*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Hello, everybody. How you guys doing? Welcome to day two of Designing in 3D. We are going to be doing some more type explorations today.
Last week we did a really crazy bunny intergalactic scene. I can show you guys really quickly where we left off last week and then what we did yesterday and where we are going to go. So last week we did this really fun intergalactic scene with Bunnies kind of taking over portals and the whole galaxies.
You can see the new Type tool kind of being used for this last one that I did this last week and then kind of these crazy, crazy portals. I love to see what you guys create. Andrea did a great job of taking the concept from the work that we did last week.
You can see the last two streams on our YouTube or the Behance pages. Andrea did her own version. It's awesome to see.
I love this stuff. So if you guys are doing the 36 Days of Type challenge with me, happy to just post in the comments below on my project and let me know that you were working on it and I want to come check it out. Come join me on this journey.
We're going to do 36 Days of Type, all built in. Dimension starting to get crazy, crazy with it. I love projects like this that kind of flex a lot of the crazy parts of a tool like Dimension.
So this is a lot of fun. This A we made yesterday on Stream, and it was a lot of fun. I did a little bit of photoshop on it this morning just to kind of finalize it, improve it and posted it up.
But pretty much exactly what you saw yesterday. Just adjusted the key light just slightly. And then I did a B the other day as well, just a more abstract version of it.
So this is kind of the two different spectrums that you can even go down. You can get crazier than what I'm also doing right now, which is super fun. But just one was very literal.
Here's the letter. How do we make it like a sign? Other one's like, how do you see the letter forms in your head? So Dimension has a lot of really cool things you can do with it. 36 Days of Type has some outlines.
We're a month late. Who cares? We're going to have fun with it anyways. But definitely come follow me.
Hang out with me on Behance. I'll be streaming it on our live stream. You can check out previous videos here as well on our personal pages.
And I'll be teaching Dimension throughout the whole process. I have hope. And I'm planning on to do all 36 letters all on Behance.
So if I'm not on Adobe Live, I want to do it on my Behance page. Bring you guys with me down the journey. So come hang out with me.
There so really quickly, yesterday we covered the new type tool. Shauna is still in D. You're doing great.
I'm going to get D done. I have a concept later. I've started working on my D and I'll show you guys later.
I think it's kind of like doing this ice effect because if you go into the materials on Dimension, you can have this frosted glass. And I'm treating that kind of like an ice. It's really cool.
Whenever you start to actually use the render preview, you can see how it actually can look more like ice cubes, which is really cool. You can also do damaged. That gives a nice little effect as well to make it look like ice.
So the one tool that we didn't talk about yesterday, which we saw a lot of sorry, we didn't see a lot of we are going to see a lot of today is the object editing tool. So we're going to focus on that today. Yesterday we did a lot on the type.
I would say go back, revisit that. You are going to learn a lot about the new type features that dimension has, which is super exciting. All right, so blank canvas, everything's brand new.
We're going to start from scratch together. I'm going to keep it at 1000 pixels by 1000 pixels, just so it's easy to throw up on like an instagram or something like that. And what I'm going to do is actually, I'm going to take the camera and I'm actually going to rotate it now to 90 and 90.
And that should get me closer. Let me see here. I want to align this now.
I want to do a camera view that is looking straight down at the horizon now. So it's at zero. That should be correct.
Yes, that is. All right. So now I'm going to go fit to canvas.
Hopefully everybody can see everything on my artboard. And we've got some really cool functions and features that we're going to show off today, mostly involving the slice tool. I'm going to just plop this in the center.
Sorry guys, I can't get enough hydration today. There we go. So the camera is top down, but it looks like it's tilted still slightly.
I want it to be perfectly zeroed. AHA, see, the Z went to 89, and I want those to be a 90 so that everything is flat. And I'm working with the center of my grids.
If you are an Illustrator fan, you've probably worked with a lot of grids in your past, or even Photoshop. This is just me kind of cheating the system really quickly for my own benefits. So right now, I'm going to actually save this as a camera bookmark on the top right of my screen to save it.
And I'm going to save it as top. It's pretty simple. I can also rotate it.
I can set multiple different viewpoints or camera points. And so now you can kind of see what we're dealing with with this. I'm going to fly around constantly.
I'm going to turn off the render preview, which is this button up here, because we're not using it yet. We're not doing any lighting or anything crazy yet. But the latest version, you can use Alt Plus One to switch to top view.
Really? I read that documentation. You are right. That's incredible.
Thank you, Alex, for that. Beautiful. That's so simple.
Who would have known? But you can always go in and get mathematical with your cameras as well. Or you can just hover and float around like you're playing like, Xbox or something. All right, so I'm going to rotate this camera down, and I'm going to grab the slice tool.
And now you can quickly just start making grids. This is really a great tool for any of you in house graphic designers or graphic designers working on marketing charts or anything like that, where you need to do like a pie chart. Pie charts are super easy in this.
Obviously, you can set the percentage out of 360. So do your math, kids. I wonder if you can actually if I went three times four, it does it.
So just like other Photoshop and other Adobe products, if you type in the math equation, it will do the math for you in the angle section, probably any of the sliders. So, great. Fun fact, if you're going to do any marketing collateral, any grids graphs, charts, you can use that to your advantage to help you kind of get through stuff really quickly.
So if I wanted to, what I can do is I'm going to paste it back in there, and then I'm going to just change this color really quickly. And we're going to treat this like if it is a pie chart. All right, so this is also a thing where if you paste too many shapes on top of each other, they can create some really kind of crazy things as they try to fight for which level is on top.
And I'm going to use that in another project later on one of the other letters I figured, I'm going to do some very razzle dazzle style work, which is an old military camo. Anyways, I'm going to split this in half, close to it, and then I'm going to paste it again. I'm going to rotate it, rotate it from the center.
See our center? Let me just align it really quickly. Actually, I'm going to just take the whole shape. First.
I'm going to make it control C. And then I'm going to now adjust this angle, and I'm going to command paste. Oh, no, it didn't work.
I copied the wrong shape. Command C with the whole thing. And then I'm going to adjust the angle.
And then I'm going to command V. And then I'm going to change this color to another boop. And now cool that's there.
I want to slice this. And then I'm going to slice this. I'm going to rotate it and then adjust the angle again.
Make it smaller. Oops, wrong rotation. We oops.
Now I'm going to do bottom. Let's see if that works correctly. So that's kind of a quick little pie chart you can make.
We're going to do something similar to that. But we're going to use the taurus because the letter C is the letter of the day. So that's going to be a really interesting kind of concept for it.
What else do we have? Oh, yeah, we have the cone tool. Now let me actually just move this camera back down. All right, so the cone tool.
This is really cool. So cones. So we talked about the edges yesterday.
If you increase the amount of sides, the smoother your Sphere circle, taurus, any of these objects will be. And for rendering, if you want that truly smooth ball or rounded edges, increase the sides all the way up to 100. You're not going to be able to really see it on this.
But if I think if I show you a Sphere sphere quickly I can show you lowering down the sides starts to create all these different straight planes throughout this whole project. Vladimir here is back again today. If you guys have any questions about some of the inner workings of Dimension or renderings or product features that I don't get to cover today, message him.
He knows tons and tons and tons. He's here to help out and chat if you do have any questions also along the way. So also Sphere has hexahedron and octahedron versions now, which is sweet.
You can subdivide it again, making it smoother or more geometric and straight edge throughout. So that's really cool. So you can do the same thing now with the cone.
So the smaller the lower the sides are, the more edges there are. Or I guess sides. Ha.
Amazing why they would call it the side tool. Who would have thought? So you can start getting into some really cool shapes here. You can start doing some really great still lifes and using Dimension to kind of render out these scenes that you would see in like traditional painting.
Really cool. Whenever you export from Dimension, you can export it to a Photoshop document and then use all your favorite brushes and things like that and presets to give it a nice texture or make it look more like an actual painting. So it'd be really cool if you do do that.
I would love to see some of your work. Just hit me up in Twitter, Instagram, or Behance and love to see it anyway. So that's a really cool aspect of it.
Now you also have the option to add a Bevel to the cone. And then at this bottom section, you can increase the height. Let me move the camera around to it a little bit better.
All right, top radius is the width at the top so I can increase that. And come on, I need to go from center. All right, top radius.
Now balloons it up. Let me do a little zoom out so you can see a little bit better. All right.
So, yeah, it does look like the Epcot ball. Yeah, there's like a place in Texas that I think might be a cult that people live in those, like, geodomes. Fun fact.
Let's see here. So you can widen the top. You can do some really cool things.
I could see this being used to make a crown or a hat or anything like that. Again, the more sides you add to it, the more round and bulbous it will become, the less. And you also have that option on the top and the bottom, which is really cool.
I'm going to lower that down. I'm going to decrease the top radius, and then I'm going to add bottom radius. And then you can make a nice, beautiful teardrop or a raindrop.
All those things are kind of real. This shape, I think, has probably one of the craziest and most useful object editing traits. Now, just because you can do so much with the bottom, the top some really great shapes.
Let's see here. You can also still slice it. So if you wanted to have a really cool shadow projecting on something, let's say let's just do a 180 degree angle.
So we get half, and then we could project the like, if we were to take a snapshot right now we'd have a nice let's see if I can just do a quick render so you can see nice bulb aside on one side and then a very flat plane here. So we have a lot of different options we can do for any of your really cool projects. Shauna says that raindrop could make a cool letter, like some kind of J.
Yeah, a J would be awesome. I was even thinking, like, you could use this as the top of the eye, the dot of an eye, anything like that. It's a great option.
There's just so many things you can do with this shape, especially editing the sides. So the bottom sides and the top sides can be different as well, which makes it even more kind of drastic. Let me lower down the bottom so you can see I've kind of got, like, this Sims looking diamond that they have when they're walking around in the Sims.
So things like that. We could even make it kind of glowing green or something to make it like a true Sims project if we really wanted to. There we go.
Chat. Boom. Perfect.
We got our little Sims icon. All right, so now we're going to work on the letter C. What software is this? This is Adobe dimension.
It comes in your creative cloud. It is awesome. My new favorite pastime is making letters in 3D.
So it's been a lot of fun. All right, so I'm going to grab this cylinder. I'm going to place it in the middle.
I'm going to go back. I'm going to actually, I think this radius is probably fine for right now. I'm going to increase the size to 100 so it's smoother.
I'm going to move the camera just to lower it. Let's see here. So you can also change where you edit things from.
So right now it's on pivot from center. So it's increasing and decreasing from the direct center now, but it's already on the bottom plane. So I want to actually just edit from bottom, and that should lower it.
Sometimes it takes a little bit. You have to kind of sometimes click out of it for it to register what you're wanting. So I've essentially now just moved it from bottom.
And now I've got my little kind of backplane area. All right. Hokey dokey.
All right. So now I'm going to just add a color to it so we don't get completely lost because the environmental light is kind of pointing directly above it. So just so we know where this is at, I'm going to increase the radius just slightly.
Let's go to like 15. All right. So now I've got the taurus.
The taurus is what we're probably gonna we're gonna use predominantly for this project. The taurus is great. You now can do your halo.
You can also use this as a ring light. If you're a photographer or if you've watched streamers or anything in the past, they like to use ring lights everywhere. Let me show you.
To make a ring light, all you need to do is grab this item or object, flip it, pull it up into the space, and then add the Glow property, which we'll use Glow as well, in a SEC for the actual product. So moving it up, rotate it, boop, and then rotate down towards the project. And then use the actual.
So you can kind of see how using a ring light would affected this current project as it is right now. So pretty simple. It's my favorite way to light scenes is by using the Glow feature on planes or objects.
Makes it really interesting and fun stuff. All right, so what we're going to do, the letter C to me seems like a really great opportunity for us to use the slice tool on the taurus. So what I'm going to do is actually going to decrease the ring radius and decrease the pipe radius as well.
So it's a little bit cleaner and simpler. I'm going to copy and paste this, and I'm going to actually just drag all these objects, and I'm going to align them using the align tool right here in the right panel. And I'm going to click align horizontally and center it.
What I'm going to do is actually going to want to going to eventually lift this off of the background. So I might as well just do that now. Right now I'm trying to think of how my composition is going to lay when I'm final with it.
So what we're going to do, and I can show you kind of a preview with it, is I want to slice these circles or concentric rings and make them feel that they are the same. I'm going to rotate them real quick. So something like that is what I'm thinking with the letter C.
I like the idea of playing off the circular motif because the other ones have been one's been very literal, one's been more abstract. I think leveraging the taurus in a way that is a repeating metaphor or visual language throughout the project is going to be really strong visually. So again, sphere.
I turned up the sphere to 100. Shauna asked, did you sketch beforehand or are you diving in right now? I am diving in live. Sometimes I'll sketch stuff.
This I feel like I just knew from the start with the new taurus feature, that I wanted to leverage it for Seas just to kind of yeah, we'll see what it looks like at the end, but it's kind of the initial idea I have for it, and we'll see if it pays off. If not, then we can always pivot and change directions and stuff like that. So I've got this and this.
I want to just make sure that the sphere is aligned. Cool. Witchcraft.
How you doing, Zach? Welcome to the stream, buddy. All right, let's see here. So I've got everything lifted.
All right. So I need to also make sure that this aligns to the I'm going to align it to the center ring, and we're just going to click align to max height. So this could be a really fun way.
We can always rotate the camera and make it look a little bit more interesting in the composition, but I think right now, just the base C's everywhere feels like a good idea. All right, let me make sure my pipe sides are all the way up to 100 as well, and then ring sides as well. So same thing for each of them.
With the taurus, you have two different things you have to worry about ring sides and pipe sides. They both need to be at 100. For ultra smoothness, we have an option that we could use.
So this is where we have different paths we can take with this project. We could take a cone, and this is where I need your help. Chat.
Do you think we should do a cone that is just like three sides and fits in this beautiful space between these shapes and I can scale this down? Or do you think we should do something with these spheres being smaller and, like, filling in the negative space between these? Kind of, like if they were to be kind of like planets. So we can do, like, planets kind of circling around this center sphere. Or we can use this pyramid shape in a way that may or may not work.
Yes, we have the option of the circles if they don't work, so we can always fall back on that. All right, so I got this really big tower right now, but it's not terrible. We won't see it from this angle very much.
I would love to be able to select where I could align things to sometimes. So I'm going to actually just increase angle to perfect just so I can align everything to the center without losing everything. All right, so now I can actually go back in, do the angle slice again to 75.
Whoops. Just it 75. Cool.
So now we got this gun at same angle. This needs to be moved. Guess this way.
We'll see. You can use the alignment tool while having both objects selected. That is correct, but from my understanding, the alignment tool kind of randomly selects it rather than just, like if I was to say, like in Illustrator, I can click Shift, I think, or Alt, and it will focus the object.
So everything will align to the top of that one versus the average, I think, or a random one. I believe it's different in dimension, but I'm not quite sure. So you probably have better understanding of the tool than I do, obviously.
But they allow you this will okay, I got it. They'll allow the X, Y, and Z. Correct? Yeah.
So we did that. The alignment is good. Now I think what I want to see is what happens if I do, like, a hard light from one direction with this now.
So environmental light is pretty bright. I don't know if this pyramid is going to work. We'll call it let's see.
I'm going to turn down the glow on this sphere to 200, and then I'm going to add a plane. Let me zoom out. Cube plane.
Don't rotate scale, z. And then I'm going to rotate on the X axis. Actually, I'm not going to rotate it.
I'm going to just rotate it like this and try to treat this as a light source coming just from one direction. I want to see how that plays off the pyramid. We have let me turn off the environmental light.
It's kind of interesting. Yeah, that's kind of cool. I feel like it needs to I need to rotate this a little bit more so if I wanted to, I could gel this light.
And I like to gel lights a lot. So going to it's funny whenever you realize that you do a certain visual thing constantly throughout your projects. But I really like using colored lights through even my real photography stuff, so I always have way too much fun with it.
But this is actually kind of a cool project already, and I haven't really done anything super crazy. This is simple materials, just using a color light as one light source. And then the center sphere is also the secondary light source.
So this is one color. So we've got the blue background behind it and this cool gel light I don't think perfectly centered on the I'll just rotate that back, but it looks pretty centered to me. So that's pretty cool so far.
There's a lot of different things we can do with it. I'm not sure how I like how thick the second one is the second ring, and maybe we want a third ring. I don't know.
What do you think, Chat? Do we need a third ring? I think what I'll do is I'm going to do is just quickly turn back on the environmental light and I'm going to decrease the pipe radius oops to one, do 1.5 and see what happens. Ah, let me just readjust it again.
Maybe it needs to be like 1.7. Pro tip for anybody who's aspiring to do 3D work or photography, I highly recommend just starting with one light source. I think it teaches you a lot about how to frame things and what the light is doing to your objects and your subjects.
So it's a cool way of better understanding the world. I think it's easy to fall into the trap of just having your environmental light on constantly or using a studio light set that they have here, and they're really, really good, but sometimes there's just too many light sources or it's too bright. You want to see what your subject is actually doing.
Great way to learn lighting. Just focus on one light source and see what it does. As you ramp up intensity and everything like that, blink 1 minute later.
Wow. Hi, Brenda. Yeah, this was coming along really well.
There's some other things we can just duplicate this and keep riffing. Actually, let me just save it. I haven't even saved yet.
Command shift S and then put C proper. I think I really like how this is looking right now, so I don't know if I want to mess with it too much. So what I am going to do is another version of this kind of very similar vein with the second option that we were doing earlier, which is super popular.
Aria's, one light is how I learn lighting. There you go. Yeah.
Use one light source, everybody. It will help you a lot. I think whenever you look at somebody else's 3D projects, sometimes you can see they've got so many different light sources happening that whenever they try to composite it into a scene or landscape, it doesn't match the landscape, and then you can tell it looks off.
Right? So whenever you're thinking about 3D, try to match the light source to a background. Whenever you're building scenes, it's going to help a lot with selling the reality of things. All right, so I'm going to actually grab this again, the taurus, the inner one, and I'm going to paste it and I'm going to make it 100, and then I'm going to make it glass.
Everybody is all about the glass right now, doing, like, plastic tubes and glass and Cinema 43 D and Dimension and all that stuff. So we're going to make our own version of it. And I'm going to just grab it back, and I'm going to slice it.
I'm going to keep slicing it so it fits that space nicely. So there's no artifacts happening across the project. It's all right.
So we got a little glass tube there. I don't think it's going to it's so bright. Oh, yeah.
Environmental lights on. That's kind of cool. So right now, this glow plane right here that we're using is very, very bright.
Also, the inside one is as well. So I'm going to just turn it down just slightly just so we have a better sense of what's happening. It's actually not bad.
The internal one, I don't think the more it renders out, the more I'm liking it. So actually, both of them are looking pretty good. We do the same thing on the outer one.
We can also even just see what happens with the damaged light or like, the damaged glass. Cracked glass. Let's see what the render preview has for us.
Can we see it truly while we're rendering it, or do I need to do a full render? Let's see. It's kind of cool, but I like the cleanness. Maybe a gelatin might be interesting.
In this section, I'll be a little bit more opaque. But let's see. Change the base color to be a little man, that is bright.
Bring it down here somewhere. No, still like the glass the most, I think, right now. Stefa, how are you? Late to the party? I don't know.
But welcome. Now anyways, so we've got this option. I'm going to do the same thing on the other side.
Command, seek command V, and then I'm going to glass it. And then again, increase the angle. Turn off that render preview.
Turn on the environmental light real quick while I do this. And just increase size. This tube.
All right. So now we've got this kind of going. It feels like a continuous circle.
Is the noise in the image just because of the rendering, or is that something you added? I like it. The noise when you see this happening right now is the rendering process. It's essentially and Vladimir will probably give a better understanding of it.
Yeah, actually, he's talking about it right now. It's called progressive rendering. The more you let it go, the cleaner will look.
Exactly. So it's essentially, from my understanding, it's bouncing lights all the light particles around your project. And by doing that, you get that kind of, like, noisy, texture thing.
And so whenever you render it, you'll get the full, very clean version. After I get the render, I bring it into Photoshop, and then I add a tiny bit noise back. Into the project just so it feels like there's a certain amount of grain and grit that you have with any actual photo that you don't get having a full 3D rendering.
So I want to just match some of the stuff that would be in camera or those issues that you might have from compression and distortion and all that stuff. All right, so this is kind of looking cool. I like that the circle motif has continued, but it feels like it's a C because the negative space.
I want to see what happens now. If I turn off the light, I'm going to bring it in. I'm going to actually add some spheres into the tube itself, and we'll see how that feels.
I don't know. I don't know what it's going to do or if I'm going to like it. We also have another option.
I'm going to do that in a second. I want to try this where I control C, control V on the outside taurus. I'm going to increase the pipe radius.
Whoa. So big 1.8. Slightly bigger.
Now I'm going to just trim, trim, trim, trim, trim. This could be a fun little way of like, oh, that's actually yeah, I kind of like this idea. All right.
So I can actually take this, and I can actually make it metallic, just dragging the texture or the material over it. 1356, maybe. Cool.
So now I've got this. I'm going to grab it. Control C.
Control V. Give it 100%, and then I'll rotate it around. Oh, no.
Bottom. Stop. Going to the bottom.
Going center. All right. Center, please.
Center. Just don't understand why you're not going to the center. There we go.
It's finally going to the center now. Yeah. Okay, cool.
Three, five, five, and then rotate. I think I did three, five, six last time. So maybe these are like the fittings between the glass and the plastic or whatever we're treating it as.
Let's see what it looks like with the environmental light. Kind of interesting. I might need to cheat that with something else because right now it's going off the outer radius of the taurus.
So it's fatter on one side than it is on the inside, which wouldn't be happening when it's a fitting. So trying to think, how would I cheat that? I don't know right now, but that's okay. Anyways, we'll just keep jamming on it.
I like the idea, and the little detail on it is kind of sweet. So we'll see what happens. All right, now I'm going to zoom in.
Pivot. Actually, I can just show you guys. So if I grab this object and I just press F, it'll make it full screen, whatever the object is that I'm pressed on.
So right now it's the sphere, but I can also just dolly out. I can also grab the circle here, press F, and it will make the whole thing fit my canvas or my screen, which is nice. Vlad says when you're ready to render out the final image, you can choose the render quality.
Lower quality means more noise, but it will render out faster. Yep. I prefer to always render things very high quality and then add my own noise in later because I want things to be as scalable as possible, which sometimes isn't as easy.
All right, so we got this little guy. I'm going to go to my starter assets. I'm going to grab a sphere, decrease the size.
I'm going to lock the proportions by clicking the constraint proportions button next to size, which is all lock. I'll be same same. I'm going to bring it over here.
I'm going to bring it in. All right. It's too big still.
All right. So I've got this little magnet, and it will trace the outline of any of the objects that it's on. So you can kind of drag and place things that way.
Right now, I'm just using it to kind of figure out where I want to place the ball itself, but I'm going to keep the ball down below. I'm going to just tuck it into the glass and just try to kind of move it around a bit. All right, so actually, before I do that, let me pull it out of the give it a texture.
What do we want to do? Metal. Just regular metal. It's probably fine.
Can also see what Brush aluminum sorry, brush Iridescent does. I need to stop using the rainbow. I use the rainbow for too much.
I really like the rainbow in a nice metal. Yeah, let's just use normal metal, see what happens. The slice thing is a game changer.
Can't wait to try it. Yeah. Carol, it's awesome.
It's so sweet. It's pretty great. All right, let's rotate this.
Just trying to keep it inside, see how this is going. Gold. Daniel wants gold.
We can do gold for Daniel. Clean gold. Boom.
Gold it is. All right, control C. Control V.
I'm going to do the same thing. Just move it over. Oops.
Don't want to scale. And move it up over. I wish that I could distribute around a circle.
That would be so cool. Or, like, on a path or an edge of a surface. That would be pretty rad.
All right, let's see what's happening here. High quality PSD. Yes.
High quality PSD. Yeah. On the export render section, you can set the channels.
High quality, low quality, fast, medium, and PNG. All right, let's just move these guys over really quickly and see what happens. I'm using kind of the reflection of the environmental light as my guide to where I should place these balls throughout here.
Cool. It's not completely even or distributed, but let's see what it looks like. Let's just do a quick little test.
Fun. So, you know, what happened here was that I didn't set the translucent of the glass correctly. So whenever you look through glass, depending on thickness, and if there's water and whatever in there, it'll distort your perspective, and that's exactly what the glass is doing.
So what we're going to do is grab these clear. Let me turn off the render preview so computer works a little bit faster for me, and I'm going to open up the properties for the glass, and I'm going to go for Translucent. I'm going to turn Translucent down to, like, zero, and that should solve our problems there.
Turn on render preview. Turn off environmental light. Oh, no.
Did not do that correctly. I meant to turn down index of refraction. That's what I meant to do.
I put it to 1.1 just to see what it would do. I can't tell if it distorts the image too much or not.
I think it might be pretty nice. What it does is it gives us kind of that, like, edge of the glass and stuff. I would do probably just 1.1
just so I can get the edges of that glass to look nicer without distorting the balls completely. Translucent can be up to maybe I need to just keep it at one on translucences. We go back to that material, see what happens.
Yeah. I want that little, like, bend of the light kind of on each side of the translucent doesn't need to be up. Cool.
See if density does anything as well. Density? I don't know. We'll see what it does for us in this.
No, not what we wanted. Okay, so here we go. We've got kind of like this.
Like it's kind of happening. It's kind of we carol says, how can we be bored when we have Adobe toys to play with? Love this. Exactly.
There's so many things we can do. You can make all your favorite toys or any toys you want in Adobe. Yeah.
So I'm not sure how I want to fix this where it's not as fat on the outside as it is on the inside. I really like the see what it looks like in this angle. Whoops.
So I'm grabbing all three of these spheres, and I'm just going to line them to top. So what happened to that? So we can do that throughout. I kind of wanted the rings to kind of feel like they had a little bit more material there, but that's okay.
Let me just go back to turning off the render preview. Turn on the light. Zoom in.
I'll be your soundtrack today, Chat. You don't need any fancy music or anything like that and sing to you. Be great.
Let me move these spheres up. Just kidding, by the way. I don't do singing very well.
Let me move those here, and then I'm going to just bump them down into the glass. They go. Rotate them, move them.
Alex, you may use a regular cylinder to do this. You're so smart. This is why I needed you, Vladimir.
Thank you. Yes. I'm going to do a regular cylinder and flip it on its side and put it there.
You're so smart. Thank you. It's always one of those things where you're like, man, I'm so glad I have somebody here to help me.
Chat is always so amazing, but getting other people's perspectives in discord servers or anything you're in with your friends where you can just get somebody to kind of give you another set of eyes is awesome. That is sweet. Thank you.
Yeah, that's what I'll do. You won't be able to do it using slice because the difference between the inner and the outer radius is using the taurus. Exactly.
Yeah. That's why I was getting stuck because I was so focused on the taurus. But you saved me by just taking it back to simplicity.
All right, we're going to start quickly. Running out of time. So I'm going to shift this and then troll c, control V.
Move it. We cool. Nine, eight duplicate.
So I'll get rid of that. I'll play with spacing off stream when I can really just geek out on it. I'm going to remove this taurus and this taurus and I'm going to take Vladimir's advice and I'm going to use the cylinder.
Let's see what this pipe radius is. 1.7. So I'm going to grab that.
I'm going to make size. Let's just lock proportions and do 1.7. Cool.
All right, I'm going to throw a metal. It work. Come on, metal.
Ah. All right, let me flip it over. Unlock constraints.
Whoa. Wrong way. Why? No.
Oh, my gosh. Unlock ad. Think we'll see what that looks like.
All right. Just increase this really quickly. Rotate and then align to that moment when you've been fighting with the sneeze for quite some time.
It's very fun. Just don't sneeze on stream. Just don't sneeze.
All right, let's see here. Line. Oh, no.
We're running out of time. Whatever. Just go down.
Just go. I'll change this to zero. 2.5.
Oh, Lord. 2.3. That's right, because it's already point.
Let's just do zero three. Oh, no. All right, we're going to do is we're going to do that off stream because we're out of time, unfortunately.
But the cylinder will work perfectly. Make sure that you come and hang out with me on my behance page. Behance page.
Alex . I'm going to be posting this on our 36 days of type and dimension. So C, I've got D coming up very soon as well.
I want to see you guys what you guys are working on. This is going to be a really fun project. Dimensions just are really fun with this new type and the new object stuff.
So definitely tag me in what you're working on. I want to see it and end. I really appreciate everybody hanging out today.
Hope everybody's having a great time and that you guys are creating some really fun stuff. Thanks again. The Chat and Adobe Live stuff will go back live tomorrow at 730, I believe.
Hope you guys learned a lot today, and we'll see you soon. Bye.
