OK, welcome to this lesson where we will create the knob that we see here in the reference, and I
want to make this its own lesson because it's going to use a very unique technique.
And between the previous lesson and this lesson, I also added a few more details using the same techniques
we've already learned.
So I wanted to save some time and not, you know, handhold you through every single thing.
If we've already covered that type of a topic.
And I'm going to do that throughout the course so we can speed this up and you're not having to follow
and relearn the same things over and over again.
So the things that I added were bevels to the handle and to the kind of extension here.
And I added another plate.
And these screws, the only thing to notice and to remember that I maybe haven't covered about bevels
when I was making this, I was resizing it and doing all kinds of things.
Same thing with this bevelled edge here.
And if I was to start to scale something that I've already beveled, the Bevell itself is going to scale
as well.
You can see the distance of those agile loops are getting further and further apart and messing with
the Bevell.
I don't want that right.
When I'm scaling something, I want the Bevell to be the same.
So if you're going to scale something, you probably need to go into vertex mode and move the vertices.
Instead of scaling this out, you want to move them so all the Bevell is maintained.
This is the same beveled distance that we had when it was this short of a piece.
So that's just one thing to keep in mind when you're scaling anything that's been beveled, that that's
not uniformly scaled, I should say, because it was uniformly scaled, then it's going to scale up
and it's all going to get bigger together.
If that's what you want, that's OK.
But just know that Bevell is going to get bigger if you scale the whole thing up together.
So let's get into making this little kind of knob here.
And it's a non-uniform shape as well.
It's not a cylinder all the way around has this kind of point over here.
So let's go and create a cylinder, because we're going to start with the most basic things.
And I'm also going to group you can see it.
These screws also have these kind of black pieces are what are going to be black pieces.
You can look at the reference here.
So I included those as well, and then I grouped them.
So I'm going to just middle mouse drag shift selecting everything and middle mouse dragging that into
the main group, GBE trap.
And we can do that with everything else as well.
It's just shift select everything that we're not currently modeling and middle mouse drag that and let
go over the main group.
So now we can select that and hide it with control h and now we can look at this cylinder and what we
want to do is pull out one kind of point.
So I'm going to delete some edges.
And before I do that and start messing with the history of this thing, I want to add a cap here.
And that's important for cylinder's, at least because if you start messing with this thing and then
later you want to add a cap, it won't do it because you've messed with the history of the object.
So you get this cleaned up first because you won't be able to change it a ton later if you're messing
with components like we're about to do.
So I'm basically going to select click and shifting shift and double clicking.
Oops, all of the edges when the was on selecting all the edges here except for
the one in the center I just skipped.
Because that's going to be the one we're going to pull out, so I'm going to hold on shift right click
and go to delete edge and then we have the point that we want and it looks like.
Comes out kind of far, so you can just click and drag this out.
Something like that, and we can double click these and maybe just scale them in a little.
Or what we could do is add some more loops here and scale them out, so let's go to the edge loop toll
on our custom shelf, click it, go to the tool settings here, make sure we're on multiple edge loops
and let's try for clicking here.
And it looks like it's kind of the same distance.
I'm looking at the distance here with a distance here.
It's maybe a little bigger.
So let's go five.
Oops, just type that in.
Click one time, that looks a lot closer.
So now we have kind of remade those that kind of uniform distance here, you can see it doesn't go all
the way to the center.
And this is a goofy thing about cylinder's while we made that cap at the very beginning, because I
wouldn't make these loops later if we didn't.
But, you know, that's just some quirky modeling stuff.
And I'm trying to help you avoid that in the future.
So one thing we can do here is scale this out just a little bit.
And, you know, we just did those two, so now it's not a flat surface all the way to the end, but,
you know, again, that's no big deal.
We can just we do things and then we change it back.
And it's very adaptable.
And you to be the same and your knowledge and application of all everything that you know for modeling.
So you can kind of do whatever you need to do and you're not kind of constrained by the tools or the
decisions you make.
You can just kind of go with the flow.
So now we have the general shape of this thing.
The big question is how do we make the kind of a ribbed looking kind of cylinders here all the way around?
And so we'll address that.
First, let's deal with this.
It looks like it's kind of a bevelled edge here.
It's kind of rounded.
So let's beveled edge first.
So double click this and I'll double click that and let's look at that point is probably beveled to
here.
So let's go to Bevell and let's go to the input here from Bevell and drag out a few more segments and
then change the fraction a little bit.
It looks like it's snapping around.
So I'll just click the kind of pie chart here to go to a slower fraction.
And I'm not entirely sure what's freaking out.
So I just clicked here and our middle mouse tracking in the viewport.
So, again, you just going to have to adapt to it.
However, if it starts acting, acting goofy, you can just.
Root around that problem and not to worry about it.
Cool.
So now we have that done.
The only thing I would comment on is possibly using higher subdivision's at the beginning, because
now you can see there is kind of far-Sighted here.
It's not totally around all the way around.
One trick you can try is hitting three on your keyboard and that will smooth the model in general and
hard surface modeling.
You'll probably do that at the very end, but you want to make sure all of your geometry is kind of
accurate and stuff.
And this kind of series of lessons about the Ghostbuster trap.
I'm trying to model things in a way that we don't have to rely on that and that we can be a little more
sloppy with our geometry.
But in this case, it works pretty well.
So we can leave it in the three mode.
And that kind of solve the problem of this not being rounded enough.
And I can, you know, go between one and three to show you the difference.
And if you get to that's just kind of an intermediate tries to show you the one you had before.
But because the one on top of each other, it's really hard to see.
So mainly you're you're just going to use one in three to see the difference between smoothing something
and not smoothing something.
So we have that.
Let's go back to one just because we're that's how we're going to model things.
Let's add a loop right in the center of this thing that goes all the way around.
And that's what we're going to tell these ribs to follow.
So we need one right in the middle here.
Let's go to the edge loop tool or go back to the tool settings and just drink this down to one.
And that way it'll just put one right in the dead center of, well, one right in the dead center.
You can see I accidentally clicked a few things and so I just said undo go back to object mode and where
we're golden and I'll get off the tools.
I don't accidentally make more loops again.
All right.
So now we have this edge loop.
Let's go to the edge mode by right.
Clicking and dragging you up like that edge double click it and let's go to modify convert.
Polygon edges to curve.
And we'll click the little box on the end there to get the options, and I want to choose Lennier because
I want it to follow exactly where the the edge loop is.
I don't want it to interpolate and get curvy.
And so we're going to choose linear right now and convert now.
You can see we have a curve here that follows exactly the shape.
So now with that, we have something to add the ribs to.
There's a couple different ways we could have gone about doing this.
This is one way.
Another way is using MASH, which we will talk about later, which is used for motion graphics.
And you can use MASH to help you model some things as well, especially things that are patterns.
But this is kind of a tried and true method.
And you don't have to rely on, you know, some new plug in thing that my, you know, has come out
in the last couple of years that's can have its own problems.
So it's good to just know how to do things, you know, with the bare bones miah tools and also get
introduced to some new things.
And this is also we're going to have kind of an animation tool to to use for this.
So when I go to poly modeling, I'm going to make the one rib, the summerskill it down is going to
pull it over here so I can see it and skells all the way down at this a little bigger and drag it over
here so I can kind of see the size and see, you know, it doesn't it almost goes all the way to the
edge.
So it's just scale it up to about there.
And then it looks like these are pretty rounded at the top.
So let's just go to.
Edge mode, and it's going to select everything and you can see actually a few shifts like things it
will dislike things you have selected.
If you want to add to a selection and you're clicking and dragging over something that is already selected,
it's going to deselected if you don't want that to happen, OK?
If you do not want that to happen, you have to control and shift.
Now, I'll add to that selection, even if you go or an area that you've already selected, but we want
to do is control click and dislike that because we just want to Bevell the tops here.
And I'll go from a top down view, heading spacebar, clicking and dragging over the top.
You have to frame up and control click the centerpiece here so it'll deselect everything.
Go back to perspective mode, adding spacebar and let's go to the Bevell tool and let's increase its
increase of that fraction and bump up the segments.
Yeah.
So we're just having a hard on the slow mode here.
So I change that to now I a middle mouse drag in the viewport with that selected and it will go a lot
quicker.
So it's Yeah.
Something like that in general.
You try, you want to try not to add a ton of geometry if you don't need it, and it's such a small
piece and trying to keep it as light as possible.
OK, so now we have that piece and it's going to end like this.
But the big question is how do we get this piece to go all the way around this object?
We could click and drag and try to place, you know, duplicate one and try to place it.
Exactly.
But that's super tedious.
And we want to try to use the tools to our advantage.
So let's go to the animation window here.
We've been modeling.
Let's go to animation and let's click the poly curved politics of tool and let's shift click the cylinder.
Let's go to constrain and we'll go down to motion paths.
I'm just going to tear this off attached to motion path.
So what we have now, if we click and drag the timeline, even though we're we're still in the modeling
course, don't get confused.
Even though we're using the timeline and we are an animation now, we're using this to help us model.
So what we've created is that this follows the path.
If I select these two things and isolated here, you can see this and you can see it says one twenty
here.
And that means, you know, it's going over the timeline that we had.
If this was further out, it would have gone to 194 or whatever.
But because it was that one twenty, that's that's the length of the timeline.
So that's what it's doing.
It's going to animate over the length of that.
OK, so we have this.
Now, the thing we want to do is if you if you notice, if you hit play over here and start slow, it
speeds up and slows in slow speed up, slow in.
OK, we don't want that.
We want it to be linear because we're going to use this, we're hacking this.
We want it to have even intervals around this piece.
We're going to duplicate this thing around.
And if it starts slow here, we're trying to go at even intervals.
It'll be a lot more of these at the beginning and they'll be further spaced out here.
So you want this to go at the same speed all the way around.
And the way we do that and again, this is kind of animation stuff.
But when you learn 3D, you need to know a little bit of everything to to create things.
So you can see we have this motion path here.
We have the curve selected.
Now we have an output for the motion path and we click that we can see this little red dot and that
means there's a key frame.
And now that we toggle this down, we also have these red dots on the timeline that weren't there before.
So there's a couple different ways we can change the handles of this.
So it'll be the same length, the same speed through the whole length of this timeline.
But to we could do it here in the timeline.
But I want you to see it visually since it's the first time you're introduced to this stuff.
But a Windows animation and we'll go to the graph editor.
This will open up a new window.
And now we see a motion path, one you curve.
And that's what we were looking at over here.
Motion path, one you value and you can see it starts slow, speeds up and then slow.
So I'm clicking and dragging the kind of vertex here, the key frame, and I'm selecting this one.
And I want to go and hit this straight line here.
It's going to straighten that out.
So now we can close this.
We'll learn all about animation and graph editor more later.
But right now, that's all we need to know.
So if we play this back now, it's going to go the same speed all the way around.
When this loops, you won't be able to tell difference with the speed.
See, now it just goes all the way around and there's no speed changes.
And that's exactly what we want.
Perfect.
OK, so.
If we go back to.
The enemy tab here, Maunder Animation, and we go visualize, create animation, snapshot and open
up the option box here and what we want to do is go the entire length of this thing.
So we'll add 120 because that's the timeline over here.
We're at 120.
So start to end.
We can also we could say time slider, which will kind of automatically do that.
So it ingres these out.
But either one, it's the same thing if you change this number.
So we'll say you know, increment will be one and then let's say increment to well whatever, let's
just leave it at default will say reset settings and make sure we're all the default.
So the selected we actually want to select the cylinder not the curve and let's hit apply.
So when we on isolate this now, when we we can see what we've actually made, so it made way too many
of these things.
So let's let's go and un isolate this and what the cylinder selected, let's say an increment of two
now instead will apply.
I'll take a second.
And now you can see these ribs and that looks a lot closer to what we need and what is showing up here.
So the only thing that I would say is that maybe these need to be closer into the object like they're
poking out too far.
So one way we can do that, let's say don't do go to the curve and let's isolate it and I'll right.
Click and say.
Control vortex, click and drag these, so let's hold on D and X and middle mouse, snap it to the center.
So now when I scale this down, everything should scale from the center.
OK, so now when we do the snapshot, we go to visualize an animation snapshot.
We have to point to one.
And again, this could this value can be different for you.
This is just based on the size of the thing that I made.
So this will probably be different for you.
I'm just taking a guess at, you know, what will be the right distribution for mine.
So to kind of lock in these changes, now, you can see it's all the way around correctly.
To lock in these changes, we need to delete the history.
So let's go to edit delete by type history.
And let's select all of these shifts, select it G and will middle mouse drag them out and I just let
go down here anywhere unless delete that snapshot group.
So now we have the ribs and we have the cylinder.
We can delete the original one.
We can also delete the curve because we don't really need all that stuff now.
So now we could even just middle mouse drag and put this under the cylinder.
Okay.
And we can also see there's maybe an extra one here, so we can just delete that.
So now we have our knob and we place it in the right spot.
Lets unhide the trap heading shift H.
Let's select the cylinder, drag it out here and let's rotate it down.
I can see it should be 90 degrees negative, 90 degrees and X and we can also just scale the whole thing
down.
And you can see because we parented the ribs under the cylinder, it's following along with whatever
we're doing.
And this is called a parent and child relationship.
And we did the same thing with the group earlier.
You know that everything is a child of this group node.
So if we move the group node, everything will move because everything underneath it as a child and
you can do that by middle mouse dragging things in the outliner, you can also do it by selecting two
things and then adding P on your keyboard for a shortcut.
So there's different ways to do it.
But let's just get this kind of on the right spot.
I mean, drag it up, it looks like.
It's tilted to the side a little bit and it has this black disc here, so I'm actually just going to
steal one of these discs here, Kamandi, to duplicate it.
And also talking about parenting, you can hit shift to unpaired something so you can see it pop this
out from that group and we can just scale this up and let's just bring it over here to the center of
this thing.
And now we can click the cylinder to make sure we just have the cylinder selected and rotate it.
So it's kind of at an interesting angle instead of straight down.
And now for later, we have this disc that will be able to color something differently, see if it goes,
yeah, almost all the way.
So let's just do something like that and just kind of eyeball that.
It's in the center close enough.
You can vertex snap and all that stuff if you want, but that is looking pretty good.
The next lesson, we will create this top structure really quickly.
And you know, you can do the same knob thing here.
You just duplicate this one out and those and, you know, but the next thing we'll do is just finish
up this model and complete the top and we'll move on to a character in the next series of lessons about
three modeling.
Thanks for watching and I'll see you the next lesson.