in this case the compositing effect will be applied to both the parent and the child object which in this case is the plane and the suzan 002 and this is how the crypto asset works in the Crypt mat node moving ahead let’s also understand the crypto material but before that let’s also remove this plain object from here so click on this minus icon and select the plane now click here and select the crypto material Now by using the crypto material I can select a particular material in the scene and add it over here and then all the objects having that particular material will get the compositing effect app to them so if I click on this plus button and take this pointer over any of the suzan model and left click then in this case all the objects having the same material as this suzan model will be having the compositing effects applied to them so in simple words you are having three options in the Crypt mat layer the first one is the crypto object which will apply the effect according to a specific object that we select then by using the crypto asset it will consider the parent and the child object as one and as a result if I select any one of the two then the compositing effects will be seen on both the objects and then the last one that we have have is the crypto material and with this the compositing effect will be applied to all the objects in the scene having a specific material now moving ahead in this chapter we’ll also be understanding about the posturi node so first of all I’ll remove this U saturation value node by holding the alt button left clicking on the U saturation value node and drag it away like this press X to delete it and to add the posturi node press shift plus a go to filter and select the posturi we’ll place it over here let also connected to the image socket of the scale node now this posturi node reduces the number of colors in the image and also converts the smoother gradients into sharp transitions in this node you have the steps parameter and by using this you can control the intensity of this effect now suppose I want to use the Crypt mat along with this node however unlike the Hue saturation value node this one is not having any Factor socket in it so in such cases where a specific node does not have any Factor socket to connect the Crypt mat node we have to use the mix node along with it so press shift plus a go to color and in the mix select the mix color node place it over here now take the image socket in the render layers node and connect it to the first image then take the image socket in the posterz node and connect it to the second image and with the factor socket in the mix node we can create a connection with the Crypt matat node so first of all I’ll remove this mat ID by clicking on this minus icon and selecting the material on the suzan now I’ll change the layer in the Crypt mat layer option and select the crypto object let’s also connect the mat socket to the factor in the mix node now suppose I want that this posturi effect should be applied only to a specific object for example this suzan model so to achieve this result click click on the plus button and select the suzan 002 to view the result take the image socket and connect it to the scale socket also and now you can see that this posterize effect is being applied only to the suzan 002 object similarly if you want to select any particular object then click on the plus button again and select that particular object and with this we now arrive to the end of the chapter number 55 today we understood the concept of Crypt mat like its usage in the compositor we also understood about the different Crypt mat layers and in the end we also explored the simple posturi node [Music] in this chapter we’ll be understanding about the concepts of constraints in blender now the first question which arises is that what exactly are the constraints so in blender constraint basically means to control the properties of an object for example the properties of this Cube like its location or the rotation or the scaling by targeting this object to a secondary object in the scene for example if I press shift plus a then go to mesh and select any other object for example a cylinder let’s also move it in the y-axis over here then now by using the constraints of blender I can control the properties of this Cube object by targeting this object to the secondary object which is the cylinder or in simple words you can also say that the constraints help you to define a relationship between different objects in the scene to access the constraints click on this icon which is the object constraint properties and if I click on ADD object constraint then here you will see a list of all the constraints available in blender now each one of these has a specific function which we’ll be learning in this chapter and the upcoming two chapters now in today’s chapter we’ll be covering all these transform constraints then in the next chapter we’ll be covering the tracking constraints and in the following chapter we’ll be discussing about the relationship constraints we won’t be discussing about the motion tracking constraints because they are not practically used much in blender so to begin with the first constraint that we’re going to explore today is the copy location constraint so with this Cube object selected I’ll go to the constraint properties click on ADD object constraint and in the transform select the copy location now as the name suggest this copy location constraint will force the object on which it is applied to take up the location of the target object so in the copy location constraint if I go to Target and click on this eye dropper and with this if I select the cylinder object then you will notice that the position of this Cube will change moreover if I try to move this Cube by pressing G then you will notice that we are not able to change the location of this Cube and this is because of the copy location constraint due to this constraint this Cube will now have the same position as that of the cylinder that we added so if I select the cylinder let’s also scale It Up by going to the edit mode so that we can see it properly in the scene now if I try to move this cylinder by pressing G then you will notice that the same change in location will also get applied to the cube object so this is the use of the copy location constraint and if I select the cube again then you will notice that we have two more options the axis and the invert so with the axis we can control that in which axis should the location be copied for example if I turn off the Y and the Z axis then in this case the copy location constraint will only work in the x-axis so if I select the cylinder and try to move it in the x-axis then you will notice that the same change in Position will also get applied to the cube however if I try to move it in the y- axis then the position of the cube is not changing similarly if I try to move it in the z-axis then in this case also only the position of the cylinder is changing and not that of cube so in this way you can control that particular axis whose location you want to be copied then you have the invert option and if I select the invert in the x-axis then in this case if I try to move the cylinder in the x-axis then you will notice that both of them are now moving in the opposite directions of the x-axis one of them is moving in the negative xaxis AIS and the other one is moving in the positive x-axis similarly if I turn on the Y AIS and also the invert in the y- axis then in this case if I try to move the cylinder in the Y AIS then now also their positions in the y axis are opposite to each other so this is the use of the axis and the invert in the copy location constraint now moving ahead just like the copy location constraint you also have another constraint which is known as the copy rotation so I’ll select this one let’s also remove the copy location constraint from here so click on this cross button and now just just like the previous one the copy rotation constraint will control the rotation of an object with respect to the other object so if I go to the Target and with this eye dropper I’ll select the cylinder now in the axis all the three that is the X Y and Z are turned on and so if I select the cylinder and try to rotate it in the x axis by pressing RX then you will notice that the same rotation is being applied to the cube as well similarly in the Y AIS also and the z- axis as well then if I select the cube again and turn on the invert in all the three axis and select the cylinder again with this if I try to rotate the cylinder in the x-axis then you will notice that even if they are both rotating in the x-axis but their directions are opposite similarly if I press Y for the rotation in the y- axis then in this case also the direction of rotation is inverted and in the z- axis also the rotation of both the objects is in the opposite direction now moving ahead the next constraint that we going to see is the copy scale constraint so first of all I’ll remove this constraint by clicking on this cross icon then go to add object constraint and in the transform select the copy scale now for the Target object I’ll click on the eye dropper and select the cylinder now just like the previous two constraints the copy scale constraint is used to control the scaling of one of the objects with respect to the other object so with all the three axes turned on if I select the cylinder and try to scale it in the x-axis then you will notice that the same scaling effect is being applied to the cube also similarly if I scale it in the y- axis then the cube will also scale in the y axis like this similarly in the z-axis also if I change the scale of the cylinder the scaling of the cube will also change now if I select the cube again then in the copy scale constraint we have one more option which is the power and with this we can control the intensity or basically the power with which the scale effect is to be applied for example if I increase the power to a value of two and select the cylinder again and try to scale it up in the z-axis then you will notice that in this case the factor by which the scaling changes in the cube is much greater than before so to summarize we studied about three constraints the copy location the copy rotation and the copy scale and now the fourth one that we have is is the copy transforms so I’ll select this let’s also remove the copy scale now the copy transforms constraint will control the entire transformation of the object meaning the location the rotation as well as the scaling with respect to some Target object so if I go to the Target option and select the eye dropper then I’ll select the cylinder now you will notice that the position of this cube is now changed to the position of the cylinder also if I select the cylinder and try to move it then the cube will also get the same location similarly if I try to rotate the cylinder then in this case also the same rotation will get applied to the cube as well and similarly if I try to change the scale of the cylinder then now also the same scaling effect will get applied to the cube in the scene we’ll be discussing about another constraint which is the limit distance constraint so first of all I’ll remove this copy transforms constraint by clicking on this cross button then go to add object constraint and from the transform select the limit distance constraint now this constraint controls the maximum distance between the object on which it is applied and the target object so let’s understand it practically first of all I’ll go to the Target object click on the eye dropper and select the cylinder now in the distance if I type 6 M then in this case the maximum distance between the cylinder and the cube object will always be 6 M so if I try to move the cylinder in the x-axis then you will notice that its location is getting restricted and this is because of the limit distance constraint similarly if I try to move it in the Y AIS then in this case also the change in the location is being restricted because of the distance value of 6 m in the limit distance constraint similarly if I try to move it in the Z axis then now also the limmit distance constraint will work and this is how the position of the cube is being controlled now moving ahead the next object constraint that we’ll explore is the limit location so I’ll select this let’s also remove the limit distance now this constraint will control the limit by which you can change the location of your object for example if I turn on the minimum X and keep the value to 0 m also I’ll go to the maximum let’s turn it on in the x-axis and change the value to something like 8 or 10 m now if I try to move the cube in the X x axis then you will notice that I won’t be able to move it in the negative xaxis however if I try to move it in the positive xaxis then in this case even if the cube will move but the location will get restricted to that particular value which we’ll input in the maximum parameter similarly if I input 5 m in the minimum and try to move the cube in the x-axis then in this case the change in location of the cube is only possible from a distance of 5 m to a maximum of 10 m in the x-axis just like this you can also try this with the y or the the z-axis so for example if I change the maximum in the Z axis to something like 15 M and try to move the cube in the z-axis then in this case the position of the cube will only go to a maximum of 15 m in the z- axis and not Beyond it so this is the use of the limit location constraint now moving ahead the next one that we’ll explore will be the limit rotation so I’ll select this let’s also remove the limit location also to move the queue back to the 3D cursor press alt plus G in order to clear the location now just like the limit location controlled the location of the cube in the different axis this particular constraint which is the limit rotation will control the rotation of the cube in the different axis for example if I turn on the y- axis and with the minimum value set to 0° I’ll change the maximum to something like 45 then in the 3D view Port if I try to rotate the cube in the Y AIS like this then you will notice that its rotation in the Y AIS is now locked from 0 to 45° similarly if I go to the x- axis and in the maximum if I type 90° and try to rotate the cube in the XA axis then you will notice that the rotation of the cube is now limited from only 0° to 90° in the xaxis similarly we have another object constraint which is the limit scale so first of all I’ll remove this limit rotation then go to add object constraint and in the transform category select the limit scale with this constraint we can control the minimum and the maximum values to change the scale of this Cube for example if I turn on the maximum in the x-axis and change the value to 1.5 then in this case if I try to scale up the cube in the x-axis then you will notice that the maximum value by which we can scale the cube is now restricted to 1.5 similarly you can try the same with the other axis also and with the minimum also like if I turn on the minimum X and change the value to 0.5 then in this case the scaling in the x-axis is now locked from a minimum value of 0.5 to the maximum value of 1.5 so if I try to scale it down in the x axis like this then it will only get Scaled down to 0.5 and if I try to scale it up then it will scale up by 1.5 now moving ahead the next object constraint that we’ll discover is the maintain volume constraint but before that I’ll first remove the limit scale from here and before adding this maintain volume constraint I need to explain one simple concept to you see by default each side of the cube meaning the length breadth and height is equal to 1 M and therefore the mathematical volume of this Cube will be equal to length multiplied by breadth multiplied by the height which equals to 1 M Cube or if I tell you in terms of unit then the volume will be equal to 1 cubic units now if I go to the add object constraint and select the maintain volume then this Con rint will allow you to change the volume of your object with this volume parameter and because the volume will change so the length of the site should also change which we can control with the free axis for example if I change the volume to something like three then now it will try to maintain the volume of three by changing the length of the sides according to the free axis similarly if I change it to the x-axis then in this case the length of the different sides will change like this and if I change the free access to the Z then in this case the length of the different sides changes like this in simple words whichever access is selected over here the length of the object will not change in that particular axis you can also confirm it by changing the volume from here even if I reduce it or increase it the length of the side in the z-axis is not changing at all and this is the use of the maintain volume constraint now let’s move to the last topic for today’s chapter which is the transformation constraint now you might think that we also have the transform cache in the transform category however this transform cache constraint is not commonly used in blender so for now I’ll be selecting the transformation constraint let’s also remove the the maintain volume constraint and now this transformation constraint allows you to control the location rotation and the scale of the object with respect to some other object which will act as the target so first of all I’ll go to the Target and with the ey dropper tool I’ll select the cylinder now I’ll open the map from and the map 2 and here you will notice that we are having so many options in both of them so let’s understand each thing one by one first of all you have the option to control the location or the rotation or the scale and by using any of these you can control that specific parameter of one of these two objects so if you have opened the map from then whatever changes you will do over here will be for the Target object which is the cylinder and whatever changes you will do in the map 2 these will get applied to the object on which the constraint is applied or in this case the cube object Now by using the transformation constraint if I go to the map from and in the location I’ll change the maximum value in the x-axis to 10 m and in the map 2 if I go to the rotation and change the value of Maximum in the x-axis to 90° then in this case when I’ll move the target object which is the cylinder in the x-axis from 0 to 10 m the rotation of the constrained object which is the cube will change in the x-axis from 0 to 90° so if I select the cylinder and try to move it in the x-axis like this then here you see that with the change in location of the cylinder the rotation of the cube is also getting changed from a value of 0° to 90° similarly if I select the cube again then you can do the same thing with the other parameters also like the scaling or the rotation then you can also change the parameter in the map 2 which is controlling the Cube like the location rotation and the scale parameter so basically with the transformation constraint you will use the map from to control the transformation of the target object and that change in transformation will be used to control any one of the three transformations of the constrained object which is the cube also one more thing to notice here is that if I select the location in the map from and the rotation in the map 2 and try to move the cylinder in the x-axis then you can clearly see that the change in the transformation is working only at a particular value of location which we have set in the transformation constraint which is 0 to 10 m in the x-axis however to make this process infinite you simply need to turn on the extra poate option over here so if I turn it on and try to move the cylinder in the x-axis then in this case the rotation of the cube will keep on changing every time the position of the cylinder changes in the x-axis so this is how the transformation constraint and the other constraints in the transform category work in blender and with this we now arrive to the end of the chapter number 56 [Music] in the previous chapter we discussed about the basics of constraints and also covered all the transform constraints and in today’s chapter we’ll be understanding about the working of all the tracking constraints now we have opened this blender file and to access the tracking constraints go to the object constraint properties then click on ADD object constraint and for the objects in the scene we have these five kinds of tracking constraints so the first one that we have is the clam 2 constraint so let’s add this now this clam 2 constraint simply clams or locks the position of the object on which it is applied to another object which will be the target object for example if I go to the 3D viewport press shift plus a then go to curve and select the bzier curve let’s tab into the edit mode scale it up like this let’s also go to the top view by pressing seven on the numpad and to control the way this curve looks we need to add some more points so right click and select subdivide we’ll repeat this step two to three times so that we have a high number of points then to change the position of these points I’ll simply select them and press G to move their position I’ll place it over here let’s also select this one move it over here and if if you want to change the way how your curve looks then you can select any of these handles and press G to move them now the curve looks perfect so we’ll come out of the edit mode now if I select the cube again and in the object constraint I’ll go to the Target object and with this ey dropper tool I’ll select the Basia curve and now you will notice that if I try to move this Cube then we can’t move it freely because its position is now locked according to the Target object or the bzier curve and this is the use of the clam to constrain this object constraint will simply clamp the position of your object as per the target object selected over here which is the Bas see a curve in this case also in the clam to constraint you have an option which is the cyclic and if I turn it on and try to move the curve like this then you will notice that after it reaches the end it will again appear at the beginning of the curve so if you want you can try to create an animation with it where the position of a particular object will depend on a baser curve simply by using the clam 2 constraint now we’ll move to the next object constraint which is the track two constraint so first of all I’ll delete this Cube and also the curve that we added over here so press X to delete press shift plus a go to mesh and select the monkey object go to the object constraint properties and in the add object constraint select the track to constraint Now by using the track to constraint you can make the local axis of an object always Point towards another object which we as as the target to understand it in a better way we first need to understand what exactly are the local axis of an object so for this first go to the object data properties then in the viewport display turn on the show axis now you will notice that on the selected object we are having three axis the x axis the y axis and the z- axis however these three axis are different from the global axis present in the scene by default and this is because if I try to rotate this monkey in the z- axis like this then you will now notice that it is pointing the Y AIS in this direction however in the scene the global y AIS is represented by this green line similarly the local x-axis of this object is also in this direction which is different from the direction of this red line in the scene representing the global x-axis so each of the object has its own local axis the local x-axis the local y axis and the local z-axis now let’s go to the object constraint properties again and now for the Target object I’ll be selecting this slamp so click on this eye dropper and select the lamp and now by using the track axis you can Define that which particular local axis should be pointing towards the light or the lamp by default the minus z- axis is selected and as a result you can see here that the local minus Z axis is pointing towards the light similarly if I select the x-axis then in this case you can see here that this local x-axis is now pointing towards the light then then over here you also have an option which is known as the up and this one will control that which particular local axis should be in the upwards direction for example with the y- axis selected by default you can see here that the y- AIS is pointing towards up similarly if I select the z-axis then the z- axis is pointing towards up and now suppose you want that the face of the monkey object should always be pointing towards the light and for this you need to identify that on which particular local axis the face of the monkey lies and if I look closely then the local Y axis is present at the back of the head and as a result the front face of the monkey object must be present on the local minus y AIS so in the track axis if I select minus y then now you will notice that the face of the monkey is now pointing towards the light also if I try to move it in any direction then you can see here that the track to constraint is causing the minus y local axis of this particular monkey object to always Point towards the target object which is the light in this case now the track to constraint is very important because in most of the cases you’ll either be using the clamp two if you want to lock the position of your object object to a Target object or this track to constraint if you want the local axis of your object to point towards the target object also the other three constraints that are left which are the damp track the lock track and the stretch two are also very similar to the track two constraint and now we’ll be moving towards the next type of object constraint which is the lock track constraint so first of all I’ll remove the track to constraint from here by clicking on this cross icon then go to add object constraint and in the tracking category select the lock track now this one is also very similar to the track to constraint and the only difference difference is that it will make the object on which it is applied to point towards the target object only along a particular axis to understand it practically I’ll go to the Target object click on the eye dropper and select this light now in the track axis the Y is selected and as a result you can see here that the local axis which is pointing towards the light is always the y- AIS and similarly if you want the face of the monkey to point towards the light you can select the minus y AIS in the track access option however you can see here that whenever I try to move it it is not looking up and down and not even tilting its head and this is because of the locked axis over here by default the z-axis is selected and it basically means that the only axis in which the monkey will rotate will be the z-axis and so this is the use of the lock track constraint however as I already told you in most of the cases you won’t be using this but instead the track to constraint that we previously discussed now moving ahead we’ll be understanding about the next type of object constraint which is the stretch to constraint to add it over here first I’ll remove the lock Track by clicking on this cross button then click on ADD object con straint and in the tracking category select the stretch two constraint now the stretch two constraint also works in a very similar way to the track two constraint and the only difference between the two is that in case of the stretch two the object will begin to stretch or show some contraction depending upon the distance between the constrained object which is the monkey and the target object which will be this light so first of all I’ll go to the Target object click on this eye dropper and select the light object and now you can see here that if I try to increase the distance between the two objects then the monkey object will show the stretching and if iy try to bring them closer then in this case the monkey object will show the contraction like this and yes by default it takes the original distance between the two objects to determine the stretching effect however if you want to input any particular distance value then you can go to the original length and change the distance from here also if I click on this cross button then it will take that particular value as the distance which is originally present between the two objects now the next constraint that we’ll understand is the dam track constraint so to add it first we need to remove the stretch to constraint then go to add object constraint and in the tracking category select the damn track constraint now as I already told you now just like the other two this constraint is also very similar to the track two constraint that we previously studied the only different thing in this particular constraint is that it does not give you the option to control the up Axis over here because if I go to the add object constraint and select the track two then here you can see that we were having the option to control the up AIS and this particular option is not present in the dam track constraint for now I’ll remove the track to constraint and in this one I’ll click on the ey dropper for the Target object and with this I’ll be selecting the light in the scene now since the track axis is selected as y as a result the local Y axis of this monkey object is pointing towards the light if you want the face of the monkey object to point towards the light then simply select the minus y- axis over here and now if I try to move this monkey then you can see here that the dam track constraint will basically take the minimum amount of rotation which is required such that the local negative y AIS of your object will keep pointing towards the target object so this is the use of the dam track constraint but again I’ll be repeating this that in the entire list of the tracking constraint you should only focus on the clam two and the track two constraint because these are the ones which are practically used in blender and with this we now arrive to the end of the chapter number 57 today we understood about all the five types of tracking constraints and in the next chapter we’ll be understanding about the relationship [Music] constraints in the previous two chapters we begin with the introduction of constraints then we covered all the transform constraints and also the tracking constraints and in this chapter we’ll be understanding about all of the relationship constraints present in blender so to begin with we first need to add a suzan or the monkey object in the scene so press shift plus a go to mesh and select the monkey object let’s move it in the x-axis and place it over here now the first type of constraint that we’ll be understanding in this chapter is the action constraint so with this monkey object selected go to the object constraints properties click on ADD object constraint and in the relationship category select the action constraint now this action constraint allows you to control an action creat in the action editor and that to by using another object which will be the target object in the scene to understand it in a better way first we need to open the action editor so for this go to this timeline editor click here and in the animation category select the dope sheet editor then click over here and from the mode you have to select the action editor Now to create an action I’ll first select this monkey object and suppose you want to create an action of around 50 frames where this monkey will rotate in the x-axis so first of all we need to insert a key frame at the frame number one so press I and and a key frame is inserted over here then I’ll take the pointer to the frame number 50 now let’s rotate it in the x-axis like this and left click to finalize to insert a key frame at this rotation press I and now you can see that we have created this simple action in this action editor also you can see here that this action is saved with the name suzan action and now by using the action constraint we’ll be using this cube in order to control this action even when we have removed it from the action editor but before removing this action first we need to save it so for this click on this fake user button now I’ll click on this cross icon to remove this action and if I now try to move this pointer then you will see that the monkey object is no longer getting rotated now in the action constraint go to the action and from here select the suzan action since we need to control this action with the help of this Cube so we need to set it as the target object so go to Target click on this eye dropper and select the cube now suppose I want that whenever I move this cube in the Y AIS only then this monkey object will show the suzan action then for this go to the Target settings and in the channel select the V location now if I go to the max value and set it to something like 10 then what it basically means is that this particular action of the suzan or the monkey model will be controlled by the Target object which is the cube according to the location in the y- AIS and to see the action the location should be between 0 and 10 in the y- AIS also in the action settings we need to turn on the object action and we also need to set the frame settings in order to view the action so in the frame ending I’ll enter 50 and now if I select the cube and try to move it in the Y AIS then you can can see here that we able to see the action or the animation of the monkey object simply by moving the target object and this is the use of the action constraint it allows you to control the action of the constrained object simply by changing the location rotation or the scaling of the target object in any of the three axes now moving ahead the next constraint that we have over here is the Armature constraint however to understand this we’ll also need the knowledge of character modeling and character rigging which we’ll be covering later on in this course so we’ll not be discussing about this constraint right now and now the next one that we have here is the child of constraint so I’ll select this let’s also remove the action constraint now the child of constraint allows you to define a parent child relationship in between any two objects in the scene if you remember we studied about the concept of parenting an object in some of the previous chapters also but we’ll again revise it by using the child of constraint now because I’m using the child of constraint on this monkey object as a result it will make the monkey object the child of the object which we set as the target over here for example if I click on this eye dropper and select the cube object then now we can say that this cube is the parent object and this monkey or the suzan model is the child object now the concept of parent object basically means that whatever changes I’ll do in the location rotation and the scale of the parent object which is the cube will also get applied to the child object which is the monkey in this case so if I select the cube and try to move it then you will notice that the same change in the location is also being applied to the monkey object similarly if I try to rotate it then in this case also the same rotation effect is being applied to the monkey object similarly if I try to scale it up or scale it down then the same effect of scaling will be applied to both the parent object as well as the child object so basically this is how the concept of parenting Works in blender also if I select the monkey object again then in the child of constraint you have some more options to control the specific changes which should be applied to the child object for example in the location rotation and the scale parameters all the three axes are turned on by default which means that the changes in these three parameters in any of the three axes that will do to the parent object will also get applied to the child object but suppose you want that only the location in the X and the z-axis should be applied to the child object then for this go to the location and we’ll turn off the Y AIS now if I select the cube and try to move it in the x-axis then you can see here that the same change in location will get applied to the monkey object similarly if I try to move it in the z- axis then the same change in location is applied in this case also however if I try to move the cube in the Y AIS then now you will notice that the change in the location is no more affecting the monkey object and this is because we have turned off the y- axis in the location in the child of constraint and yes you can also try this with the rotation or the scale now let’s move to the next topic for today’s chapter which is the follow path constraint so for this first we need to remove the child of constraint so click on this cross icon then go to add object constraint and select the follow path constraint now this follow path constraint simply makes the object on which it is applied to follow the path of a curve in the scene for example if I press shift plus a then go to curve and select the Basia curve let’s tab into the edit mode press S2 scale L up now let’s come out of the edit mode Let’s also hide this Cube object so I’ll select it and press h to hide and now suppose I want that this monkey object should follow the path of this curve so to achieve this result go to the follow path constraint then enter Target click on this ey dropper tool and select the curve object also to place it properly on the curve we need to ensure that its location values in all the three axis should be 0 m and to do this simply press alt plus G in order to clear the location and now you can see here in the object data properties that the location in all the three axes for this monkey object is equal to 0 m and also because of this follow path constraint the monkey object is now placed at one of the ends of the curve and to make it follow the complete path first we need to fix the position over here so go to the follow path constraint and click on fix position then because we need the monkey object to follow the curve so enable the follow curve and by doing this the rotation of the monkey object is also fixed according to the curve now if I click on the animate path then an animation will get created where this monkey object will follow the path of this curve and to view the animation simply go to the offset factor and try to change the value like this so by using the follow path constraint you can make any object in the scene follow a specific curve object then over here you also have the options like the forward axis which basically defines which particular local axis of the object will point along the curve to view the local axis of this monkey object simply go to the object properties then in the viewport display turn on the show axis now you can see here that this y AIS of this monkey object is pointing along the curve and this is because the forward axis over here is set as the Y AIS similarly if I choose the x- axis over here then in this case x-axis is pointing forward along the curve similarly you also have the up Axis option which simply defines that particular axis which is pointing towards the upwards Direction so if I choose the y- AIS over here then now you can see that the local axis which is pointing towards the up is the Y AIS and so this is how the follow path constraint Works in blender and now moving ahead the next type of constraint that we’ll explore is the pivot constraint so first of all I’ll remove the follow path constraint let’s also delete the curve so I’ll select this press X to delete let’s also unhide the cube object in the scene and move it in the x-axis now to add the pivot constraint go to the constraint properties click on ADD object constraint and in the relationship select the pivot constraint now this pivot constraint basically allows you to change the position of the Pivot Point according to a specific Target object for those of you who don’t know what exactly a pivot point is it simply means that point along which a particular object rotates you can also see that whenever we select any object we have this tiny yellow dot present and this is actually the pivot point of the object similarly if I select the suzan model then you can see this yellow dot which is the pivot point of the monkey or the suzan object now suppose I want that instead of having a pivot point at the center of the object it should rather be present at the position of this suzan model then to do this go to the pivot constraint then in the Target click on the eye dropper tool and with this select the suzan object and now if I try to rotate this cube in the Y AIS then you can see here that it is taking the monkey object as the Pivot Point since it is rotating around it so the pivot constraint is a simple constraint which allows you to set the Pivot Point at any Target object in the scene now moving ahead the next type of constraint that we’ll explore is the floor constraint is the floor constraint so first of all we’ll remove the pivot constraint from here then click on ADD object constraint and in the relationship category select the floor constraint now this particular constraint uses the position of a Target object and it kind of makes a wall Beyond which the main object on which the constraint is applied cannot go to understand it in a practical way go to the Target object and with the ey dropper tool select the suzan for the monkey model now this monkey model will act as a wall which will not permit this Cube object to pass through it and that particular axis where this will be applied can be changed from here so you can choose the x- Axis or the Y AIS or the z- Axis or the negative directions of any of the three so for example if I select the x- axis and try to move this cube in the x- axis towards the monkey object then you will notice that we are not able to take this Cube Beyond this monkey object in the x-axis similarly if I select the y- axis over here and try to move the cube in the y- axis then you will notice that we are not able

to change its position in the y axis beyond the y-axis position of the suzan model so this is how the floor constraint Works in blender it simply allows you to create a wall which works in a particular axis and the object on which it is applied will not be able to pass through that position value in a particular axis now moving ahead the last type of object constraint the last type of object constraint that we’ll explore today is the shrink WAP constraint so first of all I’ll remove the floor constraint then go to add object constraint and in the relationship select the shrink wrap constraint now to understand this constraint I will remove this monkey object from the scene so press X to delete it let’s also clear the location of this Cube object so I’ll select it and press alt plus G and now we’ll be adding a UV sphere in the scene so press shift plus a go to mesh and select the UV sphere let’s place it over here to view everything properly let’s go to the front view by pressing one on the numpad now select the cube on which we applied the Shing wrap constraint tab into the edit mode Let’s scale it down like this and now we are ready to understand the shink wrap constraint so this is a very simple con straint which restricts the movement of the object on which it is applied to the surface of the target object to understand it practically first I’ll go to the Target then with the help of this eye dropper I’ll select the UV sphere and now you can see here that this Cube object is now attached to the surface of the UV sphere also if I try to move it by pressing G then you will notice that we are not able to move it beyond the surface of this UV sphere and this is the use of the shrink wrap constraint over here you also have an option of distance and by increasing this value we can control the distance between the constrained object which is the cube and the target object which is the UV sphere also with a distance set to a value of 1.9 if I try to move it then you can see here that it is still moving in a similar way or basically in a circular way just like it did around the surface of the uis spere the only difference is that the distance between the uis spere Surface and the cube object has now increased and with this we now arrive to the end of the chapter number 58 today we learned about the relationship constraints in blender and their practical usage in complete [Music] detail in today’s chapter we’ll be understanding about the working of the drivers their practical usage the driver editor and a lot more so the first question which arises is that what exactly are the drivers so in simple words the drivers are the functions or the scripts which use the properties or the values to affect some other properties in most of the cases the drivers are used to control the animation of one property like the location rotation scale Etc based on the value of some other property now to understand all this practically let’s first add a monkey object in the scene so press shift plus a go to mes and select the monkey object let’s move it in the x-axis over here now we’ll be creating a driver that will make this monkey object rotate in the z-axis according to the position of the cube in the Y AIS so for this with this monkey object selected go to the object data properties and since we need to rotate it in the Z AIS so go to the rotation in the Z right click and here you will find an option which is ADD driver so I’ll select this now it shows some settings but we’ll be exploring them later on so I’ll take my mouse cursor away and now you can see here that the rotation parameter in the z-axis is now turned into purple color and this thing basically indicates that we have added a driver for this specific parameter now for the drivers in blender we also have a separate type of editor which is called the driver editor and to open it let’s expand this timeline editor click here and in the animation category select the drivers now if I select the monkey object then you can see here that first of all we have the name of the object then we have the list of drivers where we have the Z Oiler rotation which simply represents that we have added a driver for the rotation in the z-axis now if I left click on the Z Oiler rotation then now we have some more options in this side tool bar and if I select the drivers over here and scroll down then these are the same settings that we saw when we added the driver over here you can even check it again by taking the cursor to the rotation Z in the properties editor then right click and select the edit driver and now you can see over here that all of these properties are exactly the same as in the side toolbar in the driver editor now in the end you have the option to select an object and suppose I left click over here then it gives us the list of the object to be selected so if I select the cube object then what it basically means is that this particular parameter which is the rotation in the z-axis where we added the driver will now be controlled by the cube object and since the X location is selected in the type by default as a result if I select the cube and try to move it in the x-axis then by doing this the rotation of the suzan or the monkey object is also changing in the z-axis and basically this is the use of the drivers they simply allow you to control any specific parameter of an object simply by controlling some other parameter of another object in the scene now moving ahead we can also view the curve in the driver editor and to do this you simply need to press the home button in the keyboard and now this is the graph which is also known as the F curve now this horizontal axis will represent the position of the target object in the x-axis and this vertical axis will be representing the rotation of the suzan object in the z-axis now in the side toolbar we have an option which is called the driver type and by default the scripted expression type is selected over here which basically means that it will allow us to control the driver with the help of an expression now in the expression the V means the variable meaning that the rotation of this suzan model is dependent upon the position of this Cube object then after variable we have plus 0 which simply indicates the initial rotation of the monkey object now to understand it with the help of an example I’ll go to the expression and we’ll change this from variable + 0 to variable + 10 and press enter and now you can see here that the initial rotation of the suzan model has now changed and if I still select this Cube object and try to move it in the x-axis then in this case also the suzan or the monkey object is rotating in the z-axis so whenever it’s written variable plus any number in the expression it basically means that the number is representing the initial value of the parameter which is being controlled by the driver also you can see in the driver value that it shows 10 right now however if I change it back to variable plus 0 then in this case the driver value is now equal to zero now you can also use this expression in order to make the rotation of this monkey object faster and to do this we have to change this to variable multiply which will be represented by this aeic symbol and then if I type any number for example two and try to move the cube in the x-axis then you will notice that the rotation of the suzan model is much faster than before to see the effect in a much better way I’ll select the suzan object again let’s multiply this by a much higher number like 10 and now if I select the cube and move it in the x- axis then the change in speed of rotation is properly visible now so in this way you can use this expression to control the initial value of the parameter for example the rotation in this case and also the speed of change in that parameter meter now moving ahead the next type that we have over here is the average value and to understand this we first need to do some changes in the scene first of all select the cube create a duplicate of this Cube by pressing shift plus d and move it over here now select the suzan object or the monkey object again and now we’ll be removing this driver in the Z rotation so right click and select the delete drivers and we’ll be creating another driver for the location in the Z AIS so go to the object properties and in the Z location right click and select add driver now go to the driver editor left click on the Z location and in the driver type select the average value now by using the average value we’ll basically be considering the average change in parameters of both of these Cube objects in order to define the change in location of this suzan model to understand it in a practical way first we need to add both of these Cube objects in the driver properties so for the first Cube object go to this input variable and in the object select the cube object also we’ll be using its location in the z-axis in order to control the location of this suzan model in the z-axis so in the input variable change the type to Z location and now to add the other Cube click on ADD input variable and you can see here that this input variable which was added by default has the transform Channel type so in this new one also I’ll click here and in the type select the transform Channel now in the object select the cube. 001 and in the type select the Z location now suppose I select both of these cubes and move them in the z-axis then the same change in location will also get applied to this monkey object however if I select any one of them and try to move it up in the the z- axis then you will notice that this monkey object is still moving up in the z-axis but almost by about half the value of the cube and this is because in the driver type we have selected the average value as a result it is taking the average value of the Z location of both of these cubes in order to set the Z location for this monkey object you can also view this in this side tool bar that for the first Cube the value is equal to approximately 12 and for the other Cube the z- location value is set to zero as a result the average of both of them will be 12.3 313 + 0 / 2 which is equal to approximately 6.15 and if I scroll up then the driver value which is affecting this suzan model is equal to 6157 which is nothing but the average value of the Z locations of both of these cubes now moving ahead the next type that we have here is the sum values and if I select this then in this case it will take a sum of both of these values which are representing the Z location and as a result the suzan or the monkey object will move up in the z-axis by that added value for examp example for this first Cube the value is equal to 12. 313 and suppose to select the other Cube also and move it up in the z- axis by 5 m then now you can see that in the driver’s property the value for the first cube is equal to 12. 313 and for the second Cube the value is equal to 5 which means that the driver value for the monkey object is equal to the sum of both the values which is equal to 17. 313 and you can also see this in the 3D viewport that the Z location of the suzan or the monkey model is having a value which is equal to the sum of locations in the z-axis for both of these cubes then the next type that we have here is the minimum value and if I select this then now it will take the minimum of both the values or in simple words it will take the minimum value of the location in the z-axis of both of these cubes in this case this first Cube has the location in the z-axis equal to 12313 M and the second Cube has a value of location in the z-axis equal to 5 m as a result the minimum value is equal to 5 m and therefore this monkey model is also taking the minimum value which is equal to 5 m now just the opposite of minimum value we also have a maximum value type and if I select this then now it basically takes the maximum value of the Z location so for the first Cube the location in the z-axis is equal to 12. 313 and for the second Cube the location in z-axis is equal to 5 m as a result the maximum of both the values is equal to 12313 and as a result the location in the z-axis for the suzan object is also equal to 12313 M and with this we now arrive to the the end of this chapter today we understood about the fundamentals of drivers in blender their practical usage then we understood about the input variable and in the end we also explored all of these five types in the driver’s [Music] properties in today’s chapter we’ll be understanding about a simple yet interesting topic in blender which is the shape Keys now to begin with let’s first delete this Cube object so press X to delete and to understand the concept of shape Keys we’ll need a slightly complex object so let’s add the suzan or the monkey object in the scene so press shift plus a then go to mesh and select the monkey object let’s also apply the subdivision surface modifier to it so you can either press crol + 2 or you can go to the modifier properties and add the subdivision surface modifier now suppose I ask you to create an animation where this Cube object moves in the x-axis so you will think that it’s very simple because you will insert a key frame at this position for the frame number one by pressing I then you will take the pointer to the frame number 40 or 50 move the monkey object like this and press I to insert another the key frame and just by doing this the simple animation of this monkey object moving in the x-axis will be created however if I tab into the edit mode and select any particular face by first enabling the face select mode by pressing three then if I select this phas and move it in the z-axis like this then now the question that I’ll ask you is that how will you create an animation where this particular face of the monkey object will be moving in the z-axis because if I return back to the object mode and try to move this pointer then you can see here that whatever changes we’ll do in the edit mode of an object object are not animated in the timeline editor and as a result only the final edited object is seen throughout the animation also if I go to the edit mode again and try to press I to insert a key frame for this particular face then you will see that the insert faces is turned on and it is not performing the function of inserting a key frame and the reason for this is very simple when you are in the object mode pressing the I key will insert a key frame however in the edit mode pressing the I key will turn on the insert faces so returning back to the question of how exactly can you animate any particular faces or the edges or the vertices of an object in the edit mode then for all of these things blender has given us the feature to use the shape keys so to understand this practically let’s first undo all the changes we did to the monkey object let’s also come out of the erate mode now to use the shape case we first need to go to the object data properties so click on this green color triangular icon which is the object data properties and here you have a section known as the shape Keys now if I click on this plus icon then a basis shape key will be added which simply carries the information about the original and the UN modified state of a 3D object so it’s basically like a reference point for all the other shape keys that we add over here so if I click on the plus button again then now we are having a shape key with the name of key 1 so practically this is the first shape key that we have added for the suzan or the monkey object now with the key1 selected and this value parameter set to zero if I go to the edit mode of this monkey object select a particular face and move it in the z-axis like this let’s also get back to the object mode then you will see that when the value is equal to zero we are able to see the original and the unmodified object however if I begin to increase this value then you will see that the changes that we did in the edit mode are now being applied to the monkey object so when the value is set to zero you will see the original object and by increasing the value you will begin to see the changes now if you want you can even create an animation with the help of shape keys to do this go to the timeline editor for the frame number one I’ll change this value to zero and to insert a key frame you can either click on this white dot or else you can right click and select insert key frame and another way to insert the key frame is to take the cursor over with this value parameter then press I and the key frame is inserted now I’ll take the pointer to somewhere near frame number 60 then in the value parameter enter one and insert a key frame again then if I take the pointer back to the frame number one and press the space bar to play the animation then you can see that the monkey object is moving in the x-axis and the animation that we created by using the shape key can also be seen in the animation timeline and so basically this is the use of the shape Keys also you can create more than one shape keys and to do this simply go to the object data properties again and in the shape Keys category click on this plus button now the key to is added which means that a second shape key has been created and to make the changes tab into the edit mode Let’s also go to the front view by pressing one on the numpad let’s zoom in press one for Vortex select let’s also turn on the x-ray mode by pressing alt plus Z and I’ll be selecting some random vertices over here let’s move it in the z-axis like this and return back to the object mode Let’s also turn off the x-ray mode and now if I go to the shape keys and with the key2 selected if I try to increase the value then you will now see that this monkey object changes from the original state to something like this now if you want you can even create a similar effect on the other side of the suzan model also by using the shape keys and to do this with the second key selected click on this icon and from here select the new shape from mix now a new shape key is created and since we need to get the same effect that we got from the key number two on this other side also so we basically need to mirror the shape key and to do this click on this icon again and from here select the mirror shape key now if I increase the value then then you will see that we are getting the same result on this side of the monkey object like we previously got by using the second key and so this is how the shape keys are used to create the animations in blender and with this we now arrive to the end of this [Music] chapter in this chapter we’ll be exploring some of the amazing add-ons that can be used in blender we’ll also be understanding about their installation process and we’ll be using them in the blender software in order to understand how they work so first of all in blender you have two types of add-ons the first type type is the pre-installed add-ons that blender already provides you on downloading its software and the second type is the downloadable add-ons which we basically need to download from some external websites and then we can install them in blender and the first add-on that we’ll be exploring today is the blender kit add-on the reason for placing this blender kit add-on on the rank number one is that it’s a very useful tool for anyone who is using blender because it gives you the access to a wide range of high quality models materials and brushes and the best part is that you can directly install this add-on in your blender software and directly add any model material hdri Etc in your blender file now to download the blender kit add-on you simply need to visit this website blender kit.com and I’ve dropped its Link in the description of this video the blender kit add-on provides you an extensive library of 3D models materials hdris a variety of 3D scenes brushes and many more things now blender kit offers you both the free as well as the premium plans the free version is for those of you who are just starting out and require some basic asset but if you’re looking for more advanced features with more than 36,000 models 13,000 plus different materials over, 1500 scenes and around 2800 hdis in a single package then you can try the blender Kit full plan it starts at just $4 a month if you take the yearly plan and if you take the 30-day plan then this will cost you $6 for a single month and the best part is that you can get an additional 10% discount on all the blender kit Plans by using the link that I have dropped in the description of this video so if you decide to purchase the pre prium or the full version then you can check that link and get an additional 10% discount from jb3d Studio so whether you decide to choose the free version or the premium version blender kit is definitely the best add-on which is available for blender and to download this add-on you can click on the download blender kit button and then if I click on the download button then now the zipped file having the free blender kit version will get downloaded on your PC now to install the blender kit add-on in the blender software go to edit then select the preferences and in the add-ons category click on this drop down and select the install from dis then open that particular folder here you have downloaded the blender kit zip folder then left click to select the zip folder and click on the install from disk now in the add-ons category you will find this blender kit online asset library and do ensure that this particular box is checked now let’s close this window and in the blender file you can see here that we have an additional toolbar at the top which is due to the blender kit add-on now over here you have some icons where the first one is the find models the second one is for finding the materials the next is for finding the scenes then you have the find hdis and the last one is the find brushes now with the find model selected if I go to the search bar and type any model’s name for example car and press enter Then you can see here that it provides us a wide range of car 3D models to add in our scene however not all of these are available for free because all these models which are having this lock icon at the bottom can only be accessed in the premium or the paid version of the blender kit addon however the 3D models without this lock icon for example this car can be used in the free version now suppose I want to add this car in my 3D scene then to do this simply left click on the car and drag it into the 3D viewp similarly you can try the same with a materials also so click on the find materials icon and you can apply any of these materials to any object in your scene also you can go to the search bar and type any materials name for example if I type wood then this will display a list of all the materials which resemble with the wood now suppose I want to apply any of these materials to this Cube object then for this simply left click on any of the materials drag it into the tdv port and release it on any object in the scene and now you can see here that the wood material is applied to this Cube object in the scene similarly you can try this with other materials also and so it’s a very convenient way to add any 3D models or apply any materials and moreover you also have some more options like the find scenes and this will allow you to add any of these scenes in your blender projects and out of these some of them are available for free and the others which have this lock icon at the bottom are only available in the premium version then you also have the option of of finding the hdis so by using these you can directly add any HD or environment in your blender file for example suppose I select this one so I simply need to left click and drag it into the 3D view Port then select the resolution to download and click on the okay button now if I go to the render view then you can see here that we are having this hdri added as the environment that we downloaded from the blender kit add-on and now moving ahead the number two add-on that we have on our list is the sell fracture add-on this particular add-on helps you to break apart the objects just with a few clicks and the best thing about this add-on is that it is already available in blender which means that we don’t need to download the self fracture add-on from any external website now to get the sell fracture add-on go to edit then select the preferences now click on get extensions then search for sell fracture and then the self fracture extension or the sell fracture add-on will appear in the list so click on the install button let’s also close this window and now to understand how the sell fracture add-on Works in blender we’ll be adding a Taurus object in the scene so first of all let let’s delete this Cube object so press X to delete then press shift plus a go to mesh and select the Taurus object now click on ADD Taurus to change the settings of the tus object let’s first increase the minor radius let’s also reduce a minor radius like this and now our object looks perfect now we’ll be using the cell fracture add-on on this Taurus object and to do this go to the object settings and in the quick effects select the last one which is the cell fracture then this menu will appear where we don’t need to change anything so click on okay and now you will see that the single Taurus object is now converted into multiple broken pieces in fact if I select any single piece by left clicking on it and try to move it then you can see here that we are able to separate out any single piece however one thing to notice here is that the cell fracture add-on creates a duplicate of the Taurus object that we used and then applies The Broken Pieces effect on it this means that the original Taurus object is still present at this location and to confirm this go to the scene collection and select the original Taurus object let’s move it up in the z-axis and now you can see that this object at the top is the original Taurus and this one at the bottom is the Taurus object which is made up of separate broken pieces of the Taurus object now if you want you can even create some amazing animations by using the cell fracture add-on and to do this let’s first delete the rest of the objects from the scene so select the original Taurus press X to delete let’s also select this car and delete it select the lamp and the camera and press X to delete now we are only having this tus object in the scene which is made up of all these separate objects which you can see in the scene collection so we are having a total of 100 different cells or these broken pieces in this tus now if I select any broken piece then press o to turn on the proportional editing and try to move this piece then you can see here that because of the proportional editing the rest of the pieces around the selected one are also showing the movement as a result we can also create an animation out of it so first of all let’s undo this by pressing cr+ Z then press a to select everything press I to insert a key frame and with this we now have a key frame inserted at the frame number one then I’ll take the pointer to the frame number 40 or maybe 50 select any random piece and with the proportional editing turned on press G to move it in the z-axis now since we need to insert a key frame not only for the selected object but also for those who were influenced by moving up of this piece so we’ll be selecting all these pieces by pressing a then press I to insert a key frame and now if I take the pointer back to the frame number one and press the space bar to play the animation then you can see here that we have a simple animation created where this Taurus object is being broken down into separate pieces and they’re also moving up in the z-axis and so this is how the cell fracture add-on Works in now moving ahead the next add-on that we have on our list is the grung jit add-on and this particular add-on allows us to create wear and tier effect to the models in the scene just with a single click and to download the grung it add-on you need to open this website and I’ve dropped the link of this website in the description of this video so this is the grit add-on which helps us to add V and tier to the blender models and if I scroll down then here you can see that this add-on can be downloaded for free on this website so to download this go to the fair price enter zero if you want to get it for free and click on add to cart now over here it will ask you for your email address and any tip that you want to add so enter your details over here and after that click on the get button now this download page will appear and we’ll be downloading this ZIP file which is made for blender 4.0 and the newer versions so click on the download button and after downloading the zip folder we’ll return back to our blender file now to install the grit add-on in blender go to edit then select preferences then select the add-ons click on this drop- down arrow and click on the install from disk now open that particular particular folder where you have saved the zip folder that we downloaded then select the grunged folder and click on install from disk let’s also close this window now we’ll be using the gudget add-on in order to add V and tier to a suzan model in the scene so press shift plus a go to mesh and select the monkey or the suzan model turn off the proportional editing by pressing o let’s move the monkey object in the x-axis and place it over here let’s also go to the render View and now to use the grit add-on press n to open this side toolbar then over here you will have a category known as grit so left CLI to selected and in this you have some settings like the resolution the quality the scaling of the V and tier effect for now we’ll be keeping the default values only and to apply this add-on click on apply grit then click on okay and now you can see here that this monkey object is having a completely different look previously it was not having any materials however it is now having a realistic material with some V and tier effect added to it also if you want to view this material in the Shader editor then to do this let’s go to the timeline editor click on this icon and select the Shader editor and now you you can see here that in the Shader editor we are having a system of different nodes which are combined together by the grung add-on in order to create this material for the suzan object the different parameters in the different nodes help you to control the specific things in the applied material but the most common thing that you might want to do is to change the color of this model so to do this you need to select this grung node then in the base color if I change it to Yellow then you can see in the 3D view Port that the base color of the suzan object is also changing similarly you can also try the same with the other objects like a a cube or a cylinder and add the V and tier by using the grung add-on also before applying this you can change the resolution or maybe the quality and while doing this do remember that if you set very high quality or very high resolution that it might take very long period of time to apply this add-on and in some cases it might even crash and now moving ahead the next add-on that we’ll be exploring is the alt tab ocean and water add-on by using this particular add-on we can generate animated ocean scenes of various scales and sizes in our blender file and to install this add-on you need to visit this website whose link is available in the description of this video and as you can see here that the full version of this add-on is available for $0 so we can download it for free so click on the purchase button then click on continue to check out and it will ask you to create a new account or log to an existing account and then after completing all the steps you need to download the zi folder which is nam as all tab water and after downloading it we’ll return back to the blender file now to install this add-on go to edit then in the preferences go to get extensions and from this drop- down button click on install from disk now open that particular folder where you save the zip folder then select it and click on install from disk let’s also close this window and now to use the alt tab ocean add-on press the N key to open the side toolbar and over here you will have another option which is the alt tab ocean and in this menu you are having two options the first one allows you to choose any specific ocean type from this entire range of different styles and sizes of ocean for now I’ll be selecting the ocean one and then the second thing that you have here is the water material so you have different kinds of materials which you can use for the ocean to be added for now I’ll be selecting the water small and now to add the ocean in the scene simply click on this upend button and with this we have this ocean added in the scene to view it properly go to the material preview mode and now this is how the Ocean looks also the best part about using this add-on is that it not only creates the ocean but also animates it and to view the animation I’ll switch this to the timeline editor then take the pointer back to the frame number one and press the space bar to play the animation and now you can see here that we have have this beautiful animated ocean scene created and that to by simply selecting the ocean and its material and clicking on the upend button similarly if I select any other material then it will get applied to the ocean and the scene will look like this and so this is how this ocean add-on Works in blender now before ending this chapter we’ll try to create this image and that do by using some of the add-ons that we understood in this chapter so for this let’s first delete everything by pressing a to select all and press X to delete now press shift plus a go to mesh and select the taus object zoom in and in the add taus settings I’ll increase the minor radius to something like 0.4 or 0.5 and now the basic structure of the Taurus object is ready now to add some V and tier to it go to the side toolbar and select the grung add-on I’ll keep the resolution to 1K and the quality to the high settings now click on apply grung then click okay and within a few seconds the grung add-on will add the V and tier to the Taurus object the reason why it appears like this is that in the render view we are having this hdri added as a result the lighting effect is also being visible on this object in the scene as a result I’ll be removing this hdri and to do this go to the World Properties then in the surface left click on the color and from here select the disconnect nodes now we have the default blender layout and to get some lighting in the scene we’ll be adding a sunlight so press shift plus a go to light and select the sun let’s move it up in the z-axis and place it over here to increase its intensity or the power go to the object data properties and in the strength we’ll increase it to something like 2 or three press R to rotate the light and move it in the x-axis let’s also create a duplicate of this light by pressing shift plus d move it in the xaxis and place it over here press R to rotate it and this is how the scene looks also to have some light at the bottom part we’ll be adding the point light so press shift plus a go to light and select the point let’s move it down in the z-axis and place it over here to increase the intensity of light go to the object data properties and in the power I will enter 2,000 wats let’s also place it in the Y AIS create a duplicate of it and place it over here now our scene is having enough light and to modify this material on the taus object we need to open the shade editor so for this I’ll switch this timeline Editor to the Shader editor by clicking on this icon and in the general category select the Shader editor now we have this entire node system and first of all to increase and decrease this fear and tier effect as a whole we have to use the randomness parameter if I increase it the randomness will increase and this is how the object looks also if I go to the grunge amount parameter and try to increase it then the amount of grunge effect will increase but for now I’ll be keeping this value to something like 0.3 and the next option that you have is the cracks amount and by using this one you you can control the amount of cracks in this material so we’ll keep it to the default value of 0.3 also to change the base color of the Taurus object go to the base color one and from here you can change the base color of the object in the scene so for now I’ll be choosing the yellow color and now this is how it looks similarly if I go to the base color two and change the color then you will notice that the base color for the remaining part of the Taurus is being changed by this parameter but right now I’ll be selecting the white color only but you can choose any color that you wish to apply on your object and now moving ahead we’ll break this tus object into different Pieces by using the cell fracture add-on and for this go to the object settings and in the quick effects select the cell fracture now click on okay and this add-on will break the Taurus object into multiple different pieces and now with all these pieces selected let’s move them up in the z-axis and place them over here now I’ll select the original Taurus object and press X to delete and now to move all these broken pieces down in the z-axis again we need to select all of them and the best way to do this is to go to the scene collection then left click to select the taus cell then scroll down and in the end you will find this tus cell. 099 so with the shift key holded left click on the taus cell. 099 and by doing this all the pieces of the Taurus object are now selected in the scene now let’s move them down in the z-axis and place them over here and if you want you can also select any single piece then press o to turn on the proportional editing and if I move it up in the z-axis then this is how the Taurus object looks but yes to ensure that you have turned on the proportional editing so that the influence of moving this particular object can also be seen on the other objects surrounding it so in this way you you can create amazing cell fracture effects simply by applying the cell fracture add-on and with this we now arrive to the end of the chapter number 61 today we explore some add-ons that can save a lot of our time and yes don’t forget about that 10% discount on the blender Kit full plan which will help you to take your blender projects to the next [Music] level in this chapter we’ll be understanding about the fundamentals of particle system in blender the different settings and the options available in particles now the first question which arises is that what exactly is the use of the particle systems so the particle systems are used to simulate effects like fire dust cloud smoke and also for creating things like hair grass fur and other strand based objects now to practically understand about the particle systems in blender let’s first delete this Cube by pressing X then press shift plus a go to mesh and add the UV sphere now to understand about the particles we first need to open the particle properties and for this click on this icon which has the name particle properties and to create a default particle system for the this UV sphere simply click on this plus button now a particle system has been created and over here you have two types of particles to select from the first particle type is the emitter which allows to emit the particles from the vertices or the faces or the volume of a mesh object and then the second particle type that you have is the hair and we’ll be understanding about this type in the next chapter of this course now with the emiter particle type selected if I try to change the angle then you will notice that we are able to see a tiny particle in the form of a UV sphere on the surface of a mesh object and and in fact to view the rest of the particles you simply need to play the animation by pressing the space bar and now you can see here that we have a large number of particles which are being emitted from different parts of this UV sphere so in this way by adding a particle system it will create an animation where we’ll be able to see the particles being emitted or generated out of the UV sphere now the reason why these particles fall downwards is that in blender the gravity settings are turned on by default and to change these settings you need to open the scene properties and over here you have the gravity option turned on and if I turn it off then the effect of gravity will no longer be seen in the 3D viewport in fact if I take the pointer back to the frame number one and play the animation then the particles that are being emitted are no longer moving downwards and this is because of the absence of gravity now if I return back to the particle properties then the first parameter that we have is the number and this parameter helps you to control the number of particles that will be generated in the entire animation by default this value set to 1,000 however suppose I change it to something like 150 then in this case if I the animation from beginning then the number of particles which are being emitted is very low as compared to the previous one so by using the number you can easily control the total number of particles then you have the seed which basically gives a different result each and every time you change this value and play the animation so this parameter is only for getting a random result and then the next thing that you have is the frame start and the frame end and as the name suggests these two parameters control from where the particles will start and stop emitting respectively since the frame start value is set to one as a result this UV sphere will begin to emit the particles starting from the frame number one and since the N value is set to 200 therefore the particles will stop emitting when the animation reaches the frame number 200 in fact you can even check this by playing the animation starting from the frame number one the UV sphere will begin to emit a lot of particles and this will continue till you reach the frame number 200 and after the 200’s frame the UV spere will no longer emit the particles and as a result the number of particles that are being displayed will also reduce now the next parameter that you have is the lifetime and it basically means the number of frames in the animation in which the particles that have been emitted will be displayed in the scene by default the lifetime value is set to 50 which means that each of the particle that is emitted from this UV sphere will be displayed in the scene for a total of 50 frames then if you want the lifetime to be random then you can increase the lifetime Randomness from here by default it is set to zero meaning that the lifetime will have no Randomness and by increasing it to one the lifetime for each particle will be different in the scene in fact you can also check this by playing the animation again each of these particles is now have having a different Lifetime and now moving ahead the next thing that we have here is the source and in this menu the first option that we have is the emit from and with this option we can control that from where the particles are emitted by default it is set to faces and as a result all these particles are being emitted from the different faces of this hubis spere similarly if I change this to vertices and play the animation again then you can see that in this case these particles are emerging from the vertices of the object in fact to understand this in a much better way let’s add a cube in the scene so press shift plus a go to mesh and select the cube object let’s move it in the x-axis and place it over here now in the particle properties click on the plus button to create a new particle system and if you want the same particle system which is applied to the UV sphere then you can see that this one is saved with the name particle settings and so if I select the cube again then click here and select the particle settings then in this case all the changes in the settings in the particle system for the UV sphere and the cube will be same now also in the emit from if I change it back to faces and play the animation again then you can see here here that the particles are being emitted from the faces of the cube and the UV sphere but if I change this emit from to the vertices and take the pointer back to the frame number one and play the animation then now you can see in this Cube that all the particles are being emitted from only its vertices and now in the emit from you have one more option which is known as the volume and by selecting this one the particles will now emit from the volume of the object or from inside the object to see it practically I’ll take the pointer back to the frame number one and press the space bar to play the animation and now you can see here that the particles are emerging from the inside of the object and now the rest of the settings in the source tab like the distribution particles per face the jittering amount all these things are not important because these settings are not changed often while using the particles in blender then you have the caches settings and again you don’t need to make any changes in this one also and these caches settings basically allow you to free up your memory because each and every time you play a particle simulation your PC will calculate all the information which is required to be displayed for each and every frame in the animation and once you save your file your PC will begin to save all such information related to the particles in the cache instead of saving it in the ram of the computer and as a result it helps to free up the memory and now the next type of settings that we have is the velocity and by using the settings in the velocity tab you can easily control the direction and the speed of the particles emitted the first type of settings that we have is the normal and this basically controls the initial velocity of a particle normal to the point of origin to understand it in a better way I’ll take the pointer back to the frame number one play the animation and if I try to increase the normal parameter then it basically gives an initial velocity to the particles that are being emitted from the cube object normal to the point of origin now I’ll change the normal value back to 1 m/s Let’s also take the pointer back to the frame number one let’s also hide this UV sphere from the scene so I’ll select it and press h to height now with the cube object selected the next important settings that we have here is the object align and this parameter allows you to control the direction in which the particles will be aligned to understand it practically press the space bar to play the animation and now if I try to change the object object alignment in the x-axis then you will see that the particles are now being aligned in the positive x-axis similarly if I take the pointer back to the frame number one and this time I’ll change the object align in the x-axis to zero and the object align value in the z-axis as – 20 m/s then now you can see that all the particles which are being emitted from the cube are moving along the negative z- axis and now suppose you want that each of these particles should have a random velocity and for this we have the randomized parameter with the value set to zero all of the particles will be having having the same speed or the velocity however if I try to increase it to its maximum value of 100 and play the animation again then you can see here that the velocity of each particle is random in this case to understand it in a better way let’s change the randomized value to something like 20 let’s play the animation again and now you can easily see that each of the particles which are being emitted from the cube were having a random variation in the starting velocity some of them were very fast and the others were slightly slower and this is because of the randomized parameter for now I’ll reduce it back to zero and by doing this the velocity of each particle is now equal now moving ahead suppose you want that instead of these tiny balls as the particles there should have been some other object in the scene which can be used as the particles and for this let’s first add the suzan or the monkey object in the scene so press shift plus a go to mesh and select the monkey object now to use this monkey object for the particles I will select this Cube and in the particle settings go to the render Tab and in the render as select the object by selecting the object in the render as we are basically telling this particle system that we want an object to replace those tiny balls that were being used for the particles now to choose the monkey object go to the object settings in the render and in the instance object click on this ey dropper tool and with this select the suzan object and now if I zoom in then you can see here that we have the suzan object added as the particles which are being emitted out of the cube then if you want that all of these particles should have the same rotation as the original suzan model then for this you simply need to turn on the object rotation in the object settings and now all these particles will have the same rotation which is applied to the suzan object now the next next thing that you can change is the scaling of these particles and for this in the render tab you have the scale option which simply controls the size of these particles then if you want each of the particles to have random scaling then for this you can use the scale Randomness so if I increase it then there is random variation in the scaling of each particle so higher the value of the scale Randomness higher will be the variation however in most of the cases it is advised to keep the scale Randomness value to something in between 0.1 or 0.2 because in this case even though each of the particles will have a random scaling but it won’t be like some of the particles are very large in size and others are very small so it’s practical to use a scale Randomness value of approximately 0.1 to 0.2 now if you remember while discussing the source settings in the emission tab I told you that none of these settings are used often in blender apart from the emit from however we have this one setting over here which is kind of useful in some situations and this is the random order by default this option is turned on in the particle settings and what it basically does is that it makes the particles of an object to emit randomly from the volume to understand understand this concept in a better way I’ll first turn off the random order then to see the new animation I’ll take the pointer back to the frame number one and now instead of playing the animation by pressing the space bar we’ll be using these arrow keys to move to the next frames so I will press the right arrow key to jump to the next frame and if I take it to somewhere near frame number 20 or 30 then you can see that all of these particles are being emitted in the same direction only and this is because we have turned off the random order in the source settings in fact if we continue moving to the next frames and reach to the frame number 80 then you can see here that the direction of these particles has now changed from the negative x-axis to the Y AIS similarly if we now move to somewhere around frame number 120 then the direction will again change and this will keep on happening throughout the animation so with the random order turned off the direction of the particles will not be random and when we turn it on then in this case all the particles will be emitted in random directions from the cube object now moving ahead in the particle settings you have another category which is the field weights and in this one we have various settings to change like Gravity Force magnetic wind Etc but we don’t need to understand all of these because they’re not useful unless we have added some specific things like the force field or some turbulence in our 3D view Port however one of these settings is the most important which defines the movement of the particles and that setting is the Gravity by default its value is equal to one and when the gravity is turned on all these particles will only move in the downward Direction and when this gravity is turned off then the particles will move in the random directions however in this case you can see that although the gravity is equal to one but still the particles are moving in random directions instead of moving down and the reason behind this is that in the scene properties we previously turned off the gravity option and so if I turn it on and then open the particle settings and do ensure that in the field weights the value of gravity is equal to one now let’s take the pointer back to the frame number one and if I play the animation then now you can see that because of the effect of gravity all of these particles are falling in the downward Direction so these are all the settings that form the basis of understanding the particle systems in blender and to revise what all we have done so far in this chapter we’ll be making this simple seed with the help of particles so first of all let’s delete this Cube object so press X to delete let’s also delete the suzan model and in the scene collection we are having a hidden sphere so let’s delete this also by pressing X now we’ll be adding a plane in the scene from where the particles will be emitted so press shift plus a go to mesh and select the plain object tab into the edit mode Let’s scale it up by four or five times let’s return back to the object mode and move it up in the z-axis now suppose you want that there should be some monkey objects as the particles then for this let’s first add a suzan or the monkey model in the so press shift plus a go to mesh and select the monkey object let’s move it in the x-axis and place it over here now with the plane selected go to the particle settings and to create a new particle system click on this plus button now if I press the space bar to play the animation then these particles will begin to fall and to replace them with the suzan model we’ll scroll down and in the render tab change this render as to the object then to use the monkey object go to the object settings and in the instance object take this eye dropper tool and with this select the suzan or the monkey object to change their size go to the render tab in the particle settings and in the scale let’s increase this value to something like 0.2 let’s also increase the randomness so we’ll keep the value of scale Randomness to something like 0.15 let’s also go to the camera view by pressing zero on the numpad and to adjust the camera view click on this lock button to turn on the lock camera to view let’s zoom out and adjust the camera like this now to fix the rotation of these monkey objects we need to turn on the object rotation in the object settings so let’s turn it on and now all these particles are having the same rotation as the original monkey object and to change this rotation first of all let’s turn off lock camera to view then I select the monkey object which is placed over here let’s rotate it in the z-axis like this let’s also go to the camera view by pressing zero on the numpad and now the scene looks perfect also I’ll select the plain object again and I think that we should increase the scale of all these monkey objects so that they’re properly visible and to do this go to the render tab again and let’s increase the scale to something like 0.3 or 0.35 let’s also increase the scale Randomness to 0.2 or maybe 0.25 let’s also reduce the number of these particles so for this go to the emission Tab and in the number we’ll reduce it to something like 400 let’s take the pointer back to the frame number one and to move forward in the animation we’ll be using the right arrow key so keep pressing the right arrow key till you reach somewhere around frame number 100 or 120 and now you can see that we were able to replace the monkey object as the particles we also reduce its size and their numbers but in this image you can see that apart from the monkey object we also having some other objects like a Taurus object and a star and so to have multiple particles in the same particle system we need to do some changes in the particle settings but before that let’s first add the Taurus object and also create the star so that they can be used in the particle system so for this press shift plus a go to mesh and select the Taurus to change its appearance like the inner and the outer radius click on this add tus menu and from here let’s increase the minor radius to a value of 0.5 and now it looks perfect to be used as a particle so let’s move it in the xaxis and place it over here now to make the star we’ll be using a plane object so press shift plus a go to mesh and select the plane to focus only on the plane press the forward slash button let’s go to the top view by pressing seven on the numpad tab into the edit mode and to increase the number of vertices right click and select subdivide now I’ll select this vertex let’s move it up in the Y AIS and place it over here then to do the same thing on this side I’ll select these two vertices then right click and select subdivide then select this vertex in the middle and move it like this let’s do the same with this side also I’ll select these two vertices right click to subdivide select this middle vertex and move it over here now for the bottom part I’ll select this vertex press G to move it and place it over here similarly for this side also I’ll select this vertex and move it down like this now to make it look better let’s select this vertex and move it in the x-axis let’s also move it down in the y- AIS and now it looks perfect similarly with this vertex Also let’s place it over here then I’ll select these two vertices and scale them down in order to bring them closer then in the end I’ll select this vertex and move it up in the Y AIS and with this the basic structure of the star is now ready to give it some thickness press a to select Everything E to extrude and this is how The star looks also to give it a more realistic look we’ll be applying the bevel modifier to it so go to the modify properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of segments to something like two or three then if you want you can even increase the amount from here but for now I’ll be keeping it to the default value and with this the star is now ready to be used as the particle and now to remove the Focus From the Star object press the forward slash button again and let’s also move this in the x-axis and place it over here now let’s go to the camera view by pressing zero on the numpad and to use all the three objects meaning the star the Taurus and the monkey object in place of these particles we first need to create a collection of these three objects so I’ll select all three of them by holding the shift button then to create the collection press M then click on new collection let’s keep its name collection 2 and click on the create button now to use this entire collection of objects as the particles I’ll select this plane go to the particle settings scroll down and in the render tab go to this render as option and from here select the collection now in the instance collection select the collection two where we stored the star the Taurus and the monkey object now let’s take the pointer back to the frame number one let’s also go to the camera view by pressing zero on the numpad and press the space bar to play the animation and now you can see here that we have all the three objects being used as the particles in the scene however we need to fix their rotation and to do this let’s first select the star object let’s rotate it in the x-axis by 90° let’s also rotate it in the z-axis so press r z and rotate it like this let’s also reduce its size so press s to scale it down similarly for the Taurus object press r y to rotate it in the Y AIS and rotate it like this let’s also rotate it in the z-axis and then left click to finalize then if you want you can scale down this Taurus object by pressing s and so finally this is how this particle scene is looking Also let’s increase the number of particles so go to the emission Tab and in the number enter a higher value like 600 or 800 let’s take the pointer back to the frame number one and play the animation by pressing the space bar and with this the number of particles has now increased now let’s also give them some material so for this let’s first go to the material preview mode then first of all I’ll be selecting the monkey object in the scene and to give it some material we need to open the Shader editor so for this we’ll change the timeline Editor to the Shader editor so click on this icon and from here select the Shader Editor to create a new material click on the new button now we have the default principle bsdf applied to the monkey object and suppose you want that all the particles in the scene should have some random colors then for this we have to use the color ramp node along with the object info node so press shift plus a for to converter and select the color Ram let’s place it over here connect the color socket to the base color also in the interpolation mode select constant then with the first pointer selected let’s change the color by increasing the brightness and I’ll be selecting the red color then for the second color click on this plus button and change the color to any other color of your choice for now I’ll be selecting the green color let’s create another color so click on the plus button again and change the color to the blue color this time let’s create one more color so click on the plus button again and I’ll change this one to the yellow color now I’ll select this pointer at the end which is white colored and change it to the pink color now to make all these pointers evenly distributed click on this icon and from here select distribute stops evenly and right now all of these particles are having only the blue color and that’s because to give them some random colors we need to use the object info node so press shift plus e go to input and select the object info node we’ll place it over here now take the random socket and connect it to the factor now you can see here that all of these particles of the suzan or the monkey object are now having different colors also if if you want you can create different materials for the eyes and the mouth of the monkey object and to do this first tab into the edit mode press three for the face select let’s T select everything and now we’ll be selecting the eyes of the monkey object so let’s select all of these faces then with the shift key holded select the faces of the other eye then to select the faces of the mouth let’s zoom in and with the shift key holded we’ll be selecting all the faces inside the mouth of the monkey object so let’s select both of these faces and to give them some different material go to the material properties click on the plus button create a new material and then click on the sign button now let’s come out of the edit mode now for the eyes and the mouth we’ll be changing the emission in the principal bstf so go to emission let’s increase the strength to something like two or three

let’s also change the color to the light blue color and to view the effect of the emission properly in the scene we need to do some changes in the compositing so for this go to the compositing workspace enable the use nodes now press shift plus a then in the filter select the glare node we’ll place it over here then in the glare type select the bloom settings and in the quality select the high quality now let’s go back to the layout workspace and to view the effects of compositing in the 3D View Board click on this drop down and here in the compositor change this from disabled to always now we are able to see the emission effect and let’s also reduce the strength of emission to the value of one and now the material looks perfect also to make this monkey look slightly more realistic we’ll be applying the subdivision surface modifier to it so you can either go to the modifier properties then click on ADD modifier to apply it but a better way is to use the shortcut which is to press crl + 2 and now the subdivision surface modifier with the lever view Port set to two is applied to the monkey object now now let’s go to the camera view by pressing zero on the numpad and this is how the scene looks now we’ll do the same with the Taurus object and the star also so for this select the tus from this collection two then go to the Shader editor click on this icon and from here select the first material which we applied to the monkey object then if you want to do some changes specifically for the Taurus objects then for this you can create a duplicate of this material by clicking on this icon and now if I do any changes in the material then they will only get applied to the Taurus objects in the scene similarly for the Stars I’ll select this pl. Z 0 1 in The Collection number two then go to the share editor click on this icon and select this first material now to do the changes create a duplicate of this material and for the star object we’ll be doing some changes in the emission properties so for the emission color we’ll be using the same color that we have used in the color Ram so take the color socket and connect it to the emission color now let’s increase the emission strength to a value of somewhere near 0.9 or 1 and now I think that the scene looks perfect if you want you can try to change the number of these particles in the particle settings or maybe their material or the emission part power or maybe the metallic strength and the other properties and with this we now arrive to the end of this chapter today we understood about the different settings in the particle system the effect of gravity on the particles and in the end we also created this simple scene with different objects being used as the [Music] particles in this chapter we’ll be understanding some advanced concepts related to the particle systems like the particle interactions Force effect on particles then we’ll also be understanding about the hair particles and the different settings a available in the hair particles now the first topic for today’s chapter is the interaction of particles with other objects and to understand this concept first of all I’ll delete this Cube object so press X to delete then press shift plus a go to mesh and add a UV sphere let’s move it up in the z-axis and place it over here now we’ll be applying the particle system to this UV sphere in the scene and for this go to the particle settings then click on this plus button in order to create a particle system now if I press the space bar to play the animation then you can see here that the particles are being emitted from the UV sphere and they are falling in the downward Direction due to the effect of gravity but suppose you want that instead of falling downwards these particles should interact with an object in the scene for example a plane and then either bounce back or remain attached to that plane surface and doing this thing with particles is called the particle interaction let’s add a plane in the scene so press shift plus a go to mesh and select the plane object tab into the edit mode press s to scale it up now what we basically want is that all these particles emitting from the uis spere should interact with the plane and to achieve this result we need to do some changes in the physics properties of this plane object so first of all go to the physics Properties by clicking on this icon and here you have some properties related to physics in blender which we’ll be understanding in the upcoming chapters of this course but for now we want that the particles which are being emitted from the UV sphere should collide with this plane and therefore we’ll be applying the Collision physics to the plane in the scene so for this left click on the Collision physics and now we have this Collision applyed to the plane object which means that if I take the pointer back to the frame number one and press the space bar to play the animation then now the Collision physics will work and as a result all the particles falling on the plane will collide with it and bounce back now in the Collision physics we have several settings however since we are dealing with the particles so we only need to focus on these settings in the particle category so the first setting that we have here is the permeability and it basically means the probability that a particle will pass through a mesh with its value set to zero none of these particles would be able to pass through the plane however if I increase the permeability value to 0.5 then in this case almost half of the particles colliding with the plane would be able to pass through it so if I take the pointer back to the frame number one and press the space bar to play the animation then you can see here that some of the particles are colliding with the plane and bouncing back while the other particles are passing through the plane so this is the use of the permeability also if I increase its value to the maximum of one then in this case all of the particles will pass through the plane so let’s take the pointer back to the frame number one and if I press the space bar to play the animation then now you can see that with the permeability value set to one all the particles are passing through the plane and not colliding and not colliding with the plane for now I’ll change the permeability value to zero and the next setting that you have is the stickiness and as the name suggest it basically defines the amount of stickiness on the Collision object by default it is set to a value of zero and as a result there is no stickiness on the plain object so if I take the pointer back to the frame number one and press the space bar to play the animation then none of the particles will get stick to the plane surface and all of them will bounce back however if I increase the stickiness value to the maximum value of 10 then in this case all of the particles will we will get stick to the surface of the plane and to see it practically let’s take the pointer back to the frame number one and play the animation again now it’s clearly visible that none of the particles is bouncing back due to the collision with a plane but instead of that they are sticking on the plane surface for now I reduce the stickiness value back to zero and then the next option that you have here is the kill particles and if I turn it on then now all the particles that will fall on the plane object will get killed or they will simply disappear so let’s again take the pointer back to the frame number one and replay the animation and now in this case none of the particles are bouncing back and not even getting strick to the plain surface they are simply getting disappeared because of enabling the kill particles in the Collision setting then the next setting that you have is the damping and it basically controls the amount of damping during the particle collision it’s very similar to the stickiness parameter because if I increase it to its maximum value of one and replay the animation by pressing the space bar then you will notice that just like the stickiness parameter this damping parameter is also making the colliding particles to stick to the plain surface and then the next thing that you have is the friction however it is not much useful in this case so we’ll not be taking it up right now and now just like the particles interact with the object having the Collision settings they can also be influenced by a simulated force field effect to understand this in a better way first I’ll delete the plain object in the scene so press X to delete it now to add some force field effect press shift plus a and in this add menu you have a separate category known as the force field and in this category we’ll be selecting the wind and now the function of this wind is that it will apply a force on the particles in a particular direction and with a particular amount of strength and to modify these things we need to open the physics properties and in this we have the force field physics applied and the type is selected as wind now to understand all these things practically I’ll take the pointer back to the frame number one press the space bar to play the animation and now you can see that all the particles are falling in the downward Direction however if I select the wind and in the physics settings if I increase the strength of the wind to something like four or five and take the pointer back to the frame number one and play the animation again then now you can see that because of the strength of wind the downward movement of the particles is now getting slower now let’s do this again but this time with a much higher strength of the wind Force so in the strength I’ll type a number like 25 or 30 and now if I play the animation again then now you can see here that instead of falling down the particles are now moving in the upwards Direction due to the effect of wind so in simple words the particles will get influenced according to the strength of the wind if it is very low only the speed of the particles will get reduced however if we set a very high number in the strength then in that case the direction of the particles will change and instead of falling downwards they will begin to move in the upwards Direction so you can try to set different values of strength and get a different result each and every time if you reduce the strength the particles will move down and if you increase it they will begin to move in the opposite direction and basically this is how the particles in the scene are influenced by the force field effects and moving ahead we’ll now be exploring about the second type of particle system which is the hair particle system so firstly I will be deleting this UV sphere and the wind so let’s select both of them them and press X to delete and to understand about the hair particles we’ll be adding a new UV sphere in the scene so press shift plus a go to mesh and select the UV sphere to give it a smooth look right click and select shade smooth now to add the hair particle system go to the particle properties click on the plus button and change the particle type from emitter to the hair particles now we have these long strs of hair which are added on the surface of the UV sphere and these hair particles are used to create various things like grass fur hair particles of any character so we can say that the hair particles system is a very useful thing in blender now in the hair particle settings the first thing that you have in the emission tab is the number and this value controls the number of hair particles which are added to the surface of the uis sphere by default its value is set to 1,000 then you have the seed value which will give you a random result of the placement of hair particles each and every time now to control the length of these hair particles we have the hair length option so if I reduce this value then the length of the hair particles will reduce and now this is how the UV sphere with the hair particles is looking in our scene also with the reduced hair length we can now clearly see the actual position of the hair particles on the UV sphere now since we’ll be understanding about the different settings in the hair particles and we’ll also be creating a simple UV spere object with some colored hair particles so we should also increase the number of these hair particles so go to the number and let’s increase it to something like 8,000 or 10,000 and with this we have a much higher number of hair particles which are being emitted out of the surface of the UV sphere now suppose you want to assign any particular material to these hair particles then to do this let’s first go to the material preview mode and with the UV sphere selected go to the material properties and we’ll be creating a new material let’s change the base color and I’ll be selecting the red color and now you can see here that the hair particles are getting the same material which we applied to the UV sphere but suppose you want that the UV sphere should be red colored but these hair particles or the fur should be of some other material then to do this we need to create a new material then go to the base color and for this one I’ll be selecting the pink color now to assign this pink material which is named as material. 001 we need go to the particle settings and in the render tab you have this option of material and from this list select the material. 001 and now you can see here that the UV sphere is having the red material and the hair particles on it are having the pink material now in the particle settings we also have an option at the top which is the advanced and if I turn it on then in this case it will allow us to control some more settings like the velocity and the physics so it’s always better to keep this on while creating the hair particles now if I zoom in then here we can see that we have some gaps in between the hair particles and if you want to fill these gaps then for this we need to use the children settings in the hair particles so in the children tab select the interpolated and now you can see that all the gaps in between the hair particles are now filled with the children hair particles and to view the hair particles properly in the scene will also switch to the render view now these hair particles or this fur on the UV sphere is properly visible in the render view now moving ahead the next important settings in the hair particles is related to the physics so let’s open this physics Tab and in this the first setting that we have have is the physics type and by default it is set to Newtonian and the Newtonian physics type is basically a simulation method which uses the Newton’s Laws of Motion which we also see in the real life in order to calculate the behavior of the individual hair stands so in most of the cases to get realistic hair particles we’ll be selecting only the Newtonian physics type however if I change it to the Bo’s physics type then you can see here that we are getting a very much complex result and this is because the boy’s physics type refers to a technique inspired by the bird flocking Behavior it is used to give a more natural and a dynamic look to the hair simulation and in most of the cases you only have to use the Bo’s physics type when you’re using some force fields like the wind in the scene but for now I’ll be changing the physics type back to the Newtonian similarly in the physics tab we also have some forces where the first one is the Brownian and if I increase it then it will make the hair particles exhibit some random movements and therefore it looks like this so if you want to give your hair particles a random look then you can try to increase the value of the brownan forces similarly when you’re making hair particles for Animals then you can use the dam forces in the physics tab so in this way you can change the way how your hair particles look in the scene with the help of these forces now moving ahead if I open the source settings in the emission tab then over here we have an option which is known as the particle per face and this basically controls the number of particles on each phase and when its value set to zero it will automatically take a value and assign it as the number of particles per phase however if I try to manually increase it to something like 6 or S then you can see here that these hair particles are kind of combined together and this is because with the particles per face value equal to six it is now emitting six hair particles from each and every phase but for now I’ll change it back to zero also I’ll reduce the brownan forces to something like 0.05 or 0.1 and this will give a realistic look to these hair particles and so basically these are all the settings that are mainly used in order to create the hair particles for any object and yes we’ll be exploring some more options in the upcoming chapters of this course while understanding about the character creation now let’s also try to create some duplicates of this UV sphere with all these hair particles and we’ll be assigning different colors to each of them so first of all select the UV sphere let’s also go to the object mode in order to make our work faster and now to create a duplicate press shift plus d let’s move it in the y- axis and place it over here let’s create one more duplicate and place it over here now let’s go back to the render view let’s also add some lighting on this part so select the lamp press shift plus 3 to create a duplicate and move it in the Y AIS now we’ll be selecting this UV sphere with the hair part particles in the middle and to give it some different color let’s go to the material properties and click on the plus button now we’ll be creating a new material and for this material we’ll be choosing the base color as the orange color however to apply this material on these hair particles we need to do some changes in the particle settings so with this particle system selected if I scroll down then in render I can change the material from here so from this list of materials I’ll select the material. 002 and now we have this orange colored material applied to these hair particles similarly let’s select this one open the Mater material properties and let’s create a new material so click on the new button let’s change the base color from here and we’ll be choosing the green color in this case and with this we now arrive to the end of this chapter today we learned about the particles interaction the force field effects and in the end we also understood about the hair particles in [Music] blender in this chapter we’ll be understanding about the basics of physics and simulation in blender the various different options available in the rigid body physics and in the end we’ll also be creating this amazing animation with some candies falling in a glass bowl with the help of rigid body physics now the first question which arises is that what exactly is meant by the term simulation in blender so simulation refers to an animation where the dynamic events which take place in the real world are simulated in an animated sequence in simpler words simulation simply means creating animations in the 3D softwares like blender where the things interact with each other just like the real world by obeying the laws of physics to understand all this in a practical way let’s begin this journey of physics and simulation with the concept of rigid body physics now to enable the rigid body physics we need to open the physics properties so for this click on this icon with the name physics properties and over here we have a type of physics known as the rigid body and if I select it then now the rigid body physics is applied to the cube object now this rigid body physics allows the object on which it is applied to interact with other rigid bodies in the scene resulting in collisions now with all the default options enabled in the rigid body physics if I press the space bar to play the animation then you will see see that the cube will Begin to Fall downwards and this is because being a rigid body the effect of gravity is acting on it now suppose I want that when I play the animation this Cube will move downwards but in Midway through the animation it should hit a plain object and for this we need to add a plane in the scene and then we’ll be applying the rigid body physics to it in this way both of the rigid bodies should be able to collide with each other so to do this let’s first move this cube in the Z axis and place it over here now press shift plus a go to mesh and select the plane tab into the edit mode press s to scale it up and we’ll scale it up five times now in the physics properties if I turn on the rigid body for this plain object also then now our expectation is that both of these objects being rigid bodies they should be able to collide with each other however if I play the animation then now both of these objects are moving downwards due to the effect of gravity and to solve this problem we simply need to change the type of rigid body for this plain object by default it is set to active but if I change it to passives then in this case the effect of gravity will no longer work on the plane and as a result it won’t be able to move down downwards so let’s play the animation again and now you will see that the cube object will collide with the plane and in this way they interact with each other now if I select the cube object again then in the rigid body physics we have some more settings like the dynamic and the animated and these are the two fundamental settings which simply Define the movement of your cube in the scene if the dynamic option is turned on it means that the rigid body physics will work on the cube meaning that on playing the animation it will fall downwards and interact with other rigid bodies and if I turn it off and replay the animation then in this case the laws of of rigid body physics will no longer get applied to the cube in the scene and now the next thing that we have here is the animated and if I turn it on then now it will only consider that particular animation which we create by inserting the key frames in the timeline editor for example if I take the pointer back to the frame number one and press I to insert a key frame for this particular location rotation and scale then I’ll take the pointer to the frame number 40 let’s also move the cube in the y- AIS and place it over here now to insert a key frame at the frame number 40 press I and if I try to play the animation by pressing this space bar then you will see that we have a simple animation created with the queue moving in the Y AIS however if I go to the rigid body settings and turn off the animated then if I replay the animation then you will notice that the animation that we manually created is no longer getting applied to the cube object so as a conclusion the dynamic option controls whether you will see the rigid body physics applied to the object or not and the animated option controls whether you will see the manual animation that you create in the scene or not for now I will be turning on the dynamic option let’s also delete these key frames that created so in the timeline editor press X and select delete key frames now before moving ahead do ensure that in the object data properties you change the value of location in the y- AIS back to 0 m and now the next thing that we have in the rigid body physics is the Collision shape and by default the convex whole option is selected now this Collision shape is used to calculate the object boundaries which help you to change the way the physics will work when the two objects Collide for very simple animations we mostly use the convex whole option however in case of complex objects or when you are having a large number number of objects in the scene that will collide with each other then you might have to use some other Collision shapes depending upon that specific object for example with this Cube selected if I go to the modifier properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of segments to something like three let’s also increase the amount from here and now you can see that our object is having a much complex look than before previously it was a simple Cube object with no bevel effect applied to it but now we have applied the bevel modifier with the segment set to four and the amount set to zero .35 M now let’s return back to the physics properties and if I go to the Collision shape and change it to box then in this case we are able to see a box boundary around the cube object and this indicates that the rigid body physics will consider this box boundary when this Cube object collides with the plane but when the Collision shape was set to the default convex hle then in this case there was no such box boundary and it was considering the original geometry of the cube however if you have a large number of loop Cuts or vertices or maybe subdivision applied to your object then in that case using the convex H Collision shape will take up slightly larger amount of memory of your PC in order to create the simulation however by changing the shape to the box it will no longer consider the number of vertices or any subdivision or beel effect on your Cube because now it will only consider this boundary that is created along the cube for the purpose of collisions so it’s completely your choice if you want to select the Collision shape as the box or the convex Hull but yes one thing to notice here is that by selecting the convex hell shape we have one more option over here which is named as the source Now by default the the source is set to deform and this basically means that blender will only consider the deform modifiers that we have applied to the object in our scene apart from this it will also consider any shape keys that we create for this object then the second option that we have in the source is base and with this base selected as the source blender will no longer consider any modifiers that we have added for this object but not yet applied then the next option that you have in the source settings is the final and now this one will ensure that all the modifiers which you have added to your object whether they are applied or not will be considered for the Collision in the rigid body physics and now moving ahead we’ll be deleting this plane from the scene and instead of this we’ll add a UV spere and we’ll convert it into a hemisphere so press X to delete the plane press shift plus a go to mesh and select the UV sphere press one to go to the front view now tap into the edit mode press alt plus Z to turn on the xarray mode now I’ll select these top vertices and to delete them press X and select delete vertices now we have a hemisphere in the scene and suppose I want that this Cube object should fall into the hollow space of this hemisphere so for this I’ll first scale up this UV spere so tab into the edit mode press a to select everything and scale it up like this now in the physics properties I’ll be adding the rigid body physics then I’ll change the type to passive and now if I take the pointer in the timeline editor back to the frame number one and press the space bar to play the animation then you will notice that this Cube object will not consider the hollow of space inside the sphere and to solve this problem we need to change the Collision shape so for any such objects where you have some hollow space and you want it to be considered for for the rigid body physics we need to select the mesh as the shape so with the mesh selected over here if I take the pointer back to the frame number one and play the animation again then this time the cube object will consider the hollow space inside the sphere and now moving ahead we have two more important options in the surface response menu which are the friction and the bounciness to understand these two factors in a better way we’ll again bring back the Plaine object in the scene so press X to delete this UV sphere now press shift plus a go to mesh and select the plane tab into the edit mode Let’s scale it up 10 times let’s also apply the rigid body physics to the plane in the scene so go to the physics properties select the rigid body and in the type change this to passive Now by default The Bouncing s value is set to zero for both the plane as well as the cube object as a result when we play the animation the cube will simply hit the plane and not show any bouncing animation however if I increase this bounciness value to something like 0.5 or 0.6 and we also need to increase the value of bounciness in this plane so go to the boun value and change it to 0.5 or 0.6 and now if you replay the animation by pressing the space bar and the reason why we don’t see much Chang is that in the rigid body physics of the cube we have selected the source as the final as a result while making the animation of the Collision blender is considering the modifier that we have added to the cube object however for a better animation we need to change this Source back to the deform now let’s replay the animation one more time and this time we see that the cube will not only hit the plane but it also topples due to the effect of bounciness similarly if I go to the friction value and reduce it to a much lower number like 0.1 or 0.2 and replay the animation Again by pressing the space bar then you will notice that this time also the cube will bounce and topple however the Distance by which it moves due to the top Ling has now reduced and this is because of the friction value similarly if I change the friction value to a very high number like 0.9 and let’s also take the pointer back to the frame number one let’s also change the friction value of this plain object from 0.5 to 0.9 and now press the space bar to play the animation now this time you will notice that the amount of displacement of the cube is much higher due to the a higher value of friction and now moving ahead in order to revise what all we have done in this chapter we’ll be creating a simulation with the rigid body physics where we’ll have a glass bowl and some candies will be falling in it so first of all I will be deleting the cube and the plane so press X to delete both of them now for the candies we’ll be creating some very simple shapes in the scene so first of all let’s add a cylinder so press shift plus a go to mesh and select the cylinder let’s tab into the edit mode scale it down in the z-axis and left click to finalize now press three for the face select mode select the top face press I2 in z let’s also extrude it down in the z-axis now to give it a better look first of all right click and select shade Auto smooth let’s also apply the bevel modifier to it so go to the modifier properties then click on ADD modifier and in the generate select the bevel modifier I will be increasing the number of segments to something like three or four then if you want you can also try to change the amount from here but for now I’ll be keeping it to the default value of 0.1 M and finally we have a simple candy ready for our scene just like this let’s also create another candy in the shape of a cube so press shift plus a go to mesh and select the Cube let’s move it in the y- axis and place it over here now go to the modify properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of segments to three or four let’s also increase the amount from here and we’ll be keeping it to a value of somewhere near 0.4 or 0.5 and now it looks perfect also right click and select shade Auto smooth now let’s also go to the render View and to improve the lighting I’ll select the point light let’s go to the object data properties and let’s increase the power from 1,000 wat to somewhere near 2500 wat now press 7 on the numpad to go to the top view let’s move this lamp over here press shift plus d to create a duplicate and move it in the y- AIS similarly I’ll select both of these lights press shift plus d to create a duplicate and place them on the opposite side also now we have enough Lighting in the scene and now to create the glass bowl we first need to add a UV sphere in the scene so press shift plus a go to mesh and select the UV sphere now tab into the edit mode press s to scale it up now with the verx select mode Let’s go to the front view by pressing one on the numpad let’s also go to the solid View Press alt plus Z to turn on the x-ray mode and now we’ll be deleting the top vertic of the UV sphere so let’s select all these vertices on the top press X to delete and select delete vertices now we have a shape like this let’s also turn off the x-ray mode and to give it a better look I’ll be selecting this Edge loop at the top so hold down the alt button and left click over here now press e to extrude it in the z-axis then left click to finalize and so this is how it looks let’s now return back to the object mode right click and select shade Auto smooth to give it a much better look let’s go to the modify properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of segments to four and finally this this is how the glass bowl is looking now for the material of the glass bowl let’s first go to the render view let’s also change this window to the Shader editor so click on this icon and from here select the Shader editor Now to create a new material click on the new button let’s zoom in and we have the default principle bstf applied to our object but to make it look like glass we’ll be adding a mix of glass bsdf and the transparent bsdf so first of all select the principal bsdf press X to delete it now press shift plus a go to Shader and select the glass bsdf let’s place it over here now if I connect the glass SDF to the surface socket in the material output you will notice that we are not able to see the glass properly and to solve this problem we need to use some HD in the scene so for this click on this drop down and from here turn off the scene World similarly if you want to view the hdri around the scene also then for this change the world opacity value from 0 to 1 Let’s also reduce the blur and now we can clearly see that this bowl is now having a glass material applied to it however to make it transparent we also need to use the transparent bstf so press shift plus a go to Shader and select the transparent bstf let’s place it over here now to connect both of them to the material output we need to use the mixed Shader node so press shift plus a go to Shader and select the mix Shader we’ll place it over here now I’ll take the bsdf socket in the transparent bsdf and connect it to the mix Shader to make it look even better go to the render properties and turn on the retracing also in the material properties scroll down and in the surface settings turn on the r race transmission and now you can see here that we have a realistic looking glass material applied to the glass bow also for the base let’s add a plain object at the bottom so so press shift plus a go to mesh and select the plane tab into the edit mode press s to scale it up 10 times or maybe let’s double it up now let’s move it down in the z-axis so press gz and place it over here to change its color go to the Shader editor click on the new button and in the base color I’ll be changing this to the blue color now we also need to animate the candies by using the rigid body physics so for this let’s first go to the solid mode select this candy at the top let’s tab into the edit mode press s to scale it down and let’s do the same with this Cube also to place it near the first candy press alt plus G to reset the location tab into the edit modee scale it down let’s also move it up in the z-axis now it looks like a sphere because we applied the bevel modify to it and when we scaled it down the bevel vertices are making it look like a UV sphere so let’s go to the modifier properties and in the bevel modifier I’ll reduce the amount from here so I’ll keep it to something like 0.1 or 0.15 and now it looks perfect now we’ll be having more than one candies in the scene as a result let’s select both of these candies press shift plus d to create a duplicate and move them up in the z-axis now instead of repeating the same step again and again we can use a shortcut which is to press shift plus r this will repeat the last step that we did in the blender file you can keep as many candies as you like but for now I’ll be keeping it to somewhere around 10 or 12 candies so I’ll press shift plus r one more time and now it looks perfect all these candies will fall into the glass bowl with the help of rigid body physics now moving ahead let’s also give some material to these candies in the scene so I have switched to the render view let’s select this first candy go to the Shader editor click on the new button and now we’ll be using the same material which is saved with the name material. 002 for each of these candies but to give each of them different colors we’ll be using the color ramp node along with the object info node so press shift plus a go to converter and select the color ramp let’s place it over here connect the color socket to the base color let’s also change the interpolation mode from linear to constant now with the first pointer selected let’s change the color by first increasing the brightness from here and for the first one I’ll be choosing the red color let’s select the second pointer and I’ll change this color to the blue color to create some more colors click on this plus button then change the color from here and I’ll choosing the yellow color let’s do the same thing two more times so click on the plus button again change the color from here choose the green color and one last time click on the plus button now we’ll change the color to the pink color now to place all these pointers evenly distributed from each other click on this icon and select distribute stops from left now you can see here that since we have applied the material to only the first candy as a result we are not able to see this material with different colors on the other candies and to solve this problem we need to select all the candies in the scene so let’s select all these candies except the one which has the material. 002 applied now with the shift key holded select this candy which has the material applied now press ctrl+ L and from here select the link materials right now all of them are of the same color and to give them some random colors go to the Shader editor press shift plus a go to input and select the object info node let’s place it over here take the random socket and connect it to the factor now each of them are having some different colors also to give them a plastic light or a reflecting look I’ll go to the principal bstf and reduce the roughness value to somewhere around zero and now we are ready to create the animation so first of all I’ll select this candy which will first reach the glass bowl and with this selected I’ll go to the physics properties and turn on the rigid body physics now to give the candy some bounciness go to the surface response settings and in the bounciness value I’ll be entering 0.2 now we have the rigid body physics apply to only this candy and not the rest of the candies and instead of applying the rigid body physics separately to each one of these we can do a very simple thing so first of all select all these candies except the one on which we have the rigid body physics applied and now with the shift key holded select that particular candy at the end now go to the object settings and in this list go to rigid body and select copy from active by doing this we now have the same rigid body physics applied to each of these candies now let’s also apply the rigid body physics to this class Bowl so I’ll select it go to the physics properties and select the rigid body physics since we don’t want the gravity effect to be applied on this glass bowl so I’ll change the type to passive and since we want the candies to go inside the hollow space of this glass bowl so we also need to change the Collision shape to the mesh Also let’s increase the bounciness value to something like 0.2 and now we are ready to view our animation to ensure that the animation runs smoothly let’s first go to the object mode also I’ll change this window to the timeline editor and take the pointer back to the frame number one now let’s adjust the view properly and press the space bar to play the animation and now you will see that all of these candies move in a straight line and fall into the glass bowl now to give the animation a much more natural look we need to do some changes in the location and the rotation of these candies in the starting frame for example I’ll select this candy at the bottom and we’ll move it down in the z-axis so what we basically doing is that we’ll randomize the distance between each candies and also give them some random rotation similarly I’ll select this one also let’s move it over here let’s also give it some random rotation and we’ll be doing the same thing with each of these candies let’s select this one also rotate it place it over here so all these changes are completely random and it totally depends upon you that exactly what changes you need in the location rotation and the scaling of different candies let’s do the same with these candies also let’s move this one up in the Z axis let’s select this one move it over here let’s scale it up slightly let’s select this move it down in the z-axis and similarly this one also let’s rotate it like this and move it down in the z-axis one more thing all the three candies at the top are having the same color and to solve this problem let’s go to the Shader editor and slightly try to change the position of the different pointers in this way we can assign different colors to each of these candies now let’s return back to the timeline editor and now it’s the time to view the final result so press the space bar to play the animation and so finally this is how our animation looks all so we have this one candy that is falling outside the glass bowl and it’s even passing through the plane object in the scene and to avoid this I’ll select the plane in the scene go to the physics settings turn on the rigid body physics and change the type to passive now let’s replay the animation One More Time by pressing the space bar and so this is how this candy animation looks and in fact this time that one particular candy managed to get inside the glass bowl and this is because there’s no one such particular animation that it will always follow for a specific number of objects placed at a specific location rotation or scale and the main reason behind all this is that as I told you in the beginning the blender simulations try to give you the same results that you would expect to get in the real life and with this we now arrive to the end of this chapter today we understood about the concept of rigid body physics and in the end we also created the simple animation with some candies and a glass bowl and as a homework of this chapter you can try to create the same scene but with a much higher number of candies in this way you will learn about how a much larger number of objects would interact with each other with the rigid body physics [Music] in this chapter we’ll be understanding about how the cloth physics Works in blender we’ll also be using it in order to create some different types of clothes like leather silk and in this way we’ll be able to understand about the various settings available in the cloth physics in complete detail now before adding a cloth we first need to add an object in the scene with which the cloth will interact and so we’ll be adding a UV sphere in the scene so first of all I’ll delete this Cube object so press X to delete now press shift plus a go to mesh and select the UV sphere right click and select shade Auto smooth now to understand the cloth physics let’s add a plane object and then we’ll be applying the cloth physics to it so press shift plus a go to mesh and select the plane let’s move it up in the z-axis and place it over here tab into the edit mode Let’s scale it up like this now before applying the cloth physics we also need to understand that applying the cloth physics will make this plane get converted into a cloth and on playing the animation it will begin to move in the downward Direction and when it will interact with the UV spere it will fall on it and will continue to remain on the UV sphere but to make this practically happen we also need to ensure that that there are enough number of vertices in this plane which is to be converted into a cloth so for this right click and select subdivide and in the subdivide menu over here we’ll change the number of cuts to something like 20 or maybe let’s increase it to 40 and with this we have a large number of vertices in the plane object so let’s come out of the edit mode and to apply the cloth physics we’ll go to the physics properties and in this menu select the cloth physics now if I try to play the animation by pressing the space bar then you will see that the cloth object is not interacting with the UV sphere and this is because we have not yet applied any Collision physics to the UV sphere which will make it interact with the plane so to fix this I’ll select the UV sphere go to the physics properties and select the Collision physics now I’ll take the pointer back to the frame number one and let’s replay the animation by pressing the space bar and now we’ll notice that this plain object is interacting with the UV sphere and it’s also animated like a simple cloth object now if I zoom in then you can see that the quality of this cloth is not very good in fact if I select it and right click to apply shade smooth then it kind of looks better but it’s still not perfect and to improve its quality we have this quality steps parameter in the cloth physics by default its value set to five however if I increase it to something like 8 or 10 then in this case two things will happen first of all the quality of the cloth will improve and due to this the time that it takes to run the simulation in the 3D view port and also while lendering will increase so if I take the pointer back to the frame number one and play the animation again then in this case you can see that the quality of cloth has improved a lot similarly if I increase the quality steps to an even higher number like 16 and play the animation again then the quality will further increase but with that the time that it takes to run the simulation will also get longer so practically it’s good to keep the quality steps value to somewhere near 10 or 12 also you can see here that in some areas the cloth is not interacting in a proper way with its own surface its vertices are kind of intersecting with each other and as a result we have these irregular patterns on these areas of the cloth and to fix this problem we need to use the self collisions in the cloth physics so if I scroll down then you have a category known as the collisions so I’ll open it and in this we have two subcategories the first one is the object collisions and the second is the self collisions right now let’s turn on the self collisions and now just like the CLA object is interacting properly with the UV sphere it will also interact in a similar way with its own vertices and this will give it a much better look so to practically view this let’s take the pointer back to the frame number one and press the space bar to play the animation and now in this case we’ll observe that the vertices of the cloth will interact with each other in a much better way because of the self collisions and now just like we had the quality steps option for the quality of the entire cloth we also have the quality option in the category this quality will control how well the collisions occur with other objects as well as the self Collision so if I increase the quality to something like 8 and let’s replay the animation so press the space bar and now in this case the quality of collisions will be much better than before also one more thing that influences the quality of your cloth is the number of vertices which you can see in the edit mode higher the number of vertices better will be the cloth quality and also the interaction and the collisions will be much better but again if I increase the number of vertices by subdividing or if I try to increase the quality in the cloth physics then it will also take much longer time in order to show the simulation and the render time will also increase now moving ahead suppose you want that some particular vertices of the clothe object should not move in the animation or in simpler words they should get pinned at a particular point then for this we have the pin group in the shape category to understand this concept in a better way we first need to create a Vertex group with some random vertices so let’s select some random vertices over here and to create a Vertex group with these vertices go to the object data properties and here we have the vertex group so to create a new one click on this plus button and to assign these vertices click on the assign button now we’ll go to the physics properties scroll down and in the shape category click here in the pin group and select this group which we just created as the vertex group and now if I press the space bar to play the animation then you will notice that first of all the speed with which the simulation is getting displayed is very slow due to the high quality settings that we have applied in the physics properties and one more thing to notice is that all the vertices that we assigned in the vertex group are pinned at their respective locations and they have not moved even on playing the animation so this is the use of pin group in the shape category it allows you to pin any number of vertices at a particular location so you can use the pin group if you want to create a cloth hanging from a particular point or if you simply want that some particular part of the cloth should remain fixed throughout the animation now moving ahead another important thing that we have in the cloth physics is the cacher settings it’s a very useful tool that helps to save a lot of memory if you want to create a particular simulation again and again in your file but the only condition is that whatever changes you will do to the cloth object will not get applied to the animation that is saved in the cache settings to understand this concept in a better way I’ll take the pointer back to the frame number one and now in the caches settings we have the option to select the simulation start and the simulation end meaning that from which frame the simulation will start and on which frame it will end and the entire simulation will get saved in your memory on clicking the bake option so for now I’ll keep the simulation end to 50 frames and now if I click on the bake option then it will take some time in order to calculate the physics for each and every frame and once the entire baking is done it will show 50 Fram saved in memory now if I press the space bar to play the animation then you will see that unlike before it’s no longer taking a large amount of time to play the animation because the entire simulation is now saved in the cache memory but if you wish to make any changes in the clothe object like the number of vertices its size or the pin vertices then first of all you need to delete the bake by clicking on delete bake and then you need to click on the bake option again to recreate the entire simulation now moving ahead suppose you want to create different types of clothing blender like cotton leather silk Etc and to do this we basically need to change the different properties like the tension bending vertex mass in the cloth physics now the reason why we can’t change them right now is that we have baked the entire animation so to change any of these values we first need to delete the bake so go to the cache settings and click on delete bake now let’s scroll up and now here we have several properties which are used to change the way how different clothes look in blender but the most important ones are the vertex Mass tension in the stiffness the shear parameter in the stiffness and the bending value in the stiffness category by changing these four parameters we can create different types of clothes and since it is not possible to memorize the value of each of these parameters for different cloth Fabrics I have this table for you where I have written the different parameter values for different types of fabrics for example cotton leather rubber Denim and silk fabric this table can help you to create a variety of cloth Fabrics just by assigning these values in the cloth properties now coming back to the scene we also have some default values in all these parameters and the resulting fabric that it creates is the cotton fabric you can also check these values in that cloth fabric table but now suppose you want to create the leather fabric in your scene and to do this let’s first go back to the frame number one now with this plane selected I’ll select the UB sphere also and we’ll be creating their duplicate and we’ll place them in the x-axis now for the first plane object we have the cotton fabric and for the second let’s try to create the leather fabric so for this I’ll select this plane and in this table you can see that the vertex Mass value for leather fabric is 0.4 so I’ll go to the vertex mass and change this to 0.4 then in the stiffness tension the value is equal to 80 so let’s enter 80 then the stiffness here is 25 so let’s enter 25 here and the last value is the stiffness bending which is 150 so I’ll change this value in the stiffness bending parameter to 150 and now we are ready to view the simulation so for this let’s first bake the simulation so go to the cacher settings and click on bake and then it will take some time to bake the entire simulation let’s also select This Plane where we have the cotton fabric and let’s bake this one also and once the baking is done let’s play the animation by pressing the space bar bar now both the clothe objects will fall on the UV sphere and you can clearly see the difference between the fabric of both the clothes this clothe with the cotton fabric looks very thin however the one with the leather fabric looks thicker and the way both of them collide with the UV sphere is also very different the overlapping is more for this cloth object but being the leather fabric we don’t see much overlapping in the fabric in the second case also one more thing to notice here is that in both the cloth objects we have the group of vertices over here pinned at the respective locations and this is because we created a duplicate of the plane and as a result result the group of vertices is still selected in the pin group option so if you want you can delete the baking and remove this vertex group if you don’t want these vertices to be pinned and now moving ahead let’s also try to create one more cloth object but this time with the silk fabric so for this let’s first go to the frame number one now with this plane selected let’s also select the UV sphere press shift plus 3 to create a duplicate and move it in the x-axis now let’s select the plane and to create the silk fabric we need to input the values according to this table so in the vertex Mass the value is 0.15 so let let’s change this value over here to 0.15 then in the stiffness tension the value is equal to 5 so let’s enter five here then for the stiffness here we have the value equal to 0 so let’s enter 0o here and the last one is the stiffness bending which is equal to 0.05 so let’s enter 0.05 and now we are ready to bake the simulation so scroll down and in the cache settings click on bake and since the baking is now done so let’s play the animation and with this you can see that we have three different types of cloth Fabrics that we created just by modifying the properties the first one is the cotton fabric the second looks like leather and the last one is the silk fabric you can see here that the silk fabric is kind of very thin as well as smooth which makes it different from the other two and so this is how you can create different types of clothes in blender moving ahead let’s also try to assign some material to these cloth fabric so for this let’s go to the material preview mode now I’ll select the first cloth which is the cotton fabric now go to the material properties and let’s create a new material right now we’ll be creating a material with only a simple base color however if if you want to understand about creating a cloth material in complete detail then you can watch this particular chapter where we covered the creation of a cloth Shader so let’s go to the base color and for the cotton fabric I will be choosing the yellow color similarly let’s select the leather fabric and create a new material let’s change the base color from here let’s assign the red color to it similarly for the silk fabric click on the new material button and for the base color I’ll be choosing the purple color so in this way you can create different types of cloth Fabrics simply by changing the parameters in the physics properties and you can assign them any material directly from the material properties and with this we now arrive to the end of this chapter today we learned about the cloth physics in blender we used it to create different types of clothes then we also learned about pinning A specific group of vertices at a particular location and most importantly we also saw this table where you have different parameter values for some important cloth [Music] Fabrics in this chapter we’ll be understanding about how the soft body simulation Works in blender the various options available in the soft body physics and to Rev device everything we’ll also be creating a simple jelly scene with the help of soft body physics in the end of this chapter now the first question which arises is that what exactly is meant by the term soft body physics so the soft body physics makes an object to act like a clay or dough or anything which is soft in nature now to view it practically in blender let’s go to the physics properties and from here select the soft body physics now we have applied this soft body physics and in the 3D view Port if I press the space bar to play the animation then you will notice that nothing major is happening apart from the cube moving up and down by a small distance now the reason why it stays only at this position even after playing the animation is that the goal option in the soft body physics is turned on by default however if I turn it off and again play the animation by pressing the space bar then in this case the effect of gravity will get applied to the soft body and as a result it move downwards now let’s try to make it interact with a plain object so for this let’s add a plane so press shift plus a go to mesh and select the plane tab into the edit mode press s to scale it up and we be scaling it up five times now let’s select the cube and move it up in the z-axis and to make sure that this cube with the soft body physics interacts with the plane we also need to apply the Collision physics to the plane so go to the physics properties and select the Collision physics now let’s select the cube and for a better animation press R to rotate it like this and now if I press the space bar to play the animation then the cube or the soft body will interact with the plane and it gets folded into a flat surface or a flat plane now to fix this problem we need to open the edges category in the soft body physics and over here you have an option called stiffness so if I turn it on it will make the cube stiff and so if I take the pointer back to the frame number one and press the space bar to play the animation then now in this case you can see that the cube will not turn into a plane object but instead it interacted with the plane just like a soft body or a jelly like object now in the edges category we have some more important settings like plasticity and bending but to understand these we need to have a complex model with a much larger number of vertices and therefore let’s go to the edit mode of this Cube right click and select subdivide and in this way this cube is now having a greater number of vertices now the first important thing that we have here is the bending and with its value set to zero and also with the subdivided vertices if I try to play the animation then you will notice that when the cube collides with the plane we see a kind of crumbling effect on the faces of the cube and this effect can be influenced by the bending parameter so we can keep its value anywhere between 0 and 10 but for now I’ll be entering two as the bending value and let’s try to play the animation again and this time you can notice that the amount of that crumbling effect on the faces of the cube has now reduced and this is because as we increase the bending the amount of bending stiffness on the object will increase and as a result the crumbling effect will reduce now one more time I’ll change the bending value to 0.5 and let’s try to play the animation again now this time also on collision with the plane the faces of the cube show the same effect but with a slightly lesser intensity as compared to when the bending value was equal to zero also if I again tab into the edit mode and subdivide the vertices one more time then now the complexity of the shape has increased and with with this if I go to the bending parameter and enter two and play the animation one more time then now you will see that the crumbling effect is still visible on the faces of the cube so it completely depends upon the geometry that how much bending stiffness will be added because of the bending parameter and for now I’ll be keeping the bending value at 0.5 and moving ahead we have one more important setting in the edges category which is the plasticity and it basically controls the deformation of the object on colliding with some other object by default its value set to zero and therefore throughout the animation we were not able to see any major deformation in the structure of the cube however if I increase the value of plasticity to 20 and try to play the animation Again by pressing the space bar then in this case you will notice that when the cube collides with the plane it has major deformations in its structure and this is because of the plasticity parameter it kinds of create a dent whenever the object collides with some other object you can also understand it in this way that whenever you hit a plastic object with a hammer or a similar tool it kind of creates a dent on its surface similarly in this case also when this soft body will collide with the plane the plasticity parameter will create a deformation or a dent on that particular area now to see the plasticity effect in a much better way let’s return back to the frame number one go to the edit mode and let’s subdivide the vertices one more time so right click and select subdivide and now if I play the animation again then in this case the soft body or the cube will collide with the plane and if I zoom in then you can clearly see the deformation in the structure on this part of the cube due to the plasticity parameter and also if I continue to play the animation then you will notice that the deformation effect due to the plasticity is now applied permanently on the cube now to get the

results which look realistic let’s reduce the plasticity value to somewhere near five let’s also increase the bending and I’ll keep it to a value of two now let’s replay the animation one more time and this time you will notice that when the cube object collides with the plane the entire animation gives a much more realistic look than before now to revise what all we have done till now we’ll be creating this simple jelly scene with the help of soft body physics so for this let’s go to the frame number one now I’ll select the plane tab into the edit mode and let’s increase its size and then left click to finalize now we have this plane with the Collision physics applied but we need to create some more jellies in the scene that will collide with each other and for this let’s go to the top view by pressing seven on the numpad select this Cube press shift plus d to create a duplicate and place it over here let’s create one more duplicate let’s place it over here and in a similar way we’ll be keeping about five to six cubes in our scene so let’s select one more place it over here and yes to ensure that they kind of intersect with each other because in this way when they fall down they will collide with one another and form an inter interesting simulation now let’s go to the front view by pressing one on the numpad and we’ll be giving some different heights to the different jellies in the scene so I’ll select this one place it over here similarly let’s select this one at the back and move it up in the z-axis now we have a simple system of jellies in the scene and right now if I try to play the animation by pressing the space bar then you will notice that when the cubes will fall down they are not interacting properly with each other in fact some of the cubes are even intersecting with one another and this is because we have not yet applied the Collision physics to each of these cubes so to solve this problem let’s go back to the frame number one and with this Cube selected go to the physics properties and apply the Collision physics similarly let’s do the same with this one also add Collision to it now let’s select the third Cube go to the physics properties and apply the Collision physics now with this one we’ll apply the Collision to it and finally the last Cube go to the physics properties and click on the Collision now if I play the animation then you will see that the cube objects will collide with each other like they just did around the frame number 30 like here they were touching each other but on playing the animation further they collided and finally this is how the animation looks let’s replay the entire animation one more time also to give these cubes a smooth look you can simply select them then right click and select shade Auto smooth let’s do the same with the others also so I’ll select this Cube then right click select shade Auto smooth similarly with this one let’s do the same with this one also right click select shade Auto smooth and in the end I’ll select this one then right click and select the shade Auto smooth and in this way we have a simple animation of some jellies and now let’s work on giving some material to these jellies so for this let’s first go to the material preview mode and with this Cube selected go to the material properties and first of all I’ll go to the base color and let’s assign the red color to it and right now all of these cubes are having the same material because they are the duplicates of the one specific cube in the scene now to make it look like a real jelly let’s reduce the value of roughness to zero then go to transmission and increase the value to one and with this you will notice that we have the material which looks like a real jelly now to assign different colors to the different cubes I’ll simply select the other Cube go to to the material properties and we need to create a duplicate of this material so for this click on this icon and now the name of this material is saved as material. Z1 as a result whatever changes I’ll do in the base color will only get applied to this particular Cube similarly let’s select this one create a duplicate and let’s change the base color to the blue color this time now I’ll select this one create a duplicate and change the base color to the yellow color and in the end I’ll select this Cube create a duplicate of the material and change the base color to the pink color and with this we have five different jellies having different colors in the scene let’s also select this plane and to give it a material go to the material properties and create a new material let’s change the base color and I’ll be assigning the dark blue color to it let’s also reduce the brightness from here and finally this is how the jelly scene is looking now and with this we are now ready to play the animation I’ll take the pointer back to the frame number one and press the space bar to play the animation and so this is the final result and with this we now arrive to the end of this chapter today we learned about the soft body physics in blender and we used it to create a simple jelly scene of different colors which collide with each [Music] other in this chapter we’ll be understanding about the various concepts of fluid simulations and we’ll be using them to create a simple animation of a cup with some juice falling into it now the first question is what exactly is meant by the fluid simulations so in blender fluid simulation replicates the way how the fluids behave in the real world it also takes into consideration the physical obstacles and also the physical forces like gravity and pressure in the blender scene throughout the simulation Now to create a fluid simulation in the scene we basically need to have two objects one will be the flow and the other will act as a domain to understand this practically we’ll be making this default Cube as the domain for the fluid simulation so let’s also increase its size so tab into the edit mode press s to scale it up now let’s come out of the edit mode and with this we have the domain for the fluid simulation ready but as I told you before we need one more object which will act as the flow as a result I’ll be creating a duplicate of this Cube by pressing shift plus b then right click and to view both the objects properly let’s turn on the wireframe display now with the second Cube selected let’s scale it down like this and now we have two cubes in the scene the bigger Cube will act as the domain and the smaller Cube as the flow which in terms of fluid simulation means that the fluid will flow from the flow object which is the smaller Cube and the volume in which it will flow will be according to this domain which is the bigger Cube to understand this in a better way let’s apply the fluid simulation so with the smaller Cube selected let’s go to the physics properties and turn on the fluid simulation now in the type select the flow and after this you will have a lot of different settings in the fluid simulations and the most important one is the flow type so if I select this it will give you various options like smoke fire plus smoke fire and liquid and since we want the liquid so I’ll be selecting the liquid and with this we have the selected Cube object assigned the flow type in the fluid simulation now let’s do the same for the bigger Cube so I’ll select this go to the physics properties and turn on the fluid simulations now in the type select the domain and in the domain type select the liquid and now you will notice that we are not able to see the domain in the 3D scene and also this little Cube that we added as the flow type is also looking slightly different so now if I press the space bar to play the animation then you will see that some kind of fluid is falling down from the smaller Cube and this is the basic fluid simulation as you can see there was a simple flow of fluid from the small cube according to the domain object to put it in even simpler words you can understand it in this way that the object on which the flow type is applied in the fluid simulation will act as the source of fluid and the other object which will be the domain will basically act as the volume in which the fluid will flow now moving ahead in the recent example we saw that there was a very little amount of fluid emerging out of this Cube however to get a continuous supply of fluid throughout the simulation we need to do some changes in the physics settings so with the small cube selected go to the physics settings and in the flow Behavior change this to the inflow and now if I press the space bar to play the animation then this time you will notice that there is a continuous supply of fluid from the selected cube with the flow type and also the volume which the fluid is occupying is the volume of the bigger Cube or the domain object now to understand about some more settings in the fluid simulation we need to select the domain object so for this let’s take the pointer back to the frame number zero and now this domain object will appear also if I take the pointer to the frame number one instead of the frame number zero then the fluid simulation will begin and as a result the domain object will disappear so do ensure that you have the frame number zero selected in the timeline editor and now I’ll select the domain object and in the fluid settings we have one more important option which is the resolution to be used for the fluid domain so this resolution division setting basically controls the quality of the fluid simulation higher the value of the resolution better will be the quality but with that it will also take much more time to render so practically it’s advised to keep the resolution division value to somewhere near 64 but yes if you have a high NPC then you can increase this value further to somewhere around 128 but in most of the cases a value of around 64 will work the best for the fluid simulations now if I scroll down and here you have a category which is called the liquid and if this is turned on it means that blender is using a particle system in order to create the fluid simulation you can also check this by opening the particle settings and over here you have an active particle system which is named as liquid so in the fluid simulation the fluid or the liquid is made up of the particles in the particle system now another important setting that we have in the fluid simulation is the initial velocity and the direction of the fluid to understand these settings select the smaller Cube and over here you have the option of initial velocity so if I turn it on then now you can control the initial velocity of the fluid in any of the three axes by default all the three values are 0 m/ second and as a result if I try to play the animation then you can see here the fluid is Flowing simply in the downward Direction due to the effect of gravity however if I go to the initial velocity in the Y AIS and change this to 10 m/s then in this case the direction of the flow of the fluid will be more in the y- axis and to practically see this let’s take the pointer back to the frame number one and press the space bar to play the animation then now the direction of the flow is in the Y AIS with a much higher speed let’s take one more example of the initial velocity so in the y- axis I’ll change this to 0 m/s and in the xaxis let’s keep a value of around 4 m/s now let’s take the pointer back to the frame number one and now press the space bar to play the animation and so in this way you can give a direction to the flow of fluid and also control the speed of the flow with the help of initial velocity parameter now moving ahead one thing to notice here is that currently we are in the wireframe display mode but if I switch to the solid mode and take the pointer back to the frame number one and try to replay the animation then this is how the animation will look we have this beautiful looking fluid simulation that we simply created by adding two objects in the scene the domain and the flow object and yes it might also be possible that in some particular cases it won’t be displaying this fluid simulation in the solid mode or the final rendered mode and if you have this problem then for this you need to do some changes in the cache settings of the fluid simulation to understand this in a better way I’ll again take the pointer back to the frame number one or maybe let’s go to the frame number zero now I’ll select the domain object and in the physics properties if I scroll down then here we have a category which is called the cachier and by using this you can temporarily store a fluid simulation in the cachier memory and in this way that particular fluid simulation will get saved in your blender file until and unless you need to do any changes in the fluid properties now to do this go to the type option in the cache settings and change this to modular now turn on the is resumable and now if I scroll up then over here in the fluid settings you have this option to bake the fluid data and what it basically does is that it will create a memory with the entire fluid simulation and the advantage of doing this is that you can smoothly play the fluid simulation in any number of times as it won’t use your memory to calculate the fluid simulation again and again each time so if I click on the big data then it will take some few seconds in order to bake the fluid data now once the baking is done the bake data option will disappear from here and it will show the option to free or delete the baking data now if I go to the 3D view port and press the space bar to play the animation then in this case we are not able to see the fluid simulation and this is because till now we have only bake the data for the fluid but not for this mesh and to bake the data for this mesh go to the physics settings scroll down and over here you have a category known as the mesh let’s open this and from here click on the bake mesh now it will take some time to bake the mesh now once the baking is done you will be able to see the fluid simulation in your scene in fact if I take the pointer to the frame number one and press the space bar to play the animation then you can see here that the entire animation is being played without much lagging and see this is the advantage of using the bake data in the fluid simulations so whenever you’re working with the fluids and you have finalized the simulation like the properties the initial velocity do ensure to B the data and also bake the mesh in order to view the entire animation in a much simpler way now moving ahead if I go to the material preview mode then you can see that this fluid is having the same default material that is applied to the domain Cube and to give it some different material let’s go to the material properties and now to make it look like water let’s go to the base color and let’s change the color to the light blue color now to give it a slight transparent look go to the transmission and increase the weight to something like 0.9 or 1 now scroll down and in the surface settings turn on the rate race trans transmission also to improve the quality go to the render properties and turn on the rate tracing Also let’s open the material properties again and in the base color let’s make the blue color even more lighter and now we are ready to view the animation so let’s go to the first frame and press the space bar to play the animation and with this we have this final fluid simulation ready where we have this basic water-like fluid with a simple blue color and the source of this fluid is that tiny Cube which has the flow type and the volume of its flow is the cube with the domain type and now moving ahead in order to revise what all we have done in this chapter so far let’s try to create a simple scene with a cup and some juice flowing into it with the help of fluid simulation so for this let’s select the domain press X to delete it let’s also select the small cube and press X to delete it now to model a simple cup let’s add a cylinder in the scene so press shift plus a go to mesh and select the cylinder now tab into the edit mode press s to scale it up press three for the face select mode select the top face and to delete this face press X and select delete faces now press one for the vertx select mode and to select the entire Edge loop at the top hold down all and left click on the edge Loop now let’s slightly scale it up and left click to finalize now to give it some thickness let’s return back to the object mode right click and select shade Auto smooth now go to the modify properties click on ADD modifier and in the generate select the solidify modifier now to get some outer thickness go to the thickness parameter and try to reduce this and we’ll keep it to something like – 0.3 and – 0.35 and now it looks perfect also I think that we should make it slightly longer so tab into the edit mode press a to select everything and scale it up in the z-axis like this now to make the handle of the cup we’ll be using a Basia curve so press shift plus a go to curve and select the basier curve let’s move it in the x-axis and place it over here now to give it the shape of a handle let’s first go to the top view by pressing seven on the numpad tab into the edit mode Let’s also zoom in now select this point of the bzier curve and press R to rotate it like this now left click to finalize also to scale it up press a to select everything and let’s scale it up in the x-axis let’s also slightly scale it up in the Y AIS like this and now let’s return back to the object mode now to make this curve look like the C handle we first need to convert it into mesh so for this go to the object settings and over here you have a category known as convert and from this menu we’ll be selecting the mesh now if I tab into the edit mode then you can see that instead of the end points we are now having the vertices which we have when the selected object is a mesh to give it some thickness press a to select everything e to extrude it in the z-axis like this let’s also scale it up properly so go to the top view Again by pressing seven on the numpad press a to select everything and S to scale it up now to give it some thickness in this direction also we need to extrude these faces along the normals so press alt plus e and select extrude faces along normals now if I move my cursor you will notice that the faces of the handle are being extruded like this now left click to finalize the Extrusion and with this we have a simple handle ready for our cup now let’s return back to the object mode press one for the front view now to rotate this handle press RX and type 90 let’s also rotate it by 90° in the Y AIS press G to move it and place it over here now tab into the edit mode press a to select everything let’s scale it up in the z-axis like this let’s also scale it up in the x-axis also I think that it shape is not regular so to solve this problem let’s first go to the solid mode press all plus Z to turn on the x-ray mode Let’s deselect the vertices and now I’ll be selecting these vertices in the middle and we’ll move them in the x-axis so press o to turn on the proportional editing now press G and x and let’s move these vertices also to increase the size of the circle of influence you can use your scroll wheel so if I scroll down the size of the circle of influence will increase and in this way we can make the shape of the handle look much better now let’s also fix the ends of this handle so for this press C for the face select mode now I’ll be selecting this top face let’s go to the front view again and if I zoom in then you can see that this end is passing through the plane so to solve this problem let’s rotate this face by pressing R I think that we have selected the wrong face so let’s change the angle turn off the x-ray mode and we’ll be selecting this face again let’s go back to the front view turn on the x-ray mode again let’s also turn off the proportional editing tool by pressing o and now if I press R to rotate this face then you can see here that now this face is not passing through the inside boundary of the up let’s also ensure this by turning off the x-ray mode and now the handle looks perfect let’s do the same thing with this other end also so I’ll select this face at the bottom go to the front view again press all plus Z to turn on the x-ray mode press R to rotate the face and now it looks perfect Also let’s reduce its thickness in the y- axis so press a to select everything and let’s scale it down in the y axis like this now let’s return back to the object mode and finally this is how the cup is looking in the scene now we should also align this handle properly with the cup and to do this let’s go to the top view by pressing seven on the numpad and with this handle select Ed press g y and move it in the Y AIS like this now if I change the angle then you can see that this handle is now perfectly aligned with the cup now right click and select shade Auto smooth let’s also apply the bevel modifier to it so go to the modifier properties click on ADD modifier and in the generate select the bevel modifier let’s increase the number of segments to something like three or four let’s also increase the amount from here and we’ll be keeping it to something like 0.25 or 0.3 and now it looks perfect Now to create the fluid simulation we need two objects in the scene one of them will be the domain and the other will be a low object so for this let’s first add a cube in the scene which will act as the domain so press shift plus a go to mesh and select the cube tab into the edit mode press s to scale it up like this now let’s go to the front Cube by pressing one on the numpad let’s also go to the wireframe display let’s scale this Cube up in the z-axis like this now press gz and move it up like this and we’ll make sure that the base of the cube is touching with the cup base let’s also go to the side view by pressing three on the numpad and from this angle also the size of the cube is looking perfect so now we have the domain ready and for the flow object you can choose any object like the cube or UV sphere and in this case I’ll be choosing the UV sphere so press shift plus a go to mesh and select the UV sphere tab into the edit mode Let’s scale it down slightly now let’s return back to the object mode press gz and move it up in the z-axis now to add the fluid simulation let’s go to the physics properties and turn on the fluid simulation in the type select the flow and in the flow type select the liquid also to ensure a continuous supply of fluid change the flow Behavior to the inflow now I’ll select this Cube go to the physics properties and select the fluid then in the type select select the domain and in the domain type select the liquid let’s take the pointer back to the frame number one and now if I press the space bar to play the animation then you can see that we have the fluid emerging from the UV sphere but since the domain is set to the cube as a result it is taking the volume of the cube into consideration and not the volume of the cup so what we basically want is that the fluid should collide with the cup in the scene so for this select the cup go to the physics properties and turn on fluid now in the type we have one more option apart from the domain and the flow and this is the effector and if I turn it on then now the fluid that flows from the uis spere will take the domain Cube into consideration however it will also collide with the cup in the scene but right now if I press the space bar to play the animation the fluid that flows from the UV spere will still pass through the cup and the reason behind this is that the cup that we have in our scene has some surface thickness which the fluid simulation is not taking into consideration and to solve this problem with this cup selected go to the fluid simulation settings and over here you have an option which is called the surface thickness by default its value is set to zero and that is why we were getting this error but if increase this value to 0.5 now let’s replay the animation One More Time by pressing the space bar and now you will notice that the fluid that is Flowing from the UV sphere will collide with the cup this time instead of passing through it and in this way we are able to create a simple animation of some fluid flowing into a cup now let’s go to the solid mode and to complete our final animation we need to change some minor settings so first of all I will be joining this cup and the handle together into a single object so for this first I’ll select the handle then with the shift key holded select the cup now to join them together press C control press J now to hide this domain object let’s press the space bar to play the animation and then immediately stop the animation now let’s select the UV sphere and we’ll be moving it in the x- axis and we’ll also give it some initial velocity so that the direction of flow is not completely straight so for this press GX and move it in the x axis now go to the physics properties and turn on the initial velocity and in the initial x value I’ll be entering 3 m/s now let’s check the animation so take the pointer back to the frame number one and press the space bar and we can see here that the direction of the flow is opposite and also the velocity is very low so let’s go to the initial x velocity again and this time we’ll be entering – 5 m/s now let’s replay the animation one more time and finally this is how the fluid animation is looking in the scene now moving ahead we’ll be working on improving the quality of the fluid and for this let’s go back to the frame number zero select the domain object and in the physics settings change the resolution division value to 64 and now to view the animation scroll down and in the cache settings change the type to modular and turn on the is resumable now scroll up and from here click on the bake data and once the baking is done scroll down and in the mesh settings click on the bake mesh and after this if I press the space bar to play the animation then this is how our final animation looks we have created a simple yet interesting fluid simulation where the fluid is flowing into this cup in the scene to make it look even better right click and select shade smooth and now we are ready to give some material to both the cup as well as the fluid so for this let’s go to the material preview mode now with the fluid selected let’s go to the material properties let’s also change the frame to somewhere near 130 or 140 now let’s create a new material let’s change the base color from here and I’ll be choosing the orange color now let’s reduce the roughness to somewhere near zero now go to the transmission and increase the weight to a value of anywhere between 0.9 and 1 now scroll down and turn on the rate race transmission also in the render properties do ensure that you have turned on the rate racing also since we are making the juice so I think that we should reduce the transmission value so go to the material properties and in the transmission weight let’s reduce it to something like 0.3 or 0.4 and now it looks perfect if you want you can change the base color from here and assign any color that you want but for now I’ll be choosing the mix of orange and yellow then for the cup let’s create a kind of plastic material for it so I’ll select the cup click on the new button let’s change the base color from here and I’ll be assigning the blue color let’s also reduce the roughness to somewhere near zero and now we are ready to view the animation so let’s take the pointer back to the frame number one and press the space bar to play the animation and finally this is how our final animation is looking we have this fluid flowing from a UV sphere into a plastic cup which has the effecta type selected in the fluid s ulation also you can make the animation look even more interesting by selecting the UV sphere and in the physics properties you can try to change the value of initial velocity like if you want you can move this UV sphere in the positive x-axis and then give a value to the initial x velocity as something around – 7 or – 10 m/ second and in this way you can give your animations a completely different look and with this we now arrive to the end of this chapter today we learned about the fluid simulation s blender and the different types of settings in the fluid simulation then we also created a simple scene with a cup and some juice flowing into it with the help of fluid [Music] simulation in today’s chapter we’ll be understanding about another Concept in the physics and simulation which is known as the fire simulation we’ll be understanding about the various types of settings and the controls available in the fire simulation and in the end of this chapter we’ll also be creating a simple scene of some burning wood with some fire on it now to create a fire simulation in blender we basically need two different objects one of them will be the domain and the other will be a flow object the domain basically means means the region or the volume in which the fire that is created will be flowing and the flow object is simply the source of the fire so in our scene we’ll be using this Cube as the domain object for the fire and for the flow object you can add any type of mesh so if I press shift plus a then go to mesh then I can select any mesh object from this list but for now I’ll be selecting the UV sphere which is now located at the world origin now I’ll select this Cube let’s tab into the edit mode and since this will be the domain or basically the volume in which the fire will flow so let’s also increase its size to see the simulation properly so let’s scale it up in the z-axis like this also press alt plus Z in order to turn on the x-ray mode Let’s scale it up slightly more and now it looks fine also I’ll go to the front view by pressing one on the numpad and let’s move this Cube or the domain in the z-axis let’s place it over here and now we are ready to create the fire simulation let’s also turn off the x-ray mode and now with the cube selected we’ll go to the physics properties and from this list select the fluid simulation now in the type select the domain and by default the domain type is selected as the gas so so in case of fire simulation we have to use the gas domain type and in case of the liquid simulations we have to use the liquid domain type and gu if you want to learn about the fluid simulations in liquid then you can watch this particular chapter where we discussed about this concept in complete detail now with the gas domain type selected we also have to create the source of fire so for this I will be selecting this UV sphere now go to the physics properties and turn on the fluid simulation now in the type select the flow and you will notice in the scene that we have some smoke emerging out of the uis spere and this is because in the flow type the smoke is selected similarly you also have some other options like fire plus smoke which will add both the fire and the smoke and you have one more option which is the fire and this one will add the fire individually without any smoke for now we’ll be selecting the Fire Plus smoke in the flow type so that we can understand both of them simultaneously and once I select the Fire Plus smoke flow type you can see here that we can see some simple fire in the scene also if I press the space bar to play the animation then we have the simple animation created where the fire coming out of the UV sphere will turn into smoke but what if you need a continuous supply of fire and to achieve such a result we need to change the flow Behavior by default the geometry is selected meaning that the amount of fire that will emerge out of the mesh will depend upon the geometry of the object and in order to get a continuous Supply we need to change the flow behavior from the geometry to the inflow now I’ll take the pointer back to the frame number one and press the space bar to play the animation and this time you will notice that we have a continuous supply of the fire and the smoke coming out of the UV sphere and the region in which it flows is the volume of this Cube which is the domain object now suppose you want to improve the quality of fire and smoke and to do this we have to change the fluid settings of the domain object so let’s select this Cube which is the domain and in the fluid settings the most important thing is the resolution divisions and by default this value is set at 32 but to improve the quality of the fire and the smoke we need to increase this value so if I increase it to something like 64 then in this case the quality of the animation will be improved but with that it will also take a much longer time to show the simulation in the 3D view Port as well as when you render the final animation but to skip this problem we have another setting in the fluid simulation which is the cas menu this will allow you to B the animation or in simpler words it will create a temporary memory where it will save all the details of the simulation between any two frames and the benefit of using this is that after making the entire animation in the C we’ll be able to run the animation smoothly without any issues so to bake the animation we first need to change the type from replay to the modular and also turn on is resumable now to bake the animation scroll up and in the settings category here you have an option to bake the data so I left click on it and now it will take some time to bake the entire simulation now once the baking is done the bake data button will get replaced by the free data which you can use if you want to make any changes in the fluid properties because in that case you will first have to remove the data by clicking on the free data option then you will change the properties and then you will have to rebake the entire data by clicking on the bake data button but now let’s go back to the frame number one and now if I press the space bar to play the animation then this time you can see that the fire and the smoke in the simulation look much more realistic and detailed than before and the best part is that even after improving the quality it is still running smoothly since we use the big data so to get realistic fire in the Smoke it’s advisable to use the resolution division value of around 64 but yes if you want much more realism or detailing added to the fire then you can increase the resolution division value to somewhere around 128 or maybe 256 and yes one more method to add some detailing or some noise to the fire is to use the noise option in the fluid settings so if I turn it on and let’s also open this menu then from here you can control the strength of the noise but for now we’ll be going with the default values and now to view the effect of noise you simply need to click on the bake noise this will take a few seconds to bake the noise for the entire animation and once the baking is done if I try to play the animation then now you will be able to see that how realistic and detailed this fire is looking because of adding the noise to it now moving ahead I will be removing this noise for now so I’ll uncheck this box and now we have the fire without the noise effect now one thing to notice here is that we are able to see the fire along with the smoke in the solid mode however if I switch to the material preview mode then we are not able to see any fire or smoke in our scene similarly this is true for the render view also the fire in the smoke is still not visible in our scene and the reason behind this is that we need to apply some material to the fire and the smoke in order to view them in the render view now a very important thing to understand is that the material of the fire and the smoke will exactly be the same as the domain object therefore to create the material for the fire and the smoke you have to select this domain object or the cube and with this selected go to the material properties now we have this default material applied which is sa with the name material and since we want this material to be applied to the smoke and the fire we’ll have to use the principal volume node and to do all this stuff we also need to open the Shader editor for this I’ll be changing this window of the timean editor into the Shader editor so click on this icon and select the Shader editor now I’ll be deleting the default principal bstf so left click to select it and press X to delete now press shift plus a go to Shader and select the principal volume Shader let’s place it over here now I’ll take the volume output socket and connect it to the volume input in the material output node now that both of them are connected the domain object or the cube will disappear and this is because it is a mesh object but we applied the principal volume to it also we are able to see some smoke emerging out of the UV sphere due to the principal volume node also if you want to change the color of the smoke then you can go to the color parameter and change the color from here but for now I’ll be choosing the default white color then you have the density option and if I try to change it the density of the smoke will increase or decrease now we also need to view the fire in our scene and for this we’ll be using the same principal volume node which is currently changing the material properties of the smoke now to do this you have to go to the color attribute option and in this type temperature now if I press enter you will notice some slight changes in the scene but before that let’s also understand why we entered the temperature in the color attribute so the reason for using the temperature in the color attribute is that we want to control the color of the volume based on the temperatures by doing this we are telling the blender software to use a temperature map in order to determine the color of the volume at each point now you must be knowing that the region around the fire will obviously have a higher temperature than the region around the smoke as a result the higher temperature areas will get assigned the colors associated with heat like orange red yellow and lower areas will be assigned the colors like the gray color or slightly blue color and to view this color change based on the temperatures you have to increase the value of the black body intensity by default it is set to zero but if I change it to one then now you will begin to notice slight orange color for the fire in the scene also to get realistic results it’s advisable to use the cycle cender engine so let’s change it from E to cycles and this is how it looks if you want to add more glow or heat to the fire then you can try to increase the values of the black body intensity and the temperature so in the black body intensity if I enter four then now this is how the fire is looking similarly if I go to the temperature value and change it from 1,00 to 1200 then because of the increase in temperature the color will also change also if you want to change the color of your fire then for this you can use the black body Tint by using this we can easily change the color of fire to any color of our choice but to get realistic results it is advisable to keep the black body tint color to either the white color or some light shade of yellow or orange and so finally this is how the fire simulation Works in blender let’s also change this window back to the timeline editor and let’s play the animation to view it in the render View and now it looks like this obviously it won’t run smoothly because we have the cycle sender engine turned on but you can run the animation properly when you finally render it by clicking on render and selecting the render animation and now moving ahead let’s try to revise what all we have done in this chapter by creating a simple scene with some wood and some fire coming out of them so for this let’s go to the solid mode and we’ll be deleting the cube as well as as the UV sphere so with the shift key hold it I’ll select the UV sphere now press X to delete and now to make the wooden pieces let’s add a cube object so press shift plus a go to mesh and select the cube tab into the edit mode press s to scale it down let’s also scale it up in the Y AIS like this now let’s go to the top view by pressing seven on the numpad let’s come out of the edit mode and we’ll place it over here also to make it incline let’s rotate it in the x-axis like this let’s also go back to the edit mode press three for the face select select this bottom face and let’s scale it up like this now we have one piece of the wood ready and to create the rest of them let’s first go to the Top View Press shift plus d to create a duplicate then right click and let’s rotate it in the z-axis by 180° let’s move it in the y- axis and place it over here let’s create two more pieces so with the shift key holded I’ll select the other one also now press shift plus d to create a duplicate of both of the pieces and right click to cancel the movement now let’s rotate the duplicate pieces in the z-axis by 90° and with this we have four simple wooden pieces added in our scene if you want to increase their number simply select them press shift plus d to create a duplicate right click and rotate them in the z-axis now we have enough wood in the scene and to create the fire we need to have a flow object in the center for this let’s use a UV sphere so press shift plus a go to mesh and select the UV sphere let’s move it up in the z-axis and place it over here also let’s create a domain object so press shift plus a go to mesh and select a cube tab into the edit mode Let’s scale it up like this let’s also scale it up in the z-axis like this now go to the front view by pressing one on the numpad press all plus Z to turn on the x-ray mode and let’s move this Cube up in the z-axis now left click to finalize now let’s return back to the object mode mode Let’s also turn off the x-ray mode and now we’ll be making this Cube that we added as the domain for the fire simulation so for this let’s go to the physics properties select the fluid simulation and in the type select the domain then for the flow object I’ll be selecting the UV sphere so in the physics properties select the fluid simulation and in the type select the flow now change the flow type from the smoke to Fire Plus smoke let’s also change the flow behavior from geometry to inflow now I’ll take the pointer to the frame number one and press the space bar to play the animation so with this we have a simple fire simulation ready where we have some wood pieces and a UV sphere in the center from where the fire is emerging then if you want to increase the quality of fire you can select the domain change the value of resolution divisions to 64 let’s also bake the animation so in the cas category change the type to modular let’s also turn on the is resumable and to bake the data scroll up and click on the bake data now once the baking is done we can see the improved quality of the fire and the smoke but again if I go to the render view then we’ll not be able to view the animation to solve this problem with the domain object selected go to the material properties click here and from this list select this first material which we used to create the fire previously in this chapter and with this the fire is properly visible in the scene and now we’ll be working on creating the wood material for these pieces so for this let’s select one of them and to focus only on the object press the forward slash button for some lighting click on this drop down and from here turn off the scene world now to create the wood material let’s change this window to the Shad editor now click on the new button and for the wood texture we’ll be adding the noise texture so press shift plus a go to texture and select the noise texture let’s place it over here connect the fact factor to the base color in the principal bsdf and to add the texture coordinate and the mapping node select the noise texture and press crl plus T now connect the object socket to the vector in the mapping node and to get a texture which looks like wood we need to change the scaling of this texture with the help of mapping node so let’s try to change the scale in the xaxis let’s also change it in the y- axis and let’s keep it to something like five or six let’s also change the scale in the z-axis so by changing these values you can change the way how the texture looks on your object for now I’ll be changing the scaling in the x-axis to something like 0.5 or 0 6 let’s also slightly increase the value of scaling in the z-axis so we’ll keep it to something like 4 or 4.5 and now it looks perfect to give it some colors let’s add the color ramp node so press shift plus a go to converter and select the color ramp let’s place it over here in between the noise texture and the principal bstf now for the first pointer we’ll be using the black color only but for the second pointer I’ll change this color to something like brown so let’s reduce the brightness from here and change the color to the brown color also to give it a more realistic look let’s add some bump effect to the texture so for this press shiftless a go to vector and select the bump node let’s place it over here connect the factor socket in the noise texture to the height and the normal socket in the bump node to the normal in the principal bsdf also if you want to increase the amount of black color in the texture then for this select the first pointer with the black color and move it like this this will increase the amount of black color in the texture so for now let’s place it somewhere over here also you can use the scale parameter in the noise texture in order to control the overall scaling of the texture applied but for now I’ll be keeping the default value of five and now the wood material looks perfect so to remove the the focus from this wood piece press the forward slash button again let’s also turn off the scene World from here and now to apply this wood material on the other pieces Also let’s first go to the object mode then we need to select all the pieces except the one on which the material is applied so let’s select all of them by holding the shift key like this and in the end we have to select that particular object on which the wood material was applied so with the shift key holded I’ll be selecting this one in the end now press contrl plus L and select the link materials now if I go back to the render view then you can see here that we have the wood material applied to all the wood pieces also to finalize our scene let’s add a plane at the bottom so press shift plus a go to mesh and select the plane tab into the edit mode press s to scale it up 10 times now go to the front view by pressing one on the numpad and let’s move this down in the z-axis now if I go to the camera view by pressing zero on the numpad let’s also turn on the lock camera to view and then zoom out and finally this is how the scene looks let’s also change the color of this plane at the bottom so go to the material Properties or in the Shader editor and click on the new button now let’s change the base color and for now I will be assigning the blue color also if you want to get some more light in the scene then you can select this lamp go to the object data properties and increase the power to something like 2500 wats let’s also create a duplicate and move it in the y axis and with this we now arrive to the end of this chapter today we learned about the fire simulation in blender and also used it to create a simple scene with some wooden pieces and some fire coming out of [Music] it in this chapter we’ll be understanding about the four types of quick effects that are used in blender in order to create basic simulation scenes or effects and get inst results now to begin with the first question is that what exactly is meant by quick effects and what is its use so the quick effects allow you to set up a basic simulation scene or effect including the selected objects and it allows you to add essential objects like domains or the particle systems with the predefined settings so that you can easily get instant results and to access the quick effects you need to open this object menu and in this list here you have the quick effects and these are the four basic quick effects that are mainly used in blender the first one is the quick fur the second is quick explode the third is the quick smoke and the last is the quick liquid so let’s begin with understanding the usage of each of these four quick effects and for this first I’ll be deleting this Cube so press X to delete and now we’ll be adding a suzan or the monkey model so press shift plus a go to mesh and select the monkey object and with this monkey selected we’ll be applying the first quick effect to it which is the quick fur and to add this effect go to the object menu then in the quick effects select the quick fur and on applying this effect you can see that we have some fur added on the suzan or the monkey object however if I select the San object from the scene collection and go to the particle settings then you can see here that we don’t have any hair particle added but still we are able to see these hair particles or the fur applied on the suzan object and this is because by using the quick fur effect we made blender to add a geometry note setup built with the hair node groups to check this thing you can go to the geometry nodes workspace and with the first selected you can see here that we have this entire node system created automatically by blender and due to this note system blender managed to produce this fur effect on the suzan object also in the scene collection if I click on this drop down then you can see here that we have this object named as curves and this is representing these hair particles or the fur particles so if I selected the Curves in the scene collection it means that we have selected the fur but if I select the suzan then in this case we have selected the original suzan object for now let’s return back to the layout workspace then I’ll select this F either from the 3D viewport or from the scene collection by clicking here and selecting the curves now press X to delete it and the next type of quick effect that we’ll be exploring is the quick explode so for this I’ll be selecting the suzan object then go to the object menu and in the quick effects select the quick explode now what this basically does is that it creates an explosion effect which you can view by playing the animation so if I press the space bar then the suzan object will explode so whenever you have to create a simple explosion effect for your object then for this you can simply use the quick explode in the quick effects also if I go to the modify properties then here you can see that because of adding the quick explode it has created a particle system which you can also see in the particle properties and also this explode modifier is added due to which the explosion effect was being created also if you want you can apply this modifier directly in the modifier Properties by clicking on ADD modifier and in the physics here you have the explode modifier but with the help of quick effects it will directly make the setup of the modifi in your blender file also if you want that the number of these pieces in the explosion should increase or decrease then for this you can go to the particle settings and increase the number from here by default this value set to 100 however if I increase the number to something like 2,00 and let’s play the animation one more time and now you will notice that the suzan object is being broken into a much larger number of pieces similarly if I change the number value to value of two and let’s play the animation one more time and now you can see that the explosion effect is still being applied but this time the monkey object is broken into two separate pieces so with the number value in the particle settings you can control the number of pieces which will be there when the explosion occurs now moving ahead I don’t think it’s right to break or explode this innocent suzan like the way we just did so right now we’ll be removing this effect and for this let’s go to the modify properties and with my cursor over the explode modifier press X to delete let’s do the same with the particle system also and press X to delete now we have our innocent suzan object back in the scene and now the next type of quick effect that we have is the quick smoke and to access this go to the object menu and in the quick effects select the quick smoke now what this quick smoke does is that it automatically creates a smoke simulation by adding a domain object around it also to understand about the simulation in Smoke and fire in complete detail you can watch this particular chapter we understood about how the fire in the Smoke simulations work in blender now returning back to the scene we have this domain object around the suzan model and if I go to the physics properties then here you can see that we have the fluid simulation selected with the domain selected here and in the domain type we have the gas selected also if I select the suzan or the monkey object then here in the physics properties we have the fluid simulation selected and in the type the flow type is selected meaning that the smoke will be emitted from the suzan object and it will flow according to the volume of the domain object so to view the smoke simply take the pointer back to the frame number one and press the space bar and now we can see the smoke emerging out of the monkey object also if you want to add some fire then for this with the monkey object selected go to the physics properties and in the flow type select fire plus smoke now let’s take the pointer back to the frame number one and press the space bar and with this we now have both the fire as well as the smoke coming out of the monkey object so whenever you have to get some fire or some smoke emerging from an object then you simply need to select that object then go to the object menu and in the quick effects you simply need to apply the quick smoke and now moving ahead the fourth and the last type of quick effect that we have on our list is the quick liquid so to understand this I’ll be deleting the monkey object so press X to delete let’s also select the domain and delete it as well let’s also take the pointer back to the frame number one and now let’s add a simple cube in the scene so press shift plus a go to mesh and select a cube now with this Cube selected go to the object menu then in the quick effects select the quick liquid now what the quick liquid does is that it simply creates a liquid simulation in the scene where the selected object which is the cube will get get the fluid simulation applied with the flow type selected meaning that the liquid will emerge or flow from that object and it will also add a liquid domain which you can select from the scene collection and with this selected if I go to the physics properties then here you have the fluid simulation selected and the type set as domain also in the domain type we are having the liquid selected which will allow us to create a liquid simulation so if I go to the 3D view port and press the space bar to play the animation then you can see here that we have the simple liquid simulation created simply by using the quick liquid effect so in this way whenever ever you want the liquid simulation to be applied on any object in the scene then you can simply use the quick liquid from the quick effects and with this we now arrive to the end of this chapter today we learned about the four simple yet timesaving quick effects that are available in [Music] blender now before beginning with the character modeling we first need to understand that what exactly will be the type of character that we’ll be creating so from this particular chapter we’ll be creating this particular character where we’ll be focusing on modeling the character’s body making the hair of the character then we’ll make the clothes of character so by following all these steps we’ll be completing the creation of character model now to begin with modeling the head of character we need a simple object to start with it can either be a cube or a UV sphere or maybe a cylinder and in this particular chapter we’ll be making the character’s head with a cylinder so first of all press X to delete the cube now press shift plus a go to mesh and select the cylinder now in the add cylinder menu we have several settings to change and the one that will be changing will be the vertices parameter by default its value is set to 32 but we need the character’s head to be much more simple as a result I’ll change the vertices value from 32 to a value of 16 now we have lesser vertices and this will give the head of the character a very simple look now let’s go to the front view by pressing one on the numpad and we’ll be keeping this x-axis as the base of the character so we’ll be moving the cylinder up in the z-axis by 4 M and that’s because we’ll be keeping the character’s height of somewhere around 4 M now let’s also reduce the size of head and right now if I select the measure tool from here then you can see that for a height of about 4 M we have to keep the head of cylinder somewhere around this point also we’ll be keeping the length of the character’s head of around 1/4 the height of character which is approximately equal to 1 M but right now the length of the cylinder which will be used as a head is around 2 m so to solve this problem tab into the edit mode press s to scale it down and type 0.5 also return back to the object mode move the cylinder down in the z- axis by 0.5 M so for this press G then Z and enter minus 0.5 now to make the cylinder look like the character’s head go to the edit mode and now we’ll be applying the bevel tool to the edges of the cinder so for this press two for the edge select mode now left click anywhere in the screen to deselect all the edges and now we need to select only the top Edge Loop and the bottom Edge Loop so for this with the ALT key holded left click on the top Edge Loop and similarly with the alt and the shift key holded select the bottom Edge Loop let’s go back to the front view and to apply the bevel tool press ctrl+ B this will help us to form the basic structure of the character’s head also to improve the number of segments you can use the scroll wheel so if I scroll up the number of segments in the bevel will increase and once you have finalized simply click the left Mouse button also to make the head of character slightly thinner press a to select everything and we need to scale it down in the X and Y axis simultaneously so for this press s and press shift plus Z now let’s scale it down like this and left click to finalize now one of the most important things while modeling anything is to take care of the fact that each face of the geometry should be made from four vertices as far as possible but in this case you can see that the top face as well as the bottom are made up of more than four vertices and to solve this problem simply go to the face select mode by pressing three now select the top face press X to delete and select delete faces and now we need to fill this face such that all the faces in the geometry will have exact four vertices so for this press two for the Ed select mode now with the ALT key holded select this Edge loop at the top now if I press crl plus F then it will show the menu for the face settings like the extrude faces insert faces filling the faces and for this particular case we’ll be selecting the grid fill this will help to fill the empty space in between the selected vertices by adding multiple faces in the grid form also if I go to the top view by pressing seven on the numpad then here we need to ensure that the pattern of these grid faces should be such that the vertices of these faces should be aligned with the X and the Y AIS but in this case we are not having that alignment and to solve this problem in the GD fi settings over here you can try to change the offset value and by doing this we’ll reach a result where these vertices or the edges are properly aligned with both the X and the Y AIS now let’s do the same with this bottom face also so for this press three for the face select mode now select the bottom face press X to delete and select delete faces now press two for the Ed select mode and with the ALT key hold it select this Edge Loop now now press crl plus f for the face menu and select the grid fill now for the bottom View Press crl + 7 and to align the vertices and the edges with the X and Y AIS go to the grid fill settings and change the offset from here and add the offset value of two I’m getting the desired results now with this we have the basic structure of the head ready in our scene now moving ahead if I go to the side view then we need to make the face slightly more upwards from this right side and for this press alt+ Z to turn on the xarray mode now press one for the vertex select mode and select these bottom edges now first of all press X s and z and slightly scale it down in the z-axis now press R to rotate it like this and left click to finalize also press G to move it in the y- axis and move it slightly towards the right also if you want you can rotate it even more by pressing R so it completely depends upon you that how much angle you want to keep for the head of character now moving ahead we’ll be creating the mouth of our character so for this let’s first add some Loop Cuts in order to increase the number of vertices so press cr+ R then left click and drag it down like this let’s add one more Loop cut below the first one so press rl+ R again and let’s add a loop cut over here now left click to finalize and right click to cancel the movement for a better geometry let’s add one more Loop cut over here so press cr+ R then left click to finalize and right click to cancel the movement now let’s go back to the front view by pressing one on the numpad Press alt plus Z to turn off the x-ray mode now for creating the mouth we’ll be selecting some faces on this Lower Side and we’ll then insert the faces so for this press three to enable the face select mode and now we’ll be selecting these eight vertices over here now to insert them press I and then left click to finalize Now to create a hollow space for the mouth part press X and select delete faces now moving ahead in order to ensure a proper symmetry of the face on both the sides it’s advisable to use the mirror modifier so for this first enable the x-ray mode by pressing alt to Z Now select the second half of faces press X and select delete faces let’s turn off the x-ray mode and with this half go to the modify properties click on ADD modifier and in the generate select the mirror modifier now whatever changes I’ll do on this right hand side to any of the vertices edges or the faces will automatically get applied to the other the symmetrical side for example if I select this face and press G to move it then you can see here that the same effect is being applied to the other side of the face as well however if I press one for the vertx select mode and select a Vertex anywhere in the middle and try to move it then now you will notice that the middle vertices of both sides of the Symmetry are not connected to each other and to connect them together simply go to the mirror modifier and turn on the clipping and with this if I again try to move this vertex by pressing G then the geometry is no longer getting ripped

apart now let’s go to the front view and now let’s place these vertices around the mouth properly for the character so for this I’ll select this top Vortex let’s slightly move it down in the z-axis let’s select this one also and move it up in the z- axis like this in this way we’ll reduce the hollow space that we have created for the mou now select this Vortex over here press G to move it and place it over here now I’ll select this one let’s move it slightly upwards now we’ll select this vertex let’s move it over here similarly with this one let’s place it over here and now this particular vertex we’ll place it over here now let’s zoom in and you need to ensure that the space between the top and the bottom vertices is almost equal for all these vertices around the mouth so let’s properly fix this so first of all let’s move the selected vertex slightly upwards in the z-axis like this let’s select this one and move it slightly downwards in the z-axis let’s also select this one and move it slightly in the x-axis like this and now it looks perfect Also let’s go to the side view by pressing three on the numpad now over here we’ll be selecting this vertex and press G to move it in the y- axis then I’ll also select this one and let’s move it over here let’s also move this particular vertex slightly upwards in the z-axis let’s also move this one slightly ly upwards in the z-axis and guess it depends on your model and the placement of different vertices that what changes you should do here in simple words you need to ensure that all of these vertices of the mouth are kind of symmetrical on both the top as well as the bottom also I’ll select this vertex which is not connected to the mouth and will slightly move it in the y- AIS the reason for doing this is that when the mouth of the character will move it will also show the stretching effect as a result we had to move this vertex slightly apart in order to increase the area around the mouth for stretching also for a better geometry we’ll be adding a Loop cut over here so press c cr+ r then left click to finalize and right click to cancel the movement now it’s completely up to you if you want to change the position of any vertices and the effect of these changes will basically be visible when we work on the facial expressions so if you want you can try to move some of these vertices as per your own choice but for now I think that the mouth area looks almost perfect and now moving ahead we’ll be creating a nose for our character so for this let’s first go back to the object mode and now to make a simple cartoon like nose for this character which will be kind of circular you can add a UV sphere on an icosphere but in this chapter I’ll be using a cube and we’ll apply subdivision surface modifier to it so press shift plus a go to mesh and select the cube now go to the modifier properties click on ADD modifier and in the generate select the subdivision surface modifier now with the level viport set to one let’s apply this modifier so click on this drop down and select apply now go to the side view by pressing three on the numpad tab into the edit mode press s to scale it down like this now let’s return back to the object mode press G to move it and place it over here now let’s zoom in and we still need to make it get smaller in size so tab into the edit mode press s to scale it down again and now it looks perfect Also let’s return back to the object mode press G to move the nose and let’s move it in the y- axis and place it over here now moving ahead let’s also model the eyes of the character and for this we’ll be using the same cube with the subdivision surface applied so for this press shift plus d to create a duplicate and place it over here now tap into the edit mode and instead of round we’ll be making it slightly overal so for this press s to scale it up in the z-axis now left click to finalize now let’s go to the side view get back to the object mode let’s move it in the y- axis and place it over here also let’s slightly scale it down in the Y AIS in order to make it thinner and now it looks perfect now to get a better view of the ice position let’s go to the top view by pressing seven on the numpad tab into the edit mode now with all the vertices selected let’s rotate it in the z-axis like this now come out of the edit mode press C to move it and place it over here now let’s go to the front view again and once this eye is ready we’ll now be creating the eyebrows of the character so for this press shift plus a go to mesh and select a cube tab into the edit mode press s to scale it down let’s zoom in come out of the rate mode and let’s place it over here also go to the side view by pressing three on the numpad and let’s move it forward in the y- axis now to convert it into an eyebrow we need to do some changes in the geometry of this Cube so tab into the edit mode Let’s scale it down in the z-axis in order to reduce its height Also let’s scale it down in the Y AIS in order to reduce the depth now let’s go to the front view in order to see it properly now let’s come out of the edit mode and move it down in the z-axis I think that we should reduce the size in the xaxis also so tab into the edit mode again and scale it down in the x-axis like this now to align the eyebrow properly with the face go to the top view by pressing seven on the numpad Press R and Z to rotate it in the z-axis now come out of the edit mode and move it over here and now this is how the simple eyebrow of the character is looking in order to make it curve tab into the edit mode and now we need to add some Loop Cuts in order to make the eyebrow curved so press crl + r and to increase the number of loop Cuts you can use the scroll wheel so let’s keep around three Loop CS then left click to finalize and right click to cancel the movement now turn on the proportional editing tool by pressing o and now we’ll move the selected vertices upwards in the z- axis so for this press G and since the proportional editing tool is turned on as a result if I try to move these vertices the effect will also be seen on the neighboring vertices and to solve this problem we need to reduce the size of the circle of influence of proportional editing tool and for this after pressing the G key simply scroll up and this will reduce the size of the circle of influence let’s keep the size to something like this so that when we move up the selected vertices in the z-axis the surrounding vertices will also show some movement now left click to finalize now while being in the edit mode press a to select everything or to turn off the proportional editing and let’s move it down again in the z-axis like this and now we have the curved eyebrows in the scene now let’s return back to the object mode and now the next thing that we going to do is to complete this other side of the face as well and for this we’ll be joining the nose eyes the eyebrows and the head together as a single object but before that let’s also make this nose cut into half so that we can properly join it with the remaining parts of the face and then apply the mirror modifier so let’s Saab into the edit mode press all plus Z to turn on the x-ray mode now select this half of vertices press X to delete and select delete faces now let’s come out of the edit mode press all plus Z to turn off the x-ray mode and with this nose selected hold the shift button then select this eye then with the shift key still holded select this eyebrow and in the end select the head now to join them together press crl + G and now because of the mirror modifier we are having the nose eyes and the eyebrows on both the sides of the face and now one thing that you might have noticed is that currently the face of our character is looking somewhat like a robot and that is because we are not having enough vertices to give it a human like look and to solve this problem we’ll be applying the subdivision surface modifier to it so with the head selected go to the modify properties click on ADD modifier and in the generate select the subdivision surface modifier and with this the face is now looking much more realistic than before similarly if I go to the subdivision surface modifier and increase the level seport to a value of two then the character will look much better but for now I will be keeping the level suport value to one also I think that we should try to increase the thickness of the eyebrows so for this tab into the edit mode Let’s go to the front view by pressing one on the numpad and to select only the eyebrows one of the ways is to select the eyebrows like this but in this method you might exclude some of the vertices or include some vertices of the surrounding objects so a better way to do this is to first deselect everything by left clicking in the 3D view Port now with my cursor over the eyebrow press L and now you can see here that we have all the vertices of the eybrow selected now let’s scale it up in the z-axis like this also let’s go to the side view by pressing three on the numpad and let’s scale it up in the y axis also if I zoom in then you can see here that because of the subdivision effect the distance between the nose and the face has slightly increased and to bring it closer first ensure that nothing is selected then take the cursor over the nose press L and now let’s move it in the Y AIS let’s place it over here and left click to fin lights and now moving ahead we’ll now be creating the ears of the character so for this we’ll be adding a cube in the scene so press shift plus a go to mesh and select a cube let’s move it and place it over here now tab into the edit mode press s to scale it down and left click to finalize now come out of the edit mode press G to move it and place it over here now let’s return back to the edit mode and let’s slightly scale it down now let’s go to the side view let’s scale it down in the y axis also and now it looks perfect now to make it shape look more like an ear we need to add some Loop Cuts so press crl plus r and add one Loop cut over here then press crl + r again and add another loop cut over here now turn on the x-ray mode and select these vertices let’s scale them up in the z-axis slightly then I’ll select this vertex and with the shift key holded select this one and we’ll be moving them slightly inwards so press G and move them in like this let’s also scale them down in the z-axis and now it looks perfect now let’s turn off the x-ray mode press three for the face select mode and now we’ll be selecting these four faces of the ear press I to inzet then left click to finalize and to create the hollow space we’ll be extruding in these faces so press e to extrude it inwards and left click to finalize let’s also scale them slightly downwards by pressing s and left click to finalize now let’s go to the top view by pressing seven on the numpad press a to select everything and let’s slightly rotate them in the z- axis now left click to finalize and now moving ahead we’ll be joining this ear with the head of the character so return back to the object mode and and with the ear selected hold on the shift key and select the head now press control+ J and with this we’ll observe two changes one is the mirroring which is due to the mirror modifier and the second effect is the application of the subdivision modifier now moving ahead if I go to the mirror modifier and click on this third icon then now we’ll be able to see only the original right half of the head and if I change the angle then you can clearly see that a mesh is not having any kind of thickness currently it looks thin as a paper and to give it some thickness we’ll be adding the solidify modifier so go to the modifier properties click on add modifier and in the generate select the solidify modifier also to ensure that you move the solidify modifier up in the order before the subdivision surface modifier and to do this left click over here and drag the solidify modifier above the subdivision surface modifier now in the thickness value keep it to somewhere around 0.01 or 0.02 and this will give a slightly thick look to the mesh of head now moving ahead let’s work on creating the interior part of the mouth so for this we’ll basically be making a curved object to be placed in here and for this we’ll be adding a cube in the scene so press shift plus a go to mesh and select the cube now go to the modify properties click on ADD modifier and in the generate select the subdivision surface modifier with the levels UT set to one we’ll be applying this modifier from here now let’s go to the side view by pressing three on the numpad now press gz and move it up in the z-axis now go to the wireframe display mode and to modify this Cube tab into the edit mode press s to scale it down and left click to finalize now we have to ensure that the position of this object which will be using for the interior of mouth must be placed somewhere at this position so for this come out of the edit mode press G to move it and place it over here now tab into the edit mode again press one for the vertex select mode select everything by pressing a and let’s scale it down again now left click to finalize now let’s go to the front view and we’ll be deleting this left half of the object so for this I’ll select these vertices press X to delete and select delete faces Also let’s return back to the object mode press three to go to the side view or maybe let’s press cr+ 3 to view the other side now press alt plus Z to turn on the x-ray mode and now we’ll also be deleting these vertices that are coming out of the face so press X and select delete vertices now we’ll be selecting this front edge Loop of this object so hold on the alt button and left click now press e to extrude it in the y axis then left click to finalize let’s also go to the side view in order to see everything properly so press crl + 3 and I think that we should move all the vertices slightly backwards so press a to select everything and let’s move it in the y axis Also let’s slightly scale it up in the y axis like this and left click to find Li now select this vertex over here and also with the shift key holded select this vtex and let’s move them forward in the y axis now left click to finalize and with this we now have the interior of the mouth almost ready for our character now let’s return back to the object mode and just like the other body parts we’ll also be connecting this interior of the mouth with the face of character so for this with the mouth interior selected hold on the shift button and select the face and to join them together press crl + J and because of this we now have both the solidify as well as the subdivision surface modifier applied to the entire face along with the mouth interior also to view the effect of the mirror modifier again you simply need to turn on the realtime display by clicking on this icon now before moving ahead in the solidify modifier to ensure that you have turned on the only Rim option the benefit of enabling this is that now the solidify modifier will affect only the open edges of the model and as a result it won’t add any thickness or the solidify effect to those areas which don’t have an open Edge so it’s better to keep this option on now moving ahead we’ll now be creating the teeth for our character and for this we’ll be adding a cylinder in our scene so press shift plus a go to mesh and select the cylinder now in the add cylinder menu change the number of vertices to 16 now tab into the edit mode and with all the vertices selected let’s scale it down in the z-axis now to model the teeth we’ll be using these front faces and we’ll extrude them in order to give them some thickness so first of all press three for the face select mode select the top face and with the shift key holded select this bottom face now press X to delete and select delete faces now as I told you earlier we only need these front faces and therefore I’ll go to the top view by pressing seven on the numpad press one for the vertx select mode then press all plus Z to turn on the x-ray mode and we’ll be selecting all these vertices now press X to delete and select delete faces and with this we have only the front faces of the cylinder in our scene let’s also turn off the x-ray mode press a to select everything and to reduce its width let’s slightly scale it down in the Y AIS so press s y and scale it down like this and now to add some thickness to these faces press three for the face select mode and now we’ll be extruding these faces along the normals so for this press alt plus e and select extrude faces along normals now if I move my cursor then the faces will get extruded and to finalize the Extrusion simply click the left Mouse button now we’ll be using the this Teeth part for the upper teeth that will get attached to the upper jaw as a result we don’t need to have all these faces on the top and also on the sides so to delete them first I’ll select this phas then with the control key holded select this last phas also with the shift key holded select this phas and similarly select this face also now press X to delete and select delete faces and with this we have all the selected faces deleted also to give it a realistic look let’s return back to the object mode and now we’ll be using the subdivision surface modifier so go to the modifier properties click on ADD modifier and in the generate select the subdivision surface modifier Also let’s tab into the edit mode press a to select everything and let’s scale this up and I’ll scale it up in the z-axis also to make this lower part slightly less rounded let’s add a loop cut over here so press crl plus r then left click and move it down and with this we now have the teeth ready for our scene and so now it’s the time to place the teeth inside the mouth of character and to do this let’s first select the head of character and I’ll disable the realtime display of the mirror modifier let’s go to the side view by pressing control and three on the numpad now select the teeth press G to move it and place it over here now tap into the edit mode press a to select everything and scale it down and then left click to finalize now go to the front view press Al plus Z to turn on the x-ray mode and let’s scale this down in the x-axis Also let’s go back to the side view let’s also scale it down in the z-axis slightly turn off the x-ray mode and let’s also return back to the object mode now to move the teeth press G and move it over here let’s go to the front view also so press one on the numpad let’s move them slightly upwards in the z-axis and place them over here similarly for the lower teeth press shift sh plus d to create a duplicate then right click to cancel the movement let’s move it down in the z-axis and place it over here but if I change the angle then you can see here that for the lower teeth also we have the hollow space on the top and the field faces on the bottom part but to get the reverse result we need to rotate this object in the y axis by 180° so press r y and enter 180 let’s go back to the front view and move it down in the z-axis now left click to finalize Also let’s go to the side view tab into the edit mode and let’s slightly scale it down so that the upper teeth have a slight higher size as compared to the lower teeth also I will be joining both the upper teeth as well as the lower teeth together so for this with the lower teeth selected hold on the shift key and select the upper teeths now press crl plus J to join them together and with this the teeth are now completely ready also I’ll change their name in The seene Collection so instead of Cinder .001 I’ll double click and change its name to teeth similarly for the head also I’ll select it go to the scene collection double click to rename and change its name to head let’s also go to the mirror modifier and turn on the real time display and with this we have the basic structure of the head along with the teeth ready in our scene Also let’s go back to the front view with the head selected tab into the edit mode deselect everything press one for the vertex select mode and I’m planning to make the lower part of the face slightly scal down so for this let’s select this Edge Loop so with the ALT key holded select the edge Loop and to increase the selection we’ll be using the shortcut to press control with the plus button also turn on the proportion editing tool to get better results now press s and x and slightly scale it down let’s reduce the circle of INF fluence and left click to finalize before moving ahead I can also notice that this interior part of the mouth is intersecting with the teeth so let’s turn off the realtime display in the mirror modifier let’s change the angle and now we need to select this interior part of the mouth and move it slightly backwards in the y- AIS so for this let’s first T select everything now I’ll take my cursor over the mouth interior part then press L let’s also turn off the proportional editing and let’s move it back in the Y AIS then left click to finalize and with this we have the head of our character completely ready and now moving ahead we’ll be creating the hair for our character for this tab into the edit mode and now we need to select all those faces where the hair will be added so for this first of all I will be selecting these top faces so let’s select all of these then to increase the selection press control and the numpad plus let’s do this one more time now we have some of the faces selected Also let’s deselect all these faces on the bottom which might have been accidentally selected so for this hold on the control button and select all these faces Also let’s select these side faces so with the shift key holded select all these faces now let’s change the angle select these faces at the back back and I think that these will be the faces where we’ll be adding the hair particles so now I’ll press one for the vertex select mode and we need to increase these vertices in order to create the hair particles so right click and select subdivide and we need to repeat this step three to four times so let’s do it one more time and now we have a high number of vertices added on these faces Also let’s assign all these vertices to a Vertex group so for this let’s go to the object data properties then to create a new vertex group click on this plus button and to change its name double click here and we’ll rename the vertex group to here now to assign these vertices to the hair vertex group click on the assign button and now we are ready to create the hair so let’s come out of the edit mode and now we’ll be opening the particle properties to create a new particle system click on the plus button and change the particle type to hair now we have the hair particles added all over the character face on this left hand side however to get the hair particles only on the vertex group that we selected go to the vertex group settings and in the density select the hair vertex group also it’s advisable to select the hair vertex group for all of these parameters so let’s do the same with the fourth one then with the roughness one parameter similarly the roughness 2 parameter the roughness n parameter and at last I’ll do the same with the twist parameter now first of all let’s increase the number of hair particles so let’s change the number to something like 3,000 then to reduce their length let’s go to the hair length and change it to something like 0.1 M or maybe 0.08 M now in the segments we have to input a very high number in order to give a realistic look to the hair so in the segments I’ll be entering a value of 20 then go to the source settings and in the emit from select vertices this will make the hair particles emit from the vertices that we have selected rather than the faces also in the render settings scroll down and in the path category increase the number of steps to something like eight this will again give a much more realistic look to the hair particles similarly in the viewport display change the Strand steps to seven or eight and now we have the most important setting which is the children’s settings also before moving forward if you don’t know anything about the hair particles then I’ll first advise you to watch this particular chapter where you understood about the hair particles in complete detail now returning back to the concept in the children select the simple type and change the display amount and the render amount both to a value of eight also let’s reduce the radius value to something like 0.1 and now we have the setting called the clumping that will completely change the way how the hair particles are looking so first of all let’s add some clumping to the hair by changing this value to one also let’s increase the value of the shape of clumping to a maximum of one and now the next parameter that we have is the most important one and this is the twist parameter this value will control the number of turns around the parent here along the Strand to understand it in a better way let’s try to increase the twist value so let’s change it to something like two and now you will begin to notice that the hair of character is actually looking better it has this twisting effect in the hair particles which is due to the twist parameter let’s further increase this value of the twist parameter to something like four or five or maybe let’s keep it to six and now the hair particles look perfect we have created realistic looking hair particles with the help of the hair particles in blender also if you want you can try to change the values of parameters like the number of hair particles or the hair length or maybe the amount of clumping or the twisting effect according to what you think think will look the best for your character but for now I’ll be going with only this particle system also one more thing that you can see here is that we have the hair particles only on this one side of the character’s head and this is because we have not yet applied the mirror modifier so if I click on this drop down and apply then you will notice that we now have the hair particles added on both the sides but it might be possible that we may want to edit something in the mirror modifier and therefore we’ll not be applying it right now so let’s undo this by pressing cr+ Z and now we have the mirror modifier back in the modifier properties also one more thing that you can see here is that some of the hair particles are covering the ears of character and to solve this problem let’s go to the side view by pressing three on the numpad tab into the edit mode and now we’ll be selecting all those vertices that are around the character’s ear for this let’s first turn on the x-ray mode and now we’ll be selecting all these vertices over here with these selected go to the object data properties and with the here vertex group selected click on the remove button now this will remove all the vertices that were previously the part of the vertex gr but are now selected over here so let’s return back to the object mode let’s also turn off the x-ray mode and now you can see here that we have slightly lesser number of hair particles around the ear to reduce the number further let’s again go to the side view tab into the edit mode and let’s try to increase the selection by pressing control and the plus icon in the numpad let’s repeat this step one more time and now again I’ll click on the remove button let’s return back to the object mode and now this is how the result is looking we are only having a few hair particles in front of the ear and this is because we still have not selected these vertices over here so if you want to reduce the number of hair particles further you can press control and the plus icon again and click on the remove button but for now I won’t be doing this step because I think the characters hair is looking better in this case also one more thing that I should explain you in the edit mode is that you might be thinking that while removing the vertices we have selected all these unwanted vertices which are not related to the hair particles but as I told you before when you are removing the vertices in a vertx group it will not consider these vertices which were already not part of the vertx group it will only consider those selected vertices that were already there in the vertex group now let’s return back to the object mode again and with this we now have the head of the character ready and now before ending this chapter we’ll also be creating some materials for the character’s head so first of all let’s right click and apply shade smooth and now to create the material let’s go to the material properties let’s also go to the material preview mode and now we’ll be creating the material for the skin so in the material properties let’s create a new material and for the base color we’ll be selecting the skin color and for this we’ll be using the HX code of skin color which is E7 ae80 so let’s go to the HX code and we’ll type E7 AE 80 and press enter to confirm now we have the skin color applied to the entire head along with the hair particles so we’ll be assigning different material for the hair the eyebrows and the eyes of character but for now let’s first work on the skin material so let’s also increase the roughness value slightly so we’ll keep it to something around 0.6 or 0.7 then go to the sheen category and in the weight let’s increase it to one let’s also increase the roughness value to something like 0.6 or 0.7 who don’t know the usage of Sheen in the material properties it is simply sub scattering which simulates the way light interacts with translucent objects like skin wax marble so in simple words it helps to create a soft or a glowing effect beneath the surface of material giving it a much more realistic appearance now since we are making the skin color so in the sheen tint we’ll change it to something like orange or red and so with this the material for the skin is completely ready now moving ahead we’ll be creating the material for the hair particles and for this let’s create a new material and in this one we’ll simply change the base color to something like black or dark blue so let’s reduce the brightness from here and to apply this material go to the particle settings and in the render category change the material to the material. 001 and by doing this the color and the material of the hair particles will now change let’s go to the material properties again and we’ll rename the material. 001 to hair similarly let’s also change the first material’s name to skin now in this hair material it’s completely up to you if you want complete black color or slightly gray also you can also make it slightly dark blue or any other color of your choice by changing the color from here you can Al keep the hair dark brown colored but for now I will be choosing the dark blue color and will further reduce the brightness and yes if you want to apply the same color for the hair of your character also then you can enter this HX code value which is 1 21 327 in your base color now moving ahead let’s also create the material for the eyebrows and the eyes and for this let’s first go to the front view by pressing one on the numpad tab into the edit mode Let’s zoom in now deselect everything and before applying the Colors Let’s also do a few things in order to make our character appear much better so first of all with everything Des selected I’ll take my cursor over the I and press L now I’ll scale it down slightly also I will select this Outer Edge Loop and for this I’ll first select this Vortex then press control and the plus icon to increase the selection and let’s scale it down like this now we’ll be using the faces of all the selected vertices in order to give the eyes the black color so for this let’s go to the material properties click on the plus icon and create a new material let’s change the base color and we’ll be assigning the black color now to apply this material on the selected faces click on the assign button let’s also move the faces slightly in the x-axis also for the white color of the eye let’s first deselect everything then with my cursor over the eye I’ll press L and now I will deselect this middle vertex and now we’ll be applying a white colored material to the rest of the faces so for this go to the material properties click on the plus button and create a new material it will have the white base color and to assign this material we’ll click on the assign button and with this we now have a perfect material created for the eyes now moving to the eyebrows press L to select them let’s also move them down in the z-axis let’s also slightly scale it up in the x-axis and now it looks perfect now I’ll go to the material properties select this black material and click on the assign button and with this we have now applied all the materials for the character’s head let’s do one more thing in the edit mode first deselect everything then I’ll select this Edge loop around the mouth and I’ll scale it down in the x-axis let’s come out of the edit mode and to get a final look let’s go to the modify properties then click here and select apply and so finally this is how the character’s head is looking and so with this we now arrive to the end of this chapter today we created a simple character’s head head then we also created realistic looking hair particles the eyes of character the eyebrows the nose the mouth interior and the teeth and also applied the material to all these but yes before ending this chapter I’ll press cr+ Z in order to undo the applying of the mirror modifier because as I told you before it might be possible that we would need to make some changes in the character’s head and in that case the unapplied mirror modifier will be a useful [Music] thing in the previous chapter we finished the creation of the character as head then we even created realistic looking hair particles and other things like Eyes Nose the interior of mouth and the teeth of character and in this particular chapter we’ll be modeling the characters body like the Torso the legs arms fingers and the hands and in this way we’ll be completing the basic modeling of our character apart from the clothes so in the previous chapter we created the face of character along with the hair particles and to see the hair particles on both the sides you can go to the mirror modifier and click on the apply button but for now I will undo this because we might need to edit some vertices in the edit mode which will be better to do if we have not applied the mirror modifier and now to create the Torso or basically the upper body first I’ll go to the solid mode I will be adding a cube in the scene so press shift plus a go to mesh and select the cube let’s go to the front view by pressing one on the numpad and let’s place it over here now tab into the edit mode press s to scale it down in the x-axis and left click to finalize we’ll be keeping the width of the Torso in the x-axis of approximately equal to the width of the face without the ears so let’s scale it down further in the x-axis like this and left click to finalize now let’s go to the side view by pressing three on the numpad and let’s scale it down in the y axis so press s and Y and scale it down like this also let’s move it in the y- axis and place it over here and the reason for doing this is that we’ll be making the neck of character slightly inclined with the Torso let’s further scale this down in the y- axis like this let’s also slightly move it in the y- axis now coming to the height of the Torso we’ll keep it to somewhere around 1.2 M or 1.1 M so for this let’s select this measurement tool then left click and drag your cursor like this since we need the torso’s height to be somewhere around 1.1 or 1.2 M so we’ll finalize this and to achieve this let’s scale down the cube in the z-axis let’s also move it upwards and place it over here now let’s check the height of the Torso so left click and drag the cursor like this and now you can see here that the height of a character is approximately equal to 1.2 M now let’s go to the select tool again now to add the other details to the Torso we’ll be adding some Loop Cuts so for this press crl + r now use the scroll wheel to increase the number of loop Cuts then left click to finalize and right click to cancel the movement similarly press ctrl+ R again and let’s add some Loop Cuts over here let’s use the scroll wheel to increase the number of loop cuts and we’ll be keeping a total of five Loop Cuts now left click and then right click to cancel the movement similarly let’s also add one Loop cut over here so press cr+ R and with your cursor over here left click and right click to cancel the movement now to give the Torso slightly rounded shape we need to select these outer edges for this first deselect everything then with the ALT key hold it select these edges then with the alt and shift key holded select these outer edges similarly let’s do the same with this side also with the alt and shift key holded select these vertices and in the end we’ll also be selecting these vertices now let’s scale them down in the x-axis and left click to finalize similarly let’s also scale them down slightly in the y axis and left click to finalize now let’s go to the side view by pressing three on the numpad let’s also turn on the x-ray mode and now we’ll be making the Torso or the upper body look slightly more realistic so for this let’s select these two vertices and with the shift key hold R select these two and let’s move them down in the z-axis now left click to finalize similarly for the vertices at the bottom Also let’s select these two and with the shift key hold rate let’s select these as well now let’s move them up in the z-axis and left click to find dice now moving ahead we’ll be creating the neck of the character for this let’s turn off the x-ray mode press three for the face select mode and with this we’ll be selecting these four faces at the top now press I to insert them and left click to finalize to see the faces properly let’s come out of the edit mode and we’ll now be hiding the head of the character so I’ll select it and press HED to hide let’s also hide the teeth of character by pressing H and now I’ll select the Torso tab into the edit mode and we’ll be using these faces by extruding them in the upwards Direction in order to create the neck but for that let’s first make it slightly rounded and for this press one for the vertex select mode and now we’ll be selecting all these Corner vertices to give it a rounded look press s to scale it down and left click to find lice now moving ahead let’s also make all these four faces completely flat and for this press three for the face select mode then select these four faces and to make them flat press s then Z and enter zero now to extrude the neck press three for the side view let’s move the faces up in the z-axis let’s also rotate it slightly and left click to finalize now let’s unhide the head in the scene collection and with the faces selected press e to extrude the neck now left click to finalize and with this we now have the neck of the character completely ready for a better topology let’s add some Loop Cuts over here so press ctrl+ R and use the scroll wheel to increase the number of loop Cuts then left click and right click to cancel the movement Also let’s make the back area slightly more upwards and for this press one for the vertex select mode and I’ll be selecting these three vertices let’s move them up in the z-axis and left click to finalize also I’ll select this one and with the shift key hold it select this one and let’s move it slightly up in the z-axis now moving ahead we’ll now be modeling the legs of our character and for this we’ll be extruding the bottom faces of the Torso but before that in order to ensure a proper symmetry of the character on both the sides we’ll be deleting one half and then we’ll apply the mirror modifier so for this press alt plus Z to turn on the x-ray mode select all these vertices on the left half press X to delete and select delete faces now let’s return back to the object mode Let’s also turn off the xray mode and now to apply the mirror modifier go to the modify properties click on ADD modifier and in the generate select the mirror modifier now let’s return back to the edit mode and to model the legs we’ll be adding a loop cut over here so press crl + 7 for the bottom view now press cr+ R and add a loop cut over here also I’ll select this vertex and let’s move it in the x-axis similarly this one press G and x and move it over here also one more thing to notice here is that if I select this vertex in the middle and try to move it the geometry of the object will rip apart and to prevent this go to the mirror modifier and turn on the clipping also I will be selecting these four vertices and let’s scale them down like this similarly let’s also select these vertices over here and slightly scale them down now to extrude the legs press three for the face select mode select these four faces let’s also go to the front view and now press the E key to start the Extrusion now left click over here and in order to make all these four faces completely flat press s z and enter zero now let’s go back to the front view and now we’ll be keeping mov the length of the legs to somewhere around 1.4 or 1.5 M so for this let’s go to the measurement tool and with this let’s take a measurement from here until we reach 1.4 M so for a length of about 1.4 M we need to extrude the legs to around this point but before that let’s slightly scale down the faces and now press e to extrude we’ll extrude it till this point and left click to finalize let’s again scale it down slightly let’s also add some Loop CS over here so that when you animate the character the movement of the legs will be proper so for this press crl + r to add the loop cuts and to increase their number you can use the scroll wheel so we’ll keep the number of loop cuts to somewhere around 8 or 9 then left click to finalize and right click to cancel the movement now moving ahead we’ll be creating the feet of our character and for this press three for the face select mode Let’s zoom in and we’ll be selecting these four faces so let’s go to the select tool and let’s select these four faces now press three for the side view and to make the feet let’s extrude these faces down like this let’s also add some Loop Cuts over here so press crl + r and by using the scroll wheel we’ll increase the number of loop cuts to three now left click to finalize and right click to cancel the movement now to make the feet let’s turn on the x-ray mode by pressing alt plus Z let’s also zoom in and press one for the vertex select mode now I will be selecting these three vertices and let’s move them forward in the y- axis similarly let’s select these vertices let’s also move them ahead in the Y AIS and left click to find light now I’ll select these vertices over here press G to move them and let’s place them over here now to align the bottom vertices according to these let’s move them ahead in the Y AIS and left click to find Li also I think that we should move these vertices slightly downwards in the z-axis so let’s place them over here and now to make the feet we’ll basically be extruding these front faces but for that we also need to increase their width so let’s scale them up in the x-axis like this and also to make them flat press s y and enter zero Also let’s go to the verx select mode select these two vertices over here and let’s scale them up in the x-axis like this now press three for the face select mode select these four faces let’s go to the side view and press e to extrude now left click to finalize and to change this structure press r+ R to add the loop Cuts let’s increase the number to Two with the help of scroll wheel now left click to finalize and right click to cancel the movement now we won’t be going into too much detail in modeling the feet and that’s because we later on be creating the shoes of character and as a result the feet will get covered by the shoes therefore we simply need to make it shape to look somewhat similar to a shoe so for this let’s turn on the x-ray mode press one for the vertex select mode now select the vertices over here let’s move them down in the z-axis like this then I’ll select the vertices over here and let’s move them down like this this so with this we have a simple structure of the shoes ready to view them properly and to make some changes let’s turn off the XR mode now to make the shape look much better I will be selecting these Corner vertices and we’ll move them down let’s also select the ones over here so with these four vertices selected on both the sides I’ll move them down in the z-axis and left click to find lights also to make the base of the foot wider press three for the face select mode and by holding the ALT key select this face Loop let’s scale it up in the x-axis like this also to make the foot look more rounded press one for the verx selction mode now I’ll select these two vertices and let’s move them in the x-axis similarly select this one also and move it slightly in the x-axis like this let’s do the same on the other side also I’ll select these two vertices let’s move them in the x-axis like this and left click to finalize now coming to the front of the shoe I’ll select these vertices over here let’s also select these and now scale them down in the x-axis and so with this we have created a basic structure of the feet which we’ll be covering with shoes in the next chapter of this course and now moving ahead we’ll be creating the hands of our character so for this let’s first go to the front view by pressing one on the numpad and now there can be two types of hands which can be created in 3D animation the first type is the three finger and one thumb hand which you commonly see in the cartoons for example Simpsons SpongeBob and then there is second type of hand having four fingers and one thumb for example te Titan SK Steven Universe Etc in fact for most of the 3D animated characters the animators use four fingers instead of five and the reason behind this is that fewer fingers makes a character design simpler which helps in the animation because it reduces the complexity of hand movements and for our character also we’ll be creating a hand with a total of four fingers or to be more particular three fingers and one thumb now to make the fingers of the character we’ll be using a cylinder object so let’s return back to the object mode now press shift plus a go to mesh and select a cylinder then in the add cylinder menu let’s change the number of vertices from 32 to 8 also press G to move it and place it over here tab into the edit mode press s to scale it down like this let’s also rotate it in the Y axis by 90° now let’s zoom in and we’ll be focusing on the cylinder that we’ll be using to make the fingers of our character so first of all let’s scale it down even further Also let’s scale it up in the x-axis like this now for a better geometry let’s add some Loop Cuts over here so press crl + r and to increase the number of loop Cuts simply scroll up and let’s keep the number of loop cuts to somewhere around 6 or seven then left click to finalize and right click to cancel the movement also from the side view we can see here that this face is made up of more than four vertices but as I told you in the previous chapter that it’s always ideal to have almost all the faces in the character made up of exactly four vertices so to fix this we’ll be selecting this vertex and with the shift key holded select the one which is opposite to it now press J to connect them together and with this we are having an edge connecting the two vertices similarly I’ll select this vertex and with the shift key holded I’ll be selecting this one now press J to connect both of them and with this we are now having all these faces made up of exactly four vertices moving ahead I’ll be selecting this middle vertex let’s go to the front view by pressing one on the num and slightly move it forward in the x-axis now to give the finger a more realistic look we’ll be selecting some vertices near the end of the finger so first of all turn on the x-ray mode by pressing alt plus Z Now select these vertices over here and let’s scale them down slightly and so with this we now have the basic structure of the finger completely ready and we’ll be using this finger as the middle finger of the character to create the remaining ones press a to select everything press shift press three to create a duplicate right click to cancel the movement let’s slightly rotate it like this press G to move it and place it over here here now this will be the index finger let’s rotate it slightly more like this and now to create the thumb let’s create one more duplicate so press shift plus d and right click to cancel the movement let’s rotate it like this press G to move it and place it over here also let’s scale it down in the z-axis in order to make the thumb shorter in length let’s move it slightly down in the z-axis like this and in the end we’ll be creating one more finger which will be the little finger of the character so for this with the thumb selected press shift plus d to create a duplicate right click to cancel the movement press R to rotate it like this and place it over here and so with this we now have all the fingers ready for the character to make the rest of the hand let’s return back to the object mode and now we’ll be adding a cube in the scene so press shift plus a go to mesh and select a cube press G to move it and place it over here tab into the edit mode press s to scale it down and left click to finalize let’s zoom in properly Also let’s place it over here and let’s again enter the edit mode press alt plus Z to turn on the x-ray mode select these vertices press G to move them and we’ll be placing them near the index finger similarly I’ll select the vertices over here press G to move them and we’ll be placing them near the little finger then I’ll select these vertices let’s scale them down slightly and now it looks perfect also press 7even to go to the top view press a to select everything and we’ll scale it down in the y- AIS to reduce the width of hand so let’s scale it down like this now let’s again go to the front view and to make the shape of hand better let’s add some Loop Cuts so press crl + r and with the scroll wheel we’ll be adding two Loop Cuts then left click to finalize and right click to cancel the movement press alt plus Z to turn on the x-ray mode and now we’ll be placing these two vertices on the right hand side side according to the gaps in between the fingers so I’ll select the vertices over here press she to move them and let’s place them here similarly I’ll select these press she to move them and we’ll place them over here also I’ll select these vertices and let’s move them slightly away from the little finger now to make this part of the hand slightly curved I’ll select these vertices over here and we’ll move them in the x-axis similarly for the thumb Also let’s add two Loop Cuts so press cr+ R then left click and add a loop cut over here and for another one press crl plus r then left click and add the second Loop cut over here now as you can clearly see we need to fix the size of these fingers and the thumb so that they can be properly attached with the vertices of the hand so for this let’s come out of the edit mode of the hand select the fingers tab into the edit mode now deselect everything with my cursor over here I’ll press L to select this finger and let’s move it over here similarly I’ll deselect everything and with my cursor over the little finger press L and let’s also move this one slightly in the upward direction also I’ll select the thumb press C to move it and place it over here let’s slightly rotate it like this and now it looks perfect let’s again go back to the object mode then select the hand and tab into the edit mode Let’s also turn off the x-ray mode and now we’ll be adding a loop cut on this part of the hand so press cr+ R and add a loop cut over here also to make the hand look slightly curved or rounded from the sides I’ll select these vertices over here let’s also select this one and similarly let’s also select these four vertices and with these selected we’ll move them down in the z-axis now let’s do the same with the bottom part also we’ll select these four vertices over here and similarly let’s select these as well and with this let’s move them up in the z-axis now left click to finalize now let’s again go to the front view by pressing one on the numpad and now we’ll be creating the wrist for the hand so for this let’s return back to the object mode press shift plus a go to mesh and select the cylinder and do ensure that the number of vertices are selected as eight now press G to move it and place it over here tab into the edit mode press s to scale it down like this let’s also rotate it in the Y AIS by 90° let’s scale it down further by pressing s Also let’s place it over here and now to connect the wrist with the hand we will be joining both the object objects so for this with the rist selected hold down the shift button and select the hand then press crl plus J to join them together now let’s enter the edit mode and the first thing that we’ll be doing to join them together will be to delete these faces on this side of the hand so for this press C for the face select mode now we’ll select these faces over here let’s also select these bottom two faces and to delete them press X and select delete faces now let’s again go to the front view and with everything deselected I will be selecting only the wrist so for this with my cursor over the wrist I’ll press L and let’s scale it up slightly now to join both of them together we simply have to merge the vertices of the wrist and the hand together and to do this I will first select the Hand by pressing L and let’s scale it up slightly in the y- AIS like this and now we’ll be aligning these outer vertices of the hand as per the vertices of the wrist object so for this go to the top view by pressing s on the numpad now turn on the XR mode and select the vertices over here press G to move them in the Y AIS and we’ll align them according to the corresponding vertices of the wrist object similarly let’s select the vertices over here and and move them in the y- axis let’s again change the angle to view everything properly now just like we aligned the vertices of the hand as per the vertices of the wrist we’ll also be doing the same for the fingers and for this press three for the face select mode now we’ll select these two faces which are just below the thumb finger press one to go to the front view and we’ll extrude them up in the z-axis so press e to extrude in the z-axis like this also to make this thumb perfectly aligned with the face let’s return back to the object mode and we’ll enter the edit mode of the fingers now press a to select everything and let’s scale them up slightly also I’ll select the Little Finger by pressing L with my cursor over it and let’s align it properly according to the hand now let’s return back to the edit mode of the hands and we’ll be now deleting these two selected faces that we just extruded so press X and delete faces then we’ll do the same thing for the other fingers also so for this select these two faces over here let’s go to the front view and we’ll extrude them by pressing e and press X to delete the faces similarly I’ll select these two faces and we’ll extrude them like this let’s also scale them down also to get some more space in between the fingers and the hands let’s enter the edit mode of the fingers now I’ll select this finger and we’ll move it in the x-axis similarly I’ll select this finger also and move it over here now let’s again return to the edit mode and with these two faces selected let’s move them in the x-axis now press X to delete the faces similarly for the last finger I’ll select these two faces and we’ll extrude them like this let’s also rotate it slightly and press X to delete and select delete faces now if we want to join together the wrist hand and the fingers we need to go to the object mode then we’ll select the finger fingers and the hand and press crl + J to join them together now if I go to the edit mode then you can see here that we able to see the vertices of all the three parts together in our scene now suppose I want to join the thumb along with the hand so for this we’ll basically be merging the corresponding vertices together but for this to happen we need to ensure that the two faces whose vertices will be connected together should be having the same number of vertices but here you can see that this Edge Loop connected to the hand is having a total of six vertices however this particular Edge Loop of the thumb is having a total of of eight vertices as a result we need to add Loop cut over here in order to increase the number of vertices so press cr+ R and add a loop cut over here similarly this is also true for all the other fingers so to add some Loop cuts for all the fingers press crl plus r let’s add a loop cut over here similarly press ctrl+ R and add one more Loop cut for this finger and in the end we’ll be adding one more Loop cut for the little finger but because of doing this the number of vertices on this part of the hand which will connect with the wrist has also increased and this will create a problem when we’ll try to connect the wrist and hand together so to solve this problem we basically need to dissolve some edges so for this press two for the Ed select mode now select these edges over here which are further connecting to the middle finger part of the hand similarly let’s also select these three edges over here and with a total of six edges selected I’ll right click and from here select dissolve edges and with this the edges will get dissolved now moving ahead let’s do the same with the other side of the hand so for this press control+ one for the back view now first of all We’ll add some Loop Cuts so press cr+ R to add a loop cut for the index finger then we’ll add a loop cut for the middle finger and in the end we’ll be adding one more Loop cut for the little finger now we’ll select the edges which will further connect with the middle finger part so we’ll be selecting a total of six edges then right click and select dissolve edges and now finally we’ll be merging the vertices together off the wrist with the hand so for this let’s go to the front view press one for the vertex select mode and now we’ll select this vertex of the hand first and then with the shift key holded select this vertex off the wrist part now to merge them together into a single vertex press M and this will give you a list of some options which will Define the way how the vertices are merged if I select add Center then in this case the vertices will get merged at the center similarly there are other options also like to merge at cursor merge at first merge at last and in this case I’ll be selecting merge at last option this will basically merge the vertices on that point that we selected at last similarly if I select this vertex and then with the shift key hold it if I select this one at last then press M and select merge at last and in this case also the vertices will get merged together but at the position of the last selected vertex now let’s repeat the same procedure for these vertexes also similarly let’s go to the back of model by pressing CR + one now I’ll select this vertex and with the shift key hold it select this one press M and select merge at last we’ll repeat the same for these two vertexes also and also let’s do the same with these two and now you can see here that we have one vertex along the wrist side and three vertices along the hand side so instead of merging them together we’ll be dividing this total area into two equal parts and to do this first we’ll be selecting these four vertices over here here and then we’ll be creating a face so for this press F and this will fill the face between these four vertices similarly I’ll now select these four vertices and press F to fill the face now let’s do the same with this bottom side also so I’ll select these four vertices over here press F to fill the face and at last I’ll be selecting these four vertices and to fill them press F and so with this we now have the hand completely connected to the wrist to view it properly let’s go to the front view by pressing one on the numpad and now before moving ahead there’s one small mistake that we have done in the geometry or the top ology of this hand model which is that for this particular phas we are having a total of five vertices surrounding it this is also true for this phas where we again have a total of five vertices but as I already told you it’s ideal to have all the faces made up of four vertices and to solve this problem we’ll be using the knife tool so to activate the knife tool press K and with this I’ll first select this vertex over here then I’ll take my cursor over here and left click then a Vertex will get created over here and we’ll connect it to this Edge then we’ll create one more vertex over here and we’ll connect to this vertex and to confirm this simply press the enter button and now you can see here that by using the knife tool we are able to make these four-sided faces but because of doing this these two faces are now having a total of six vertices and to convert them into faces with four vertices we’ll be dividing them into two parts each so for this let’s again activate the knife tool by pressing K now select this vertex by left clicking and we’ll connect it to this vertex now to confirm press enter and now they’re joined together also because of this all the faces on this side are now made up of four vertices similarly let’s do the same for this one also so press K to activate the knife tool select this vertex then we’ll connect it to this vertex over here and press enter to confirm so with this the front side of the hand is completely ready now let’s go to the back part of the hand and we’ll repeat the same procedure on this side also so press K to turn on the knife tool select this vertex then we’ll create a Vertex over here by left clicking then we’ll connect it to this Edge then we’ll create one more vertex over here and at the end we’ll be connecting it to this particular vertex then to confirm press enter and now to divide these two faces into two equal parts each we’ll again press K to turn on the knife tool now select this vertex and connect it over here then press enter to confirm and in the end press K one more time for the knife tool select this Vortex and connect it to this one and then press enter to confirm and now moving ahead just like we merged the wrist and hand together we’ll now be merging the fingers with the hand so for this let’s go to the front view by pressing one on the numpad and we’ll be deleting the faces of the fingers and the thumb which will connect with the hand so for this let’s turn on the x-ray mode then press three for the face select mode and we’ll be selecting the bottom face of the thumb then with the shift key holded we’ll select the bottom face of the index finger similarly we’ll do the same with the middle finger also and in the end we’ll also be selecting the bottom face of the little finger now with all these selected press X to delete and select delete faces now let’s turn off the x-ray mode also press one for the vertex select mode and now we’ll be merging together the vertices of the fingers with the hand but before merging them together let’s first align these vertices properly according to the vertices of the thumb and fingers so for this let’s go to the front view by pressing seven on the numpad let’s zoom in let’s also turn on the x-ray mode now I’ll select this Vortex over here let’s move it and place it over here similarly I’ll select this vertex and from the top view let’s align it with the thumb similarly for this vertex also we’ll be aligning it according

to the vertex of the thumb then I’ll select this one and from the top view let’s zoom in and let’s slightly move it in the x-axis so our main purpose is basically to align these vertices according to the position of the corresponding vertices of the thumb base now in the end I will be selecting this Vortex over here and place it over here let let’s also select this vertex and move it in the x-axis and now let’s turn off the x-ray mode now press one to go to the front view and we are now ready to merge these faces together so for this with this vertex selected I’ll hold the shift button and select this one press M and select merge at last similarly let’s select these two vertices and merge them together also let’s select these two press M to merge them together and select merge at last let’s do the same with these two also similarly I’ll select these two vertices and merge them together at last and now the set of three vertices is left and so let’s merge them together so select these two vertices press M to merge them together at last similarly with these two also and in the end I’ll select these two vertices press M to merge them together at last also for a better geometry let’s add a loop cut over here so press crl plus r then left click to finalize and right click to cancel the movement and with this the thumb is now connected properly with the hand let’s now repeat this step for the fingers also so with the index finger I will be selecting these two vertices together press M to merge at last then we’ll go to the second pair of vertices we’ll select both of them and merge them at last let’s do the same with with the third pair of corresponding vertices press M and select merge at last moving ahead let’s also do the same with the fourth set so I’ll select this vertex and then with the shift key hold it select this one press M to merge them together at last let’s do the same with this one also similarly with this one now let’s change the angle select these two vertices and merge them together and in the end I will be selecting these two vertices press M to merge them together and select merge at last Also let’s add a loop cut over here so press cr+ R and now we’ll move to the middle finger so in this case also we will be selecting the corresponding in vertices together for example I’ll select these two press M to merge them together and select merge at last then I’ll select these two vertices over here press M and select at last similarly with these two also then with the fourth pair I’ll select both of them press M to merge at last then with the fifth pair also similarly with the sixth pair let’s merge them together moving ahead let’s do the same with the seventh pair also press M and select merge at last and finally to finish this finger I’ll select the last pair press M to merge and select merge at last Also let’s add a loop cut over here by pressing cr+ R then left click to finalize and right click to cancel the movement moving ahead let’s repeat the same procedure for the little finger also so first of all I’ll select these two vertices together press M and merge them at last then I’ll select these two and we’ll merge them together then for the third pair I’ll select these two vertices press M to merge and select at last similarly for the fourth pair Also let’s do the same thing also for the fifth pair now let’s change the angle for the sixth pair now we select these two vertices press M to merge and select merge at last now now we are close to the end so we’ll select these two press M to merge at last and finally we’ll select the last pairer press M to merge and select merge at last finally let’s also add a loop cut over here and with this the geometry of her hand is now completely ready moving ahead let’s also give it a proper shape so for this I’ll select some verx in the middle press o to turn on the proportional editing and let’s move this in the y- axis like this this will increase the width of the character’s hand similarly let’s do the same with this side also so with the proportional editing turn on we’ll move it in the y- axis like this and left click to finalize and now the next thing that we’re going to do today will be to model the arm of the character so for this let’s return back to the object mode Let’s first move it in the x-axis and place it over here also we’ll be rotating this hand by 90° in the x-axis so for this tab into the edit mode press a to select everything turn off the proportional editing tool by pressing o and let’s now rotate it in the xaxis by 90° now to model the arm we’ll be selecting this Edge Loop of the wrist and will extrude it to join with the body so for this let’s switch to the front view by pressing one on the numpad Press e to extrude it like this also to make it properly aligned with the body let’s return back to the object mode and move it down in the z-axis now to merge the arm with the body we first need to join both of them so with the arm selected hold on the shift button and select the body now press contr plus J to join them together now tap into the edit mode and let’s Now work on combining or basically merging the arm with the body but you can clearly see here that this face of the arm is having a total of eight vertices however these two faces of the body which will connect with the arm are having a total of six vertices so to solve this problem we’ll be adding a loop cut so press crl + r and add a loop cut over here now press three for the face select mode then we’ll be selecting the four faces of the body which will connect with the arm so once they are selected press X to delete and select delete faces and now this time instead of merging the vertices together we’ll be filling the faces in between the selected edges to understand this in a better way I’ll First Press Two for the Ed select mode then I’ll select this Edge and with the shift key hold it select this one now to fill the faces in between these two EDG edes or basically to connect them together press F and now we have a pH created in between the two selected edges now before moving forward if I notice closely then the alignment of this arm is not properly with the body so to solve this problem let’s go to the bottom view by pressing CR + 7 on the numpad now we need to select all the faces of the arm and the hand and to do this press three for the face select mode Let’s also turn on the x-ray mode and now we’ll be selecting all these faces now go to the side view by pressing three on the numpad and let’s move the arm in the y axis and with this we now have the arm perfectly aligned with the rest of the body also I’ll select this face which is at the end of the arm and we’ll delete it so press X and select delete faces now let’s continue filling the faces over here so for this I’ll press two for the Ed cect mode then we’ll select these two faces and press F to fill the face and if you want you can similarly fill all the remaining Faces by selecting the corresponding edges and then pressing F to fill them but a better way will be to select that edge which was last created when we used the fill option and with this Edge selected if I press F then it will automatically complete the next segment similarly let’s press f one more time and this will fill the next phase and now we have four remaining faces so I will press F four times and with this we have now connected the arms with the body now we’ll also add some Loop Cuts in the arm of the character so that it will be easy to move it when we finally rig and animate the character so for this press crl + r and let’s add some Loop Cuts over here to increase the number I’ll simply scroll up and we’ll keep the number of cuts to 10 then left click to finalize and right click to cancel the movement now the body is almost ready but let’s fix a few things to make it look more natural so first of all I’ll select an edge of the hand then press o to turn off the proportional editing and we’ll move it up in the z-axis let’s do the same with the bottom part also so I’ll move it down in the z-axis like this also if you feel that in your model you can modify some body parts to make them look more natural or organic you can definitely try to do that in order to make your character look better and so with this we now arrive to the end of this chapter today we modeled the complete body of a 3D character [Music] in the previous two chapters we created the character’s face the hair of character then we even created the Torso arms legs and the hands of character and in this particular chapter we’ll be modeling the clothes of our character like a simple t-shirt a pant and a pair of shoes now in the previous chapter we created this body of the character and to give it a realistic look let’s apply the subdivision surface modifier so go to the modifier properties click on ADD modifier and in the generate select the subdivision surface modifier with this the characters body is now having a much more natural look also the reason why we can’t see the hair particles on both sides of the face currently is that we have not yet applied the mirror modifier if I click here and apply it we’ll get the hair particle system on both sides of the face but for now I will undo this because we might require the use of the unapplied mirror modifier if you want to edit something in the face of character easily now before modeling the clothes and the shoes of the character let’s first go to the material preview mode and we will be applying the same material to the body that we applied to the face so for this let’s go to the material preview mode and click here and from this list of materials select the skin material now the first thing that we’re going to do today is to model the pants of character so for this let’s first go to the front view tab into the edit mode press one for the vertex select mode and now we have to select all those vertices of the characters body where we’ll be having the characters pants so first of all press all plus Z to turn on the x-ray mode and now I’ll be selecting all these vertices over here let’s also add a loop cut over here and then we’ll be selecting these vertices also now let’s turn off the x-ray mode and to create the character pants simply press shift plus e to create a duplicate and right click to cancel the movement now currently we are in the edit mode of the body and as a result the duplicate that we created is not a separate object and to converted into a separate object press P for the separate menu and select selection now let’s come out of the edit mode and by doing this we have now separated the body and the duplicate which is saved with the name cube. 001 that we’ll be using as the characters pants let’s also rename this particular object to pants similarly I will also change the name of this Cube to body now with the pant selected if I go to the edit mode then you can see here here that all the vertices are exactly at the same position as that of the original body and as a result the pants are overlapping with the body to prevent this from happening press a to select everything and now we’ll be using the string flatten tool to access this tool simply press alt plus s and if I move my cursor in the upward Direction then you can see that this tool is basically moving the vertices along the normals so right now we won’t be increasing this value too much so let’s keep it in such a way that it’s not completely overlapping but is still away from the body now press one on the numpad for the front view and we’ll be extruding the bottom vertices to make the pants longer so for this select this bottom Edge Loop press e to extrude it in the z-axis also press three for the face select mode select this bottom Edge Loop and we’ll slightly extrude it along the normals in order to make the pants look folded from the bottom so press all plus e and select extrude faces along normals and if I move my cursor then you can see here that the face Loop that we selected is now getting extruded along the normals to give the fold a much natural look let’s add a loop cut over here so press crl + r left click and right click to cancel the move movement now with the shift key holded we need to select this Edge Loop and for this along with the shift key we’ll also hold the ALT key then I’ll select an edge over here and with both of the edge Loops selected we’ll move them up in the z-axis now we have completely modeled the pants of our character and now before applying the material to it first right click and select shade smooth Now to create a material let’s go to the material preview mode Let’s expand the timeline editor and we’ll then convert it into the Shader editor so click on this icon and select the Shader Editor to remove the skin material from the pants simply go to the material properties and click on the minus icon let’s create a new material and we’ll first work on the color of this material for this let’s add a color amp node so press shift plus a go to converter and select the color ramp let’s place it over here connect it to the base color in the principal bstf now in the color ramp we’ll be using a mix of black and blue color in order to give it a jeans like appearance so with the first pointer selected we are having the black color now let’s create one more pointer by clicking on this plus icon Also let’s move it over here and we’ll change its color to the dark blue let’s also reduce the brightness from here in order to make it look more darker to give it some texture we’ll be connecting the color amp node with the Warner texture so press shift plus a go to texture and select the wner texture let’s place it over here now connect the distance socket to the factor in the color ramp let’s also turn on the normalize in the Warner texture and with this we have the simple material created for the pants which are having the Warner texture and as the colors we use the color ramp with a mix of blue and black but to give it a 3D look we’ll be adding the bump node so press shift plus a go to vector and select the bump with we’ll place it over here connect the normal to the normal in the principal bsdf and for the input we’ll be using a mix of noise texture and the magic texture so press shift plus a go to texture and first of all we’ll be adding the magic texture so let’s place it over here now press shift plus a again go to texture and add the noise texture we’ll place it over here now to combine both of them together we’ll be using the mixed color node so press shift plus a go to color and select the mixed color we’ll place it over here now I’ll take the result socket of the mixed color node and connect it to the height of the bump node now for the texture part we’ll first connect the factor socket of the noise texture to the mixed color node so I’ll take the factor socket and connect it to the socket a then in the socket for the color B I will take the magic texture by using the color socket and will connect it to the socket B now to give it a realistic look let’s first go to the noise texture and we’ll increase the scale value to something very high like 1,000 also in the magic texture let’s increase the scale value and we’ll keep it to something like 500 or 600 in order to give it a fabric like look moreover if you want you can try to change the various parameters of over here in the noise texture if you want to change the way how your current material is looking but for now I won’t be doing much changes except for the scaling values which we have entered for both of these textures and with this the pant or the jeans for a character is completely ready now moving ahead the next thing that we’ll do is to model the shoes of our character so for this I’ll again select the body let’s also apply the shades mod to it tab into the edit mode now we need to select all those vertices or the edges or the faces where we want to model the shoe and to do this properly let’s first turn off the real-time display of the division surface modifier and to do this simply click on this realtime display button in the modify properties now press three for the side view then press all plus Z to turn on the x-ray mode and we’ll be selecting all these edges now we’ll repeat the same steps that we did while creating the pants so first of all press shift plus d to create a duplicate and right click to cancel the movement then to separate the shoes press p and separate by selection let’s come out of the edit mode then select the shoes and we’ll rename it in the scene collection so let’s change their name to shoes now tap into the edit mode press a to select everything and to use the shrink and flatten tool press alt plus s and I’ll move my cursor slightly upwards now left click to finalize now to add some detailing to the shoe let’s add a loop cut over here so press cr+ R and add a loop cut press three for the face select mode and select this bottom face Loop now press alt plus e to extrude and select extrude along normals and if I move my cursor then the face Loop will get extruded along the normals let’s return back to the object mode and also enable the real time display of the subdivision surface modifier right now we can clearly see that the shoes and the feet are still overlapping so tab into the edit mode press a to select everything press alt plus s again and increase the offset by moving up the cursor slightly now left click to finalize and with this the shoes are now completely ready also I’ll select the body and enable the real-time display of the subdivision surface modifier now moving ahead we’ll create the material for the shoes in our scene so let’s go to the material preview mode and to create the material let’s go to the Shader editor click here and for now I’ll be selecting the same material that we appli to the pants we’ll be modifying it in order to create the material for the shoes so for this let’s first create a duplicate of this material so click on this icon to create the duplicate then in the color ramp I’ll select this blue pointer and we change its color to the brown color let’s also reduce the brightness and with this the material for the shoes is now ready if you want you can make any changes in the texture to modify the way how the material looks for example the scaling the detailing roughness or colors but for now I have selected the brown color for the shoe materials and now moving ahead we’ll now be creating the t-shirt for our character for this let’s first enable the solid mode then press one for the front view select the body tab into the edit mode now press one for the vertex select mode press alt plus Z to turn on the x-ray mode Let’s also disable the realtime display of the subdivision surface modifier and now we’ll be selecting all the vertices that we want for modeling the T-shirt now with these vertices selected let’s turn off the X mode and we’ll now check if you want to select or deselect any particular vertices so first of all I will deselect these vertices around the character’s neck by holding the control button and selecting them like this so let’s deselect all of these also to include any vertices you simply need to hold the shift key and with the shift key hold it I will be selecting this Edge loop on the arm Now to create a t-shirt press shift plus d to create a duplicate right click to cancel the movement and to separate it from the body object press p and select Separation by selection let’s return back to the object mode now let’s rename the body. 001 to t-shirt now tab into the edit mode now press a to select everything alt plus s to turn on the shrink and flatten tool then I’ll move my cursor and then left click to finalize now to make the neck look rounded I’ll select this vertex press G to move it and place it over here similarly I will select the remaining vertices in this Edge Loop and will move them in the x-axis like this for a better geometry now let’s adjust the same from the back also so for this I will select this Edge Loop and will move it in the x-axis and now it looks perfect now to make the T-shirt look folded from this side press three for the face select mode select this face Loop press alt plus e and select extrude faces along normals now I’ll move my cursor up and left click to finalize now let’s return back to the object mode and let’s also turn on the realtime display in the subdivision surface modifier also I’ll select the body and and turn on the realtime display in the subdivision surface modifier now before creating the material for the T-shirt let’s first select the t-shirt and tab into the edit mode and we’ll be adding a loop cut around the folded region so press cr+ R and add a loop cut over here let’s return back to the object mode and now we are ready to create the material for the T-shirt so let’s go to the material preview mode Let’s also go to the front view by pressing one on the numpad and zoom out now we’ll be using the same material that we use for the pants but we’ll modify it to give the t-shirt’s material a different look so in the share editor click here and select the material. 002 Now to create a duplicate of this material click on this icon and to change the way how the texture looks we’ll go to the color RAM and with this blue pointer selected I’ll change the color by increasing the brightness and I will be assigning the purple color let’s also increase the brightness also I’ll select the black pointer and move it over here similarly let’s also move this pointer in order to give the texture a completely different look then if you want to change the color then you can choose any color in the color wheel and assign that particular color as the material for the T-shirt now to complete the model I’ll select the face then in the modif properties we’ll be applying the mirror modifier and with this we have now completed the modeling of the entire character first of all we begin with modeling the face of character and its hair then we also added things like eyes the eyebrows nose and even the teeth which we’ll unhide by clicking on this icon then we created the body of the character like the Torso arms hands legs and in the end we modeled the clothes of the character like the T-shirt the pants or the jeans and also the shoes and so with this we now arrive to the end of this chapter in this one and the last two chapters we disc discussed about all concepts related to modeling the character and the clothes and from the upcoming chapters we’ll be starting with the character [Music] again in the previous three chapters we completed the modeling of our character including its face the hair and the rest of the body then we also created the clothes for our character and in this chapter we’ll begin with understanding the basic concepts related to rigging including our matures and Bones now the first question which arises is that what exactly is the meaning of character rigging so character rigging is the process of creating an Armature to suit the model of a character and it involves associating the bones in the Armature with the parts of the model or basically the body parts of our character now in this definition we also have words like Armature and for those of you who don’t know what an Armature is it is used to control the movement of objects or components of an object in an animation our mates are made up of Parts which are called Bones and it may consist of a single bone or multiple bones linked together in a child parent relationship now to understand this concept practically we will be using this Cube so let’s Saab into the edit mode and we’ll scale up the cube in the x-axis Also let’s add some Loop Cuts so press cr+ R and we’ll increase the number of loop Cuts with the help of scroll wheel so we’ll keep the number of loop cuts to around four or five and then left click to finalize and right click to cancel the movement now let’s return back to the object mode and now we’ll be creating an Armature object so press shift plus a and in this add menu here you have the Armature object so I’ll select this and by doing this we now have an arure object added at the world origin to view it I’ll first hide this Cube so press h to hide it and here we have a single bone created which is saved with the name our mat in the scene collection and now if I tab into the edit mode then we’ll be able to see the different parts of the bone so first of all let’s go to the front view by pressing one on the numpad and if I zoom in then you can see here that this bone is made up of three parts the first part is this UV sphere which is the tail of the bone then we have another UV sphere which is called the head of bone and in the middle we have this main part of the bone by moving the head or the tail of the bone we can basically control the shape and the size of of our bone now to understand this in more detail let’s return back to the object mode and let’s also unhide the cube from the scene collection let’s also turn on the x-ray mode now our main purpose is to add some bones to the cube that we created in order to understand about how the rigging works so for this we’ll go to the front view and with the bone selected let’s first move it in the x-axis and place it over here now tap into the edit mode and with this tail selected press G to move it and we’ll place our first bone like this in this way we have set up a single bone inside the cube which will allow us to our character Now to create new bones with the tail selected simply press e to extrude and by doing this a new bone will get created let’s do the same thing one more time and with this we now have three bones which we have added inside the cube object now if I press control+ Tab and keep holding it then it will show that the Armature or the bone is having three different modes the first is the default object mode then the second is the edit mode where we just extruded a single bone to create multiple bones in the Armature and the third that we have is the pose mode and in in this mode blender allows us to animate the Armature or the bones and in that animation whatever changes we’ll do to the bones like the rotation or the scaling will also be followed by the main object which will be the cube in this case but right now the cube is not following the Armature because we have not yet created any connection between the cube and the arator so to solve this problem let’s first return back to the object mode by pressing control+ tab let’s also turn off the x-ray mode now I’ll select this Cube and before creating a connection in between the cube and the Armature I’ll first apply the subdivision surface modifier to it so go to the modifier properties then click on ADD modifier and in the generate select the subdivision surface modifier with the levels viewboard set to one I’ll also apply this modifier and by doing this we now have the subdivided geometry that is having a larger number of vertices added to our Cube now with the cube selected hold down the shift button and then select the Armature and yes to ensure that you have selected the cube first and then the Armature now with both of them selected go to the object menu then in the parent settings here you have the option of our maor form and in this we have three different types empty groups automatic weights and envelope weights in this case we’ll be selecting the automatic weights in the armat form and now in the scene collection over here you can see that we no longer have the cube object named separately also if I click on this drop- down arrow of the Armature then inside this we have the cube stored meaning that the cube and the Armature are now having a parent child relationship which in simple words means that the Armature will now control the structure of our Cube to understand this practically I’ll select the Armature then press contrl plus tab to enter the pose mode Let’s also turn on the x-ray mode and now with one of the bones selected if I press R to rotate it then you will see that the cube is also following the rotation of the bone this is also true for all the other bones in the Armature so in simple words we created a connection in between the Armature which is made up of Bones and the cube object and in a similar way the characters are also rigged in blender but obviously for complex characters it is not practically possible to create each and every bone for separate parts of the body and so to make the character riging easy blender provides us with the rigify add-on and to access the rigify add-on go to edit and select preferences then in the add-ons go to the search bar and type rigify and then this add-on will appear having the name rigify add-on so let’s turn it on now let’s close this window and with this in the 3D view Port if I press shift plus a then go to Armature then it gives us the option of rigify meta and in this we have the option to add the human are mature so if I select this then now blender has added this entire skeleton of the bones which can be used for rigging of any human character it is saved with the name metallic in the scene collection and the benefit of using this human metallic is that we don’t need to create this entire skeleton system or the Armature manually by extruding the bones and so with this we now arrive to the end of this chapter today we learned about the basics of rigging and also learn to create this human meta rig with the help of rigify add-on and in the next chapter we’ll be creating the meta rig for the 3D character that we created in the previous [Music] chapters in the previous previous chapter we begin with the basics of rigging and blender and in this chapter we’ll try to create and attach a simple metallic for our character that we created from the chapter number 70 to the chapter number 72 of this course so we are done with the modeling of the character’s body and the clothes and so now it’s the time to create a meta rig or basically a skeleton for this character so for this let’s first go to the solid mode now press shift plus a then go to our major and in The rigify Meta rigs select human also one more thing to note here is that you might not be able to see the rigify metx option if you have not turned on the rigify add-on in blender about which we learned in the previous chapter of this course now coming back to our scene we need to scale up the skeleton or basically this arat according to the height of our character so for this with this metx selected tab into the edit mode press a to select everything and let’s scale it up but right now it’s being scaled up according to the median point to fix this simply click on this icon which is the transform pivot point and select the 3D cursor now let’s scale it up again and we need to ensure that the height of the shoulders of the character are matching with the shoulder bones of the metallic now to focus only on the skeleton simply press the forward slash button and now we can see here that the skeleton or basically the metallic or the Armature is made up of a lot of Bones and all these bones together allow the movement of a character on the top we have the bones related to the face then we have the spine in the middle which will basically be for the back then we have the character’s arm bones the hands and in the lower part they have the bones for the character’s legs and the feet also if you want you can select any particular bone by left clicking on it and we can modify the meta rig by deleting a bone and to do this simply press X and select delete bones now this particular bone that we had here is now deleted and to get it back simply press cr+ Z one more thing with this bone selected if I click on this icon which is the bone properties then here you can see the name of this bone which is shoulder DOL representing the bone for the left shoulder similarly if I select this one then this is named as shoulder. R representing the bone for the right shoulder now in this chapter we need to delete all those bones that will not require for a character so first of all we’ll be deleting these face bones because we’ll be working on the manual face rigging in one of the upcoming chapters of this course but if I try to select each one individually and delete them then it would take us a lot of time and a better way to do this is to first go to the side view by pressing three on the numpad then press alt to Z to turn on the x-ray mode and now over here you will see this bone in the x-ray mode where this larger one is the spine. 06 but inside it we have the smaller bone which is named as the face and this bone is basically the parent of all the bones which are available for the face rigging in fact he can also select all the children bones for the selected parent bone by simply pressing shift plus G and in the select similar menu select children with this we now have all the children bones selected for this parent bone now to delete all of them simply press X and select delete bones so in this way we easily deleted all the bones related to the face of the character also for our 3D model we created the hand with one thumb and three fingers meaning that we should be deleting all the bones of this little finger so let’s select all four of these bones then press X to delete and select delete bones similarly for the other side also we’ll be selecting these four bones off the little finger and to delete them press X and select delete bones now moving ahead in order to create the final rig skeleton along with the controls first of all go to the object mode Let’s also turn off the x-ray mode and to view the rest of the things or basically to remove the Focus From The Meta rig simply press the forward slash button now to generate the rig go to the object data properties then scroll down down and in the rigify category select generate rig and with this we now have this final rig skeleton created along with the controls that we’ll be using while animating our character but for now we’ll be adjusting the meta rig according to the character’s body but before that do ensure that you have the mirror modifier applied in the modifier properties for the head of the character and also for the body so for the body of character we have added the mirror modifier but have not applied it yet so to fix this click on this icon and select apply also we’ll be hiding the clothes of the character in in order to adjust the skeleton or this meta rig properly for the character so press h to hide the T-shirt similarly I’ll select the pant of the character and press h to hide also I will be selecting the shoes of the character and hide them as well moving ahead let’s Now work on adjusting the meta rig and the bones according to the character’s model so for this let’s first hide this final rig that we created so press h to hide now select the meta rig in the scene collection and tap to enter the edit mode now press all plus Z to turn on the x-ray mode also to hide these hair particles let’s go back to to the object mode select the head then open the particle properties and turn off the real-time display now select the meta Ric again and tab into the edit mode now in the edit mode on the top right corner we have this option of applying the mirroring effect and if I turn it on in the x-axis then whatever changes I’ll do in the edit mode will get applied on both the sides according to the Symmetry with respect to the x-axis so do ensure that you have turned on the mirroring effect in the xais and now to begin with adjusting the meta rig let’s first go to the front view by pressing one on the numpad then select the boot bones of the arms and the fingers and press h to hide them similarly let’s also hide the bones for the arms and the fingers on this side also by pressing H and then go to the side view by pressing three on the numad now the first bone that we have for this skeleton is named as spine. 006 you can also view its name by going to the Bone properties and then over here you can see the bone name which is spine. 006 now we need to place this bone in such a position that the top or basically the head of the bone is somewhere near the top of the character’s head so for this with this top part of the bone selected press G to move it and we’ll place it over here then we’ll select the tail of the bone and we’ll place it somewhere in the middle of the neck similarly the next bone that we have here is the spine. 005 and we need to select the base of this bone and place it over here in somewhere around the region of the neck then we have this bone which is named as spine. 004 so I’ll select it tail which is this tiny circle at the bottom press G to move it and place it over here also let’s zoom out and we’ll be selecting all the bones except for the ones that we have already adjusted and move them in the y axis now left click to finalize let’s zoom in again and with this most of the bones in the metallic are now properly placed moving ahead I will be hiding this particular bone which is the bone for the left thigh by pressing H similarly let’s also select this one which is the right thigh bone and press h to hide now we’ll be selecting the bottom of the pelvis bones press G to move them and place them somewhere in between the region where the upper body and the lower body is connecting also one more thing to notice here is that there are two types of pelvis bones one is the pelvis left and to view the other one let’s go to the front view and now over here this one is the right pelvis bone and this one as we discussed earlier is the left pelvis bone and while moving we selected both of them in order to place them properly in The Meta Ric moving ahead let’s also make all these bones in the upper body a bit more straight in order to increase the accuracy of the character riging now press one on the numpad to go to the front view select the head of the pelvis bone press G to move it and place it over here now over here we also have the shoulder bones and to adjust them properly I first select this part of the bone press G to move it downwards in the z-axis like this let’s also move it away in the x- axis like this similarly select this part and place it somewhere near the shoulders of the character then over here we have the breast bones and we’ll place them slightly in the x-axis like this and left click to fin light and so with this we have now completed the rigging for the upper body of the character now moving to the lower part first of all let’s unhide the thigh Bones by pressing alt plus h of the legs now first of all we’ll be selecting all the bones of the legs and the foot by holding holding the shift button and we’ll move them in the x-axis like this and we basically need to ensure that they placed somewhere near the center of the legs now I’ll select this bone which is named as the left thigh and we need to move it downwards in the Z axis so for this we’ll select its head press G to move it in the z-axis place it over here and left click to finalize now go to the side view by pressing three on the numpad then select this part and move it slightly upwards like this then select this one press G to move it and place it in the middle of the foot then I’ll select this part of the left toe bone and move it in such a way that it touches the front tip of the foot also if I zoom in then over here we have the heel bones and so with both of these selected we’ll press G to move them and place them at the back part of the foot also one more thing to notice here in the legs bones is that these two bones which is the thigh bone and the shin bone are not completely straight and this is because we’ll be having the knee joint at this place as a result for a better movement it’s recommended to have a small angle in between the two bones now moving ahead we’ll now be working on adjusting the Met rig or basically these bones that are for the arm and the hands of character so for this first of all I select this part connecting the two bones of the arm press G to move it and place it over here then select this part press G to move it and place it over here let’s move it slightly in the x-axis like this and left click to finalize similarly we’ll be selecting all the bones of the hand of character press G to move them and we’ll place them over here in order to rotate them properly first of all in the transform PIV Point select the median Point press R to rotate it and left click to finalize let’s place it properly again now press 7even on on the numpad to go to the top view zoom in and we’ll be scaling up all these bones which we have created for the hands of character now let’s place them properly like this similarly I’ll select this bone and place it over here also I’ll select this part of the upper arm bone and we move it slightly in the y axis now left click to finalize and now we’ll be working on placing the bones of the hand properly in the metallic but before that one more thing to notice here is that the joints in between the two ending bones of any finger are not connected to each other if I try to move one of them then it will get disconnected with the other part however for a proper rigging we need to ensure that both of them remain connected even when we move their position so for this first of all press cr+ Z to undo then deselect everything and now before moving them we’ll first select both of them together by left clicking and dragging like this then press G to move them and place them over here now I’ll be selecting this particular part of the bone and we’ll move it in such a way that it is placed at the 1/3 position of the finger similarly I’ll select this part and place it over here then in the end I’ll be selecting this one and we’ll place it at the tip of the finger similarly let’s do the same thing with the other fingers also so let’s place all these parts properly according to the position of fingers so now I’ll select this part place it over here and in the end we’ll be placing this last part at the tip of the finger also to ensure that there’s a little Gap in between this joint part and the beginning of fingers let’s do the same for the middle finger also and now it looks perfect moving ahead I will be selecting this joint part first for the index finger press G to move it and place it over here then I’ll select this part of the the bone and move it over here moving ahead I’ll select this one press G to move it and place it over here and then in the end I will select this last part and we’ll place it at the tip of the index finger now for the thumb we are having these three bones which we’ll be placing properly according to the position of thumb so first of all with this end part selected press G to move it and place it over here then select this one press G to move it and we’ll place it over here similarly I’ll select this one and place it somewhere near the middle of the thumb and At Last I will select this particular part of the bone and place it at the tip of the thumb so in this way we are having these three bones for the thumb which we have placed like this now over here you can also see that we are having three Palm bones this one is the first Palm bone for the left hand since it is named as palm. 01l similarly this one is the second bone for the left palm and this one is the third bone for the left palm and we basically need to place them in such a way that their ends are located somewhere near the wrist of the hand so let’s adjust their position slightly and now they look perfect now moving ahead we have one more bone over here which is named as hand DOL meaning that this one is the bone for the left hand and we need to place its head somewhere near the joint of the middle finger and the tail part at somewhere around the wrist of the hand also if I zoom out then one more thing that we need to take care of is that just like the bones in the legs by having a slight angle in between both of them similarly for the arms also we need to have a slight angle in between the upper arm and the forearm so for this we’ll select this joint connecting both of them and we’ll move it slightly in the y- AIS and now it looks looks perfect and so with this we have now created the rig and even adjusted it according to the character’s body however there are still a few things that we can fix in order to make it perfect for example these bones for the finger are not yet properly placed so to solve this problem we need to select all the bones for the hand so for this let’s first go to the top view by pressing seven on the num pad then zoom in let’s select all these bones let’s change the angle and now to make them straight let’s scale them down in the z-axis now left click to finalize and now to view everything properly press one to go to the front view let slightly move it up in the z-axis like this let’s also check it from the other views so go to the side view by pressing three on the numpad and from this view all the bones of the hand are looking perfectly placed similarly let’s also check the Same by going to the top view and from this view also the hand that we rigged is looking completely perfect now moving ahead if I select any particular bone of any finger then in the bone properties you can see here that we have a parameter known as the r and this one controls the rotation of the bone around the head and the tail axis in most of the cases this roll value will be somewhere close to- 180° for all the bones of the fingers however in order to make them exactus 180° we’ll simply select one of the bones go to the roll value and enter minus 180 then to input the same r value for all the other bones in the fingers we need to select the bones individually first and then at last we’ll be selecting that bone in which we have entered the correct roll value so we have now selected all the finger bones except this one so with the shift key holded I will be selecting this one at last which is having the R value equal to minus 180° and to assign the same Ro value to all the other bones simply go to the Armature menu then in the bone roll go to recalculate Ro and select active bone and now if I select any particular bone then in the bone properties you can see that the RO value will either be minus 180° or positive 180°. so for this selected bone the R value is positive 180° however if I select this one then the RO value is equal to- 180° now the reason why some of these bones are having a ro value equal to- 180° whereas for some other the value is equal to 180° is that between the values of – 180° and postive 180° there’s a difference of 360° and we all know that the object will return to its original state if we rotate it by 360° you can also check this by going to the role parameter so with this particular bone selected if I begin to change the RO value from positive 180° and begin to reduce it and will bring it to minus 180° then you will notice that the rotation of the bone will again be in the same state so you can check this thing on your own that if I increase the r value by 360° then it will again return back to the same position also if I go to the top view again then it might be possible that even after selecting some particular Bones the R value is still not equal to plus or minus 180° so in such cases we don’t need to change the value of R manually and we’ll keep them fixed at only that value that we got by using the recalculate Ro now moving ahead we’ll be doing the same procedure for the right hand also so for this let’s zoom into the right hand now we’ll select any particular bone and then the RO value and Ure that- 180° is entered and now we’ll be selecting all the bones apart from the one that we have selected right now so for this first I’ll be selecting the thumb bones then we’ll move to the index finger then the middle finger of the hand and then we’ll be selecting the little finger and at last make sure to select that particular finger whose r value was equal to – 180°. now go to the Armature menu then in the bone roll go to recalculate Ro and select the active bone and so with this the RO value will now change to either positive 180° or 180° but in this case also the R value for some of the bones will still not be exactly minus or positive 180° but as I told you earlier we don’t need to worry about that now moving ahead we’ll now be adjusting the bone rotation axis for the fingers in this part we’ll basically select all the first bones of the fingers then we’ll press control+ Tab and switch to the pose mode then in the bone properties we’ll go to the rigify type and in the bend rotation axis we’ll change this from automatic to the X manual similarly I’ll select this bone go to the rigify type and in the bend rotation axis we’ll change this to the X manual as well now let’s do the same for this B also similarly for the thumb also we’ll change the bend rotation axis to the X manual now let’s do the same thing for the right hand also so for this we’ll be selecting the first bone of the finger then we’ll go to the bend rotation axis and we’ll change this to the X manual similarly let’s do the same for this finger also so we’ll change this to the X manual just like this we’ll select this bone and in the bend rotation axis select the X manual and let’s do the same thing for the bone in the thumb also and now with this we now have have the complete meta rig ready for our character so with this let’s now enter the object mode also go to the scene collection and unhide the rig and now you can see here that all the adjustment that we made in the edit mode of the meta rig are not automatically changed for the rig that we generated and to solve this problem select the meta rig again then go to the object data properties scroll down and in the rigify category click on the regenerate rig however you can see here that it shows us the rigify error and it states that this particular bone named as spine. 004 is not properly placed since the bone position is disjoint now it might be possible that for your character this particular error was not generated but in most of the cases it’s certainly possible to see such kind of Errors so now let’s work on understanding about why we see that particular error and how we can fix this so first of all tab into the edit mode go to the front view by pressing one on the numpad let’s zoom in and now you can see here that if I select this particular bone and go to the Bone properties then its name is saved as spine. 004 and this is that particular bone about which Blended told us while giving the rigify error so what basically happened was that the tail end of this spine. 004 bone had to be connected or basically joined properly with the head of the spine. 003 so in some particular cases it is important that while adjusting the meta rig we need to ensure that both of them are selected together and then moved around however in this case we did not take care of this fact and as a result we received this error so to solve this problem return back to the object mode then go to the scene collection and with the rig selected press X to delete it now after deleting the the rig select the meta rig in the CN collection tab into the edit mode Let’s zoom in and now first of all we need to select the head of the spine. 003 and then with the shift key holded select the tail of the spine. 004 then right click select snap and in this list we’ll be selecting the selection to active and now if we return back to the object mode Let’s also zoom out now with the meta selected go to the object data properties then scroll down and then we have the rigify category and from here click on the regenerate rig and now you will notice that lender will successfully generate the rig after we have done the changes in the spine bone of the meta rig now the reason for generating this rig is that we actually use this particular rig in order to animate our character and not the meta rig we basically use the meta rig to edit the bones and place them properly according to the character’s body then we generate the final rig which is to be used in the animation and this is named as the rig in the scene collection so for now we’ll be hiding the meta rig from our scene now moving ahead we’ll Now work on connecting this rig that we generated to the character’s body right now we have only generated the rig but we can’t use it in order to modify or animate the character so for this let’s first turn off the x-ray mode then I’ll select the head of the character first and we’ll join it with the character’s body so press crl + J to join them together now with the body selected hold on the shift button and select the rig and now to define a relationship between the characters body and the rig go to the object menu then in the parent we have this option of our deform and in this we’ll be selecting our deform with automatic weights now it might take some time to define the relationship of parent and child in between the rig and the character’s body and once it is done if I select the rig then press control plus tab to enter the pose mode then all of these are the different controls that you can use to animate your character and collectively these are known as the rigify controls to understand this with the help of an example if I select this box in the middle and press G to move it then you will notice that the character’s body is also moving along with the cube similarly if I select this hand control and press R to rotate it then you will notice that the specific part of the hand is also rotating because of it also if you make any changes in the pose mode and want to reset the pose then for this simply go to the pose menu then in the clear transform select all and this will clear the transform for that particular control that you have selected in the pose mode currently I selected only the cube and as a result the changes that we did to the cube have now disappeared however to make this happen for all the controls press a to select everything then go to the pose menu select clear transform and in this list select all so in this way you can reset the controls in the pose mode now let’s return back to the object mode and one more thing is that if I select the character this body and go to the modify properties then for better deformations while creating the animation it is suggested to place the our maor modifier above the subdivision surface modifier so to do this left click over here and drag it above the subdivision surface modifier and so now we have learned about connecting the rig and the characters body together by using the parenting option and we’ll also be learning about the different types of rigify controls that are available in the pose mode in the upcoming chapters of this course and so with this we now arrive to the end of this chapter today we created this meta rig which we used to generate this final rig that we’ll be using for the animation purposes we also learned about fixing the error that you might see while generating the [Music] rig in the previous chapter we created a final rig for a character and even created a connection or a relationship between the final rig and the character and in this particular chapter we’ll be understanding about the various things that we can do with the help of rigify controls in blender so we begin to model this character from the chapter number 70 of this course and if you wish to download the 3D model of this character then you can join the patreon whose link is available in the description of this video now returning back to our topic let’s first switch to the solid mode and currently we are having this final rig that we created for this 3D character also I will be hiding the clothes of a character along with the hair in order to understand about the rigify controls in a better way so first of all I’ll select the body then go to the particle settings and to hide the hair particles turn off the real-time display from here then I’ll select the t-shirt and press h to hide it similarly with the pants also and at last I’ll also select the shoes of the character and press h to hide them then in the scene collection let’s also hide the metallic and the teeth of the character the reason for doing all this is that currently we want only the final body and the rig in order to see how the rigify controls work now by default all the rig layers in the final rig of the character are visible in the scene however suppose you want to see only some specific layers like the ones for the Torso or maybe only to control the hands and to do this with the rig selected go to the object data properties and in the bone collections you can control the specific bones or the layers of rig to be shown in the scene for example if I begin to click on this I button for some specific bone collections you will notice that they will begin to disappear from the scene also to disappear all of them simply hold the left Mouse button on any one of the eye buttons and drag your cursor like this now all the bone connections have been hidden from the scene and so in this way it will be better to only view some specific bones and understand about them so first of all we’ll be understanding about the Torso bones so go to the Bone Collections and in this list we’ll unhide the Torso also also to view everything properly in the scene let’s turn on the x-ray mode by pressing alt plus Z and this will display even those rigging controls which are present inside of the body of character now to make any changes in the character on the basis of these rigify controls we have to first enter the pose mode because if I try to change anything in the object mode for example if I try to move it then you will notice that the character and the rigging is moving together as a whole and we are not able to control individual things in the character so to enter the pose mode press control plus tab or else you can also click here and from this menu select the pose mode now all the controls that we have here can be moved by pressing G or they can be rotated by pressing R and in a similar way we can also scale them up by pressing s and as you can see here that whatever changes I’ll make to any of the rigify controls will automatically get applied to the character’s body also now the first igy control that you have here is for the head and if I move it then you will notice that the head of the character will begin to move also to rotate the head simply press R to rotate it like this but a much better way of rotation is to press R2 twice and now if I move my cursor then you will notice that the rotation of the head gets a much more natural look then over here you have the controls for the shoulders of the character and to see everything properly I’ll first enter the object mode and let’s turn off the x-ray mode now in the pose mode with the controls for the right shoulder selected if I press G to move it then you will notice that this control is helping us to change the location of the shoulder part of this 3D character similarly if I press R to rotate it then the shoulder part will get rotated like this then if I change the angle then this particular control is for the neck and if I try to move it by pressing G then you will notice that we are able to control the neck of the character and along with it the character’s head is also moving similarly if I press R to rotate it then the part of the 3D character related to the neck and the head will begin to rotate then over here we have the rifi controls for the chest and by moving it we can basically control the entire upper body of the character apart from the hands similarly if I try to rotate it then the upper body will get rotated like this moving ahead this box over here controls the entire torso because if I try to move it then you will notice that the changes are being applied to almost the entire body except for the hands and the feet in the previous one which specifically control the chest so when we moved it it only control the upper body but in this case we are able to control not only the upper body but also the lower body of the character then over here we have the rigify control for the hips of character and in most of the cases we only use it to rotate the hip part by pressing R so in this way you can use the various rify controls available in the Torso bone collection now suppose you do any changes using any of the rigify controls to the character in the pose mode and then you want to reset it then for this simply go to the pose menu then in the clear transform select all and with this the object will return back to its original state now moving ahead we’ll be understanding about the rigify controls available for the fingers so for this go to the Bone collection in the object data properties and we’ll unhide the fingers controls now in the rifi controls for the fingers we first have these four controls which we can use to rotate or bend the fingers of character for example if a select any one of them and press R to rotate it then you will notice that we are able to rotate the finger around its Spas but suppose you want to bend the fingers then for this with the control selected press s and you will notice that the finger will now begin to show the bending effect similarly we can also try the same with other fingers so if I press s then the bending of fingers will occur and if I press R to rotate them then they will begin to rotate around the base of the finger also by holding the shift key we can select all of these controls for the fingers and to use them together first go to the transform Pivot Point and select individual Origins and now if I press s to scale them down then you can see here that we are able to bend all the fingers of the character at the same time now moving ahead in the fingers digging we also have this control which is for the palm of character and if I try to move it then you will notice that it’s causing the deformation of the Palm so whenever you want to change the way how your palm looks or to basically deform it then you can use the Palm controls in the character’s rig moving ahead in the bone collections we also have the fingers detail and if I turn it on and go to the x-ray mode then in this case we’ll be having some more controls available in the fingers of the character which will allow us to add some more detailing to the finger rigging for example if I select this particular control in the index finger and try to rotate it then you will notice that we are now able to control this upper part individually of the index finger similarly if I select this part on the tip of the finger and try to move it by pressing G then you will notice that we are now able to control the tip of the finger individually and similar is the case with all the other controls of the remaining fingers now moving ahead let’s also explore the rifi controls available for the arm and for this go to the Bone Collections and we’ll unhide this arm DOL which is the left arm and in Brackets ik is mentioned meaning inverse kinematics so we’ll unhide this and now you will notice that we are having these red colored controls added in the rig which we’ll be using to control the arm of the character so first of all we have this control which is for the left hand of the character however if I try to move it by pressing G then you will notice that it’s not only controlling the movement of the hand but along with it it also controls the movement of the entire arm to understand this in a much better way let’s go to the front view by pressing one on the numpad let’s zoom out and now with this hand control selected if I try to rotate it then in this particular case the rotation will get applied only to the hands however if I try to move it then unlike

the rotation this effect will be visible on the entire arm of the character and so this is how the rigify controls for the arm Works in our scene now just like the left hand we can also turn on the rifi controls for the arm for the right side of the character and for this go to the Bone colle celection again and unhide this arm. R and in Brackets ik will be mentioned so let’s unhide this and now just like the left hand if I try to do the same with the right hand also then you will notice that we are able to see same changes for this one also moving ahead in the arms control we also have these red colored arrows and these can be used to control the arms of the character individually so basically the hands will control both the arms and the hands together however if you want to control only the arms of the character then for this purpose you can use these upper arm controls similarly on the right side also we are having these Arrow controls which are there to individually control the movement of the arms however in general cases you’ll be using the hands control for most of the animations now before moving to the rigify controls available for the legs we’ll first clear the transform of all the controls that we have applied on our character so for this press a to select everything then go to the pose menu and in the clear transform select all now for the legs go to the Bone collection and we’ll unhide this leg DOL and in bracket ik which is for the inverse kinematic so let’s unhide this and in a similar way for the right leg also we’ll unhide this leg do R and ik in the brackets now just like we were able to control the entire arm of the character just by moving the hand in a similar way the legs of the character can also be controlled by using this particular control which is for the foot of character so with this selected if I press G to move it then you will notice that we are now able to control not only the movement of the feet of character but with that we are also controlling the movement of the legs similarly if I press R to rotate then in this case the rotation will get applied only to the feet and not to the entire leg also if I click on this Arrow which is for controlling the thighs and try to move it then you will notice that we are now controlling the leg of the character individually but just like the arms the more General way to control the legs is to use the foot control one more thing to notice here is that if I select the arrows and press R to rotate them then in this case we are able to control the rotation of the thigh or basically the leg of our character now moving ahead for the feet of the character we are also having some more controls and to understand them let’s first reset all the changes that we have applied in the pose mode so press a to select all then go to the pose menu and in the clear transform select all now let’s go to the side view by pressing three on the numpad and for the foot the first control that we have is this one which is for controlling the toes of the foot so with this selected if I press R to rotate then you will notice that we are able to control the rotation of the front part of the feet or basically the toes of the feet then over here we have one more control which is named as has foot spin and if I try to rotate it by pressing R then you will notice that it kind of rotates the foot around this point and along with the foot we’ll also see the movement or the rotation in the legs of the character and this thing is useful while creating an animation of showing the walking of the character and now moving ahead the next control that we have here is named as the foot heel and if I try to rotate it then you will notice that its main area of control is basically the heel or the back part of the foot and so with this we have now learned about using the rifi controls for for all the parts of the body however there are still a few adjustments in order to make the rigging and the animation process perfect for example if I select this control for the chest and try to rotate it then you will notice that the eyes the eyebrows and the nose are not rotating properly with respect to the character’s body and so we’ll be making all such adjustments in the next chapter of this course but before ending I’ll press a to select all then go to the pose menu and in the clear transform select [Music] all in this chapter we’ll find finally complete the entire riging of the character since we’ll be making some final adjustments that need to be done for a proper rigging and animation and apart from that we’ll also learn about rigging the clothes along with the body of character so starting from the chapter number 70 we created this 3D character then we even created a final rig for this character that we’ll use for character rigging and the animation and if you wish to download the 3D model of this character then you can join the patreon whose link is available in the description of this video in order to complete understanding about the character rigging we also need to make some adjustments in the rig and the character in order to make it perfect so starting with the first one if with the rig selected if I press control plus tab to enter the pose mode and select the rify control for the head of character and try to rotate it by pressing R then you will notice that the eyes eyebrows the nose and the teeth of the character are not rotating and this is because we need to make some adjustments in the weight paint of this character model and since teeth are a separate object in the scene collection so we need to create a parent child relationship of the teeth and the bone so to do all this let’s first come out of the pose mode and for now we’ll be hiding the clothes and the hair of the character so for this I’ll first select the character then in the particle settings turn off the realtime display by clicking on this icon then I’ll go to the scene collection we’ll be hiding the T-shirt the shoes of the character and also the pants let’s also hide the meta rig and now we are ready to make the adjustments so with the character selected if I hold on control+ Tab and take my cursor to the weight paint then basically this is where we need to make the changes for the rigging adjustments to understand this in more detail let’s open the object data properties and in the vertex group you will notice that we are having a large number of vertices and for each one of these we have a certain area assigned which you can also see as green and yellow colored on this character and this painted region simply represents that the selected vertex group will be controlling the painted region now the reason behind having so many vertic groups for this character we have not created them ourselves is that whenever we do the rigging of any character or any object then in that case each of the deformation bones will have a specific spe ific area of some vertex group assigned to it which it will control while rigging the character to understand this in even more detail we have opened the edit mode and let’s also turn on the x-ray mode and now in the bone collections we have this DF which stands for deformation bones so if I unhide this then you will notice that all these bones that we can see inside the character are basically the deformation bones and all of them have some specific region defined that will be controlled by the controls that we can view in the pose mode for example this particular bone which is the spine .006 is there to control the character’s head and for the controlling purpose we have this head control and if I rotate this then you will notice that the character’s head along with the bone will rotate like this and now to set the region where this effect of the control will be applied we have to use the weight paints so first of all let’s return back to the object mode then with the rig selected hold on the shift button and we’ll select the character now to enter the weight paint mode hold on control and tab and take the cursor to the weight paint now in the weight paint mode if you want to select any bone then for this simply hold the alt button and if I left click on a bone then it will get selected and we’ll be able to see that specific region which will be controlled by that bone just like this if I hold the alt button and select this bone inside the chest then you will see that this particular bone is controlling this entire region which is shaded as green and yellow similarly with the ALT key holded if I select this bone at the top then this entire shaded region which is red in color is being controlled by this particular bone and as you can see here that only the head of the character is shaded and not the eyes the eye Rose and the nose of character so to solve this problem we need to shade all of these with the same red color as the head of the character but before that let’s also turn on the mirroring in the x-axis from here and now if I left click my cursor on this unshaded region you will notice that it’s creating a painting like effect as the area is being shaded on both the sides now let’s go to the front view by pressing one on the numpad let’s zoom in properly and now we’ll be doing the same with the eyes and the nose of the character also a faster way to do this is to hold down the left click Mouse button and if I drag my cursor then the entire area around the cursor will get shaded like this so do make sure that you have shaded the entire area of the eye with the red color and similarly let’s do the same for this upper part of the eyebrows also like this now let’s change the angle and let’s shade this particular area also on the side of the eyebrow let’s also shade this region and so basically we need to shade each and every region of the eyes and the eyebrows because we want them to be affected by the character ring let’s fix some more areas like this and now it looks perfect now it might seem that we have shaded the entire region of the eye and the eyebrows however this is not true because we still need to shade the area of the eyes which is inside the character’s head and to view it we need to zoom into the character’s head and let’s try to change the angle zoom in again and at some specific angle you will notice that you are able to see this green and the yellow region of one of the eyes now to shade them into the red color simply left click and drag your cursor like this and so with this we have now shaded the entire region of the eyes with the red color in the weight paint now let’s do the same with the nose also so for this simply left click and drag your cursor like this around the nose of the character now let’s change the angle slightly and we’ll be doing the same step for this back part of the nose also so let’s shade this region Also let’s also do the same for the bottom part of the nose and so with this we have now completed the weight painting for the character’s head completely so now if I hold control+ Tab and go to the object mode Let’s also turn off the xray mode and now let’s enter the pose mode of this character rig finally with this head control selected if I press R to rotate it then you will notice that this time the eyes of the character are being influenced by the rotation of the head control however the rotation or basically the alignment is not correct and to solve this problem let’s return back to the object mode then with the rig selected hold on the shift button and select the body of the character now hold on control and tab and we’ll again enter the weight paint mode now to avoid the issue that we were just facing we have to use a very simple tool which is known as the auton normalize tool to access this go to this menu of options and from here turn on the auton normalize and now with this turn on WE simply have to zoom in and we now need to reapply the weights on the eyes of character but the better way to do this is to First select this head control on the top by holding the alt button and left clicking to select it and then we’ll rotate it by pressing R like this now to apply the weights again to the character’s eyes we’ll be selecting this bone by holding the alt button and left clicking on it let’s also turn off the x-ray mode in order to get a better view now to apply the paint again simply left click and drag your cursor like this and you will begin to notice that the eyes will begin to move towards their original position and will get attached to the head of the character so we have to do this from all the angles in order to give the eyes a completely perfect look and so with this we have now fixed the error of the improper rotation of the eyes for this head control now let’s return back to the object mode then I’ll select this rig press control plus tab to enter the pose mode and with this head control selected if I try to rotate it then now finally we are able to rotate the head of the character including its eyes and the nose and also the eyebrows in a perfect manner now moving ahead the next thing that we’ll do today is to create a relationship between the teeth and the characteric because currently even when we rotate the head control we are not able to see any changes on the teeth of character so for this let’s first go to the pose menu and clear the transform by selecting all now let’s return back to the object mode now select the teeth from the scene collection and then with the shift key holded we’ll be selecting the character’s rig let’s also turn on the x-ray mode in order to view everything properly and now with both of these selected press control plus tab to enter the pose mode now what we basically need to do is that we want to create a parent child relationship between the teeth that we have selected and the spine. 006 bone because this is that particular bone which is controlling the entire transformation and the rotation of the character’s head so to do this with this bone selected go to pause menu and from here you will have a parent option and in this one we have several categories but since we want the teeth object to be parented with a particular bone so we’ll be selecting the bone option and with this if I select this head control again and try to rotate it then now you can see here that the teeth of the character which are outlined with the orange color are also rotating along with the head to see this in a much better way let’s return back to the object mode and we’ll turn off the x-ray mode and so in this way we were able to add both the eyes and the teeth together with the head object for a proper rotation while riging the character now moving ahead the next thing that we’re going to do today is to transform the weights from the body to the clothes of character or to be more specific we’ll be applying the rigging to the clothes just like we did to the body of character so for this let’s first unhide the T-shirt shoes and the pants of character and with this if I press control plus tab to enter the pose mode and try to move this torso control then you will notice that the effect of rigging is only being applied to to the character’s body but not to the clothes of the character and to solve this problem let’s first enter the object mode now I’ll be selecting the T-shirt of the character then I’ll go to the modifier properties and first of all we need to ensure that we have applied the mirror modifier to all the cloths in the scene also we need to turn off the real-time display of any other modifier that we have added and not get applied so let’s turn off the realtime display of the subdivision surface modifier of this t-shirt similarly I’ll select the pants of the character then we’ll go to the modify properties and we’ll be applying the mirror modifier and we will also turn off the realtime display of the subdivision surface modifier similarly with the shoes also we’ll apply the mirror modifier from here and we’ll turn off the realtime display of the subdivision surface modifier now what we basically have to do is that we need to transfer the body weight to the clothes so that we can see the effect of rigging on the clothes of the character and to do this you simply need to select the character’s body first and then with the shift key holded select the clothes which will be the target object in this case and now to transfer the weights of the body to the t-shirt we need to enter the weight pain mode so hold down Control Plus tab and select the weight paint now in the weights menu here you have the option to transfer the weights so we’ll select this and now over here we have a menu which is the transformation data menu and we need to change some settings in order to achieve our result so first of all in the vertex mapping change this to the nearest face interpolated then in the source layer selection select by name and in the ray radius we’ll be entering a value of 5 m also to connect this t-shirt to the rig that we created we also need to add the arure modifier so go to the modifier properties click on ADD modifier then in the form select the Armature modifier now in the object select this rig that we created for the character’s body also do ensure that the Armature modifier is placed above all the remaining modifiers in the modifier properties and to do this simply left click over here and drag the arator modifier above the subdivision surface modifier and so with this we have now successfully transferred the weights of the body to the T-shirt object in fact we can even check this so first of all let’s return back to the object mode then select the rig press control+ tab to enter the pose mode and if I select this hand control and try to move it then you will notice that it’s not only controlling the body of the character but also the character’s clothes so in this way we can easily transfer the weights of the body to the cloth object and also apply the rigging effect to the character’s clothes Also let’s come out of the pose mode select the T-shirt object and we’ll also turn on the real-time display of the subdivision surface modifier now moving ahead we’ll be doing the same thing for the pants and the shoes of the character so for this first of all we’ll be selecting the character’s body and then with the shift key holded select the characters pants now press contrl plus tab to enter the weight paint then go to weights and click on the transfer weights then in this menu of the transfer M data change the vertex mapping to the nearest face interpolated increase the ray radius to a value of 5 m and the source layer selection to the by name also go to the modify properties and we’ll be adding the Armature modifier then in the object select the rig and we’ll also place it above the subdivision surface modifier now let’s return back to the object mode and now to confirm that the body weights is transferred to the pants of the character I’ll select the rig press control plus tab to enter the pose mode now I’ll select the feet of the character and if I try to move it by pressing G then now you can see that the effect of rigging is also being applied to the pant object so in this way we successfully transferred the weight of the body to the pants of the character similarly we’ll also be doing the same thing for the shoes of the character and for this we’ll first clear the transform so with this foot control selected we’ll also select the one on the left side then go to the pose menu and in the clear transform select all now press control plus tab to enter the object mode again now select the body first then with the shift key hold it select the shoes hold on Control Plus Tab and select the weight main mode now to transfer the weights go to the weights menu and select transfer weights now in the transfer M data menu to ensure that in the vortex mapping nearest face interpolated is selected then in the ray radius 5 m should be the value and in the source layer selected by name should be the option now in the modifier properties we’ll be adding the our ma modifier and in the object we’ll select the rig let’s also place it above the subdivision surface modifier and now let’s return back to the object mode to check everything let’s the rig press control plus tab to enter the pose mode and now I’ll select one of the foot controls and if I move them then now you can see here that the shoes are also following the same movement and the rotation as the character’s body Also let’s return back to the object mode then I’ll select this pant and in the modify properties let’s turn on the subdivision surface modifiers realtime display let’s also do the same thing for the character shoes and so with this we have now completed the entire rigging of the character’s body in today’s chapter we discussed about some final adjustments that we needed to make in order to make this body of the character ready for rigging and also from the next chapter onwards we’ll be starting a journey of understanding the concept of face rigging in [Music] blender in the previous chapters of this course we first modeled the character’s face and the body along with the hair particles and the clothes then we worked on the character rigging part and created the final rig for our 3D character and so now it’s the time to understand about the concept of face rigging in blender and basically in today’s chapter we’ll be covering the basics of this concept by creating the shape keys for the face rigging and in the end we’ll also add some bones to the face rig so we created this 3D model and if you want to download the blender file with this character’s body along with the rigging then you can join my patreon whose link is added in the description of this video now to begin with the face rigging let’s first return back to the solid mode and we’ll also be clearing all these Transformations that we did in the last chapter of this course so with the rig selected press control plus tab to enter the pose mode then press a to select everything and to clear the transforms go to the pose menu then in the clear transform select all now let’s return back to the object mode and now moving to the topic of face rigging this face rigging is basically done to create the facial expressions for example a happy face or a sad face and similarly the closing and the opening of mouth and to create such facial rigs or the controls we’ll be using the shape Keys feature available in blender and so before beginning with the process of face rigging I would advise you to watch this particular chapter of the shape keys if you want to brush up on the basics of the shape Keys feature so to begin with we’ll first hide all the objects apart from the character’s body and the teeth of character so go to the scene collection and first of all I’ll hide the pants of character let’s also hide the rig the shoes and the T-shirt of character now I’ll select the body and the first type of facial expression that we’ll be creating will be the neutral facial expression so for this let’s first enter the edit mode by pressing tab let’s also go to the front view let’s zoom in and to make the face neutral we need to ensure that the mouth of the character is properly closed so to ensure this press one for the vertex select mode and let’s also turn off the real-time display of the the subdivision surface modifier also to view the geometry in a much better way let’s return back to the object mode and now we’ll be applying the shade flat so right click and select shade flat this will simply remove the effect of shade smooth that you previously applied now tap into the edit mode and with this Loop of vertices selected we’ll scale them down in the z-axis Also let’s slightly scale it down in the x-axis like this let’s again scale it down in the z-axis in order to properly close the character’s mouth now go back to the object mode right click and apply shade smooth again and with this we now have a neutral expression for the character’s face however there are still a few things that we can fix to give the face of character a much more natural look so first of all let’s add a loop cut over here so press control plus r then left click to finalize and right click to cancel the movement let’s go to the side view let’s also disable the subdivision surface modifier realtime display from here and now we’ll be adjusting the vertices of the face in order to give it a much more natural look let’s do the same from the front view also so I’ll select this vertex and we’ll move it over here in the x-axis like this so you basically need to ensure that there’s enough spacing between each of the vertices and they are placed in a uniform manner let’s again go to the side view by pressing three on the numpad now we select this Vortex over here and we slightly move it in the Y AIS like this let’s do the same for this one also so we’ll move it in the y- axis and yes it’s not mandatory to follow each and everything about what I’m doing in the edit mode because it might be possible that for your character the placement of vertices or the position can be very different from my 3D character so after doing all these things we’ll return back to the object mode Let’s also turn on the realtime display of the subdivision surface modifier and now we’ll be creating a shape key in order to save this neutral facial expression so to do this let’s first go to the object data properties and in the shape Keys click on this plus icon and this will create the basis shape key and this one will be used for the neutral expression now moving ahead we’ll also be creating another facial expression with the mouth of the character open and for this we’ll be creating one more shape key and to change its name double click on the key one and we’ll type open mouth press enter to confirm and now with the shape key selected we have to create the open mouth expression so for this let’s first right click and select shade flat and also we’ll disable the realtime display of the subdivision surface modifier now press tab to enter the edit mode and to create the open mouth expression press three for the face select mode and now we have to select all these faces present at the bottom part of the face now if I press G to move them in the z-axis then the faces will move down however to give them a much more natural look we’ll be using the proportional editing tool so press o to turn on the proportional editing and now if I press G to move these faces down then you will notice that along with these selected faces the other faces on the upper part are also moving and to prevent this from happening click on this option in the proportion editing tool and turn on the connected only this will allow the proportional editing tool to only be applied to those faces connected to the ones that we selected so now if I try to move it in the downward Direction then we are no longer facing the problem of The Unwanted vertices moving in the downward Direction now left click to finalize and with this we have created a basic expression for the opening mouth however to give it a much more natural look we’ll be fixing some vertices or some edges of the character’s face so for this let’s first go to the front view Press Two for the edge select mode and I will be selecting this particular face and we move it up but before that let’s also turn off the proportion editing tool by pressing o and now I’ll move it up in the z- axis in this way we’ll be making the structure or basically the geometry of the character’s face a much more natural and a better look let’s also do the same thing from the side view so I’ll select this Edge and we’ll move it over here similarly I’ll select this one press G to move it and place it over here so it will depend upon your model that what changes you need to make in order to give it a natural looking expression now let’s change the angle and after all this the character space and the expressions are almost looking perfect so let’s finalize this and also if you want that the opening of the mouth should be more wider then for this select this Edge Loop and simply scale it up in the z-axis you can also do the same thing with the proportional editing tool turned on so after pressing o if I try to scale it up in the z-axis then the vertices or the edges around the selected ones will also show the movement now we’ll finalize this by left clicking and let’s now return back to the object mode also we’ll turn turn on the realtime display of the subdivision surface modifier and also apply the shade smooth and now to view the result I’ll go to the object data properties and with the open mouth shape key selected if I try to increase the value from 0 to 1 then you will notice that the mouth of the character will begin to open now moving ahead let’s also adjust the teeth of the character according to this open mouth so for this select the teeth then in the object data properties we’ll create a basis shape key which will carry the information about the original placement of the teeth then we’ll create a new shape key and we change its name to open teeth now tab into the edit mode Let’s go to the front view by pressing one on the numpad first deselect everything and now we’ll be selecting the lower teeth and for this I’ll place my cursor over them then press L and we’ll now move them in the downward Direction so first of all turn off the proportion editing tool by pressing O then press G and z and move them down in the Z axis now left click to finalize and now if I go to the object mode again and with the open teeth selected if I try to increase this value then you will notice that we are able to move the lower teeth of the character with the help of shape keys and now moving ahead we’ll be creating another shape key which will show the mouth being expanded in the outward direction or basically the x- AIS so to do this I’ll first change the value in the open teeth shape key to zero then I’ll select the character’s body and we’ll also change the open mouth value back to zero now let’s create another shape key so click on this plus icon and we’ll rename it to out mouth Now to create the expression first right click and select shade flat now tab into the edit mode now press one for the vertex select mode and it’s also disabled the real-time display of the subdivision surface modifier now we have to select the entire vertex loop around the mouth of the character so with the ALT key holded select this entire vertex Loop and to create the expression of the mouth expanding in the outward Direction we’ll scale this up in the x- axis but let’s also turn on the proportional editing tool by pressing o and now press s and x and scale it up like this now once the scaling is done left click to finalize and now to view how the expression looks let’s return back to the object mode go to the object data properties and increase the value with the out mouth shape key selected so if I increase it you will notice that the mouth of the character is expanded in the outward direction or basically the x-axis in fact if you want you can see more than one expression at a time and to do this over here in the out mouth we have entered a value of one similarly if I select the open mouth also and enter the value equal to 1 then now you will notice that we are able to see both the Expressions the mouth is expanded in the outward Direction and also the mouth is showing the opened expression similarly if I select the teeth also and in the open teeth if I enter the value equal to 1 then now we are able to see the effect of all the three shape Keys together applied to our character moving ahead if I zoom in you will notice that because of scaling up these vertices around the character’s mouth we are able to see these edges of the inner part of the mouth that we created while modeling the character you can also check this by going to the x-ray mode and to view everything in a much better way click here and turn on the wireframe display in the geometry category and now you can see here that this particular part of the mouth which we modeled as the interior of the mouth is being visible on scaling up the vertices around the character’s mouth in the x-axis so to solve this problem I’ll first select the out mouth shape key and and tap to enter the edit mode now I’ll deselect everything and with my cursor over this interior part of the mouth I will press L and this will select all the vertices which are present in the mouth interior now we’ll scale it up in the xaxis like this and left click to finalize let’s return back to the object mode and now you will notice that if I try to reduce this value in the out mouth shape key to zero then not only the expression is changing but also the scaling of the mouth interior part is also changing now moving ahead we’ll now be creating an expression where all these vertices around the character’s mouth will move in the in Direction so for this let’s create one more shape key and we’ll rename it to in mouth now before creating the expression let’s first reduce the value of all the other shape keys so for the out mouth I’ll enter zero as the value similarly I’ll select the teeth then in the shape keys with the open teeth selected I’ll change the value to zero and in the end I will select the open mouth shape key and will reduce its value down to zero Now to create the expression of the in mouth I will select the shape key now tab into the edit mode now first deselect everything and with the ALT key hold it we’ll be selecting this vertex Loop around the character’s mouth now let’s scale it down in the x-axis like this and left click to find lights now let’s return back to the object mode and with the in mouth shape key selected if I try to increase the value from here you will notice that this expression is created where the vertices around the mouth of the character are moving in the inward Direction now moving ahead we’ll be creating one more facial expression which will be the happy face expression so for this let’s first reduce the value of the in mouth shape key to zero and we’ll be creating a new shape key let’s rename it to happy mouth and press enter to confirm now in this EX impression we’ll be creating a simple smile on the character’s mouth so for this press tab to enter the edit mode first deselect everything and now I’ll select this particular Vortex surrounding the mouth and present at the ending part now with the proportion editing tool turned on we move it up like this and left click to find lights to make it look better let’s turn off the proportional editing tool and now I’ll select some random vertices and move them up in the z-axis so let’s do the same thing with all of these vertices surrounding the mouth and in this way we’ll be giving the face or basically the expression a much more natural look now I’ll select these four vertices and we’ll move them in the downward Direction like this so you basically need to ensure that the placement of all these vertices is uniformly distributed from the ones which are surrounding them and once all this is done the expression will be finalized and if you want you can even try to change the Angles and try to move some vertices in a particular direction to give the face a uniform and natural look now let’s return back to the object mode Let’s also go to the front view and now with the happy mouth shape key selected if I try to increase the value from here you will notice that we are having an expression which shows a simple smiling face on the character’s mouth and now moving ahead we’ll be creating one last expression for the character which will be the sad mouth so for this let’s first reduce the value in the happy mouth back to zero and we’ll be creating a new shape key so let’s rename it to sad mouth and press enter to confirm now tab into the edit mode and now with this Vortex selected around the character’s mouth we’ll first turn on the proportion editing tool and we’ll move them down in the z-axis now left click to finalize and we again need to fix the positions of the different vertices so we’ll fix all of them in order to give the character’s face a natural look so let’s turn off the propor P editing tool then I’ll select this Vortex and we move it ahead in the y- axis similarly I’ll select this one also and we’ll move it forward in the y- axis like this now let’s select this one and move it like this and so in this way we’ll be modifying the positions of the different vertices around the character space in order to give it a natural appearance let’s fix this one also and once all this is done the characters Expressions will be finalized now let’s return back to the object mode and to test the expression I’ll go to the object data properties and with the sad mouth shape key selected I’ll try to increase the value and finally this is how the sad expression is looking in fact we can even go to the modifier properties and turn on the real-time display of the subdivision surface modifier to see the expressions in a much better way let’s also turn off the wireframe display by using this menu let’s also apply the shade smooth and so with this we can now test all the Expressions individually as well as by combining them together simply by selecting each one and increasing its value one by one for example right now I have entered the value of one for two shape Keys one of them is the out mouth and the other is the happy mouth and as a result the expression that we see on the character’s face is having the mouth expanded in the outward Direction and along with it there’s also a smile on the character’s face because of the happy mouth shape key now once we have created all the shape keys for the facial expressions we’ll begin the Journey of rigging the parts of the face so that we can use these expressions in the character animation so for this we basically need to create the bones for the character’s face that we’ll use for the face rigging and also to create the controls that will easily allow us to change the character’s Expressions so for this go to the scene collection and first we’ll unhide the rig that we created for the character now I’ll select the rig and to create the bones for the face press tab to enter the edit mode but before that in the object data properties of the character’s rig we have to select the face bone collections so that whatever bones we add in the edit mode now will be categorized in the face bone collections also to view all the bones that we add let’s unhide the face collections by clicking on this icon and now to create a new bone the shortcut is to press shift plus a by doing this a new bone will get created at the position of the 3D cursor now we’ll be using this bone for the character his mouth so for this I’ll first select it then go to the side view press G to move it and place it over here now let’s change the angle let’s also zoom in and we’ll scale it down like this and place it near the mouth of the character let’s move it slightly more upwards and we’ll also scale it down like this now moving ahead we need to create another bone which will control the opening of the mouth so for this press shift plus d to create a duplicate of this bone and we’ll move it in the downward Direction so we’ll place it over here let’s also scale it up further and so we’ll be using this particular bone for controlling the downward movement of the face also so we need to create one more bone for controlling the movement of the teeth so with this bone selected press shift plus d to create a duplicate right click to cancel the movement and we’ll scale it down like this so that we can view both the bones placed at the same position now moving ahead we’ll also be creating the bones to control the movement of the character’s eyes so for this with one of the bones selected we’ll create a duplicate by pressing shift plus b and we’ll place it somewhere near the eyes of the character to bring them forward in the Y AIS let’s go to the side view now press G and Y and move it forward like this let’s again go to the front view so you basically need to ensure that the base of the bone is aligning with the center of the eye similarly let’s create one more duplicate by pressing shift plus b and we’ll place it in front of the eyebrows because we’ll be using them in order to rig and animate the character’s eyebrows so in this case also you have to ensure that the base or basically the tail of the bone is somewhere near the middle of the eyebrow Now to create the bones for the other side of the eyes and the eyebrows also we’ll first select both the bones together by holding the shift button and we’ll create the duplicates by pressing shift plus b now right click to cancel the movement and to place them accurately at the same position of the ice on the other side also we’ll be using the mirroring tool so for this first we’ll change the transform P point to the 3D cursor now go to Armature and in the mirror select X Global and now you will notice that the two duplicate bones will accurately get placed on the other side now moving ahead one last thing to notice here is that if I select any particular bone and go to the object data properties then you can see here that the name of this bone is not defining its function similarly this is true for all the other bones as well so to fix this problem I’ll first s this bone and we change its name from bone to bone do mouth similarly I’ll select this bone and we change its name from bone. 001 to bone. mouth. open because we’ll be using this bone to open and close the character’s mouth to create the Expressions similarly I’ll select the small bone and since it will be controlling the movement of the teeth so we’ll change this from bone. 002 to bone. teeth. openen similarly for this left eye we’ll rename this to Bone do I do L similarly for the right eye we’ll rename the bone to bone do I do R now let’s do the same thing with the eyebrows also so for this left eyebrow we’ll rename it to Bone do eybrow DOL and in the end I will select this right eyebrow and we rename it to bone. eyebrow. R now moving ahead we need to parent all these bones to that bone which is present inside the character’s head so to do this let’s first deselect everything now press alt plus Z to turn on the x-ray mode and we first need to select only those bones which we have created for the character pH so we’ll select all of them and then in the end with the shift key holded we’ll be selected this particular bone present inside the character’s head now to parent all these bones to the Head bone go to the Armature menu then in the parent select make and in this menu select keep offset and by doing this if we now enter the pose mode and select only the head control and try to rotate the head by first changing the transform Pivot Point back to individual origin and then press R to rotate it then you will notice that all these face bones that we just created are following its movement and this is because we parented these face bones to the headbone of the character and so with this we now AR to the end of this chapter today we created various facial expressions with the help of shape keys and then we also created the face bones on which we’ll be working in the upcoming chapters of this course for the purpose of rigging an [Music] animation in the previous chapter we begin with the understanding of the basic concepts of face riging for a 3D character there we created the facial expressions for the character and we also created some bones for the face rigging and in this particular chapter we’ll be moving a step ahead as we’ll learn about using a custom shape in place of the bones and we’ll also be adding some bone constraints in order to restrict the transformation and the rotation of the bones so we have created this 3D model of the character and we have also created the final rig for the character and some facial expressions also and if you want to download the blender file with the 3D model of this character with the rigging then you can join the patreon of this channel by clicking on the link given in the description of this video now to continue with the face rigging we’ll switch to the solid mode and in the last chapter we created these seven facial bones and in this particular chapter we’ll be learning about replacing these bones with a custom shape so to create a custom shape First Press shift plus a go to curve and add Circle let’s zoom out and here we have the bzier circle added in our scene now to change its shape tab into the edit mode press a to select everything and to give it a square or a rectangular shape we’ll first scale it down in the x- axis and then we’ll scale it up in the Y AIS if you want you can try to change the scale values in the different axis in order to give the shape of this curve a different look now let’s return back to the object mode and we’ll Now work on replacing these facial bones with this B a circle that we have just added so to do this first of all select the rig now press contrl plus tab to enter the pose mode and we need to select that particular bone that we want to replace with the bzier circle so first of all I will select this particular bone which is for the left eyebrow then I’ll open the bone properties and in the viewport display here we have the option to select a custom object in this I’ll be selecting the bzier circle and after this you will notice that the bone is now replaced with the bzier circle in fact you can even change the location or the scaling of this shape in different axis by using these settings also one more thing to consider here is that the XY and the z-axis in the custom shape settings is based on the local axis of the original Basia curve you can also understand it in this way that the rotation of the original Basia curve and the one that replaces the bone is not the same we can clearly see that the one which replaces the bone is rotated by an angle of 90° now moving ahead we’ll go to the front view and we’ll be changing the scaling of this custom shape so go to the scaling in the y- axis and we’ll reduce it to something like 0.7 and with this we are having a perfect custom shape in in place of the bone also it completely depends upon you that which particular shape you want to add in place of the bones we are doing this procedure of replacing the bones with the shapes so that we can easily use the controls of the face rigging moving ahead we’ll do the same procedure with the other bones also so I’ll select this one which is for the right eyebrow then in the bone properties go to custom object and we’ll select the bzier curve let’s change the scaling in the Y AIS to 0.7 or maybe let’s reduce it to something like 0.4 or 0.5 let’s do the same for this one also so we’ll reduce the scaling in the Y AIS to 0.4 and now it looks perfect moving ahead I will select this bone for the right eye and in the custom object I’ll again select the Basia Circle let’s scale it down in the X and Y axis to something like 0.7 let’s also move it slightly upwards so in the translation of the y axis I’ll enter a value of 0.01 M now let’s repeat the same step for this particular bone also so I’ll go to the custom object select the basier curve then in the scaling I will enter 0.7 in both the X and the Y AIS then for the translation we’ll be entering 0 0.01 in the Y AIS similarly let’s also add the custom shapes for the mouth bone so I’ll select this particular bone go to custom object and select the bzier circle now first of all I’ll reduce the scale value in the Y AIS to something like 0.7 let’s also move it slightly upwards so I’ll go to the translation in the Y AIS and keep it to something like 0.05 and now it looks perfect moving ahead I’ll select this particular bone which is for the open mouth then I’ll go to the custom object and select the B Circle let’s reduce the scaling in the y- AIS to somewhere around 0.6 or 0.7 and let’s also Move It Up by going to the translation in the Y AIS and increasing it to something like 0.05 and now we’ll select the last bone on the face which is to control the opening of the teeth now go to the custom object select the bzier circle let’s reduce the scaling in the Y AIS to 0.6 or 0.7 and we’ll also Move It Up by going to the translation in the y- axis and changing it to somewhere around 0.05 M and with this we have successfully created the custom shapes in place of the facial bones now moving ahead if if I select any particular control for the face for example this left I and press G to move it then you will notice that we are able to freely move it in any direction and by any value similarly we can also scale It Up by pressing s or scale it down to any extent however for a proper face diing it is mandatory to set a restriction on the values within which all these facial controls will transform rotate and scale and for this particular purpose we’ll be using the bone constraints so for this I’ll first select this control which is for the mouth of the character and and to add a bone constraint to restrict its movement first we’ll open the bone constraints Properties by clicking on this icon then go to the add menu and since we want to control or basically restrict the movement of the control or the bone so we’ll be adding the limit location constraint so we’ll select it from here and yes if you want to understand about all the important constraints in complete detail then you can watch these three chapters where we understood about the constraints in blender now coming back to our scene if I go to the Limit location constraint and turn on all these options in the minimum and the maximum values then you notice that the control will suddenly disappear from the scene and this is because currently blender has selected the world Space by default meaning that it will only consider the world axis and not the local axis of the control meaning that the location of that control is now restricted to these values which is zero in all the three axes for the minimum range and similarly 0 m for all the three axes in the maximum also in simple words the object’s location is now constrained to only one specific location which is 0 m in all the three Axis or basically the world origin where we also have the 3D cursor like over here you can see that at the center of the world we are having this control for the mouth placed over here because of adding the limit location constraint in fact if I try to move it by pressing G then you will notice that nothing will happen but suppose I want that instead of considering the world origin it should rather consider the local axis of the control so to do this go to the owner option in the limit location constraint and change this from the world space to the local space and now you will notice that the mouth control is again placed at its default location and since we have selected the local space then now it will consider the local axis of the control and not the global axis and to see those axess in the 3D view Port first of all in the transform orientations select local and in this tool menu we’ll turn on the Move control and now over here you can see that the local xaxis for this control is in this direction which is also aligning with the global x-axis however the local y AIS of the control is in the upward Direction which for the global axis means the positive Z axis but as I told you earlier we have selected the local space in the limit location constraint and as a result we’ll only be considering the local axis of the control so right now if I try to move this control then you will notice that the location of the control is not changing however if I go to the maximum x value and increase it to 0.1 M and then if I try to move it by pressing G then you will notice that we are able to move it but only up to a small distance and that to only in the x- axis now if you want that we should also be able to move it up and down then for this we’ll go to the maximum bu value and change it to a very small small number like 0.1 M only and now if I try to move it in the upward Direction then you will notice that it is now moving both in the x axis and also in the y axis similarly if you want to move the control in the negative axis also then for this we’ll go to the minimum X and Y values and change them to minus 0.1 M and now if I try to move the control by pressing G then you will notice that the control is now moving in the positive axis and also the negative axis also it’s not mandatory that you have to assign exactly these values in the limit location con constraint if you want you can change the values depending upon the size of the controls so for now I’ll be entering the value in the x-axis to minor 0.15 for the minimum and positive 0.15 in the maximum now moving ahead let’s reset the position of this control so for this go to the pose menu then in the clear transform select all now the next control that I’ll select is this one which we have added to control the opening and the closing of the Mouse as a result we need to apply the limit location constraint to restrict the movement of this constraint only in the downward Direction so for this in the bone constraint properties click on ADD bone constraint and select the limit location now in the owner select the local space and we’ll also turn on all these options for the minimum and the maximum values in all the three axes also it’s advisable to turn on the effect transform in the limit location constraint for all the controls so in the last one also we’ll turn on the effect transform and now coming back to this control which we have to move only in the downward direction we simply need to set the minimum value in the local y AIS to something around 0.1 M and now if I try to move this control by pressing G then you will notice that it is only moving in the downward Direction and yes the reason why we are seeing a lag in the performance is that I have not hided the characters here in the scene so I’ll go to the object mode first then I’ll select the character’s body and in the particle properties I’ll turn off the realtime display of the particle system now select the rig again press control plus tab to enter the pose mode and now if I try to move the control then now there will be no lag moving ahead the next control on which we’ll apply the bone constraint will be this one which is for controlling the movement of the T teeth of character and just like the control for the movement of the mouth we need to restrict the movement of this control also only in the downward direction or the negative Y axis so for this with this control selected I’ll hold the shift button and select the control which is for the mouth opening and closing then to apply the same bone constraint go to the Bone constraint properties and in the limit location constraint click on this icon and click on copy to selected now if I deselect everything and select only the control for the teeth then this limit location constraint is now added to this control meaning that if I press G to move it then location will get restricted only to the negative y AIS for the downward movement now moving ahead if I select any of the controls and press s to scale it down or R to rotate it then you will notice that we can easily change the rotation or the scaling of any of the controls and to avoid any mistakes due to Accidental rotating or scaling we’ll be locking the rotation and scale of all these controls so to do this first press n to open the side toolbar and in the item category we have the option to control the rotation and the scaling and to restrict the rotation and the scaling we simply need to click on these lock button along these values and now if I try to rotate or scale the control you will notice that we are not able to do it let’s do the same with the other controls also so I’ll select this one and I’ll click on the locks in the rotation and scaling values similarly for this one also click on the lock buttons for the rotation and the scaling values and now moving ahead we’ll be working on the controls for the eyes and the eyebrows of the character so first of all I have selected the left eye of the character and in this particular case we need to limit the rotation of the ey to understand this concept in more detail I’ll go to the object mode then with the body body of the character selected press tab to enter the edit mode Let’s also open the material preview mode and now with everything deselected if I keep my cursor over the left eye of the character and press L to select it and try to rotate it in the x-axis then you will notice that the eyes are rotating properly in the x-axis similarly if I try to rotate it in the z- axis then the rotation looks like this and also while rotating you can see on the top left corner that it shows the specific value of rotation so for the rotation of the ice we’ll be limiting it to a value of 45° in all the three axis so let’s set R back to the object mode then go to the solid mode also and with the ri selected press control+ tab to enter the pose mode now with this control selected for the left ey go to the Bone constraint properties click on ADD bone constraint and in this case we’ll be selecting the limit rotation constraint now in the owner select the local space and we’ll turn on the limit X limit Y and the limit Z let’s also turn on the effect transform and to set the values I’ll first go to the Limit X and enter – 45° for the minimum value then in the maximum I enter positive 45° and we repeat the same same step for the remaining axis so let’s enter 45 here then in the z-axis minimum will be – 45 and maximum will be postive 45° how to apply the same bone constraint to the right eye also then for this first I’ll select the right eye then with the shift key hold it select the left eye on which we already used the limit rotation constraint now click on this icon and click on copy to select it and with this we have now applied the limit rotation constraint to both the I controls moving ahead we’ll now select the left eybrow and for this one we’ll be using both the limit location and the limit rotation constraint so with this control selected go to the Bone constraint properties click on ADD bone constraint and first I’ll be selecting the limit location then in the owner select the local space and we’ll turn on all these options now in the minimum X and the Y I will enter a value of somewhere aroundus 0.05 M and in the maximum for the X and Y AIS we’ll be entering a value of somewhere near positive 0.05 M and now if I go to the 3D viewport and press G to move it then you can see here that the movement of the eyebrow is now constrained similarly let’s also app the constraint for the rotation of this eyebow control because if I try to rotate it in the x-axis then it will rotate like this however in this particular case we want the rotation to only exist in the local Z axis so for this click on ADD bone constraint and we’ll be selecting the limit rotation then we’ll first enable the limit for all the three axis and in the owner select the local space Also turn on the effect transform and now to set the values I’ll go to the limitation in the z-axis and change the minimum to -30° and the maximum to postive 30° and now if I press R to rotate the constraint then you will notice that the rotation of the control is now restricted similarly to apply the same constraint for this control also for the right eyebrow I’ll first select this then with the shift key holded select the control for the left eybrow and first of all in the limit location click on copy to select it and then in the limit rotation again click on the copy to select it and with this the same constraint is now applied to the right eyebrow also and so with this we now arrive to the end of this chapter today we learned about the creation of some custom shapes for the rigging bones and we also added the bone constraints to limit their location and the rotation and in the next chapter we’ll be finishing with the face rigging since we’ll be creating the drivers for the face [Music] controls we started with the modeling of a 3D character in blender from the chapter number 70 of this course where we model the body of character the hair particles the clothes of character and finally we even understood about the concepts of character rigging and then in the last two chapters we also started to understand the facial rigging in blender and in today’s chapter we’ll be finalizing the complete facial rig since we’ll be first creating some drivers for a better application of face rigging and then we’ll also be learning about connecting the mouth and the eyes to the facial rig so we have modeled this character and if you want to download the blender file containing this 3D rigged character then you can join the patreon of this channel by using the link given in the description and now to begin with let’s first go to the solid mode and we’ll also hide the characters Hair by disabling the real-time display of this particle system now the first thing that we’re going to do today is to connect these spatial rigs to the shape keys that we created for the characters body so for this first of all we need to ensure that the value of all the shape keys that we created for the mouth Expressions is set to zero and yes since we’ll be working on the creation of drivers for these shape Keys it is suggested to watch this particular chapter in order to understand the fundamentals of drivers now returning back to our scene we’ll first select the open mouth shape key with the characters body selected now I’ll take my cursor over this value option and if I write click then here we have the option to add the driver so I click on this and this menu will appear where we have to select the rig and the bone by using this object settings so I’ll click on this object and from the list we’ll first select the rig and then from the bone option we need to select that particular bone or the control which will move the mouth of the character up and down so for this click on the bone option and we’ll start typing bone and this list will appear from which we’ll be selecting the bone do mouth. open which we created in the character rig now since its motion will be up and down so in the space we’ll be selecting local space and as we discussed in the last chapter the up and down movement in terms of the local space was in the Y AIS so in the type I’ll select the Y location and once everything is finalized I simply need to take my cursor away from this menu and it will disappear also it might be possible that by mistake also you might accidentally take your cursor away causing the removal of the driver menu and if that happens you simply need to right click on this value again and go to edit driver and then you will be able to make any changes in the driver settings now in the 3D view Port if I select the character’s rig and go to the pose mode by pressing control+ tab then select this control with the name bone. mouse. open and try to move it in the local y AIS by pressing G then you will notice that nothing is happening right now also do ensure that in the transform orientation the local is selected and not the global now the reason why we are not able to see any changes in the opening and the closing of mouth is that we have to move this control in the downward Direction however if I return back to the object mode and select the character’s body again then in the open mouth shape key if I right click over here and go to edit driver then the expression in the driver which is variable plus 0 is positive by default and to make it netive negative we

simply need to add a minus sign before the variable in the expression with this I’ll press enter to confirm and we’ll again select the rig then press contr plus tab to go to the pose mode and with this control selected if I try to move it in the downward Direction then you will notice that we are able to see some slight movement in the upward and the downward direction of the character’s mouth but to increase this effect we’ll again return back to the object mode select the character’s body then go to the edit driver for the open moue shape key and in the expression we’ll change this from minus variable plus 0 to negative of variable multip light by 10 now press enter to confirm then select the character’s rig press control plus tab to enter the pose mode and with the control selected I’ll move it down in the downward Direction by pressing G and Y and you can now notice that we are able to use this particular control for the opening and the closing of mouth now moving ahead we’ll be using the same driver for this control which is named as bone do teeth. openen which is for controlling the upward and the downward movement of the teeth so for this we’ll again return back to the object mode then I’ll select the character’s body and to copy this driver simply right click over here and click on copy driver now to select the character’s teeth we’ll first enable the x-ray mode by pressing all plus Z then select the teeth from here and guess another way to do this is to go to the seam collection then in the rig object you can select the te from here now to use the same driver for the open te shape key also simply right click over here and select paste driver now to edit the driver in order to connect this shape key with the particular control that we created for the teeth simply right click over here then go to the edit driver and in the bone I’ll type bone Dot and select this bone. T do open now to see the effect I’ll select the rig then go to the pose mode by pressing Control Plus Tab and I’ll first select this control which is for the opening of mouth and we’ll first move it in the downward Direction then I’ll select the control for the character’s teeth and if I move it down in the downward Direction then you will notice that by moving the controls the character’s teeth are also moving now moving ahead we’ll now be adding a driver for this control which is named as bone do mouth so let’s go to the object mode again select the character’s body and in the shape ke we’ll be selecting the out mouth now right click here and click on ADD driver then in the object select the rig and and in the bone we’ll type bone and select this bone do mouth now in the type we’ll keep the X location selected but in the space we’ll be selecting the local space Also to increase the effect I’ll change the expression value from variable plus 0 to variable multiplied by 10 now to see the effect I’ll select the characters rig then press control plus tab to enter the pose mode and with this control selected if I try to move it in the x-axis then now we are able to use the Expression showing the output movement of the mouth by using the shape Keys now just like the out mouth shape key we’ll be repeating the same procedure for the in mouth shape key also so for this let’s again go to the object mode select the characters body then in the shape Keys we’ll first copy the driver that we created for the out mouth so right click here and select copy driver and to paste this I’ll select the in mouth shape key then right click and select paste driver and also since it will be for the inward movement of the mouth as a result we need to change the expression value from positive to negative so go to the edit driver from here then the expression we’ll be adding a minus sign before the variable multiplied by 10 now select the characters rig again press control plus Tab and and with this control selected if I move it in the negative x-axis then now we are able to see the inward movement of the mouth so by moving it in the negative x-axis it shows the in mouth effect and then moving it towards the positive x-axis it will show the out mouth effect now moving ahead let’s also create the drivers for the remaining two shape Keys which are for the happy mouth and the sad mouth so for this with the previous driver copied I’ll go to the Happy mouth then right click here and select paste driver then to edit the properties right click and select edit driver and we just need to change the type from the X location to the Y location this is because we’ll be moving this particular control in the upward direction or basically the local y AIS to see the effect of the happy mouth shape key similarly I’ll select the sad mouth then right click and select paste driver and to edit the properties I’ll go to the edit driver and first of all I’ll change the type to Y location and in this particular case we’ll be moving the control in the downward Direction and as a result I’ll change the value of expression by adding a minus sign in front of the variable now to see the effect select the rig again then press control plus tab to enter the pose mode and with this control selected if I try to move it in the upward Direction by pressing G and Y then we are able to see the smiling mouth and if I move it in the downward Direction then we able to see the sad mouth so in this way we have connected all the shape keys to the different controls that we created for the mouth and the teeth of character and now moving ahead we’ll be connecting the eyes and the eyebrows of the character to these controls that we created in the character’s rig however while being in the edit mode if I select this control which is for the head of character and try to rotate it then you will notice that by default the movement of the eyes and the eyebrows is being controlled by this rig control which is named as the head also this particular control is because of this bone inside the character’s head which is named as DF spine. 006 so first we need to remove the influence of this particular bone from the eyes and the eyebrows and to do this let’s first go to the object mode select the character’s body press tab to enter the edit mode and do ensure that everything is deselected now to select the eyebrows and the eyes of character I’ll take my cursor first over this eye and press L to select it similarly let’s do the same thing for the eyebrow and for the other side also now with both the eyes and the eyebrows selected go to the object data properties and in the vortex group do ensure that this de spine. 006 is selected now to remove the eyes and the eyebrows from this vertex group simply click on the remove button and now we need to create individual vertex group for both the eyes and the eyebrows so first of all deselect everything then we’ll be selecting the left eye first and to create a Vertex group click on this plus icon now we’ll change its name by double clicking here and we’ll rename it to I DOL press enter to confirm and to assign these vert to this vertex group click on the assign button now we’ll do the same thing with the right eye also so with my cursor over it I will press L to select it then go to the vertex group click on the plus icon and rename it to i. R press enter to confirm and click on the assign button let’s repeat the same procedure for the eyebrows also so with my cursor over the eyebrow I will press L go to the vertex groups create a new one and we rename it to ibrow DOL now press enter to confirm and click on the assign button at last I’ll select this eybrow by keeping the cursor over it then press L and we’ll again create a new vertex group and we’ll rename it to io. R click on the assign button now we need to ensure that the name of these vertex groups should exactly be the same as the name of these individual controls and to see their name you simply need to select one of them and then over here the name of the control will be displayed so this selected one is named as bone. i.l similarly this one is named as bone. i.r and the I also are named as bone. i.l and bone. i.r for the right I so to rename the vertex groups let’s again go to the object mode select the characters body then in the vertex groups simply double click to rename and I’ll be adding the word bone dot before each of these four vertex groups so we are done with the first one now select this one let’s rename it and I’ll be adding bone dot before ibrow DOL similarly for this one also I will type bone Dot and press enter to confirm then in the end I’ll select the vertex group for the left eye and we’ll add bone dots before its name and now to see the effect I’ll select the character’s rig press control plus tab to go to the pose mode and with any of these controls selected for the eyes or the eyebrows if I press R to rotate it then you will notice that the same changes are being applied to the respective objects also by using these controls you can create different types of expressions for the character’s face and so with this we now arrive to the end of this chapter today we understood about adding the drivers for the shape keys and then we also connected these four controls to the eyes and the eyebrows of the [Music] character in the previous 10 chapters we learned to model the character’s body its hair particles the clothes of the character and then we also learned about all the concepts related to character rigging in blender then later on we discussed about the face rigging tools and in this particular chapter we’ll understand about creating character animations since we’ll be making an animation sequence where the character will be doing some pull-ups and then in the end we’ll also be rendering it in order to create a final animation so we created this character and if you want to download the file containing this character then you can join the patreon of this channel from the link available in the description of this video and now to begin with the animation we’ll first go to the solid mode and also let’s hide the meta rig from the scene collection and we’ll Al be hiding the characters hair particles in the 3D view Port so I’ll select the characters body then in the particle system turn off the realtime display of this hair particle system now to create any kind of character animation we first have to select the character’s rig and go to the pose mode by pressing control+ tab then suppose I want to create an animation showing the arm and the Hand of character moving in the downward Direction then for this first St deselect everything then we have to select this particular control which is red in color and has the name hand i.l now to save this position of this control at the frame number one we simply need to press the I key so if I press I you will notice that a key frame has been inserted at the frame number one now I’ll take the pointer to somewhere near frame number 60 then go to the 3D view port and to move it down we’ll first change the transform orientations to Global then in 3D view Port press gz and move it down like this and with this we have moved the character’s hand and the arm in the downward Direction now to save this position for the frame number 60 simply press the I key to insert the key frame and now if I take my pointer to the frame number one and press the space bar then you will notice that we have a simple animation created showing the downward movement of the hand now moving ahead we’ll be understanding about the character animation in complete detail by creating a simple animation sequence showing the character doing some Pull-Ups so for this let’s first clear the transform for the selected control so go to the pose menu then in the clear transform select all also go to the timeline editor press a to select all the key frames and press X to delete them and select delete key frames now first of all we’ll return back to the object mode and we’ll be adding a cylindrical rod in the scene which the character will be holding while doing the pullup so for this press shift plus a go to mesh and select the cylinder now tab into the edit mode press a to select everything and we’ll rotate it in the y axis by 90° now let’s scale it down like this and then we’ll scale it up in the x-axis and once we have done the scaling of this Rod we’ll return back to the object mode and to place it properly let’s go to the side view by pressing three on the numpad Press G to move it and place it over here we’ll be placing it somewhere near the tip of the character’s head on the front side now to begin with creating the animation we’ll select the character’s rig then press control plus tab to enter the pose mode and we’ll also take the pointer back to the frame number one now the first thing that we’ll be doing in order to create the animation of the character doing the pull-ups will be to animate the lower body of the character with the help of the foot controls and to ensure that whatever changes I’ll make on the left side also get applied to the right we simply need to turn on the mirroring effect in the x- axis by clicking on this icon now press one on the numpad to go to the front view and with the foot control selected we’ll move it up like this and yes our main objective is to create an animation where initially at the frame number one the character’s body body will be in the default position then at somewhere around frame number 40 the character’s legs and the arm will move in the upward Direction and the fingers of the character’s hand will be holding this rod and then from the frame number 40 the character’s body will move in the up and down position in order to show the pull-up animation by the character’s body but for now returning back to the feet we’ll go to the side view by pressing three on the numpad and we’ll move them in the y axis like this let’s also rotate them properly and you can adjust the character’s feet in any way depending upon the character’s body and your personal preference now once we have finalized the position of the feed controls or basically the lower body of the character we need to insert the key frames in the timeline editor so for this I’ll keep the pointer with the frame number 40 and now we need to select both of these controls together meaning the control for the left and also the one for the right foot so to do this with the left one selected hold on the shift button and we’ll select the right foot control now press I to insert a key frame at the flame number 40 however if I try to move my pointer in the timeline editor then you will see that the legs are not moving in the upward Direction and this is because we need to insert a key frame at the frame number one showing the default position of the character’s lower body so I’ll take the pointer to the frame number one and to get the default position with both of these controls selected I’ll go to the pose menu then in the clear transform select all now press I to insert a key frame and with this if I press the space bar to play the animation then now you will see that the feet of the character will begin to move similarly let’s also animate the arms and the hands of character and for this we have to select the hand controls which will be used for moving the character’s hands and the arms so first of all we’ll insert a key frame at the frame number one for the default position of both the hand controls so with the left one selected I’ll hold the shift button to select the right hand control and with both of them selected press I to insert a key frame now I’ll take the pointer to the frame number 40 and now it’s the time to move the character’s hands in the upward Direction so let’s go to the front view by pressing one on the numpad and with both the controls selected I will press G to move the hands and the arms like this and we have to keep it in such a way that the character’s hands are located on the top of this Rod now let’s go to the side by pressing three on the numpad and let’s also move the hands slightly forward in the Y AIS like this now to insert a key frame with both the controls selected for the hands press the I key and now you will notice that as I Chang the frames in the timeline editor we have a simple animation created showing the upward movement of both the legs and the feet and also the character’s arms and the hands now moving ahead we’ll also create the animation showing the rotation of the character’s hands and for this let’s first hide all the other controls in the scene apart from these two hand controls so for this we simply need to press crl + I to invert the selection and this will deselect both the hand controls from the rig and the remaining controls will get selected now press h to hide them and in this way we’ll be having only the hand controls in the scene now with both of them selected I’ll take the pointer to somewhere near frame number 35 and we’ll insert a key frame at this position now I’ll take the pointer to the frame number 45 and to rotate the hands press R and z and rotate it in the z-axis like this after this press the I key to insert a key frame at the frame number 45 so in this way we have created a simple animation in which first the character’s legs and the arms will move up and then the character’s hands will show the rotation also if you want you can select this key frame at the frame number 40 and press X to delete it moving ahead we’ll also be showing the fingers of the character’s hand holding this rod and for this we first need to unhide all the remaining controls so press alt plus h and now we need to select only those particular controls that are available for the character’s fingers so we’ll select all these controls over here by holding the shift button let’s also select it for the left hand and after this press contrl Plus to invert the selection and press h to hide with this we are only having the finger controls in the scene now press a to select everything and at the frame number 45 press I to insert a key frame then I’ll take the pointer to somewhere near the frame number 55 and to create the holding animation by using the finger controls we first need to ensure that in the transform Pivot Point individual Origins is selected after this with all the controls selected press s to scale down and yes in some cases it might be possible that a particular finger would still not show the bending because of incorrect calculation of the bone roll so to solve this problem let’s first unhide all the remaining controls by pressing alt plus h then deselect everything and you can see here that this little finger is not bending properly and as a result I’ll select this control for this little finger which is in the middle and press R to rotate the finger in the x-axis also to insert the key frames for the fingers we have to select all the controls where we made the changes so with this one selected for the little finger we’ll be selecting all the other controls for the remaining fingers that we previously selected so let’s select all of these on the left side also and now press I to insert the key frame at the frame number 55 also if I take the pointer to the frame number 45 then we can see here that all the fingers are showing the default position apart from this little finger and this is because we have not created a separate key frame at the frame number 45 for the specific control that we used for the rotation so for this with the x-ray mode turned on I’ll first deselect everything and then we have to select that particular control which we used for the fingers rotation with this selected I’ll go to the pose menu and clear the transform by selecting all then press the I key to insert the key frame and so with this if I begin to move the pointer forward in the timel editor then you will see that we have created a beautiful animation of the bending fingers now moving ahead the next thing that we’re going to do is to move the character’s body up in the z-axis so for this let’s go to the front view by pressing one on the numpad and I’ll keep the pointer to somewhere near frame number 50 now to move the character’s body in the upward Direction we’ll be selecting this torso control now press I to insert a key frame at the default position and we’ll take the pointer to somewhere near frame number 90 now move the control up in the z-axis like this and left click to finalize now press I to insert a key frame and it might be possible that due to excessive increase in height the character’s legs will get stretched up so to solve this problem we’ll be selecting both of these controls for the character’s feet then I’ll take the pointer back to the frame number 40 and we’ll move them up in the z-axis now left click to finalize and press I to insert the key frame again now to view the animation I’ll take the pointer back to the frame number one and press the space bar and so with this we have created an animation showing the movement of different body parts of the character also I will be rotating these feet so press R to rotate them like this and left click to finalize now moving ahead the next thing that we’re going to do is to convert this onetime animation into a loop animation and to do this we’ll first select this torso control and with both of these key frames selected we’ll create the duplicates by pressing shift and d and we’ll move them in such a way that the first key frame of the duplicates is exactly 40 frames away from the last animation key frame so basically for the duplicate the first key frame should be at the frame number 130 and the last should be at the frame number 17 and in this way you will notice that the character’s body will continue to show the animation in a complete Loop if you want the animation to further continue then for this we can again create a duplicate by pressing shift plus d and we’ll move them at somewhere near the frame number 210 and the frame number 250 respectively now moving ahead we’ll be making some final adjustments before finally rendering this animation so for this I’ll go to the frame number one and we’ll see the entire animation again from the different angles so I’ll press the space bar and now one thing that I can notice here is that the distance between the character’s body and the rod is too much around those regions where the character’s body goes down and again goes up so to solve this problem I’ll take my pointer to somewhere near the frame number 70 that is around the midpoint of the first pair of key frames then with the Torso selected we’ll also be selecting both the controls for the feet and we’ll move them slightly in the Y AIS now left click to finalize and press I to insert the key frame similarly we also need to use the same key frame in between all the other pairs of key frames that we have created for the loop animation so for this I will left click to select this key frame then press shift plus d to create a duplicate and will place it somewhere near the frame number 110 similarly to repeat the same process again for the remaining pairs I will use the shortcut which is to press shift plus r and this will automatically create a duplicate off the key frame and place it at the same distance away according to the distance of the previous one and now to view the final animation I’ll take the pointer back to the frame number one and press the space bar and finally we have created this animation where first of all the character’s body will move up then after holding the rod the character will be doing the pull-ups now moving ahead we’ll also be creating a simple animation showing the change of expressions of the character’s face so for this we’ll be selecting this particular control which is named as bone. mouth and with this I’ll first move it down in the z-axis in order to create a slightly sad face then press I to insert the key frame at the frame number one then I’ll take the pointer to somewhere near the frame number 40 and press I to insert another key frame with the same expression then I’ll take the pointer to somewhere near the frame number 70 or frame number 60 and we’ll move the control up in the Z axis to show the smiling face now press I to insert a key frame at this Frame number and in this way we’ll be able to create an animation showing the change of Expressions on the character’s face now after doing all this we can finally render the animation and for this let’s go to the rendered view let’s also turn on the real-time display of the hair particles so for this let’s first come back to the object mode by pressing control and tab then select the character’s body and in the particle settings turn on the real-time display also do ensure that you have turned on the cycle sender engine and right now for a better performance I’ve reduced the maximum samples in the viewport from 10,24 to a value of 32 also to ensure that you have a proper Lighting in the scene you have to open this menu and in the lighting turn on the scene lights and turn off the scene World moving ahead I’ll select this Rod right click and apply shade Auto smooth and to give it some material let’s go to the material properties create new material now to make the rod look like a metal I’ll increase the metallic value to something like 0.8 let’s also change the base color from here and you can choose any color of your choice but for now I will be using the dark green color Also let’s add a plane at the bottom so press shift plus a go to mesh and add a plane press tab to go to the edit mode and we’ll scale it up 10 times now let’s come out of the edit mode and let’s also create a simple background for a scene so press shift plus a go to mesh and add another plane let’s rotate it in the x-axis by 90° also to adjust its position I’ll first go to the solid mode now go to the side view by pressing three on the numpad Press G to move the plane and place it over here let’s scale it up so go to the edit mode press s to scale it up 10 times now come out of the edit mode and to create the material we’ll open the material preview mode now with the plane selected we’ll be creating a new material so go to the material properties click on the new button and in this particular case we’ll be giving some texture to the planes material so for this let’s open the Shader editor so click on this icon and from here select the Shader editor now we’ll be adding the magic texture in the Shader editor so press shift plus a go to texture and select the magic texture let’s place it over here connect the color socket to the base color and now you will begin to notice a simple and a random texture applied to the background to change its appearance we’ll first increase the depth to a value of three or four then we’ll increase the scale value from here and I’ll keep it to somewhere around 14 let’s also increase the Distortion from here and I’ll be keeping it to a value of somewhere close to three to add some colors to it we’ll be using the color ramp node so press shift plus a go to converter and select the color RAM and we’ll place it in between the magic texture and the principal will be SDF now for the first color I will be selecting the red color so let’s increase the brightness from here and change this to the red color then for the second pointer let’s move it over here and I’ll change this to light blue color also by changing the position of these pointers you can change the way how the texture looks on the plain background moving ahead if you want to give a 3D appearance to the background that we created then you can use the bump node in the Shader editor so press shift plus a go to vector and select the bump we’ll place it over here now take the color socket in the magic texture and connect it to the height in the bump node then for the out put I’ll take the normal socket of the bump node and connect it to the normal in the principal bsdf to see how it looks in the final version we’ll switch to the rendered View and finally this is how the texture is looking if you want you can set the same texture for this plane also by clicking on this icon and from here select that specific material however in this case I’ll be creating a simple material with a dark base color for the plane to be used as the base so I’ve set the color to dark green I’ll also increase the roughness value to somewhere around 0.8 or 0.9 and now it looks perfect so to render it let’s first go to the camera view by pressing zero on the numpad and to adjust it properly we’ll go to the solid mode and to move the camera we’ll click on this lock button which is the lock camera to view now let’s change the angle and the positioning of the camera in order to get a perfect view also if you want you can change the resolution of your camera by going to the output properties and by default this resolution is entered which is 1920 pixels in the X and 1080 pixels in the Y which also gives the camera the landscape resolution however if you want to change this to the vertical or the portrait resolution then you can go to the resolution values and we simply need to Interchange these values so in the X we’ll enter 1080 and in the Y we’ll be entering 1920 now to adjust the camera properly let’s first disable the lock camera to view now zoom out and we’ll again enable the lock camera to view now I’ll zoom out now let’s adjust the camera properly in order to get a perfect rendered video and once all this is done we’ll be finally ready to render the animation so for this we first need to change the file format from PNG to this ffmpeg video format and in this output path you basically need to enter that specific location where the video will be saved so you can click on this folder icon and choose that specific location and after all this is done we’ll go to the render properties and you can set the maximum samples to any value that you like however higher the value of Maximum samples better will be the quality but with that it will also take much more time to render in fact in most of the cases it is suggested to have a value of a maximum of 128 samples for General usage so in this particular case also I’ll be changing this maximum sample value in the render category to 128 and after this we are now ready to to render the final animation so click on this render option and from here select the render animation after this the rendering will start however you can see in the final render that the lighting is not perfect so to solve this problem we’ll cancel the render by clicking on the escape button and I’ll now close this render window now we are back in the scene and to adjust the lights properly I’ll first turn off the lock camera to view and let’s switch to the rendered view now to see that version which we’ll also be seeing when we finally render the animation we’ll click on this icon and from here turn on the scene world now to add some lighting let’s go to the top view by pressing seven on the numpad and I’ll select this light which is by default added in the scene now press G to move it and place it over here to change its properties let’s go to the object data properties and if you want you can try to increase the power from here and in fact change the color of Light by using this color wheel but for now I will select the default values and after this in the 3D view port with this lamp selected we’ll create its duplicate by pressing shift plus d and we’ll place it in the xaxis like this now I’ll select both of these lights together press shift PR D to create more duplicates and we’ll move them in the Y AIS to see how it looks let’s go to the camera view by pressing zero on the numpad and now the lighting almost looks perfect however we still need to adjust it around the region in between the rod and the face of character also the reason why we are seeing a slower performance is that we have turned on the cycle surrender engine so for now I’ll switch this to the Eevee now I’ll select this lamp go to the front view by pressing one on the numpad let’s zoom out and with this lamp selected press shift plus d to create a duplicate and we’ll place it over here close to the character’s face to adjust it properly let’s go to the side view by pressing three on the numpad and let’s move it slightly forward in the Y AIS also to reduce its influence or the power we’ll go to the object data properties and we reduce the power to somewhere around 50 wats and with this we are now having a much better Lighting in the scene and now we are also ready to render the final animation so go to the render properties and change the render engine from EV to Cycles then click on render and select render animation after this lender will take some time to render the entire animation frame by frame and once this is done you can view the final animation by opening that particular folder which you save in the output path and this is the the final rendered video that I created after making a few adjustments and so with this we now arrive to the end of this chapter today we understood about the concepts of character animation by creating this simple scene of the character’s body moving up and down during the pull-ups in fact in the similar way you can also create your own animations with your 3D character just by inserting the key frames for the particular R control [Music]

By Amjad Izhar
Contact: amjad.izhar@gmail.com
https://amjadizhar.blog

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