Welcome back, everyone, to 3D modelling, a Hobbit doll scene with blended two point nine and Adobe
Photoshop, and this is where we left off.
Now we're going to work on Ortman Ordell next.
But first of all, let's just take a quick look at our Qadim panel.
So we go to Qadim.
One thing I need to explain is the map.
So if we come to the first map, I'm also going to pull a description down the bomb right inside it
to say exactly what they do.
So the first one you notice that we brought in is the base color.
And this is what it says on the tin is basically the color of the wood, all the little grains and things
like that.
And then it plugs into the base color of the principal.
Next one down is a metallic anomaly with metallic katiba is metallic or isn't metallic.
There isn't really anything in between.
So when you actually use metallic evaporate on one or zero, depending on if you want it to be metal
on the next one down is rockiness.
And this is basically, if you think of a window and you think of all the grime and things like that,
it interacts with the light zila of light bouncing off the light obaidullah in certain places, and
it will shine a lot clearer if the glass is clean, for instance.
And that is basically what the roughness controls.
Next one down we have the normal mop and the normal mop is basically all of these bombs that you see
on here on this metal.
It basically controls how much of a 3D lobet the actual texture will have.
And you can actually bring that out so much that it actually looks kind of ridiculous in some ways.
So you just need to be take your time and have a look and make sure that it's controlled correctly and
make sure that it's just not set too high.
Next one down is displacement and displacement basically is used for if you want to bring in some extra
high or extra detail, there is something called tessellation, which you're welcome to look up and
use in tessellation.
You really, really expand how 3-D an actual texture looks.
So it's basically similar to the normal map, except it's a lot more refined and it's only used in kind
of specialized circumstances.
OK, so with all that done, let's now head on back over to modeling and what we're going to do is we're
going to bring in a cylinder.
So first of all, though, let's put this right in the middle.
So I'll want to do is I want to join this on this one menageries.
And when I click the metal, click the glass, press control J and when to come over to my little triangle,
because you notice now it's actually gone a bit funky.
And that is because the ultra smooth has been turned off.
And now finally, I'm going to join the glass with the world press in control.
And you can see that it's gone like this again.
What we need to do to actually fix this is just press control and then grab the Woodford's, then the
glass, then press control, and now you'll notice it goes together really nicely.
OK, so I'm happy with that.
So I need to do now is put this in the center and that's going to make it much, much easier to actually
work with.
So less pressure s because it's Weld origin and then now we need to move this overpressure shift again
and you'll notice you go in here.
Same selection to click that on the night.
You'll see it drops right in the middle.
Now, I'm not sure about scaling at the moment.
I think we should be OK keeping it at this scale.
The one thing I do need to do, though, is actually bring you.
So I'm going to bring you that.
I'm going to move the cube behind it just so I've got a reference to actually see behind.
And that would be handy up until near the end.
I'm going to move a little bit closer as well.
OK, so now let's bring in the actual dollar, Freeman, So are we going to do is bring in a primitive
so shift a mash, come up to, say, a cylinder, and this time we are going to keep this on 32.
I recommend doing that.
And the reason is because I've looked and saw how we can split this door up into wooden panels and 32
seems to fit it very well.
So now let's spin it round with all an X and 90.
So it's based in the correct way.
And then let's bring it all.
And back and basically, you've got to imagine that this is the door and how is this piece of glass
stained glass going to fit within our door?
And you can see at the moment this is way, way too big.
So we need to bring our Daubert.
Pull it back and now just visualize, I'm going to pull it down a little bit like so how this is going
to set within the actual door and I think I need to move them both up a little bit.
So I want to press one.
I want to bring them up.
And the reason I'm going to do that is because I also need to think about where all these wooden panels
are going to come down to.
And I think somewhere around here should be absolutely fine.
So somewhere like here.
Now, once you're happy with it and you're happy with the size, you can imagine the wooden panels going
down here.
And then you've got the archway as a reference that you can download with the calls, shows you you've
got the kind of the rock arch going around here.
You just make sure, like I say, they are happy with this.
Now, next thing I want to do is I want to actually delete these faces on the back.
So all you need to do in comes to the back face.
Click on it, press control and plus on the number pad and then that will increase the selection.
You can also press control a minus and that will decrease the selection.
Now let's delete these.
So we're going to press delete basis and that's going to get rid of all those.
Next thing I want to do is I need to cut this away.
So at the moment I don't want to fully round all because obviously it wouldn't open very well.
You can have a fully round one if you want, but prefer actually to be a bottom on the doll as again,
in the reference you'll also see here that you can see the mesh from the glass and from the actual doorframe.
And I don't really want this just because I've got both of them selected.
So let me just select the actual doll frame.
I'm going to press one again just to make sure I'm happy with it.
I want to press tab.
I'm going to do now is going to delete this space.
I want to press, delete and come down to only faces and now should be left with this.
Now, let's refill, they said, but I want to refill it in a way that makes it so I can actually make
the wooden panels, so I'm going to do that as I want to press olt shifting plate just to grab them
all.
And then when a minus assault the two on each side of the edges like so and then you're going to click
right click and then come up to essay's bridge and this thing is going to bridge all the loose opposite
each other.
You actually need to leave a gap in between this side and this side to actually use bridgeheads loops
where you can see now that we've actually got the panels for adults, all we need to do is just fill
in these parts here.
OK, so let's fill these in.
So we'll come to this one first.
No, we're going to do is just grab each of these edges and press the button, and that's just going
to fill it in for us.
Now, let's come to the other side and do exactly the same thing.
So and there we go.
All right.
So this looks a good start toward the next one I want to do is I want to cut this piece across here
on along this red line pretty much.
And the reason is, as I say, I want this doll to actually have a bottom on it.
So I'm going to do is when I press a I'm going to grab everything and come up to this mesh bone here,
come down and you'll have one that says bicep.
And what you need to do now is with the basic once you've actually clicked that on, is actually ready
to go.
So you won't be able to zoom round or anything like that until you've actually used it.
So just make sure you're in the position that you want to be before you use it.
Now, let's come in.
I want to come to this red line.
I'm going to drive across to the other side like so and you'll notice an actual capias.
Next thing you want to do is come down to where this menu is.
So just open this menu and you'll see here about this plane, Axis X, that should be this X is going
across there.
If I click on that, you'll see it's no point nought one zero.
So I'm going to click on it and just set this to zero miles.
That's going to do is it's going to level it up perfectly along the X axis.
You can also pull it up now and actually make the call in a different place and I'll show you how we
close it.
So now we've got in the perfect place, all we do is we come down and leave it in the arena or play
around.
It's over like this one, though.
You'll see that cuts it away in a really, really nice way.
And the reason why we set this desire is to make sure it's perfectly flat.
You can also play the outside if you wanted as well.
So let's just play the inner light.
So now once you've done that, just make sure you're happy with it.
You can move around.
Now, you've actually made the call.
You can still move it up and down.
I'm going to leave it like that.
I'm pretty happy with that.
So I'm going to do now is work on this actual stone arch that's going around here.
So I'm going to do is I'm going to grab all of the sides going around.
So want to press shift and click and then I'm going to come to this one per shift, click control click,
come to this side shift, click, control, click.
And then I'm going to do is I'm actually going to duplicate just this edge going around and that's going
to give me them something to actually work with.
So if I press shift and just press enter and then pull this out, you'll see that you've duplicated
just this edge away from this actual wooden door.
Now let's press page separates out.
So pay selection.
And then what we're going to do is going to press top and then click back on this edge here and now
is completely separated out from the actual door.
Next voluntaries.
I just want to reset the orientation just in case I want to move this.
So control all transforms, right.
Click So origin to geometry.
Now on the next one, what are we going to do?
Is going to work on bringing this out, extruding out, and we're going to use some modifiers to actually
make this the correct look that we're looking for.
OK, everyone, once I hope you enjoyed that.
And I'll say on the next one.
Thanks a lot.
Bye bye.