Welcome back, everyone, to 3D modelling The Hobbit doll scene with Lenda two point nine and Adobe
Photoshop, and this is where we left off.
So what we want to do is want to make this a little bit more, I don't know, elemental, something
like that.
So the first thing I think I'll do is I'll think I'll grab all the edges, I'll press one on the of
S and I'll just bring that out a bit just to bring it out a bit more of a relief on that thing.
That's actually not quite enough.
Let's bring out a little bit more something like nothing that looks much, much nicer.
And now once more relief as well in here.
So the way I'm going to do that is I want to press one on the no pop and I'm going to use something
called Edge Loops.
On the way we do that is we just hover over one of these edges.
So if I press control to bring in and actually you can say because I'm hovering over this point here
on the edge loop is going round here.
If I hover over here, you'll see now that we've got the loop going round and this is the way we want
it now to bring in more engineers.
You just use a scroll bar and you can see now you can bring in more or less edge loops.
And the other thing is just to bear in mind, once I've press the left, click on the mouse, it will
actually bring them in and now you're free to actually put the blame on them.
So I'll think I'm going to bring them in roundabout here or something like that.
And then the next thing I want to do is I want to bring this actual Edgerly possibly a little bit closer.
So what I'm going to do is I want to grab this one.
So shifting gears a bit, I don't want to scale it now because if we come up to these interlocking links,
we can scale on individual origins or medium point.
Now, by default, it should be on medium point, which means that when I process it should, as you
can see, scale it to the centre.
And that's exactly what we want.
So just make sure that you're on medium point, then you're just going to scale in very, very slightly
like so.
And now we're going to do is going to actually bring this in just to make it look a little bit nicer
than where it does right now.
So I'm going to grab an engineer year old shift and click face in this direction.
So it goes from here.
And then Warminster is going to press E and I'm going to pull it back like so.
And you can see they've got that really nice kind of ornament feel to this piece of wood or it's going
to be a piece of wood.
And now once there is actually one to Bevell, these parts off.
So I'm going to do it.
I'm going to come in and when to grab this edge, this edge, this edge, this edge without shifting
click.
I'm also going to grab the inner edge here.
And I'm thinking probably this edge here as well.
And then we're is going to press control.
B, we're going to pull them back, Bevell them off like so.
And I can say, look, I'm really, really nice.
Now, the one thing we can say that a lot of lumpiness around here and we don't really want that.
So there's will right.
Click shapes, move.
Also move on.
And now you can see it's looking really nice and it's got the right smoothness that, OK, so now what
we need to do is we need to actually sort out bring in the building and making sure that it goes on
to this object correctly.
So there is will press the top, won't go into any mode.
I'm going to think where you want the world to come up to.
So I think somewhere around here for this edge here and then the wood can pretty much go to this edge,
another piece of texture in this bit and so on and so on.
And I explain why.
I mean, I was actually going along.
So let's come in.
And what we're going to do is shifting click and get a seam here.
So right.
Click on Markstein and then I'm going to come in to the edge here.
So shifting click right click scene.
And well, this is going to do is he's going to break that texture because if we try a printed text
straight on here, it's going to really, really be stretched.
The other thing is, do I really need the back part of this?
This is going to be going into the actual wooden door.
So probably not.
So let's actually get rid of that.
And that will make our life a little bit easier.
So shifting click, delete and let's come down and delete faces and now leave us then with that backspace
gone.
Now let's come back to Ed Select.
Come in.
OK, shift and click.
Let's go to this Parkhill.
He'll shift and click on this old shift.
Click right click.
Moxham All right, so we've got this marked out so far.
Let's now bring in a material.
So come over to your materials panel, which is this one here.
Click the button and we bring in something called wood.
So let's use wood.
Pretty much pull the same thing on all of the pulse of wood.
So we've only got one type of wood.
So let's just call it what we don't need to call it anything else.
And then what we'll do is now we'll bring in all texture maps.
So what we'll do is we'll head on over to our shading.
And then what we'll do is we'll zoom out a little bit.
And you can see here we've got all principle then as we spoke about now to bring in the texture maps
because we've built the node wrangler Adam in.
All we need to do is just click on the principle and press control, ship them, see, and that will
then will open up our file and now we need to do is find the texture's.
So go to your resource pack and find the that says texture's, which is this one here.
Double click it.
And now you'll see you've got one that's called wood single.
Let's double click it.
And then what we're going to do is going to grab the top one shifts like the bottom one and click principled
text sets up and that is going to bring in our world.
And there we go.
Now, there is one problem.
As you can see, we haven't done this yet.
And he looks just a mess at the moment.
So we need to it and we need to make sure that this war is going on properly so that it looks nice and
clean.
So what we need to do is now let's go over to you editing.
Let's put this on material and now let's have a look if we don't rob this highway on ramps.
So I'm going to grab it all with a I want to press you on Rob.
And if I can it now, you'll see a press tab top.
It still looks a mess.
And the reason is, again, because we're fighting with the wood here and we're having infinite loops
and we don't really want that.
So what we'll do is we'll come to the bottom.
I'm going to look so I want to press one.
And on the part, I want to press out shift and click.
And that then should create a loop selection all the way along here.
Let's right click Markstein.
And now when he unwrap it, we won't have that problem.
So if I click you from rap and you can see now about this is much, much nicer on the sides here, albeit
you can see that the front still doesn't look that nice.
I don't actually like it looking like that.
So we're going to sort out next.
Now, the edges, though, are nice, except that they're probably a little bit blurred, as you can
say, and we don't want that.
Even so, we'll soldo in a minute as well.
So now let's come in with you select.
And what are we going to use is the island's selection, because if we select him face, like the only
select up to the seams.
So let's grab this one here right next to the same.
Let's press out press.
You come down to where it says, like my pop click on click, OK, you'll end up with something like
this, which is a bit all over the place.
Press you again.
And now we're going to follow active quads, leave the length, the average click, OK, press tab.
And now you're going to see that this now looks really nice if we turn it round.
So let's come over to the movie Viewport Press a all ninety spinning around and now you can see that
that is looking much, much nicer, as you can see in comparison to these parts here.
So now let's do the same with the other parts.
You can also see that the join, although there is a joint there, it's very hard to notice because
we have it on the bottom.
So it is harder to see.
Now, let's do the other two.
You can't do them all together, unfortunately, with the light my way of doing this.
So you have to actually do them individually.
So let's command let's grab this one.
And because it's full of active quads, it always needs to start with the actual Seimas.
So let's grab this one.
L you why my pack.
OK, you follow it.
Quads.
OK, there we go.
So look at that one and I think about this one.
Let's have a look at we spinning around.
So on ninety, let's spin it round and you can see that it's very, very stretched on this one.
So let's pull it in.
So why bring it in.
Let's have a look.
Now you can see now it's looking much, much nicer.
Now, let's do this one as well.
Grab this one.
And I must say that over on the UVA panel, it's the same thing.
So rotation is all scaling is as if you actually want to move something.
So let's say I want to move this one.
For instance, I can grab it with L and I can press G, which is basically free movement.
So just say free movement in object mode, in edit mode on any of these other come over here as well.
And a press g you can see I can actually free movement.
All right, so let's now do this bit.
So now you like my pack.
OK, you follow active quads.
OK, let's press top and have a little that looks like.
All right so that's looking really nice.
Let's see how big that is as well.
I think I need to turn this around.
So eight or nine, let's spin it round top.
Yeah.
And there we go.
Now let's grab the whole thing and see if we can make it a little bit nicer.
So I'm going to press top a grab them, OK?
I'm going to press a UVA and we're going to tack islands.
And let's have a little that looks like you can see the going the wrong way round.
The reason for that is if I press control, Zeda will show you something else.
So before we Parkland's, if we come up UVA Parkland's, you'll notice that you've got a little menu
down here.
Now within here you have one that says rotate.
If we like this off, it means it will keep the rotation of what we've already set up and they only
pop the island.
So the islands exactly the same rotation as what you actually set the.
So that's very, very useful.
Now let's stop and have a look.
We're looking at and we can see that the world's looking slightly bird, so let's see if we bring them
out, if it's looking any better.
And I think it's looking, yeah, we might have to do them individually.
So let's look at this one.
We'll just grab this one first and we will let's have a look.
If we spin that round, bring it into place, and then let's make it let's make it a little bit smaller.
Might need to be a bit bigger somewhere else.
I'm just going to mess around with it and see if I can make a bit then.
And I think the problem is that on this one, it's actually stretched out.
So I'm in the process.
And why shrink it in a little bit?
And now you can see it's really starting to look much, much better.
So I'm just going to actually clean this up a little bit.
Doesn't matter too much about the inside ones, although you can clean those up as well.
So let's scrub this one as well.
Let's actually try and clean it up so all nine to spin it round.
So we'll look and let's make it a little bit thinner.
So that's why.
And they can go now.
You can see it looks much, much nicer.
And now let's do the same thing for this one.
So is it because it's too small or too big of a look?
Let's squeeze it in and let's have a look.
And there you go.
That looks much, much nicer.
I think we just need to do this one on the inside now.
So X some.
Why squeeze it in and there we go.
All right.
So I think I'm really happy with that.
Let's go back to modeling now, and that's double tap the eye.
And now let's look at it with our actual cycles.
Render LoDo and just make sure that you are actually happy with it.
Now, in the later lessons, you're going to learn how to actually make this would be the darker or
lighter.
So don't worry if you're not quite happy with the shade of what it actually is.
OK, everyone, so I hope you enjoyed that.
And I'll see you in the next one.
Thanks a lot.
Bye bye.