Cologne Bottle Blender Tutorial + Logo Design in Illustator

hello good morning I'm Lachlan grab yourself a coffee let's get to some designing So today we're designing this so cool little cologne bottle going for this nice earthy tone frosted glass textured little bottle gonna be a nice simple one today I've got a bit of modeling a little bit of lighting we're going to jump into Adobe Illustrator and we're going to run over how I made this pretty simple nice little AV logo um throw it back in a blend off call it a day you've got yourself some cologne bottles so let's jump in so first things first our fresh blender scene we're just going to come over into our front view I'm going to add our reference image so I'm going to give you guys the final image of the bottle that we're making today so we can follow the shape of it so shift a and we're going to grab a image and a background and then just locate wherever you have the reference image so there we are just going to scale it down a little bit um and we're going to start building with this bottle first so to do that still in our front view it's gonna shift a out of mesh and add ourselves a cylinder so with our cylinder tap into edit mode and we want to use a little X tray viewy thing so we can see what we're doing a little bit easier and then just hit Ester scale until those edges line up with the edge of the bottle Perfecto let's get to building this bottom section first so I'm going to go to my Edge select so I'm going to hit two while you come up here and then alt click to grab that whole Edge at the bottom there I was going to bring this guy down so Jay Z bring it down so just getting to the edge there and then we're going to hit e and we're going to come down just line it up with the like where it gets flat it's sort of hard to see I should have given you an image without this bottom bit I just realized but it's somewhere in this vicinity doesn't matter it'll be all right and then if you want to go that just hit s to scale and just bring that guy bring that guy in about there now for this big so we need to get this to come out a little bit more it's going to add some Loop Cuts in so to do that I'm going to hit Ctrl R and then scroll up on the mouse wheel Chuck three of them in maybe four for good measure click and then left click and then right click and that will lock them sort of in the center there so then what we can do is once again holding alt and clicking we're going to select these loops and scale them out so follow this curve here so with top one selected s and then alt click that guy s for scale I'll click that guy as a scale and ALT click on the time you've got yourselves a bottle not quite we're going to do this little step up section next here so same Principle as the bottom bit so I want to alt click to grab this top guy gz bring it down I'm just going to go to this edge here and now with this it looks quite like bubbly um we didn't actually like it looks like we need to go extrude and then like scale then extrude like you can do that as well um but with this one we can literally just go I'm going to inset the faces and just make these little step UPS so I'd recommend coming over into our vertex select mode so still with this whole top ring selected just because when we do this we hit I to inset you can see those little balls see where those little balls that are moving so you can see where the edge is when we're in Edge select and you do it you can't see anything so save yourself the hassle go do your vertex and then either inset go to there e to extrude I had an inset and whether you're just following it i e i e smash it out then about here now I did I will scale this in a little bit just a little bit inwards and then I to insert just to it's in that cup a little bit and then I'm going to hit I to inset one more time just when we apply a subdivision Surface after this it's going to be a nice clean geometry and while I'm thinking about that we might as well do it with the bottom here well I'll show you what I mean by this so modifiers subdiv Crank It Up with because we're working with glass you do want quite a high dense mesh just because with it being glass if you don't you get this sort of like like flat plain looking things it's very obvious so just cranked it up to three so as you can see this is what I was all talking about here so you get this like ridges this is what you put that inset in for so either inset ah the inset and that just cleans that up much better right click and shade smooth come back to our front view and it looks terrible so we're gonna add some more geometry in just to fix all these edges here so on here with the whole thing selected we're just going to go Ctrl r got the whole thing selected the object selected Ctrl R chocolate cut in it's already pretty much done because we added the four in before I might bring that up a little bit only down a little bit up a little bit down a little bit so I've seen JJ there we go just get a nice smoother Edge flow through there now we can work on this top bit here so what I'm going to do for this one I'll go into my Edge select all your vertex doesn't really matter and I'm going to add a bevel to this edge here so to do that with it selected and hit Ctrl B and just drag it out so as you can see it's going to do this and then the more times you scroll up on your mouse wheel smoother The Edge you'll get here so we don't need too much because you have quite a high subdivision so I'm going to Chuck in is two or three or four something about that Perfecto going to do the same to this one so I'll click Ctrl B this one's a little bit sharper somewhere about that and then this top one here so Ctrl B ervel this guy out somewhere like that and ta-da we've got ourselves a bottle now this shading can be a little bit harsh I'm just noticing along this crease here so I'm gonna go to my little x-ray View and I'm going to alt click and grab this it's like the neck part of this mesh and I'm just going to hit s and just bring it out a tad and that should yeah that's much nicer much cleaner sort of flow up to the top and just like that you've got yourselves a beautiful little cologne bottle so good time as always control s save your file come on bottle tutorial version 5 000 so I've filmed this so many times um so then just save that wherever we want to but now we've done that we can get to modeling our little cap so we're also going to use a cylinder again so shift a and gray sells a mesh and a cylinder tab into edit mode internal x-ray thing scale it down now I'm just going to G and Z just move it up a little bit what I'm going to do just hide our background yet scale this first the correct size so get that edges to the edge of the bottle the cap lid sorry can't speak today can I I'm in a super coffee might fix it oh that's better if I was smarter already so now I've got that scaled I'm going to move it down until it's tight just just kissing the top of this bottle here so hide that gz zoom in gz and just right about there and Perfecto now because it's a rounded object um the camera always makes it look a little bit funny so as you can see these edges are actually at the edge of the mesh but this needs to be at the top when we take it with the actual camera it will create that effect so always work to where the edges are on the side bits here whenever you're doing something that's a film like you can loaded in the last tutorial um or this bottle here so you're done that's the whole thing pretty much call it a day so if we do have just this little detail in here this little um inset part you don't need to do it um if you don't want to but we are so nice and simple for this one so with our cap selected I'm going to add in a loop cut and I'm going to drag it down just to where that top Edge is it's a little bit hard to see but just guess somewhere there so I'm going off this top Edge first I'm going to do these top bits and then I'm going to I'll do the center bits after so on this bottom bit now Ctrl r to about there and then for this middle bit to make it even I'm going to add in a loop cut left click right click so it's in the center of the cuts we just made and then I'm going to hit Ctrl B and we just can scroll down just so it's just the one and somewhere about there now with this bit still selected we're going to hit s and shift Z Now what shift Z does is it locks it on the it essentially doesn't apply to the z-axis right so when we do this it's just going in and out on the X and Y but not in the Z so what we can do bring this guy in a little bit Perfecto let's see a little bit better what's going on here probably shouldn't have shaded it smooth so yeah now I can say that's coming in like this so we're gonna use another subdivision for this guy so subdivision surface just two for this one and it looks horrendous I know so to fix that just alt click this top row and ALT shift click we're going to grab this bottom row I'm going to add a bevel to this guy so Ctrl B ibble it out a little bit and just add a couple edges in just as something like so nice and little and then you probably don't have to sometimes your shading might be bad you might need to add an insert face on this top here but looking pretty good to me so I want to clean up this bit as you can see with the subdivision it's made it all bubbly same as it did with these so let's add some more geometry in so grab these two guys Ctrl B don't need that many no just two something about probably I need that many about that and then these two guys as well just little ones I've done that ah so what I've done here so the reason why I just then when I've gone to Bevel these it's then beveled at these like the centered these edges as well is because we weren't using Edge select so we're building the vertex bit so make sure you're in your Edge select not be a goose like me alt click alt shift click now when we bevel it there we go much nicer and they're about there Perfect Look at that nice just a little bit of extra detail looks really clean make sure you right click and shade smooth um good time now while we're here because the both cylinders we'll just name them so cap and bottle and that my friends is that's the bottle all modeled so don't forget to save your file and we're looking pretty good here so what we're going to do next is we're going to model the rest of the scene out so it's just a flat background and this little sort of plinth stand if you will on it here so for the bottom bit nice and simple another cylinder who'd have thought shift a and then g z and would you look at that that pretty much fits spot on the money just like that and then what I'm going to do is just hide our reference again and just have this just so it's kissing this bottom bit so gz just there and what I'm going to do is I'll click and ALT shift click this guys and Edge select and add just a little bevel to them perfect and same as before subdivision shade smooth you probably only really need the well I think the one for this one just because it's not really you know you're focusing on this bottle here not so much this guy so we're looking good now the last thing is just to add the background from this so literally it's just a flat flat plane we're going to be using so shift a grab a plane scale it up a little bit and then we sort of rotate it over on the x-axis so r x 90 g y and just pull it back a little bit somewhere about yay Tada you pretty much got our entire finished scene so now that we've done this save a file I'm going to get to our lighting so for this I like to just simply split this window open here this is going to be my little 3D move around area and this will be our nice little sort of rendered zone so what I'm going to do zoom in a little bit come up to a bit of a nice angle somewhere we can just see the whole thing clearly go on to our shading edit a bit now it's going to be very dark there's no Lighting in it and for this one we are going to be using Cycles now because we're working with glass Cycles is the way to go you can get glass with EV there's lots of tricks to do it um but for this we're going to be using Cycles um while we're in here as well what I'm going to do make sure I have that topics X is in our light passes this does eat up your render time but I I think that I can notice a quite a significant result when you do up your light bounces obviously with glass you have all the light going in and out the more light bounces you give blender the better the result will turn out so I'm just going to crank all of this click and drag to 18 and that's gonna I reckon that's enough sure if you want to go higher you go higher something necessary same as you could turn these guys probably down to 12. but we're going crazy we're going 18 for all of them and then also in our filmic we're in a color management section so open this guy up filmic and high contrast Perfecto so we are going to be using a hdri for this guy here so and then we're going to also use a couple little extra lights as well just to spice it up a little bit so I'm going to come here into our world properties and I'm going to color and environment texture open and then I have used this one here the Browns uh no I didn't um photo studio Broadway I think it's called um Broadway it's just from polyhaven um I'll link it down below so you guys can use the same one if you like as well now I want to pop this down a little bit now the reason I've done this is I'm just using this hdri for just sort of the fill light to fill in all the shadows I'm going to add a spotlight as the sort of main source of light so that's looking nice and good here so in here shift a I'm gonna grab a light and grab a area light s to scale it up a little bit in our thing we're going to another like light properties turn it into a disc and then I'm going to go gz bring it up a little bit go to my top view and I'm going to bring it slightly off to the right so somewhere about somewhere about here and then what you can do is hit Double R so hit r twice and that will give you your trackball rotation so it sort of pivots off the light source and just Poncho out your bottle might make it a bit bigger as well so we want it just nice and soft light we don't want too harsh harsh of a point so the smaller this is the more like hard Edge Shadows you're going to get and the bigger it is the softer it's going to be so bear looks that should work and then pop this guy up slap it to a thousand and look how much better that is so as you can see a thousand a thousand should work for this now obviously if you have made this bigger or smaller the lighting does affect the scale so if you have a huge object a huge cologne bottle just crank crank this guy up there's no pain in going crazy putting up to 10 Brazilian doesn't matter but for this scene I think a thousand is going to be great so 1000 and then we're going to add a couple little more elements we're going to add one more light here I'm going to go to our top view for this one shift a and we're going to grab a point light now you won't be able to see why we need this one right away but it will all come clear later I just want you guys to just grab this guy so g y and just pull it behind our cologne bottle come to your front view and on the radius of this guy bring it up until you can just sort of see the edge of here and just Center it to this bottle so somewhere somewhere standard excluding spot a bit so fill this area in here you'll see why later just leave that as it is now one last thing we're going to do for lighting is if we look in our rendered View it's quite dark on this side with your product photography stuff you do want it semi even you want to see the whole product clearly so I'm going to do is not add another light we're actually going to add a little bounce plane so what I mean by that when you're a shift a mesh and grabbing a plane scale it up just a little bit somewhere out there and I want to flip it over this way so r y 90. and now you'll sort of see focus on these Shadows that were there before so I want to move it away and then as you can see as we bring this guy in so that's it now it's pretty much evenly lit on both sides even though we haven't added a light so we're going to bring it back somewhere about there looks good for me so just looking at this section here so without where is it without the plane a bit darker with the plane it just fills in that edge there maybe even bring it a little bit closer perfect do save your file while I'm here I'm just going to label these so I don't get confused bounce plane this is going to be our background perfect and this is going to be our stand I guess and then what we'll do I'm gonna in this little collection section write a new collection and I learned this from oh my Derek Elliott absolute Legend if you don't follow him that's what I've learned everything I know from so Derek Elliott so LCA for lights camera action and what we can do is I also add my background stuff into this as well so my stand can go in there um the point light the area light the background the bounce plane so then you have all of that stuff in here so then you can just work with the bottle when you want to and while we're here you know LCA lights camera action let's get to adding this camera so shift a grab yourself a camera and come to front view and just hit Ctrl alt zero and that should I don't know why it does it when you're in orthographic view doesn't put it to where your viewport is but like it should wherever you're looking when you hit Ctrl alt zero should make the camera a point there I have no idea why when you're in front view whatever it doesn't matter so just fix this up so we want it straight on so zero out on that I'm going to make this uh dimensions for just like an Instagram sort of post size so like sort of four by five so for that 1350 and 10 80. perfecto bring this guy out and we're going to in our camera settings put the focal length to 100. now the bigger the focal length the sort of more I don't say like flat the images but with round stuff it makes the round objects more square that sounds not good but it is um because if not you get that sort of warped pulled the bottle will go like no and he wants to be nice and visible especially because you are putting a logo on it so 100 mils for that guy hit zero and your numpad that gets into camera view it's on here bring it back I'm going to drop it down a little bit somewhere at 86 degrees down front on is okay but a little bit down I think looks a bit nicer and to be honest that's pretty much smack schmack on the money might bring it down a little bit there we go that's going to be what we are working with so control s save that guy and now we can start um getting into the logo making for this one so we're going to jump over into Adobe Illustrator to show you how I made this really quick nice little logo now if you have your own logo or imagery you want to use or you don't want and to use any logos at all you can just skip through this part I'll put a timestamp in for when we start working on these materials but for you who want to follow along with the tutorial on the logos I'll see you guys in illustrator so now with the logo design for this one it was based on a logo I saw in this amazing book called trademarks and symbols now it's by this designer I'm going to butcher the name so don't hate me called yasuburo yasuburo kawaiyama um I probably said that's so wrong um but it's just amazing book here's a few of them I'll just logos upon logos upon logos now it's quite an expensive book if you don't buy a copy one day I'll buy one but you can be naughty and there are it is online you can find find PDFs of it online probably very illegal but it's great for us designers um so I want I'll put some screenshots up of it um I don't think I'll include any pictures of it in a file for you guys to use because I'm not sure if I'm like legally allowed to do that but if you Google it um it should come up um so with that in mind um I just found going through it that was he literally has in this one there's just Pages upon like the letters so the pages for letter A B C D so on and so I'll go into this so in our nice little illustrator like fresh file here I've just got a 30 by 30 centimeter canvas now as I said in our last tutorial um you do want a nice high resolution file because personally I've noticed whenever you import images back into blender they do lose a bit of quality so starting nice and big will give us a nice result later on um so here here's what I have here for reference so it was this one here number 66. I just love this little a v thing and it happened to be because I was going through a Adobe font and I came across a font name called Aviano like Aviano and that's what sort of sparked this whole cologne bottle thing is I literally read that name like Aviano and it was just it just screamed cologne to me um so it just all sort of fell into place so we're going to be basing our design of something similar to this but as you can see here like just some of these are like killer and this one as well like that's actually was probably more gonna look like so this one I literally just noticed that how's that um I'm staring at this one um but that's just some of those shapes and lines they're just really really nice on this one page right here like the negative space on this delicious so with this in mind I'm gonna be focusing on this guy and this guy and we can jump straight into it so now even though we are doing an image texture I haven't used the UV editor for it because a I'm lazy and B I'll show you why a little bit later um but what I've done is I have just got my reference image in here just because I might use it for proportions and scales a little bit later even though we can edit it on but it's just nice to have there to look at so to get us underway for this little logo design for Aviano um in illustrator grab your text make a little box and just capital a capital V and just crank this guy up just so we can see it a little bit easier there we go so now whenever you're doing logo to stuff like as logo stuff as old mate Aaron Joplin said vectors are free so always duplicate your previous copy just so you can always go back and make changes and you can actually delete something that you might have wanted to use later so without AV here I'm going to come over here and the font I'm using for this one the type is called IV mode I'll link it down below now I need my text box a little bit bigger I can't see this guy there we go little a V and I'm going to be using the regular size for this one and so make copy now with this I'm going to extend this text box a little bit because what we're going to do select it and come to our like character uh like type properties and here we're going to extend it out on the horizontal scale up to a hundred and twenty percent so that's what we're going to be working with here duplicate a copy so as you can sort of see with this we're pretty much nearly already there you can just go that pop up you know what I mean and that's sort of the shape is that we're going to be going to be working with as you can see that is pretty much that already now as much as you could just do this and call it a day I want to make sure that this point here is in the center of these two guys so for that one I'm gonna do is get rid of the kerning on this guy grab this I'm going to convert this to outline just to a shape so Ctrl shift o Ctrl shift Ctrl shift zero up oh sorry um so that means we just now have it as just two shape layers and we can just right click and ungroup them so they're nice and separate so grab them alt click so yeah to make the copies you canvasly control C control V that takes way too long all you need to do is lift and select it is you hold Alt and you can drag I'm holding shift as well just to keep them in line so what I want to do here is I don't like how these points uh it's like a squared off bottom so I just want to merge them in the center so with your direct selection tool grab them and then Ctrl Alt J and then both and hit OK and bang there you can see the merge there I'm going to do the same with the top of this a here so just with our little tool here so either hit you know a on your keyboard let's come here and press it click and drag Ctrl Alt J and both boom so now we know that we've both got those points all done make a copy and now we can start sort of building this shape a little bit so to figure out the center of this point here maybe your illustrator will get lucky and you might get it aligned here but I'll show you a little trick for it um first of all we want to align these to the bottom so select both and in your align properties just align them at the bottom and then what I'm going to do here is with just going to grab a rectangle or your Marquee tool so you can see M on your keyboard come to this Anchor Point here click and drag and go to this Anchor Point there you're going to scale that out so you can see what you're working with so I know that this here is this whole length so all we need to do is get half of it so another like really simple way this isn't the probably the best way but it's it's how I'm doing it so deal with it is just cover me up in line with this little section here click and drag and we're going to go to the halfway point and it will auto lock so because it's locking you know it is the correct measurements you can then get rid of the big box and we now know that this edge here is the center point of the a so we can just grab our V hold shift and drag and just line him up and we'll click somewhere right there there we go and now we know that's all centered up look at this I'm nearly done alt drag create another copy get rid of that box now I want to get rid of these little sort of extra taily bits here so to do that I'm going to select it all and I'm going to use the shape Builder tool so how this works is it's a nice little tool in which you can do to merge and cut lots of little bits of shapes out it works the same as a Pathfinder tool essentially um but just a little bit more freedom this you know like who knows what any of these little squares mean so this is the method we're going to do so with both of these guys selected we're going to hit shift M and that's the shape Builder tool it'll pop up and we can find it it's this little sort of double circle looking thing here I know how it works is normally with the little plus icon I don't know if you can see on my cursor there's a little plus that will join them together so click and drag so it's became one shape but if you hold Alt and you drag through something it will delete it so nice and handy for when you know you're making any sort of shapes you know get rid of this you can then cut through that whatever super super easy you can just stack shapes and then cut the bits away you don't need so for that one get rid of that guy and we're going to get rid of this guy but we can't because these aren't joined so we'll have to do that in a little bit let's get them done join these guys up so as you can see because it's this is one whole shape we can't just sort of cut through that area so we just need to merge them again same method in how we made the pointy bottoms on the A and the V so direct selection tool grab them troll Alt J and both and then we're going to do it here as well so just click and drag boxlet those guys Control Alt J and both boom now they're separate little points while I'm here may as well be good alt drag another copy shift M back into our shape a little tool now when we hold alt there we go we can cut those bits away and keep it all here so to be honest like I actually don't mind this look with the little extra V it does actually work sort of quite well you could even make like a little stroke around here but for this logo I'm just gonna I'm just gonna get rid of it but I do like that a lot actually so I'm going to keep that guy as a little copy and sometimes though if I do really like something because you can get lost in this row is I just put one above it just so I know that oh that was a good point in which I you know could Explore More of but with this guy selected shift M back to shape Builder alt and drag and bang and then you can come in and just normal click we're not holding alt and just join that so it's all nice one cohesive shape and there you go you've got your nice little a logo there so I'm gonna alt drag copy this guy into here Center it and just scale him up somewhere about that and now we're just going to add the um other poor form and the size measurements so I'm also going to use IV mode for this one again so I can actually just grab from here where we had it before grab it from there let's go that box up a little bit drop this size and start typing so it is Earl dare part Farm however you spell that is that spelled correctly there we go the puffer and then I'm gonna come to you and I just want to Center that just central line the text box and I'm going to make a little duplicate of this guy duplicate alt drag and this will be the 100 mils a little space a little line might actually do a double space double space forward slash double space and it's 3.4 ounces for all of our little American friends over there Perfecto we're looking pretty good so I want to make a copy of these guys in case I need them later so just alt drag so let's make as many copies as you want you may as well um and I'm going to convert these guys to shapes as well just a little bit easier to play around with when you are working with scale um control alt and O Ctrl shift and O sorry grab that guy and I want this to be a little bit smaller to just go off our reference here so alt and shifts if you hold alt and shift it'll actually make it in the center compared to regular shift so alt and shift somewhere about that looks good maybe a little bit smaller grab these guys and just align them together and I'm pretty like I'm really happy with that spacing so I'm just going to grab them Ctrl G to group them so now both of these guys no matter what I grab it's all together make a copy grab that and naturally get our proportions right to the a so for this I'm going to do it for me anyway is I'm just going to scale this guy up a fair bit until it's about the size of my canvas and then I'm just going to roughly that's about there a little bit bigger make that smaller you can if you want to as well come over to here you know do it sort of this method line it up with the reference that I've given you guys just so if you want to look exactly like mine but play around you might want this to be bigger you might not even have the logo but you know you can just do it sort of this method whatever you think is going to be the easiest for you to follow along with but I know that if that's aligned with that section and that's about there'll be a little bit smaller that's going to be about our spacing right there um don't stress too much because I'm going to show you how we can sort of play around with our logo in blender to get the sizing right to make sure that it aligns where we want to so just get it roughly how we want it align all those guys and they're going to group them really quick just to align them to the center of our canvas horizontally and vertically and that's our little logo sort of bit done so later on I might I'm probably going to make a little like branding sort of box do some box for it um so it was Aviano um oh gosh I love this one Ivy mode just so nice like put that to that look at that just so clean so play around with it do whatever you want don't use this font use another font whatever you feel like doing but this is what I have done I want to put that guy there you can add this as well here maybe hello I sort of like having just the No No Type just the logo sort of like your own Nike t-shirt just having the tick um but that looks actually pretty nice but nonetheless that's it so now with this one we're going to export it twice the reason being is we need one PNG with a transparent background so we can apply it to this without you know having the texture but because we need it as well for the roughness because we have the rough glass and then the flat like Smooth I guess logo that needs black and white data to distinguish the Bose that's why we need two copies of this guy so for that file export save it wherever you are put in all your files into a cologne bottle and then so what I personally do I just have a weird file management name system so if it has a transparent background I actually put PNG um in front of it so PNG um cologne logo whatever you want and then use artboards export and this is going to be the transparent one okay and now we need a file export export ads and then this will just be white so I know that's white background white cologne logo use artboards again make sure we're using artboards because whenever you're doing UV stuff it works off a square so it just makes your life a little bit easier especially using two images so I want them to be identical and this one in your little background color box here set it to White and hit OK and we're done and that's that little stuff done here so you know don't forget to save your file as well cologne logo Bob's your uncle so now that that's all done we're going to jump back into blender and get working on these materials in blender jump over to our shading tab so I just rock mine with a nice little simple two screen split so put our little rendered view on here and we're going to start we're actually going to start with the background first and this plinth just because we are working with a glass cologne bottle and obviously the environment plays a factor into how the glass looks so if you were to hold a glass in front of a blue wall the glass will appear blue so there's not much point of us editing our bottle and making that look good if we're then going to change the background because it will obviously affect the bottle hope that all makes sense so to get that underway I'm just going to click on our background add a new and we can just call this background perfect dough so very simple one for this one the color I use the hex code is five nine five five five one so it's nice earthy tone I'm just going to crank the roughness to a point eight that's literally it that is done so now we're gonna go to our little plenty thing and click on that guy and we're going to duplicate that across but what we're going to do is we're actually going to duplicate this to a new material so that the background and this one are separate so it's actually going to add a little bit of texture to this plin sort of make it look like it's been painted or you know a little bit of grunge to it just one if you don't add anything it can just look a little bit CG if that makes any sense so to do that still though very very simple I'm going to use shift a and add in a noise texture beautiful and we're going to shift a again and add in a bump node and then we're going to hit on the noise texture Ctrl T to pop up this guy because we're going to need the object coordinates just our noise texture is evenly spread across um that mesh that into that that into that boom delicious look at that looks terrible so obviously it's nowhere near small enough so we are literally going to slap this noise texture to a massive 500 and we'll zoom in so we can see what we're doing a bit better all the way to 500 now it's a bit too aggressive um but we'll turn it down the bump I am however it's going to increase the roughness a little bit to a 0.8 what you can do is if you hold Ctrl and shift and then click you can then preview this noise texture so you can get a better understanding what it's doing a little bit simpler to to see 500 you can place your detail all the way to 15 as well just it's going to be faint we want to be just nice and subtle over the whole thing alt I mean shift click onto the bump I'm going to put that at a point five so just a little bit less you can maybe even go lower 0.4 click back on that bsdf and control shift click back on that and there we go so that's going to be our little plinth material we can call that the stand material if we like a bit of fault and that bit is done that's the environment done um let's go on to the cap next so I'm going to click on our little copy bit add a new material and it's going to be called cap material power effect now for this one it's going to be it's going to be a metal cap so we want it to be metallic so slap that guy up the whole way and we don't want it to be as rough but we are going to change the roughness um with a color ramp I'm going to add a little bit of texture on it so give it a sort of smudgy smudgy little fingerprinty ish kind of effect just to add a little bit of difference in the tones same thing just add a little bit more I guess realism quote unquote to it um so for that roughness we're going to add a color Ram it's beautiful shift a and add a Musgrave and then once again Ctrl T so we can have the object coordinates so we're going to have the Musgrave into the height and then the color into the roughness now before we start adding this I am however just going to change the color I want to have a black lid so the color I'm going to use is three three three three three three six threes and that's the black we are after so as you can see here whenever you're doing roughness stuff it goes with the black and white data that's what the color ramp is for so black is going to be fully shining no roughness I'll crank this up a little bit I'm going to set it to 22.7 I believe is what I did if I zoom in here you sort of see if it's all black it's fully shiny and if I drag this one over the white it's all rough so we don't want all rough or all shiny so the colors I'm going to do is just you know move these up a little bit and the hex code is going to be 8D 8D 8D that's for the darker color and then for the lighter color it is going to be 999999 enter now it's very subtle you probably can't even see much of a difference on your screen if you sort of see you've got a rougher patch here a rougher patch here shinier here rougher patch here if you don't want more of a you know dramatic effect you can slide that one up a little bit if you like but when I rendered it this gave me the best result um you've got to sort of like factor in obviously this is only sampling up to 64 samples so you're not going to get all the detail out of your like a red rendered preview obviously when you render it properly you will see more stuff come through so if you do want to make it a bit more obvious you can feel free to crank that up but I'm just going to leave it at that perfect um I will though while we're here detail I'm just going to put that up a little bit just to a 10. all that does is you can sort of see the edges of this texture here if it's on like one it's all very smooth almost like cow print and the more you crank it up you get these sort of rougher rougher edges um it's only 10 12 whatever something that you're happy with but that looks good to me yeah you see all those little rough bit a little rough bit very very nice so Ctrl s good time to save and now on to the big boy let's get on to doing this material for the bottle so click on our bottle add a new material and this will be colon bottle with lots of ease just why not now for this one um we're going to use a layer weight node I'm using the facing value to distinguish the colors and get that nice gradient sort of Darker edges now I don't know enough about it to tell you how it actually works blender Guru has an amazing video pretty sure it's one of his photo realism ones which he talks about fresnel and how the edges of objects react to light differently and some are more frenelic that's not a word than others and so on all I know is that it looks good and that's all that I can tell you so but if you want to find out like properly how it all works go check that video out um but I'll sort of show you what I mean so I'm going to add in the layer weight node so shift a layer weight node I'm going to add in a mix RGB perfect now with this before we start coloring obviously this needs to be glass so with our bottle come over here so your transmission slap that all the way to one and then we can turn this roughness down to a point two um what I will do whenever you're doing glass stuff I'll give you I'll show what we're going to do next we want to add a solidified modifier so don't do this don't change the roughness put a 0.2 but if I zoom in here with no roughness see this just craziness that's going on here that doesn't make any sense why is there water in the bottle um so once we come to here with it selected in your modifiers if we add a solidify look at that so without it with it without it with it so it just fixes it all up as well so beautiful that is looking good I'm gonna put my roughness back to where it belongs and now we can get started on this guy so it's our layer weight gonna set it to a 0.41 and I'll show you what this blend value means in a little bit and we're going to use the facing Factor so that goes into there and our color we'll go into our base color so for our color one the brighter color the hex code is f 0 e 5 Double D bang so this lovely nice little tan and then for the dark color the hex code is six nine five F five C born this nice earthy brownie slightly purpley um Brown to it so as you can sort of see what effect we're having here we've got this nice darker outside with it lighter in the middle so how this blend works is obviously you can play around with this depending how you like the look of yours if I go to one it's fully color two and if I go to zero it's fully color one so as you increase it you can see this darker color like creeping in towards the middle so it's even quite nice like quite high it's on a darker bottle but when I did mine 0.41 worked for me now this is where that sneaky little Point light that I made you guys add earlier comes into play so if we just zoom out so we can see our whole bottle somewhere like that if you click on our Point light right here come to the light properties and if we start to increase it look at that this is now why we have to add it because when we have nothing you barely get that layer weight node effect you don't get that nice light middle to it so it's just it's subtle right it's not lighting the scene it's just to give us that nice color Edge on the bottle so I'm just gonna put mine about 30. um and I will however increase this radius just so they said it's sticking out the sides but obviously feel free to play around with it you can make it a bit larger smaller but usually it's when it just starts to stick out the side to me is when it looked good let's put out one I might move it down a little bit a bit more centered there we go now in this depending where you put your light if it's closer to your bottle the effect is going to be much greater than if it's further away it was further away somewhere why am I trying to do it like that then if it's further away right so play around with it your values might be different to mine but I am pretty happy with that guy right there beautiful now we can start adding our beautiful little Aviano logo that we made together so for this we're gonna go shift a I'm going to add our image texture I'm going to hit Ctrl t on our image texture so we can get our texture coordinate node and we're going to need our UV because when it you know apply as a UV layout now I'm just going to add these nodes and I'll explain them after so shift a we need a diffuse bsdf and we're going to need shift a a mix Shader node beautiful and that can go about here moving our material output there so how this is going to work the reason why I made us export the two versions of our logo the PNG with the transparent background and then the black and white version is one we're going to use for the bump later on and this one the PNG version is what's going to give us the logo that we can see now the logo is black and we can change that logo to whatever color you want and that's what this guy is going to be for our diffuse so how we arrange all of this is that Alpha from the image is going to be the factor right so that's deciding where these two are going so we're going to plug our glass essentially our glass bsdf that's going to go into number one on our mix Shader and now the diffuse is going to be number two and then that goes into our material output now obviously you can't see anything right now because we haven't given it its image we need to give it its logo to work with so open an image and grab the PNG version so not the multiply background the ones our transparent background so grab that guy and you can't see anything that's because we need to UV unwrap this guy so as we jump over back into our shading tab what we need to do here is we're going to come into my front view and I'm going to alt into our edit mode and I just want to make this into our UV editor so there's our logo there if it hasn't come up for you you'll just come up to here and this is where you'll pick the logo that we're working with now I'll film the tutorial about a million times and my computer keeps playing up and that's why it's a little bit funny right here I mean you can't see anything you probably can see your logo right here but it looks really really ugly it probably looks something like this right or whatever not correct now that's because on this mesh that we've made we have a subdivision surface that is if I turn this off a bit easier to see our subdivision surface right from this row here this Edge to this Edge is trying to figure out all the math in between here and smooth it out but it's only one face that it's working with one vertical face so what we need to do you've probably like heard heard of it before people talk about you know putting stuff into quads um essentially what that is is you just want to get your faces as Square as possible um a is clean topology it's easy to work with and B when you're applying image textures it looks much better like it works much better if it's on a nice even grid than if it's trying to figure itself out and you know warp over stuff so we need to literally just add a little bit more geometry even though it's already smooth but for this purpose a couple extra Edge Loops won't hurt you around the time too bad so for that with our bottle in edit mode Ctrl R and just scroll up until you make these faces nice and square so what I mean like these guys here these are little ones nice and square so about there left click and right click looking good so go back into our material preview so it still hasn't changed anything so what we need to do is we need to re-uv unwrap this so what we're going to do is in our edit mode on your face select hold alt click this guy hold shift and go and grab all of these now what we're going to do is we're going to hit U and then project from View and this is sort of cheating a little bit right so if we had a graphic I was going around the entire bottle you would want to properly UV unwrap this but because we're putting the logo just so little on the front here we can cheat and get away with this um so once you've done that you can already see it's working a lot better open up your little side panel and just Center it all and then hit s and we can scale it up and look at that there is a nice little logo on our bottle now I'm looking at this and I can see that it's not quite centered so I'm just going to drag it across it's very fiddly because it's very little amount Maybe 0.503 that's pretty good so just get that centered obviously you can take your time with it and Fiddle around with it properly and then I'm looking at this and I want this eau de parfum to come down a little bit so what we can do and this is why once again back in illustrator I said we don't really need to worry about the UV unwrapping in our scale too much is this how we can edit it so with our squares that we've nicely made if we alt and click and grab this section that this is on and I'll grab this one for good measure is you can play around with this and it won't affect the a because we know we're not using the faces that have that image on it so you can play around do whatever you want make it tiny make it huge so I'm going to just scale mine down a little bit I'm scaling up on here makes it smaller here scaling it down a little bit on the bottle somewhere about there and I'm just going to move it down a little bit so just gy and I am happy with that spot down there and we're looking really good so same then also applies if you wanted to change you know you're happy with that placement but you then want to come and change the a you can alt shift click and grab all these guys and look at that play around with it as much as you like I just might make it mine a little bit smaller something like that good don't forget to save we're pretty much we're at the home stretch here we're nearly done um so with that one all done now you will want to check because we have cheated the UV unwrapping just by projecting it from view you might have like a little bit of a random bit of the logo like up on here or on the side or whatever so what you need to do if you do have that if you've got a bit of random image somewhere else on the bottle coming to your front view grab your face select just box select all these guys that you know have the logo on it and then what you can do is hit Ctrl I and that will select all the other faces the stuff you don't want any of the logo on and what you do scale It Down super super tiny and move it off any of the imagery because if you were to move it on top of it so what I mean you got some of the logo on it so just put it in the corner and Bob's your uncle perfect let's jump back into the shading Tab and we're at the home stretch guys we just need to add a little bit of texture to this and we're pretty much done um I will on our diffuse I'm going to make mine a little bit grayer just a couple clicks down I'm going to use c-e-c-e-c-e and I'm also just going to put 0.2 on the roughness just so it's not too too shiny too flat looking like too like it's been stuck on so now it's time for us to add our bump so obviously shift a add our bump node we're going to use a noise texture to be the main source of our bump on the bottle noise texture and while we're here we might as well add all the nodes we're going to need so shift a another image texture and this is going to be the image that has the white background right so we can add that now grab on with our white background beautiful looking good and then Ctrl T to bring up our node Wrangler because we're going to need our UV to make sure that's UV for this one and then we're going to do it on this one again on our noise texture because we need it to be the object right we all follow one we all know objects to make it go evenly over it UVS if you're putting on the image look at this guys we're all we're all over it so for our noise texture we can grab our factorial kilometer into the height that into our normal and as you can see it's made the entire thing bumpy Crank that up to 500 again and roughness up to a point eight now it looks pretty shocking that's because it's super super bumpy so if I um control should click on that we don't need it that strong at all point two is more than enough for the effect we're going for and now you can see that it's made this a lot lot better um what's happened to my little dude oh because of this so I always do this Ctrl shift click obviously you can view the thing make sure you do click on this mix Shader here I might just move that there you know it's ugly just so I remember that um now what we need to do is we want the bottle to be bumpy but we don't want our logo to be bumpy so how can I do that is going to duplicate our bump node and then we need to turn the strength down to zero because we're going to use it to have no bump on the image texture right so we can get the a to be nice and smooth so all you want to do is put this bump in between here so you have the normal into the normal and this guy into this guy and then what we need to do is we need to get the color from our image our black and white logo image and we can grab the color of this one and this will come down into the distance on our first bump node and then it will also be the height on our secondary bump node so if I've done this all correctly which now I have Perfecto is as you can see when we view this bump we have the bumpy bottle and the smooth logo nice and good that's all looking good to me click on that and as we can see that's now I'll figure that one out why is this one going all funny now because of this bang click onto that and Bob is your uncle we are looking bloody great so there we pretty much have it I'm going to save my file jump over to my layout just so I can view this nice and big and there we go guys so that is going to be that's our bottle we're pretty much done here um what we can do is we can get ready to render this now I will before we finish this tutorial off make a little suggestion um and you know how we added more light bounces because we're working with glass another thing to factor in with our rendering is a fact that essentially we have added a lot of noise right it's what you call it a noise texture it's adding lots and lots of little bumps that's playing with all the light and if you have your D noise on sometimes it can now cause this bottle and this plinth to re-smooth out and it makes the colors look very funny and very funky sometimes not always but just you know sometimes your denoiser can Funk it up a little bit so if you have the patience I would up your sample count to something quite High um I did seven thousand it's probably Overkill probably like 4 000 enough um and turned off my denoiser that's just so I get all the detail in the bottle and the stand without the computer trying to like fix it and denoise all of it but we'll render this one out and we will call it a day so Bang there you have it that's my cologne bottle tutorial I hope you guys really enjoyed this one a lot simpler than a last one doing that quite a big project on that uh coffee can um so if you did enjoy this feel free to like the video it really helps me sort of sign this whole YouTube career out and if you have any questions feel free to message me and I can help you out with building your own cool lone bottle still can't speak anyway cheers guys have a good one and happy designing

Channel: Lachlan Sarv

Views: 43,285

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Id: 4BL151GdUWo

Length: 58min 6sec (3486 seconds)

Published: Mon Oct 03 2022