We can now click on Discombobulate , at the bottom left-hand side. If Discombobulator seems to be adding no geometry to faces that are selected in the object, it is because the normals of those faces are inverted.
Notice that Discombobulator can reset its values when undoing the previous modification, so it may be necessary to re-enter the right values. This will give us a nice, rich geometry addition to the surface of our ship, which seen from far enough can appear like a very elaborated model.
It's quite likely that there are some fragments of the mesh added by Discombobulator floating outside the face. To solve that we just go into Edit Mode and select and delete those fragments; a very useful selection command to use when having so much geometry is the Select Linked command hover your mouse pointer over the fragment and hit the L key. To get this detailed model back into Blender 2. Save the file in Blender 2.
Be advised that this time there can be more than one object in the file saved by Blender 2. As before, make sure that you are appending the object, not linking it—make sure the Link checkbox is disabled in the left-hand side region of the File Browser in Blender 2.
The possibility of moving data so easily between different versions of Blender even so much different as 2. It is allowed by the file format of Blender using a technology that kind of self describes the file content and structure; that way any Blender version can know what data from the file it can load and just ignore the parts that it doesn't understand.
Back in Blender 2. Remember to check if the basic model is still there and delete it or hide it; layer 20 can be a good place to hide objects that could be of use later. Let's take a look at the final model for the mother ship:. Modeling the mother ship was quite straightforward; we started by defining the overall shape for our mother ship, mostly paying attention to the shape and proportions of it.
The finishing touches for our model were added very easily with the use of the Discombobulator script available in Blender 2. The model for the space fighter will be created starting with a sphere, then tweaking it with the nice proportional editing tool available in Blender and creating the cabin with some extrusions; the next part will be working on the wings and adding the cannon compartment and the cannon itself.
Start by creating a new scene and rename it as Space Fighter ; this scene will hold the model for the fighter that will be attacking the mother ship.
We need a sphere for the body of the fighter, so create a new UV Sphere and set its segments and rings to 12 , then switch to Edit Mode and Front View. What we are trying to accomplish now is to get the squashing effect for the body of the fighter, so that it looks more like an egg than a sphere. The upper part of the body of the ship also needs to be squashed the same way as we did with the bottom part.
This time, though, follow the squashing by a translation of the selected vertex along the positive direction of the X axis keep the proportional editing enabled ; moving it around 0. At this point the body has a nicer shape than a squashed sphere, all thanks to the very handy proportional editing. To give the finishing touch to the shape of the body, switch to Top View , select the leftmost vertex and move it along the negative direction of the X axis ; around We can now turn off proportional editing and make the body look more aero-dynamic by selecting all the vertices, switching to Front View and scaling it by a factor of 0.
The whole purpose of this scaling is to make the body look more slim; we can now disable the proportional editing tool, since we don't need it for the next steps. A screenshot showing the progression of the previous steps can be very helpful:. Now we can create the cabin of the fighter. Switch to Top View and select the north pole of the shape and the vertices forming the ring immediately surrounding it. Delete the selected vertices.
That way we get all the edges selected easily. What we just did was create a ring that is located exactly where the original selection was, but completely disconnected from it; this will be the contact point between the cabin and the body.
If the duplicated ring gets automatically merged back, disable the AutoMerge Editing option in the Mesh menu and repeat the duplication step. Having the first ring for the cabin, let's extrude it five times and move the extrusions straight up; the first extrusion should be moved just slightly the ring will be very close to the initial one , the other ones can be moved more. Each extrusion must be followed by a scaling operation; what we want to get here is an egg-like shape that will be the basis for the cabin, its height should be comparable to the height of the body.
The scaling of the last extrusion should leave us with a very tiny ring it's a good idea to not scale it completely to zero, to avoid merging the vertices and getting ugly artifacts when using the Subdivision Surfaces modifier.
As a finishing touch you can select one of the vertices of the cabin and move it along the X axis with proportional editing enabled, to break the rigid symmetry that the scaling operations left us with; be careful to preserve some symmetry since this is a mechanical model.
To have a nicer looking ship we can just add a Subdivision Surface modifier: Go to the Properties Editor , locate the Modifiers tab and in the drop-down menu labeled Add Modifier select Subdivision Surface ; setting the subdivisions to 2 both for View and Render should make it look nicely curved. Up until now we've been modeling our space fighter aligned with the X axis ; to ease the rest of the modeling work, let's switch to Object Mode and rotate it 90 degrees around the Z axis R key, Z key, then type "90" ; that way the fighter will be aligned with the Y axis ; remember to switch back to Edit Mode and check that proportional editing isn't enabled.
The next step is creating the wings of the space fighter. To do that switch to Face Select Mode and Front View , then locate the line where the top part and the bottom part of the ship encounter "equatorial" edge loop and select the two rightmost faces sharing an edge on the equatorial line. The following screenshot shows clearly the faces to be selected:.
To be able to perform this selection easily, it is better to have the visualization of the 3D View set to Solid ; that way we can locate easily the indicated faces. You can switch the visualization from Solid to Wireframe by using the Z key.
Now switch to Top View and perform a first extrusion that will be left unmoved, exactly where it starts press the Escape key after extruding , then perform a series of three extrude-scale-rotate operations.
The whole purpose of it is getting the shape of the wing resembling a horn going right and up from Top View. Play a bit with the tweaking until the shape looks good enough. While modeling the first wing it's quite normal to start thinking about how we are going to model the other side to be exactly symmetrical.
Luckily we have a modifier that will save us all that hassle! Delete the selected vertices, go to the Properties Editor , select the Modifiers tab and add a Mirror modifier from the Add Modifier menu. If you had preserved the Subdivision Surface modifier that we added previously, make sure it gets located below the Mirror modifier we just created by clicking on the triangle pointing down, right below the name of the modifier.
If the settings given for the Mirror Modifier don't work for you, make sure that you have been modeling the fighter in the center of the 3D world and that the object's origin is also located in the center of the 3D world. As a small tweak for the wings we can go to Top View , set the 3D View mode to Wireframe , use the Border Select tool to select the vertices that form the join of the wing at the bottom-right part of the model and move them a bit to the back of the fighter; that way the wings have a nicer shape and the whole fighter's proportions look better.
Another possible improvement for the model could be selecting the vertices forming the wings but not the ones in the joint with the body , locating the 3D Cursor in the joint of the wing and the body, switching to Top View , setting the pivot to be the 3D Cursor press the Period key and then rotating the selected vertices at will. Perform some more tweaking if you want to and rotate the view around the model to get a better sense of its shape. As a final task to add some detail to the wings, let's disable the Subdivision Surface modifier the eye icon in the modifier settings and perform an extrusion to hold a cannon in each wing.
Since the details of this part are hard to describe in words, let's look at a series of screenshots showing the process :. The extrusion must be done with the two faces shown selected in the first step; after extruding, let's scale it down on the X axis and then do some manual tweaking to organize it as show in the second step. For the third step just extrude the upper face and move the extrusion upwards. Finally delete the front faces for the whole shape we created only the faces and then perform some manual tweaking to finish it.
Of course, we also need a cannon to go with it, so here is a screenshot showing the process to create the cannon:. The first step is just creating a cylinder and scaling it appropriately. For the final shape shown in step 4, add a few edge loops close to the ones defining the general shape; these loops will help to create a nice crease effect when applying the subdivision surface modifier. Step 5 is just the mesh from step 4 located at the final position on the wing.
This model required more detailed work. We started with a basic sphere shape and transformed it into a nice shaped space fighter by using very basic transformations and also the very useful Proportional Edit.
The cabin and wings were created by just performing some simple extrusions and tweaking as needed. The final details in the wings and the cannon demanded more hands-on tweaking in order to get a nice looking shape and enough detail for our space fighter.
One of the tools we used for modeling the space fighter is the Mirror modifier. Let's know more about its settings: The axis setting in the Mirror Modifier indicates along which axis the object will be mirrored, the actual point of symmetry for the mirror is indicated by the orange dot called Object Center.
The clipping option allows us to perform an auto-merge, which is very useful to avoid creases at the mirror plane, specially when using a Subsurf modifier. Merge Limit allows us to set how far apart any two vertices can be to still be included in the merge operation. With all the elements in the model ready, we must go into shading it. The materials that we're going to create are not too complex, because we expect most of the final look of the scene to come from the compositing setup.
Let's start by creating the materials and assigning them to the correct geometric parts of the fighter. Go to the Properties Editor and locate the Material tab, locate the list of material slots and click on the button with the plus sign, on the right-hand side of it, until you get a total of four slots. The slots will have no names, which means that no material is assigned. Since we need a different material for each slot, we must select each slot and click on the button with the plus sign that is below the Select button below the material slots list; remember we are in Edit Mode.
As of now we must have four slots, each one with a different material name. Now select each material and put a name to it by modifying the text in the text field that is now located where the button used to add a material to each slot initially was; pick the name from the list of shader names given earlier.
Do the same for the corresponding mesh parts for the other three materials. An easy way to check if each material is assigned to the correct mesh parts is to choose a different strong diffuse color for each one and check in the 3D View that each material is assigned to the correct faces in the mesh.
The diffuse color is located right below the title of the diffuse panel of the material that is currently selected. Ambient setting is for lowering the effect of the ambient color of the world on the material.
The ambient color is like a default filling color that will affect every shader that has the Ambient setting value higher than 0. Click on the Texture tab in the Properties Editor. If there is a texture called "Tex" make sure to unlink it by clicking on the X button that is below the texture slots list.
Almost for sure, this default texture will be attached to every material we have created so far. To avoid any trouble later, make sure to visit each material and unlink the default texture if it's active in that material. In the file browser that Blender shows, browse your system for the sky image downloaded previously.
With the proper texture loaded, go down to the Mapping panel and select Reflection on the drop-down menu labeled with Coordinates. Finally go to the Influence panel and set the Diffuse Color factor to 0. That will get this material finished. The main settings are as follows:. Make sure the interpolation method for the ramp is set to Linear the default one and the Input field is set to Shade r. As the name suggests, this texture will just add noise to the specular component of the shader; the diffuse component will also be affected, but just slightly.
Go to the Material tab in the Properties Editor and select it from the material slots list. Then set it as follows:. To refine this material we need to go to the Texture tab in the Properties Editor and add a couple of textures. The settings at the panel Musgrave must be left untouched. Just go to the Influence panel and make sure that the only enabled one is Specular Intensity , with a value of 0.
The stencil option causes the next textures in the texture list to be masked by the texture that acts as a stencil. That way it's possible to control the regions that get affected by a certain texture by masking properly.
Just select an empty texture slot, and then link the texture to this material by selecting it from the drop-down menu of available textures. The only setting that must be changed is in the Influence panel: Lower the Diffuse Color down to 0. We chose Value as the blending type because it will make the effect look like a grayscale image, which reinforces the idea of the material being a cold metal.
To finish the space fighter make sure the object's name is spaceFighter and save the file. Shading the space fighter was done by applying two kinds of materials: A very basic rusty metal and a reflective crystal for the cabin. We tweaked the diffuse and specular options according to the needs of each kind of material and then added a finishing touch with the textures in each case.
For the reflection, we used a simple technique that yields very nice results and with almost zero impact on render time. One of the tricks used in this part was the one used to get faked reflections.
Reflections are a must when creating a polished material, such as metal or crystal. Since our scene is located in an empty space, activating the calculation for reflections will be of no use because there is nothing to reflect.
In such cases, the reflection mapping trick comes quite handy to get a reflection effect easily, by just using an image and the appropriate settings for the influence values of the texture. A good question that can arise while working on this part is: Why are we using the Blinn shader for the specular component? The technical definition of the word shader is related to a computation that affects the appearance of an object, so using the word to describe either the full material or only certain components of it is commonly accepted for example, diffuse shader and specular shader, wood shader, and so on.
Since shaders are a computation to simulate certain real-world effects, they are susceptible of being optimized for certain use cases. In this case, we need the Blinn shader for the specular part of the material because of the IOR factor that it includes in the computation and that allows controlling the size of the specular area on the surface of the object.
This one will be very simple, since we're going to use a sphere for the planet; the important part of the work here is the texturing, that's why we downloaded a projected map directly from www. Create a new empty scene and name it Planet , add a UV Sphere , set both its segments and rings to 12, and set its size to 8 all these are settings in the Tool Shelf , immediately available after creating the UV Sphere.
Then go to the upper part of the Tool Shelf and click on the Smooth button remember we are working in Object Mode. Then go to the Modifiers tab in the Properties Editor and add a Subdivision Surface modifier; set it to two subdivisions both on View and on Render.
The next step is going to the Material tab on the Properties Editor and adding a new material to the Sphere it should have no material by default. Name the material as "planet", and adjust the settings as follows:. Since the map of the planet has been created using a mapping technique to put on 2D a texture that exists in 3D, we need to set the right options to get the inverse effect: Taking the 2D map and projecting it onto the sphere properly.
To do that go to the Mapping panel and select Sphere from the drop-down menu labeled as Projection. Finally make sure that the Influence panel has Diffuse Color enabled and its value set to 1 ; no other option in the influence panel should be enabled. Now we have a nicely textured planet to use in the background of our scene. Thankfully it is very easy to find good planet maps on the Internet, so this part of the project becomes quite trivial. The planet is very easy, since it depends mostly on a good texture, which is quite easy to find on the Internet.
The trick to get the texture correctly applied on the sphere is just to use the correct projection method, which in this case is very intuitive: Sphere. One of the options used in this part was the projection option for the texture; it's an option used to project an image into the mesh automatically. In this case, the planet texture is a projected map. Projected maps are a planar representation of a 3D element, in this case a planet.
An example of a projected map is a map of the whole world; since the earth is sphere-like in shape, representing it on a planar surface requires some projection technique.
The reason for having to use a projected map instead of a simple photo is because the map will apply extremely easily to the sphere and have no visible artifacts or seams that could make it look bad. Our space scene is in need of something else: A good background to have a believable environment and to reinforce the mood. For this background we're going to create a simple nebula effect, using Blender's particle system and some basic compositing.
As we'll see, the main part of the job will be on compositing since the actual 3D scene is very simple to create. Start by adding a new empty scene, and rename it to Nebula. Since this scene is going to have just a few objects and be used only to get a basic image, which we will use to composite later, the objects' names won't be important at all. Next add a cube and then scale it by a factor of 6.
In order to be able to look inside the cube, let's go into the Properties Editor , click on the Object tab and in the Display panel select Wire below the Type setting. Continue by adding a circle, setting its Vertices parameter to 8 and enabling the Fill option.
To light the particles in the scene we're going to need a light, so add a point light; once added, go to the Object Data tab in the Properties Editor the one with the light throwing four rays around and set these options in the Lamp panel:. The energy value is to get the lit objects looking very bright, the distance and sphere options are to limit the effect of the lamp to a certain distance around it; limiting the distance at which the lamp affects the objects is important to get control on the final nebula render.
Once you're done with checking the objects and camera view frame, let's go enjoy playing with particles. The particle system we are going to add will be created inside the volume of the cube so that the lamp can light the particles that fall within its radius of influence.
Select the cube, go to the Properties Editor and select the Particles tab. Notice the empty list of particle systems, meaning that this object doesn't have any particle system attached to it. Add a new particle system by clicking on the button with the plus sign and Blender will immediately show all the parameters available for the particle dynamics, render, and settings.
Enable Random between the Jittered and Grid options. First we set the Amount to a high enough value so we get many particles in the 3D View ; setting the End parameter to 1 means all the particles will be emitted at the same time Start is 1 by default ; the Lifetime parameter controls for how many frames each particle will live.
Finally, the emission options work together to get the particles in a random fashion and occupying the whole volume of the cube; disabling even distribution helps to accentuate the randomness of the spatial distribution of the particles. Setting the normal component of the velocity to 0 prevents the particles from moving around, since we need them to stay quiet in front of the camera. The options in the rotation panel are all set to get a random orientation of each particle and to get each particle to rotate randomly.
Random rotation is important, since it will produce the variation that we need in the rendered particles. The reason for the falling of the particles is that the scene has a global gravity value set and this specific particle system is configured to be affected by that force; to correct that we go to the Field Weights panel and put the Gravity value all way down to 0.
One more test for the particles' dynamics shows us that they are staying quiet in space, which is exactly what we want. Now we need to set how the particles will be drawn and rendered; to do that go to the Render panel and set these options as indicated:. Since we haven't been paying attention to the naming of objects, it's quite likely that the names will be generic. Thankfully we just have a few objects, so it will take only a couple seconds to try them one by one, by hand.
Of course, using good naming conventions is always recommended. By disabling the emitter option we tell Blender not to render the cube, just the particles it is generating; selecting object as the option to render particles we get the option to put the mesh object we want in place of each particle of the system.
This object, replicated and randomized by size, rotation, and speed, is what finally gives us the base image to composite on the nebula background. Our particles are still lacking one of the randomized settings: Size.
Go to the Physics panel and set the Size to 0. At this point we can launch a test render to see how the particle system looks when rendered. If the background color of the rendered image is not black, we must set it to black; for that, go to the World tab in the Properties Editor and set the Horizon Color to black.
Now we have the basic image that we need to composite our nebula background. Don't forget: Now is a good time to save our file. The first thing we need to do is switch to the Compositing screen. Locate the Node Editor biggest editor, in the upper left-hand part of the program window. To enable the compositing pipeline we must select the Compositing nodes option icon of two pictures and then check the option Use Nodes in the header of this editor.
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