Welcome to Profar modelling by extrusion.
So in this video you'll understand what Profar modelling is potentially speed up modelling by mirroring.
Use a series of methods to produce a profile that we can use in our scene and then in the next few lectures
will use the same profile.
In a couple of different ways which have significantly different effects.
So what is profile modelling.
What profile modelling is the outline you get when you view something from a particular angle.
One of the best things to do is imagine slicing through your model.
Now realize we have used them in the past.
We've used the lab over them the ability.
They realize we've used them in the past.
We've got the lamp base which was produced with curves and the pin was geometry based so the methods
we're going to use up ahead.
We don't bump up our extrudes speed so we don't have to keep pressing E.
Every time we going to be using the bevell tool for constructing and defining sharp edges and a subsurface
modifier for making the surface nice and smooth.
So let's hop straight on over into blender.
Hello everybody and welcome back.
First things first.
This is an insert video.
This is Michael from the future.
And as you've probably noticed I'm on a P.S. here rather than a mat and I'm on a different version of
blender.
But what we're about to learn will apply to the version whatever you are using.
So the first thing we need to do here is go ahead and continue our series by opening up our door.
So I'm going to go ahead and open up my front door here and work on that and we're going to create a
profile in a moment and then do an extrusion based upon that profile.
So the first thing I'm going to do here is take a Jew placates of this of door frame here because we're
going to produce something with a bit more detail.
So I'm going to use shift indeed to duplicate it.
And I'm just going to press Escape here so goes right bang on top of the previous version.
Now we see here after duplicate and this is elodie a front door 001 over the outliner.
I'm going to change that.
It's going to be elodie be because it's going to contain more detail.
Front door.
And there we go.
So this is our first stage here and elodie a will we can change that on the mesh data as well.
Of course if you cannot see your mesh data remember it's these upside down triangle.
After you've selected the mesh object.
Okay.
So now we've done that.
The next thing we need to do is decide where we're putting our model.
So we've got elodie Door front door and we want to hide the elodie a Otherwise it's gonna be messy if
we try and render etc. So what we could do here is just hide elodie a by clicking the little hide icon
here and we can even hide it from rendering as well.
Over on the outliner what I'm going to do however is to just move this elodie front door to a different
layer.
So we've currently got everything on Layer 1 we can see the orange dots down at the bottom.
If I press the M key whilst my cursor is in the 3D view I've got the option to move whatever the active
selected object is to another LAN when to move it to Layer 2 and then we see because it is the selected
object the orange daughters moved across and is now on layer 2 but we're not looking at there too so
I'm going to click on layer 2 and we can now see what's going on.
Okay.
So now we've got everything set up ready to work.
Let's go ahead and start making this profile.
Now you can make a profile any which way you want to.
I'm going to create a 3D object and start cutting it up a little.
Some go into edit mode.
No we're not going to go into edit mode and add it as more meche data to this mesh object.
We're going to create a new mesh object and we're going to do that because we're going to apply some
modifiers and we want the modifiers to apply to that new mesh object not just the front door.
So let's go ahead into edit mode on here first because we need to find a placement for our new object.
Some are going to find.
Let's go to virtex select and this lower vertex at the bottom of the dorm and select that one and then
go shift and S and move the cursor the 3D cursor to the selected.
Now we can go ahead and add in as a separate object we can add in a cube that's going to be far too
big for what we want to do.
So going to bring that scale all the way down now we have got snapping turned on at the moment that
shouldn't cause as many issues and we've got an object that we can work on now.
I'm going to go ahead and apply that scale as well as a control an A and apply a scale okay and go into
edit mode.
And we're going to use bevell.
We've done several before on this edge and this edge control and B and we can bring that in ever so
slightly longer use my mouse will to make that slightly more curved.
And on this edge here I'm going to bevel again but this time bring it inwards so we've got our curve
there that's fine but I want it go any other way.
So over on the operator panel I can bring that up in out a little.
We've got the amount of bevell That's just bring that back down to where it was the number of segments
and the profile and obviously if we push that inwards we get a slightly different profile going round.
Okay so that's looking good so far.
The next thing to do here is start thinking about the profile itself because we're really talking about
just how it's looking here from the top and bottom so we could go ahead here in at a subdivision surface
modified to smooth things out.
In fact if we do that we can learn a few other tricks as we go as well.
So let's go out into object mode and apply a subsurface modifier subdivision surface and you see here.
It crumples everything up.
Now one way we can remove the crumpling at the top and the bottom is to actually just delete the faces
at the top and bottom which is absolutely fine.
We can go ahead and do that we're not using these faces anyway in a few minutes.
But let's learn something whilst we're here.
Now we've got this here.
We could increase the mean crease off the top edges as you can see there.
Overall the properties panel for those particular edges we could increase it there.
But in this case I am literally going to delete those faces so would both of them selected press the
x key and delete faces and you can see it automatically straightens that up anywhere because there's
no Lot is no longer trying to smooth out those faces because they dont exist.
Okay so that is looking pretty good at the moment.
And of course if we zoom in a bit too far you will notice that the clack the camera clipping distance
not the rendering distance but it actually starts eating into our object.
We cant see it.
And again over on the property panmure facts right here we've got clippings is the 3D viewport clipping.
If we move that down we can start seeing things when we zoom in nice and close into our model.
Okay so now we've set up all of those options there.
We can use that crease for these two edges here to make that nice and sharp.
If we were to go ahead and make that sharp and then final thing I might do here is go in and set the
shading to smooth.
So there we go we've got a relatively straightforward object there that we could repeat round but we're
more interested in the profile and controlling it a bit better.
So what can we do here.
Well we can go in and start with just the base and extrude it to a particular height instead of back
into object mode.
I'm going to use the old key and select top edge loop running round.
And once that's done I can press the x key and rather than deleting just that top edge firmware delete
the vertices and that I'll delete everything coming up.
So again we can now go ahead and go out and select this edgerley around here.
Now we're about to do some extruding some quick extruding rather than just pressing E and extruding
all the time.
We're going to use the control key to extrude rapidly but we need to be in the right direction because
if we hold down control and left click we can see that we can put edges in but they've gone somewhere
random in 3-d space.
Can undo control and Z.
How.
So what can we do here.
Well we can make the view orthographic and press the number pad 5 key and then number pad 1 to view
it from the front.
Now we can line everything up.
I'm going to dismiss the tools on the left hand side with the T key and the properties panel on the
right hand side with the n key.
There we go.
They are gone and now I can hold down control and zoom in to where I want to go and click there.
Click here.
Click there and click their number just holding down control as I do that.
Now we've got a couple of options here where it comes to this top point because we're now going to mirror
this object and if we go ahead and mirror this object we're going end up with this horrible triangle
in intersecting geometry.
But we can get around that by going all the way around to the next point.
Now if you wanted to make this just a little bit let's say all you wanted to make this a bit less mechanical
or less candy you could carry on going all the way around and then it would be unique on both sides
which can add an element of being natural into it.
But cannot undo that because I want to think about speedy workflow.
So once I've gone this far because this top bit here is going to be pretty much upright I can then just
delete this edge again with X and then delete the vertices and it brings it back and notice this time
it's kept this relatively upright.
Now the more egalite amongst you will have noticed that our lovely profile that we've extruded up in
around the door frame has its Normal's the wrong way round.
So I'm going to select everything there and go control an N and we can see that's flipped around and
the normals are now facing the right direction.
Now we may increase the subdivision count on this later on but remember we're only working at elodie
B for the moment.
In fact I'm going to nest this cube whats called cube we should do something with that.
I'm going to put it under neefe l'eau dbe and I'm going to call this door profile number one because
we may make more than one profiles.
So now that's done what we can do is add a mirror modifier to this so we go to add modifiers mirror
modify.
And that's why we created it as a separate mesh object because otherwise the modifier would apply to
the whole door.
Now I'm just going to hide up the subdivision modifier for the moment subsurface to vision modify.
And let's think about this mirroring at the moment it's happening around the objects origin.
It be nice if we can mirror around the centre of the door.
Let's just try using the mirror object as the door for the moments elodie front door.
That's not worked as expected.
The axis is correct.
We're mirroring along the x axis.
Whats happened there.
Well if we use the door then it's mirroring around this origin.
So we need to mirror around something else.
One of the easiest things to do here is create a mirror point using an empty so we can go ahead and
do that.
One of you at the front again.
And if I do that I can see that the middle of the door is well has a width of two we can double check
that in object mode under the properties panel we can see here the X dimension of the entire object
is for Blender unit so the middle is going to be two.
Couple of options of moving the 3D cursor to that point to create our empty or in fact we could just
place the empty there manually afterwards.
But let's go down to the 3-d cursors position and on the x axis type in a number of a value of two.
That's going to place it in the middle.
We can then go shift and 8 add a new object.
I'm going to add in an empty it's going to be just a plain axis and I'm going to call that plain axis.
Mirror point.
I'm going to make sure that the Mirror point is a child of the dorsal if we move the door it doesn't
ruin our mirroring.
And then finally on this mesh object that we've created the door profile now we've not named it door
profile here let's do that as well.
Now that those are named If we go to our modifiers the mirror objects we can use the mirror points and
there we go things line up perfectly.
But what of this very top we probably dont want a gap there.
Well there are two options here.
At the moment what will happen is if we're in edit mode and grab this edge loop move it just to we got
snapping still turned on yes we haven't turned it on and just move it you can see that it intersects
with itself which you may have that could be quite cool but around this point in the middle where it
does intersect you're going to end up with it potentially looking horrible during rendering because
it won't know what face to show you.
So I'm going to undo that if we turn on clipping We could manually move these two things together and
adjust it to our heart's content.
That's a pretty good starting point and we can lower it down.
Alternatively you can go to the merge limit himself and just turn up that merge limit and they will
naturally snap together.
Now you do have to be careful with the merge limit because because if it's a more complicated object
you may end up merging points that you didn't intend to merge and that you intended to leave a gap on.
But now that's set up there we've got a mirror modifier in place.
You could extend this even further a mirror of the whole doll that would be a possibility especially
if we wanted to join the door profile onto the front door we'd even have to do that and mirror the whole
object.
All we'd have to apply our mirror modifier.
I'm not going to apply the mirror modifier at the moment because I still probably want to go in and
tweak this a little bit more.
And what you see here is a little jerky as it moves around.
Not to worry with that we can even.
Increase the subdivision's surface modify.
And I think because we remove that looks smooth shaded to me I could see faces.
So if we go to our tools here and go shading smooth That's much better and then you can easily get away
with a much lower subdivision surface in its entirety and in deed we can just turn it off at the top
here we can just use the eyeball to hide it and see what it looks like on its head and you know what
that looks absolutely fine is.
Now the shading gets a bit weird around the bottom here and that's because we have a look at the bottom
is got no face around the bottom so the final thing we could do here is just fill in that base.
So let the Edge loop going around the bottom.
It looks like it's broken in one place and then have to select it in two lumps and then just fill that
in we'll make sure we press the right key and fill that in.
Now just to make sure that everything working as we'd expect there because it does look a little bit
funny I'm going out once I'm in it man I'm going to select everything off my scene.
I'm going to press the space bar to do a general search for all operators and I'm going to type in doubles.
I think there are some doubles in our model and I would be correct it's remove seven vertices from the
model and there we go.
That is looking much much better.
Excellent.
And again I'm going to turn back on the subdivisions surface modifier and that has come along really
nicely.
And of course now it's time for your challenge.
Okay guys a quick challenge for you.
I'd like you to create some more extruded profiles so try using extruded profile on other models.
So we've got the window you used to round there and you can maybe even put some detail on a wall.
Now do remember this can be used at a macro and micro level so it can be used for many different levels
of detail from archways to arms.
Other bench for instance supports a video now and give that a go.
Okay guys welcome back.
Let's go add some detail to a window.
Okay so first of all I'm going to make sure I've got everything named appropriately great.
And I'm going to save my work.
And then I go and find and open up my window a lot easier to find it now it's just called window and
we're going to add a profile around here.
I'm going to move the 3D cursor to where I want this detail if I can add a couple of profiles I could
do the window ledge itself and the arch way.
But going to focus on just the arch way and I'm going to go all the way round rather than mirroring
because I want to slight a symmetry to it any way.
So I'm going to flip over in two virtex select select a vertex and using the cursor movement.
I'm going to move the cursor to selected once I've done that I can add in a shape for I want to work
with and I'm going to add in a cube and scale it all the way down.
It's nice to work with that.
So now we've done that we just need to add some detail so I want it.
I am actually quite pointy here so I might need an extra level of detail but again I've got to remember
that this is going to be all I've jumped straight ahead another ad it started adding to the level of
detail.
A.
So what can we do here.
Well it's very straightforward to sort this lot out.
Fortunately I haven't gone too far or jumped ahead of myself.
I'm just going to undo a couple of times and then go ahead and duplicate that object.
There we go duplicated the object and let's move it to layer to rename it l'eau dbe B and then Windows
absolutely fine.
The 44 just describes the size I don't have any other sizes.
At the moment I was going to be a bit of a lethal one on the end.
There may need to sort out that naming convention later on as long as I'm consistent.
That should be absolutely fine of renamed all of those things hop to lay a toe.
And now we can start modelling Fortunately the 3D cursor is still in the same place so I can go ahead
and add that cube.
I do want to add it is a different mesh object at the moment so its going to object mode.
I could add it to the other mesh but I don't want to ruin the underlying mesh just at the moment.
I don't want to ruin it at all of course but I don't want to disturb it.
So let's go ahead into edit mode.
Click fair and let's move this edge right in to make it nice and pointy.
Now I'm going to use this profile to stick it in a little.
And Paul that so we've got a nice homes or curve going on.
They are like fabulous it's slightly in the wrong place so we can start moving things about snapping
turned onto whole increments.
I don't want that something to hold down Shift to do some smaller increments.
Once we finish the bevell of course.
Select everything and let's move it with much smaller instruments instruments.
With much smaller increments locked to the x axis.
Move it on the x axis.
And yes I'll go to that.
Maybe not that depth.
Let's go and see where it's placed here and just move it back so it's just inside the wall that's perfect.
Now I'm going to grab this face here extrude it slightly this way that's not slightly That's lots.
A turnoff snapping to do that.
There it go.
And I'm just going to do that bit by eye.
So that's that's okay.
I'm going to round off this particular edge.
Again using the.
I'm not going to go free inside rounce on the change that profile and make it move the other way.
And then finally I'm going to add a bit of detail using a subsurface modifier but I'm going to delete
those top and bottom faces first so it looks nice straight away.
So at top faces and bottom faces the leak those.
Then we can add a subsurface modifier up seemed to have zoomed in so that selects something and they
get perfect.
So now we've got that now I just need to make this edge here sharp.
And the one on the inside as well.
So I'm going to be careful to do that.
It's already on the round setting so I know that an arm and a bevel there as well.
Now if this is being mirrored on the other side this would need to be totally sharp or near enough sharp
otherwise it will look silly.
So what we can do there to make absolutely sharp is a couple of options.
I'm going to bevell but make it incredibly small bevell.
And I can change that here on me and mount's by point one there.
SS Absolutely tiny now.
Okay now we have our I can delete this top edge loop.
Select the bottom edge loop and start modelling.
I'm going to whiz around to the front and I'm going to go all the way up and all the way down.
So let's control and click.
Click there.
Now we can see there start is slightly off centre but so k. because we can go back to it later on and
sort it out.
One of the benefits of this ikenne or it's also slightly at the wrong place down here but that's okay
because we can select that bottom edge loop and start moving it and straighten it out again.
Don't have to be perfect unless it's a model that absolutely requires everyone to turn snapping on here
and faces and moving in the z axis only I'm going to snap it to this bottom face.
Now that's looking pretty good as a couple of things that we can do to make it look a bit better.
We can go and grab an edgerley running around here for instance and scale only on the z axis and we
can give it a much taller or thinner approach that's now I don't like thin ultra.
This would probably work a bit better on the door and snapping turned on which is not making it very
smooth.
But I can make that smaller or thinner if I want to make it slightly bigger.
And around these edges here I've having trouble selecting them.
We'll get there eventually.
That edgeley there and this one.
All missed it.
That one there.
Hopefully that skorts the entire age group selected what we can do here is add a small bevell to those
areas.
To help define that shape a little more.
And of course smooth shadings not turned on here so we can go ahead hop into object mode and turned
smooth shading on.
And that's looking pretty good.
Let's check it out in rendered mode.
There's no light in our scene so this is one of the downsides about removing a light so we can go ahead
and add a lamp into the seen the sun.
I'm going to randomly rotate.
So if we can get a good light source come in I can always hop out and sort that out.
But that looks pretty good.
How did you guys get on.
What sort of extruded profiles did you make.
Please share them in the discussions.
And I will see you guys in the next lecture.