Welcome back, everyone, to 3-D modeling The Hobbit doll scene with Blender two point nine and Adobe
Photoshop, and this is where we left it all.
So now we need to actually work on our glass.
So we're going to do is I'm going to press the question mark just to bring in our Planum is not coming
in.
So I want to press all teach and then we go now brought and let's now work on our actual glass.
So first of all, though, we know if we click on this now, we can't do anything with this until we've
actually unwrapped it.
Now, the other thing to take into account here is that these so if I click on this one, for instance,
you can say if I come in actually and put it on, let's let's put it on there to select.
Now, at the moment, you can see all these votes is going around here and each one of these bits is
represents an edge.
In other words, this actual whole panel is an angle.
In other words, it's got more than three sides, which is a triangle, all four sides, which is a
quote.
Now, normally that is, but it's not actually good having meshes with more than four sides.
The reason for that is if you take this into something like Unreal Engine or something like that, the
light will not bounce off it correctly.
So they're always actually to fix this very, very fast.
That sometimes, however, as well, you might want to leave them like this, it keeps the polygon count
low.
If you just doing a scene out in Blundy should be fine.
Sometimes the light will be messed around with a little bit and sometimes it works fine.
Normally on something that's a flat plane like this, it should be absolutely fine.
Now, the other thing is, of course, why are you keeping the polygon count low is if you've got a
machine that doesn't work very well, a high polygon counts.
In other words, the low end machine, a laptop, something like that, then you might not actually
want to convert this into quotes.
I think I will convert, though.
Just switched on.
Right.
So the easy way to do this is to grab everything, hover over it.
Right.
Click make sure that your own face select right click.
Come down and triangulate faces and then right click again and then we're going to do is tries to Quad's
and you'll end up with something like this which looks a lot more messy bolts at the end.
Now this is actually a much, much better match than all those angles.
So now we've got that.
What we need to do is we need to actually unwrap it.
So again, over to you.
The edits in a moment, it is going to click you unwrap them, wrap them all.
Now, we did already unwrap those.
Well, now we've just clean them up and now we're actually ready to actually bring in our class.
Now, the thing is, if we go back to Qadim now, click on it pressed top.
We can see that these displays.
So if I grab one of them, press the button.
You can see that can pick these individually.
In other words, they're all individual islands.
And that's exactly what we want for the next part of creating the materials, because I need them all
islands so I can actually create the procedural material, which makes the glass a little bit of a shade
different depending on which island they are.
So that's exactly why we're doing that.
OK, so let's create a stained glass material for our kind of sky and we want this a blue color.
So let's come over again to our materials panel, click the plus and we're going to click new on a double
click kit.
I'm going to rename it to Stained Glass Blue like so.
And then what I'm going to do is I'm going to come now to my shaitan panel here.
And I said that this was a super note, this principle.
But on this occasion, we're going to simply click on it and click Billy and it will go black.
But don't worry about that.
All right.
So let's build this next material.
So the first thing is we're going to need a geometry mode node to tell Blendr where each of these islands
are.
So the only thing is at the moment, as you can say, this is actual black.
So what we'll do is we'll come over here, ship A and I'm going to do a search and in geometry.
So ghetto geometry and there is our geometry note.
Next, I'm going to bring in a actual color.
Um, so shift a search color, come around to color like.
So next I'm going to bring in a U.N. saturation.
And the reason I'm bringing that in is because then it will give us an ability to kind of saturate the
colors out if they're a little bit too bright.
So hover over here.
Should a search you and saturation bring that in.
Next, we want to bring in the actual shader.
So what type of shader is it?
Well, of course it's going to be class, so let's bring that in.
So shift A and you'll notice you can come down and actually be an option.
And that's a shaders.
And you can see all these different types of shaders I recommend actually playing around with.
These are pretty fun to actually learn what they are lore, but the one we want is the Glass BSD.
So let's bring that in now.
Let's join these Zolo.
So we said random Ilhan.
Let's put that in that.
Let's then plug in the color.
The color of the U.N. saturation less plump, the color from that into the glass.
And finally, let's plug in the glass to the surface of the material output.
And this is what'll happen at the moment.
And the reason is because we haven't really got any colors in here at the moment.
Now, the other thing is we need to put this onto our cycles shader viewport, shading, because I've
noticed that there's a little bogon blender and any you can't really see what this is actually doing.
In other words, the random island doesn't work anymore.
So if I come down and put this on cycles and you can see now that we've got all these different shades
of colors based on the island, you see this one is much darker and this one and it's all done automatically.
And that is exactly what we want.
Now, if I put this on eBay, you'll see it's all black and that is what I'm talking about.
So let's put it on cycles just so we can see what we're doing.
And again, if you want to turn this down to something like 10, it's going to make it much easier to
kind of turn around and see what you do.
And I'm going to have my thanks to my computer.
Should be able to handle that.
If you're struggling, just put this down a little bit next.
Now, we need to actually make this look like stained glass.
So let's do that now.
So, again, we'll bring in a kind of noice texture and we're going to bring in a mass grave.
So M.O.s.
Most great texture, and we need a node to plug it into the displacement, another way to displace all
of this glass and you can say at the moment it's going a bit funky.
So let's bring in a displacement.
So shift a search, displacement.
Bring it in.
And now let's plug the displacement in.
And that's plug the mosque right into the height of the displacement.
OK, so something like that in a moment.
It's going a very, very funky like I said, let's just see if I can get let's go.
Right.
So I'm just going to put it back on.
There we go.
Now it's looking much better.
I don't know why it went like that.
And you can see the most scrape on here is starting to act on this actual glass.
So now let's come in and turn the scale of the mosque table to two hundred and twenty five like so.
And now you can see we're actually starting to get something.
You can really see that it's actually starting to really look like stained glass.
And you'll see this more as we bring in a color.
So let's have a look what else we need to change.
The only thing I would say is turn down the luck.
I can't even read one that says, well, turn this down to one.
And that should bring it out a little bit more.
Now, let's mess around with this color.
So we said we needed a blue.
So let's say, first of all, come up to where it says be and what we're going to do.
We're going to put that on HSV and we're going to put this on this.
Just make sure this somnia and now find the let's change this color.
So we're going to grab this one here.
So click on this little arrow here.
Click on the color bar here and let's bring that up and we're going to put it on blue.
And now you'll see that we already have something happening.
Now, the thing is, it's going from blue to purple to white, and we don't really want that.
So let's change this color as well to probably a darker blue or something like that.
So let's bring it down a little bit different.
Something like that, and you can see now we've got a lot of different variations of the actual blue,
and that is exactly what was the one thing I would say is I think.
I want this.
Probably.
Yeah, I'm just looking at what kind of Sky-Blue actually wants it, so maybe that and then let's turn
this one a look.
And don't forget, we can saturate this out.
So I'm going to actually put it on.
On not there, the now and then I'm going to do is I'm just going to come to my saturation and just
have a look how much I want to saturate the South.
And as well, when we actually run this out, we might actually, again, have to mess around with this
just to get it how we want it.
I'm also going to send this value down just a little bit just to make it more obvious what the variance
is.
And then apart from that, everything should be fine on there.
Now, let's turn up the roughness of the actual glass to nought point two, seven five.
And then the Iowa should stay on one point four five, one point four five oh is basically what it should
be on to make this actually look like glass, in other words, to make it see through and things like
that.
OK, so the only thing left to do now is to actually come over and make sure that we've got this on
screen space reflexion.
So I can say, OK, so let's put this on TV for one second.
We'll come down.
That's where you say screen space reflection, turn on, open this up, refraction of frustration.
And then finally now let's come to our material and you'll see when you click on the table, you come
down.
You've got an option here that says screen space reflection.
And let's turn that on.
And now I want to do is I want to actually bring in something to put the idea to make sure that this
glass is actually see through.
So the way I'm going to do this, I'm just going to zoom out a little minute.
I'm going to bring in a cube.
So shift I bring in a cube, make it smaller, seven on the number pad, shift space to bring in my
move tool.
And let's now move it back like so.
And now I'm looking to see if I can actually see this cube.
Another moment.
As you can see, I can't see this cube.
So let's actually work on actually seeing this.
So the mid level of our displacement, let's turn up to 18 like so and let's turn the scale down to
near enough.
Quite far down and now you can say, let's turn this down, look all the way, you can see that we can
see through the glass.
So we want this very, very low.
So no point, no one like so.
And now you can see through the actual glass, but not enough to really see the cube.
And that is exactly what we wanted.
So now let's come over again to our little computer box in the back on cycles.
And there you go.
That is the actual look we're actually looking for.
So there we go.
That is our first material actually sets up.
And of course, what we're going to do now is we're going to had a few more materials and I'm going
to make easy that we're all actually going to copy them just to finish this actual glassell.
So I hope you enjoyed that.
And I hope you were learning a lot and I hope to see on the next one.
Thanks lot, everyone.
Abbi.