Sign in. Forgot your password? Get help. Password recovery. Free PDF Books. Handa, H. Top 30 Bearings Alignment Books Collection. Pulse and Digital Circuits by Millman and Taub.
Power Electronics Handbook by Fraidoon Mazda. Control Systems Engineering. Semiconductor Optoelectronics McGraw Hill. Top 25 Strength of Materials Books Collection. A final LMB-click anchors the newly formed edgeloop into place. In other words, two edgeloops are selected, running through the vertices of the selected edge.
The Edges menu 44 www. For a selected area, you can choose whether you want to delete faces, edges, or vertices, and there are subtle differences in the results. Deleting vertices deletes all the faces that depend on those vertices; deleting edges deletes the respective edges and faces along the edge selected, leaving vertices attached to any edges not selected for deletion; and deleting faces leaves the connected vertices and edges behind, only deleting the solid wall.
You can also delete edgeloops using this menu—a real time-saver when you want to get rid of long lines of vertices. On choosing where the vertices should meet e. This function is very useful for stitching areas together, as with a zipper. Likewise, in edit mode, it is possible to split a mesh into different objects with the P key. Generally, the workflow is to select the faces you wish to separate, press P, and choose Selection from the pop-up menu. For any 3D view, press the N key to bring up the Properties panel.
Toward the bottom is the Background Images check box; select it and then click the Add Image button in the same area you might need to hit the black triangle to expand the Background Images area.
A new area for the image will appear, saying that the image is not set. Click the white arrow to open a file dialog where you can navigate to find a suitable image for the view window. See Figure 3—17 for example settings. This feature is useful for placing blueprints behind an image as a reference for modeling over. Note that background images only work when the view is orthographic, which means that the view is flat.
This is opposed to a perspective view, where things that are close up appear larger. Press numpad 5 to toggle between orthographic and perspective views. Background images from www. The Background Images properties in the Properties panel Topology When editing an organic model, especially one meant to be used in animation, it is important to consider the topology of edgeloops.
Often, smoothing a model with multiresolution or subsurface modifiers will distort the overall shape if the topology is bad. Edges should be evenly distributed, and extra edges should be positioned at sharp corners.
For shapes like the head, it is good edgeflow to have concentric circles around cavities like the mouth and eyes see Figure 3— This allows for a lot of flexibility in terms of easy reshaping, opening, closing, and so on. For limbs that bend, such as elbows and finger joints, it is good practice to have three edgeloops or more around each bend in order to enable the mesh geometry to bend in a smooth curve.
Poorly aligned edgeloops can make the desired surface deformations more difficult to create e. Edgeloops of a face should ideally form concentric circles around the eyes and mouth.
Example Modeling Through Mesh Editing Modeling is fairly simple in terms of the number of functions needed, but it can take a lot of time to do well. Even at a professional level, modelers are always learning better ways of doing things, and the best teacher is practice. That is, make models, make more models, and then more until the process becomes second nature. The Mirror Modifier: Making a Mirror Cube Many objects are symmetrical including people, animals, boats, cars, planes, chairs, tables, space aliens, and monsters.
Thankfully, Blender provides a mirror modifier that can be used when modeling such objects, so you can model one side of an object while Blender automatically creates the other.
Start with the default cube, and go to front view in edit mode press numpad 1. Place your mouse over the top edge of the cube. At this point, a vertical edgeloop should appear. If not, the mouse pointer may be in the wrong position; circle your mouse over the top edge until the vertical edgeloop appears, or repeat the last step until a pink preview edgeloop appears. When you are satisfied that the edgeloop is in the correct place, LMB-click once only.
As you move the mouse horizontally, the new edgeloop will slide back and forth. The header section will show an edge slide percent reading of how far out you are moving the line. Alternatively, pressing Esc also works in this case. Note that this technique 48 www. You can also type in numeric values to manually specify how much something is moved.
When the new edgeloop is in place, press Enter to anchor it in position. Your cube should now look something like Figure 3— New edgeloop at center position 6. Now that you have a line down the middle, you only actually need one half of the cube to enter mirror mode, so you need to delete the other side.
Select the far side. This way, you can simply drag the mouse to select the four vertices you want in one movement. Likewise, holding down Ctrl and LMB- dragging a circle around the area is yet another way of quickly selecting a group of vertices. These methods are faster than one- by-one selection, although you may want to simply select vertices one at a time if that is what you are comfortable with.
You should now have half a cube Figure 3— Go to the Modifiers panel on the Modifiers tab the spanner icon. Half a cube 8. Add a mirror modifier Figure 3— You should now see the cube in full. Note that the default settings for a mirror modifier are to mirror along the x axis, as marked in the Modifiers panel in Figure 3— Adding a mirror modifier Figure 3— Mirror modifier default settings 9.
Click Clipping in the Modifiers panel. The clipping function welds the vertices at the center together. Without it you can tear open the mesh at the middle seam. There are times where you may need to temporarily switch it off, such as when extruding legs out in different directions. Save this file as mirrorcube.
The final result is shown in Figure 3— The finished mirror cube, ready to model something symmetrical A Note on Modifiers Mesh modifiers can be thought of as additions to mesh objects.
They work like filters in that the actual mesh is unchanged while the modifier works its magic to complete the effect. They are a safe way of creating effects because of their nondestructive nature; only when the Apply button in the Modifiers panel is clicked do modifiers affect the real vertices of the final mesh. The order of modifiers is important, as the top ones in the list in the Modifiers panel are applied before any modifiers further down the list. For example, if a multiresolution modifier or any other that partially shrinks a mesh is applied before a mirror modifier, the shrinkage may cause a gap in the middle seam of the resulting object; on the other hand, mirroring first with clipping enabled in the Modifiers panel and then smoothing creates no such seam.
Some modifiers are fixed about their order. It is not possible to apply a multiresolution modifier after a mirror modifier, because it would create a buffer of separate resolutions that would be too difficult for Blender to accurately update if the modifiers were able to switch around. Options for where the effect is shown 52 www.
You can experiment to discover whether some of the listed modifiers do what you would expect. Smoothing a Mesh Because mesh edges are straight, you need lots of vertices to make smooth-looking curves. Fortunately, Blender has a couple of methods for smoothing the look of your models.
The Subsurface Modifier The subsurface modifier, which is used frequently by modelers, subdivides your mesh so that every face is split two ways, with each quad face becoming four faces. In the subsurface options on the Modifiers tab, there are View and Render options. The View field affects how smooth the mesh looks in 3D view, and the Render property specifies the degree of smoothness in the final render e.
We will look more into rendering in Chapter 4. By bumping these numbers up, you increase the level of smoothness for your mesh. Generally speaking, most people use subsurface modifiers to smooth their models, and use multiresolution modifiers for sculpting purposes. Box-Modeling a Man Box modeling is a process by which you start with a cube, extrude face by face, and add edgeloops as necessary see Figure 3— Example of box modeling.
This model started as cube with a mirror modifier see the following section , and faces were extruded out to form the torso and head, and then the legs and arms. Note that to get accurate shapes, some individual vertex positions had to be adjusted.
The workflow usually involves starting out with a general shape and then sculpting to add details. Sculpting can be used to get right down to the wrinkles of a character.
For this reason, we are going to use the multiresolution modifier to increase the number of vertices while we sculpt the model into shape. By the end of the sculpting, we will have created a convincing model with a technique that is very similar to modeling with clay.
Start off with the default Blender scene. You should be looking at the default cube with the Tool Shelf open on the left, and the Main Buttons panel open on the right, as shown in Figure 3— If the Tool Shelf is missing, activate it with the T key.
Default panels Getting into Position Go to front view numpad 1 , and then move the view slightly off center by holding down the MMB and dragging the mouse to one side.
Roll your MW to zoom in so that the cube takes up most of the screen space. Make sure the cube is selected by RMB-clicking it.
Click the Modifiers tab the wrench in the main Properties panel to the right of the screen. You should see a button labeled Add Modifier. On pressing this you will be confronted with an extensive list of possible modifiers. In the leftmost column under Generate , choose Multiresolution. Selecting the multiresolution modifier At this point, the Multiresolution panel should appear, as shown in Figure 3— Click the Subdivide button a few times. The shape of the cube gets smoothed, making it begin to resemble a sphere.
Essentially, the number in each of these settings is the same thing: the number of times subdivide has been used. The difference is that Preview is for the main 3D view, Sculpt is for when Sculpt mode is being used, and Render is for the amount of multiresolution that will show in the final rendered image.
If you push multiresolution too far, Blender may start to slow down. In this case, you can manually change these settings to lower a number.
The arrows at each end of these settings buttons allow you to lower and raise the values using mouse clicks see Figure 3— Multiresolution level control. Using the arrows at either end, you can tweak how smooth the multiresoution levels are.
Currently, you are likely to be in object mode. With the cube selected, switch to sculpt mode using the drop-down menu on the header strip, along the bottom of the 3D window see Figure 3— Switching to sculpt mode The Tool Shelf should now display the sculpting tools. Expand the Symmetry panel near the bottom of the Tool Shelf and check the X box under the Mirror setting, as shown in Figure 3— Now, when you sculpt one side of the cube, the sculpting effects will be applied to both sides.
This is useful for making faces, which are symmetrical. Checking the X option Types of Brushes In sculpt mode, you can select different brushes by clicking the image of the brush effect at the top of the Tool Shelf which will show other brushes.
Once a brush is chosen, you then rub the object over the mouse pointer while holding down the LMB. Some brushes have an Add and a Subtract option to give them positive and negative opposite effects e.
From this point, you sculpt the mesh simply by drawing on the surface while holding the LMB down. Simply change the brushes and their associated options on the Tool Shelf to achieve different effects. Stop reading now. Experiment with each brush to see what it does.
Remember that you can maximize the screen by holding down Shift and pressing the spacebar, and you can hide the Properties panel by pressing the N key; doing so will reduce clutter and give you more space to work with. Table 3—1 gives you a brief summary of what you should find.
This is the brush that is the best for drawing lines. Layer This brush works similarly to Draw, except that you define a height for the draw lines the Add option raises the lines and the Subtract option deepens them. Blob This applies a buffing effect to an area. Clay This shrinks areas inward using the Add option or expands them using the Subtract option against a center point.
Surface-Shifting Brushes Nudge This pushes areas of the mesh along the surface. Thumb This generates a subtle rubbing effect. It has more of a digging effect than the Nudge tool. Grab This grabs hold of an area and moves it with the brush.
Snake Hook This is similar to the Grab tool, but allows you to pull areas out in tentacle-like arcs. Twist This moves the surface area around in a spiral. Crease The Add option pinches the mesh to make a peak, and the Subtract option creases the mesh inward like a valley.
Polish This smoothes areas of the mesh while trying to maintain the general shape. It should be noted that the key to successful sculpting is not in learning a list like Table 3—1. Rather, just experiment and see what each tool does. They have multiple uses, and sculpting is good for experimenting with reshaping large portions of a mesh, as well as refining finer details. The initial multiresolution cube 1. Push in the eyes with the Draw tool, as shown in Figure 3— The eyes are started.
Sculpt in the basic features, as shown in Figure 3— Basic features are added 3. Increase the level of the multiresolution modifier e. Finer details are added 4. Keep raising the multiresolution level in order to suit the level of detail you wish to sculpt, as shown in Figure 3— This technique can be a lot of fun, and you can learn a lot about the brushes simply by experimenting.
For really effective sculpting, you would not normally start with a cube and sculpt it into shape as we have done. This approach typically results in a large number of vertices, as well as an unevenness in the density of the mesh areas that have been inflated will have fewer vertices than areas that have been condensed through the sculpting process.
A better approach is to create the general shape of the mesh using the standard box-modeling techniques, and then apply sculpt mode in order to attain the finer details.
Add warts, wrinkles, and so forth. You might also like to change its facial expression Figure 3— Sculpted monkey Using Sculpt and Mesh Modeling Together: Retopology We have looked at sculpting as a means of shaping a model from a simple cube. Thus, the result slows down rendering and is pretty much useless for animation.
There is also no real consideration of edgeflow when using sculpt as the modeling method. Thankfully, there is a remodeling technique known as retopology, where it is possible to mold a new mesh around the sculpted original.
This way, you can improve the edgeloops and have a new mesh that is much more suitable for animation, while adopting the shape from the original. Retopology is an advanced technique that combines the strengths of both sculpt and mesh modeling.
With the sculpted model on the screen, make a new plane and shrink it down. Place it in front of the sculpted object so that it is floating a small distance from the surface. In front view, the new mesh should be very small, as in Figure 3— Start with a new plane that floats just in front of the surface of your source reference model. This turns surface snapping retopology on.
The next button brings up the Snap Element menu, from which you should choose Face the cube icon. The next button brings up the Snap Target menu, from which you should choose Closest. These buttons are shown in Figure 3— With these settings, any moved vertices will drop neatly onto the surface of the mesh behind them, thereby taking its shape. Retopology settings With the second mesh sticking to the older sculpted version like shrink wrap, you can position lines to their edgeflow while maintaining the shape of the original mesh.
Press the E key to extrude individual vertices out and around the base mesh, and they should spread along the surface.
Using this method, you can draw topology over your old sculpture by extruding the edges of the newer version, as shown in Figures 3—43 and 3— Retopology modeling over a sculpted model to recreate a mesh with improved edgelooping 66 www. In this chapter, we have gone a step further by editing the individual mesh objects themselves. Mesh objects are formed as a network of vertex points, connected by edges and faces in order to represent a solid-looking physical form.
We looked at the differences between object mode, in which whole mesh objects can be arranged, and edit mode, in which the individual vertices, edges, or faces of the mesh object can be changed to affect the shape of the mesh object itself.
There are a variety of commands available in edit mode e. In addition to direct mesh editing, this chapter described sculpt mode, which provides for a fun method of modeling that some beginners have reported as being more intuitive.
Note, however, that sculpt mode is not a traditionally accepted modeling technique, largely due to its lack of consideration for good edgeflow and the large number of vertices it creates in a mesh once applied. I ended with showing a method of tying the two techniques together—sculpting to create a desired form, and then using traditional mesh editing with retopology to create a mesh using the sculpted version as a base scaffolding or reference.
In practice, you can mix techniques however you like to get the results you need. They are the tools and you are the artist. If you want to show your amazing creations to others, and you light the scene poorly, the final result will not be impressive, putting all your hard modeling work into disregard. I covered tabs in Chapter 2, but I want to remind you of them here since I use them frequently. Bear in mind that some tabs are contextual. For example, the Object Data tab may have a different appearance depending on what has been selected in the main scene.
If in doubt, you can always verify the name of a tab by hovering the mouse over it; after a second or so, the name of the tab should show below the mouse pointer in a floating box. Of course, if you have a model of your own that you wish to render, by all means use that instead. Start with the default scene and delete the default cube RMB-select it and press X.
Figure 4—1. The monkey primitive 3. The monkey will be facing upward, but we want it to face forward. With the monkey selected, press R and then X, and then type the number 55 followed by Enter to make it face outward to the front view. Note that 90 degrees would make the monkey face straight ahead, but 55 degrees is the angle to correctly position the monkey so that it can sit on a ground plane, as in Figures 4—1 and 4—2.
Adding a Ground Plane Unless you want the model to appear as though it is airborne, you might also like to add a ground plane: 1. Scale the plane about seven times press S, type 7, and then press Enter. Move the monkey upward in the Z direction so that it sits comfortably on the plane when looked at from the side view. Side view of the monkey positioned on the ground plane Note that pressing numpad 3 will display the side view. Also, pressing numpad 5 toggles between orthographic and perspective view modes, which might also be useful.
It is easier to line the monkey up in orthographic view mode because it shows the side view in a very flat manner, which makes it easy to position items on the ground plane. For the monkey model, I also like to add a subdivision surface modifier to smooth out the octagonal look. With the monkey selected, click the Modifiers tab wrench icon , click the Add Modifier button, and choose Subdivision Surface modifier.
The monkey should now be positioned so that it is resting on the ground plane, and we are ready to set up lights and render the scene. If you navigate around the scene you should find two objects. One, a black dot with a couple of dotted circles around it Figure 4—4 , is a lamp to light the scene, and the other, which looks something like a floating pyramid Figure 4—5 , is the scene camera. The square face of the camera is the front end, and is marked with a black triangle to one side, representing which way is up.
The default lamp point lamp Once a scene has been set up, it is usual to render the view. The 3D view within Blender is more of a workbench, preparing a scene for a glorious final render, which is normally taken from the point of view of the camera.
We need to know how to line the camera up so that it is looking at the object s we want it to see when we generate the all-important final shot. Figure 4—5. The camera The camera can be moved around like any other object RMB-select it, and then use the G and R keys to reposition it.
However, it is useful to be able to see what the camera is looking at while you are setting it in position for the shot. To do this, split the 3D view into two as described in Chapter 2 drag the diagonal stripes at the top-right corner of the 3D view into the middle.
Now the window you apply this action to will show what the camera can see. You can move the camera around in the other 3D view window while getting instant feedback on how well your shot is lining up. In this mode, the view pivots around to follow your mouse pointer. Using the W and S keys or rolling the MW causes the view to accelerate in and out of the scene. Clicking the LMB causes the view to halt but keep the position , whereas clicking the RMB resets the view to the starting position.
A common and powerful way of aiming the camera accurately is to make it track to another object. The idea is to make the camera automatically face the target object—similar to a strong magnet.
Move the object, and the camera will swing around to keep it in view; move the camera, and it will rotate to keep looking in the direction of the target object. RMB-select the camera. Shift-RMB-select the target object so that both the camera and the model are selected. On the menu that appears, choose Track To Constraint. Now when you move the camera around, it will always face the target object.
You can now position the camera without having to worry about rotating it to line up the shot, because it always faces the object. It is a good idea to split the 3D view into two, and then set one to camera view in order to keep track of what the render camera will look like this setup is shown in Figure 4—6. Try this, and then move the camera around to see how easy it is to position the camera for a shot. Figure 4—6. Using a split view to show what the camera sees 74 www. With the camera selected, go to the Object Constraints tab the icon for which looks like a couple of links in a chain , and you should see an area where this constraint has been added.
This tab allows you to set various options, such as allowing the different axes X, Y, or Z of the camera to point to the object —Z is normally the correct direction for the front of a camera.
There is a good chance that the desired options will be set for you by default. Tracking to an Empty Target The TrackTo method is fine if you want the camera to point straight at an object. However, sometimes you might want the camera to be off center from its target object.
Or, in the case of animation, you might not want the camera to keep following the target object around. One solution is not to track to the target object directly, but instead track to an empty target as shown in Figure 4—7. This target will not show in the final render, but act as a controller for where the camera is to be pointed. Simply position the empty target at the area of the object you want the camera to focus on. Figure 4—7. Tracking to an empty target This setup is very easy: 1.
This will create an empty object, which has no vertices. It is important that the empty is selected last, as Blender knows to make the first selected object point to the last selected item.
Now the camera will always look toward the empty. Simply place the empty where you need the camera to look. In this way, you can easily position it to achieve off-center shots when required. Fixing Up the Camera View The default camera can tend to give a fish-eye view of models, as though the scene were small and the camera right up close.
In order to lessen the perspective distortion, take the following steps: 75 www. Select the camera and go to the Object Data tab when the camera is selected, this tab will appear as a camera icon , as shown in Figure 4—8. Go down to the Lens section, and change the angle from 35 to something like 50 or another setting that you prefer. The scene as viewed through the camera will appear to jump to a bigger size, but pulling the camera back to reestablish the framing of the shot will cause less distortion now, as the camera is further away.
Figure 4—8. Using this option causes any 3D view from the camera perspective to visually darken the area falling outside of the immediate camera viewport, making it very clear to see where the edges of a render will fall see Figure 4—9.
Figure 4—9. The Passepartout option in the camera settings causes a camera view window to visually define an area for the main camera viewport. This illustration demonstrates both without left and with Passepartout right. This will generate an image based on what the camera sees, which you can then save by pressing F3. Figure 4— A render with a one-point lamp and no lighting enhancements.
Notice the very dark shadows. We are now going to look at a few different ways of lighting the scene better. Blender has several lamps available, including the point lamp, and the sun, spot, hemi, and area lights. The essential differences between these lights are outlined in Table 4—1.
With appropriate falloff, it can resemble a candle or a small lightbulb. It is very useful for rim light effects, where parts of an object need to be lit in order to stand out from the background. Sun Otherwise known as a directional light, this is light that floods a scene from a given angle. It gets its name because it is similar to how the sky lights the world: flooding the scene from a given direction, not from a single point.
Location does not affect sun lights; it is the rotation that is important. Whichever way a sun light is rotated, the whole scene gets light from that particular angle with parallel light rays. Spot This is similar to a point lamp, but within a restricted V-shape direction.
This light works very much like a theater spotlight. It casts a circle on a surface it is aimed at, and has settings to control the softness of the circular edges. Hemi A hemi light produces an ambiance similar to a sun light, except that instead of creating light from a single direction, it acts as though the light is emitted from a sky dome. It is like having a single sun from the dominant direction, accompanied with smaller lights to illuminate the sides of objects in the scene.
Area An area light is like having a cluster of lights over an area of a specified size. It is useful for creating light emitted from a surface, such as a TV or the back of a fridge.
The different types of lights are listed, and by LMB-clicking one, you will accordingly change the type of the selected light. Lamp Settings The available lights have a lot of options, and it pays to explore them in order to use the lights effectively.
In the scene with the monkey, select the lamp and change it to a spot type by going to the Object Data tab and selecting Spot. The lamp in 3D view should now resemble a cone that you can rotate to face the monkey object much like a stage light. Do this, and press F12 to check that the spotlight is indeed illuminating the monkey object.
Now we are going to examine some of the important options available for the spotlight. There are a lot, so please use Figure 4—11 as a guide while I outline the functionality of some of them. Various options for the spot lamp, and where they can be found on the Object Data tab 79 www.
The Energy setting controls the brightness of the light. The Falloff Distance setting controls the general reach of the spotlight and also point lamps , as shown in Figure 4— By default, light begins to fade after it has reached the length defined by the falloff distance. However, if you check the Sphere check box under the Falloff Distance setting, then light will fade earlier, reaching zero brightness by the time it reaches the falloff distance. Falloff distance Spot size and spot blend are unique to spotlights.
The Spot Size setting controls the size of the circle of light cast by the spotlight. The number in this field directly corresponds to the angle of spread of the spotlight the V shape of the spotlight as viewed from the side. The Spot Blend setting defines the thickness of a fuzzy border that is applied to the cast circle of light.
With low amounts of spot blend, the circle of light cast by a spotlight has sharply defined edges. As the blend is increased, the edges of the circle fade. Figure 4—13 shows a sequence of changes made to a spotlight. In the top three images, the spot size is increased, and in the final image, the spot blend is increased to soften the edge of the cast circle of light. Changing the spot size top three images and then adding spot blend bottom image In the Shadow area of the panels are Buffer Shadow and Raytraced Shadow options.
Raytraced shadows provide more physically accurate results, but can be slow to render. Buffer shadows are quicker to render, but less accurate. Buffer shadows have Clip Start and Clip End values, which define an area within which the shadows are calculated. Objects should be within the range of these two values if they are to be affected by light and shadows from a lamp casting buffer shadows. Shadow settings also have a Soft Size value, which works alongside the Samples value to soften the edges of shadows cast by the light.
The Soft Size value blurs the shadow to give it a soft look, as shown in Figure 4— The image on the left has a Soft Size value of 0, the middle image has a value of 3, and the right image has a value of 5. Different Soft Size values applied in the shadow settings of a spotlight 81 www. With low values, grainy dots can be quite visible, as shown in Figure 4— In the figure, all of the images use a shadow with a Soft Size setting of 3, but the images from left to right have Samples set to 0, 3, and 5, respectively.
Notice the visible graininess of the middle image, which has a low sample size. Different amounts of shadow samples Soft size and samples complement each other. If either of these values is set to the minimum, the other one has nothing to work with.
For example, if Soft Size is set to 0, the shadow will simply have very hard edges, and the Samples value will not change the look of it. Inversely, if Samples is set to 1, then no visible blur will be evident, regardless of the Soft Size setting. Using the Lights Together The available lights in Blender give you a lot of flexibility for lighting any scene.
There is much theory on proper lighting technique. However, at the end of the day, lighting should illuminate the scene and give depth to objects through shading. There should be a range of tones, but areas of absolute black or overblown white should be avoided. Because our eyes adjust, even night scenes should be lit enough to suggest the form of objects. With color and careful consideration of the effects of shadows, lighting can also be used to set mood.
For our purposes, lighting consists of a key light, which is the main light source, and as- needed fill lights to add ambiance to otherwise unlit areas. Adding the Key Light The key to setting up lights is to start simple. Find out where your key light is going to come from. If you are outdoors, it could be the sun.
Indoors, it might come from a window or a light. Delete all lights other than your main key light. As used in scenarios such as lighting the monkey, spotlights generally make good key lights, although different environments will have their own suitable exceptions.
Examples would be lighting one side of an object while leaving the other side in shade. There are always exceptions, though, as scenes can have more than one key light. With the light selected, go to the Object Data tab and rename the light Key, as shown in Figure 4— The following subsections describe a couple of simple strategies you can use to help speed up the process.
This is done in the same way as tracking a camera to an object: 1. RMB-select the light. Shift-RMB-select the object. It is important that the object is selected last. If you see a Google Drive link instead of source url, means that the file witch you will get after approval is just a summary of original book or the file has been already removed.
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