Wednesday, September 10, 2025

G11 cognitive development of brain through games


The Impact of Video Games on the Brain

Source: Excerpts from "12_games_impact.pdf" (Dr. Dr Sudheendra S G's Presentation)

Summary: This briefing document summarizes key insights from Dr. Dr Sudheendra S G's presentation on the impact of video games on the brain. Dr. Sudheendra S G, a brain scientist, challenges common misconceptions about video gaming, particularly regarding action-packed shooter games. Her research, conducted in a lab setting, demonstrates that, when consumed in reasonable doses, these games can have significant positive effects on vision, attention, and cognitive abilities, including multitasking and mental rotation. She also highlights the evolving demographics of gamers and the potential for leveraging video game mechanics for education and rehabilitation.

Main Themes and Key Ideas:

1. Challenging Misconceptions and Shifting Demographics of Gamers:

  • Pervasiveness and Broad Appeal: Video gaming is deeply embedded in society and is "clearly here to stay." The sheer volume of engagement is astounding, as exemplified by "Call Of Duty: Black Ops" being played for "68,000 years worldwide" in one month.
  • Beyond Childhood Play: While 90% of children play video games, the average age of a gamer is 33, not 8. Critically, "the video game players of tomorrow are older adults," indicating a significant demographic shift.
  • Rethinking "Mindless" Entertainment: Dr. Sudheendra S G encourages a re-evaluation of the "knee-jerk reaction" that action games are "not intelligent." She asks the audience to consider how they would react if their child was playing Sudoku or reading Shakespeare, implying a double standard for different forms of engagement.
  • Dispelling General Wisdom: Many common beliefs about video games (e.g., screen time ruins eyesight, games cause attention problems) are contradicted by scientific evidence. Dr. Sudheendra S G emphasizes that "general wisdom carries no weight" and the necessity of "step[ping] into the lab and really measure the impact of technology on the brain."

2. Positive Impacts of Action Video Games on Cognitive Functions:

  • Enhanced Vision: Contrary to popular belief, playing action games improves vision. Players demonstrate superior ability to "resolve small detail in the context of clutter" (e.g., reading fine print without glasses) and "resolve different levels of gray" (important for driving in fog). This research is being leveraged to "develop games for patients with low vision."
  • Improved Attention: Action video games do not cause attention problems; rather, they enhance attention. Players are able to "resolve the conflict faster" in tasks like the Stroop test (identifying ink color of conflicting words) and show improved "ability to track objects around in the world" (as demonstrated by the multiple object tracking task).
  • More Efficient Brain Networks: Brain imaging reveals that three key networks controlling attention – the parietal cortex (orientation), frontal lobe (sustaining attention), and anterior cingulate (allocating attention and resolving conflict) – are "much more efficient in people that play action games."
  • Superior Task Switching (vs. Multimedia-Tasking): Action gamers are "really, really good" at switching between tasks quickly and efficiently, paying "a very small cost." This contrasts sharply with "high multimedia-taskers" (e.g., listening to music, web browsing, chatting simultaneously), who are "absolutely abysmal at multitasking" and are often convinced they perform well despite evidence to the contrary. "Not all media are created equal."

3. The Analogy of Wine and the "Broccoli and Chocolate" Challenge:

  • Reasonable Doses are Key: Dr. Sudheendra S G draws a parallel between video games and wine: "There are some very poor uses of wine. There are some very poor uses of video games. But when consumed in reasonable doses, and at the right age, wine can be very good for health." Binging on video games, like wine, "is never good."
  • "Active Ingredients" for Brain Plasticity: Action video games contain "a number of ingredients that are actually really powerful for brain plasticity, learning, attention, vision, etc." The research aims to identify these "active ingredients" to leverage them for educational and rehabilitative purposes.
  • The "Broccoli and Chocolate" Dilemma: The challenge lies in combining the "broccoli side" (brain scientists understanding beneficial ingredients) with the "chocolate side" (the entertainment software industry's ability to create appealing products). The goal is to develop a "new brand of chocolate" – irresistible games that subtly incorporate beneficial cognitive "ingredients" without feeling like "chocolate-covered broccoli." This requires collaboration between brain scientists, the entertainment software industry, and publishers.

4. Long-Lasting Effects and Future Applications:

  • Training Studies and Sustained Improvement: Training studies demonstrate that even short, distributed sessions of action game play (e.g., 10 hours over two weeks) can lead to significant and "long-lasting" improvements in cognitive abilities, such as "mental rotation." Improvements were observed to persist "five months after having done the training."
  • Leveraging for Education and Rehabilitation: The ultimate goal is to apply these findings for "education or for rehabilitation of patients." The focus is on demonstrating that playing action games can "change your vision for the better, whether you want to play that action game or not," highlighting the potential for targeted cognitive training. This addresses the challenge of making beneficial activities engaging, especially for those who may not be intrinsically motivated.

 


How nvidia graphics cards work


The Architecture and Application of Modern Graphics Processing Units

Executive Summary

The modern Graphics Processing Unit (GPU) represents a monumental leap in computational power, evolving from processing millions of calculations per second for early 3D games to tens of trillions for contemporary titles. This performance is achieved through a fundamentally different architecture than a Central Processing Unit (CPU). While a CPU is a flexible, high-speed processor excelling at sequential tasks (analogous to a jumbo jet), a GPU is a specialized, massively parallel processor designed to execute the same simple instruction across vast datasets simultaneously (analogous to a cargo ship). The physical architecture of a high-end GPU, such as the GA102 chip, features a hierarchical structure of over 10,000 specialized cores (CUDA, Tensor, and Ray Tracing) organized into clusters and multiprocessors. Manufacturing realities lead to a "binning" process, where chips with minor defects are sold as lower-tier products with some cores deactivated. This immense processing capability demands extremely high-bandwidth memory, leading to innovations like GDDR6X and HBM, which use advanced multi-level voltage signaling to achieve data transfer rates exceeding one terabyte per second. The GPU's computational model is built on the "embarrassingly parallel" principle, primarily using Single Instruction, Multiple Threads (SIMT) architecture to manage tasks like 3D vertex transformation. This parallel processing prowess has expanded the GPU's application far beyond gaming into fields like cryptocurrency mining (though now largely superseded by ASICs) and, most significantly, powering the matrix multiplication operations at the heart of artificial intelligence and neural networks.

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1. The Exponential Growth of Computational Demand

The performance requirements for real-time graphics rendering have grown by several orders of magnitude over the past few decades. This trajectory illustrates the immense computational challenge that modern GPUs are designed to solve.

• 1996 (Mario 64): Required approximately 100 million calculations per second.

• 2011 (Minecraft): Required approximately 100 billion calculations per second.

• Modern Titles (Cyberpunk 2077): Require a graphics card capable of around 36 trillion calculations per second.

To contextualize this scale, achieving 36 trillion calculations per second would require the combined effort of approximately 4,400 Earths full of people, with every individual completing one calculation each second.

2. Core Architectural Distinction: GPU vs. CPU

GPUs and CPUs are designed for different purposes, a difference best understood through the analogy of a cargo ship (GPU) versus a jumbo jet (CPU). The amount of data processed is the cargo capacity, and the rate of processing is the speed.

• GPU (Cargo Ship): Designed for high throughput. It processes a massive number of calculations at a relatively slower rate. It is highly specialized for simple, repetitive tasks (like basic arithmetic) and is less flexible. GPUs cannot run operating systems or directly interface with networks or input devices.

• CPU (Jumbo Jet): Designed for low latency. It performs a smaller number of calculations at a much faster rate. It is a flexible, general-purpose processor capable of running complex, varied programs and managing an entire computer system, including the operating system and network connections.

Feature

Graphics Processing Unit (GPU)

Central Processing Unit (CPU)

Primary Design

Massively parallel processing

Fast, sequential processing

Analogy

Massive cargo ship

Jumbo jet airplane

Core Count

Extremely high (e.g., >10,000 cores)

Low (e.g., 24 cores)

Task Flexibility

Low; specialized for simple instructions

High; runs a wide variety of programs

System Role

Specialized co-processor

General-purpose system brain

Ideal Workload

Large datasets requiring parallel execution (e.g., graphics, AI)

Varied tasks requiring rapid evaluation

3. Physical Architecture of the GA102 GPU

The NVIDIA GA102 chip, used in the 3080 and 3090 series cards, is a complex integrated circuit built from 28.3 billion transistors. Its architecture is organized hierarchically to manage thousands of processing cores.

Hierarchical Core Structure

The chip's computational resources are divided into progressively smaller units:

1. Graphics Processing Clusters (GPCs): The chip contains 7 GPCs.

2. Streaming Multiprocessors (SMs): Each GPC contains 12 SMs.

3. Specialized Cores: Each SM contains multiple core types, including:

    ◦ CUDA (or Shading) Cores: 32 per "warp" unit within an SM.

    ◦ Tensor Cores: 1 per "warp" unit within an SM.

    ◦ Ray Tracing (RT) Cores: 1 per SM.

A fully functional GA102 chip contains a total of 10,752 CUDA cores336 Tensor cores, and 84 Ray Tracing cores.

Core Functions and Design

Each core type is a specialized calculator for a specific function:

• CUDA Cores: These are simple binary calculators primarily used in video games. A single CUDA core contains approximately 410,000 transistors and is optimized for the Fused Multiply and Add (FMA) operation (A * B + C), completing one such operation per clock cycle. Half of the cores handle 32-bit floating-point numbers, while the other half handle either 32-bit integers or floating-point numbers.

• Tensor Cores: These are matrix multiplication and addition calculators. Their primary use is in geometric transformations for graphics and, more critically, for processing neural networks in AI applications.

• Ray Tracing Cores: These are the largest but least numerous cores, designed specifically to execute computationally intensive ray tracing algorithms for realistic lighting effects.

More complex operations like division or trigonometric functions are handled by a smaller number of Special Function Units (four per SM).

Manufacturing and Product Binning

The GA102 chip design is used across multiple graphics card models (3080, 3080 Ti, 3090, 3090 Ti), which have different prices and performance levels. This is a result of a manufacturing practice called "binning."

• During fabrication, microscopic defects (from dust or patterning errors) can render small parts of the chip non-functional.

• Due to the GPU's highly repetitive design, a defect in one SM does not affect the rest of the chip.

• Instead of discarding the entire chip, manufacturers test each one, find the defective regions, and permanently deactivate the nearby circuitry.

• Chips are then categorized or "binned" based on the number of fully functional cores.

Graphics Card Model

Functional CUDA Cores

Status

3090 Ti

10,752

Flawless GA102 chip

3090

10,496

Minor defects

3080 Ti

10,240

Moderate defects

3080

8,704

Equivalent of 16 deactivated SMs

In addition to core counts, these cards also differ in maximum clock speed and the quantity/generation of their graphics memory.

4. The Role of High-Bandwidth Graphics Memory

GPUs are "data-hungry machines" that require a continuous, high-speed flow of data to feed their thousands of cores. This necessitates specialized, high-bandwidth memory systems.

Data Throughput Requirements

When a game loads, 3D models and environmental data are moved from the system's solid-state drive into the graphics memory chips on the card. The GPU's small onboard cache (e.g., 6 MB L2 cache on the GA102) can only hold a tiny fraction of a scene, so data is constantly transferred between the GPU and the graphics memory. The 3090 graphics card features 24 GB of GDDR6X SD-RAM.

GDDR vs. System DRAM

Graphics memory is engineered for maximum bandwidth, in contrast to the DRAM that supports a CPU.

• Graphics Memory (GDDR6X): Utilizes a very wide bus. The 24 chips on the 3090 combine for a 384-bit bus width, achieving a total bandwidth of approximately 1.15 terabytes per second.

• System Memory (DRAM): Uses a narrower 64-bit bus width, resulting in a maximum bandwidth closer to 64 gigabytes per second.

Advanced Data Encoding (PAM4 vs. PAM3)

To push data transfer rates higher, modern graphics memory technologies transmit data using multiple voltage levels, going beyond simple binary 1s and 0s.

• PAM4 (Pulse Amplitude Modulation 4): Used in GDDR6X memory, this scheme employs four different voltage levels to send two bits of data simultaneously.

• PAM3 (Pulse Amplitude Modulation 3): Used in the next-generation GDDR7, this scheme uses three voltage levels to encode binary bits into ternary digits. This approach was chosen by industry engineers to reduce encoder complexity, improve the signal-to-noise ratio, and enhance power efficiency.

Specialized AI Memory (HBM)

For AI accelerators, Micron has developed High Bandwidth Memory (HBM), which prioritizes even greater bandwidth.

• Structure: HBM consists of stacks of DRAM chips connected vertically with Through-Silicon Vias (TSVs), forming a "cube of AI memory" that surrounds the AI processor.

• Performance (HBM3E): A single HBM3E cube can hold 24-36 GB of memory. A typical AI accelerator can be surrounded by up to 192 GB of this high-speed memory. Micron's HBM3E uses 30% less power than competing products. These AI systems can cost between $25,000 to $40,000.

5. The Computational Model: Parallel Processing at Scale

GPUs excel at solving problems classified as "embarrassingly parallel," where a large problem can be broken down into many smaller, independent tasks that require little to no coordination.

Practical Application: 3D Graphics Rendering (SIMD)

The core principle is Single Instruction, Multiple Data (SIMD). A single operation is applied to millions of data points in parallel. This is exemplified by vertex transformation in 3D graphics:

1. The Task: A 3D scene is composed of many objects (e.g., 5,629 objects), each built from thousands of vertices (e.g., 8.3 million total vertices). Each object's vertices exist in a local "model space." To render the scene, all vertices must be transformed into a common "world space."

2. The Instruction: The transformation for a single vertex involves a simple addition calculation.

3. The Parallelism: This single instruction is applied simultaneously to all vertices of an object, and this process is repeated for every object in the scene. A single frame may involve 25 million such addition calculations, all of which are independent and can be executed in parallel across the GPU's thousands of cores.

Execution Hierarchy and the Evolution to SIMT

The workload is managed through a structured hierarchy scheduled by the GPU's Gigathread Engine:

• Thread: A single instruction executed on a single CUDA core.

• Warp: A group of 32 threads.

• Thread Block: A group of warps handled by a single SM.

• Grid: A group of thread blocks computed across the entire GPU.

Modern GPUs have evolved from a strict SIMD model to a more flexible Single Instruction, Multiple Threads (SIMT) architecture.

• SIMD (pre-2016): All 32 threads in a warp executed in perfect lockstep.

• SIMT (current): The same set of instructions is sent to all threads in a warp, but individual threads can progress at different rates. Each thread is given its own program counter. This provides greater flexibility and efficiency, particularly when code contains conditional branches ("warp divergence"). Threads within an SM can also share data via a shared 128 KB L1 cache.

6. Applications Beyond Graphics Rendering

The massive parallel processing capabilities of GPUs have been leveraged for tasks far beyond video games.

Cryptocurrency Mining (Bitcoin)

Historically, GPUs were ideal for mining Bitcoin. The process involves repeatedly running the SHA-256 hashing algorithm with different input values (a "nonce") to find a random output number that begins with a specific number of zeros.

• Parallel Application: A GPU could run thousands of iterations of the SHA-256 algorithm in parallel, each with a different nonce. A card like the 3090 could generate approximately 95 million hashes (or "lottery tickets") per second.

• Obsolescence: This application is now dominated by ASICs (Application-Specific Integrated Circuits), custom-built machines that are vastly more efficient. A modern ASIC miner can perform 250 trillion hashes per second, equivalent to the power of 2,600 graphics cards.

Artificial Intelligence and Neural Networks

AI is a primary modern application for GPUs, directly utilizing the hardware's architecture.

• Core Operation: Neural networks and generative AI rely on trillions to quadrillions of matrix multiplication and addition operations.

• Tensor Core Function: The GPU's Tensor Cores are specifically designed for this task. They take three matrices, multiply the first two, and add the third, performing all calculations concurrently because all input data is available simultaneously. This makes GPUs the ideal hardware for accelerating AI workloads.

 


Monday, September 8, 2025

07 blender data structure


Script: Blender Data Structure (Session 7)

Hello and welcome to our 7th session!
In this session, we’re going to explore the data structure in Blender.


Downloading the Resource File

For this session, I’ve provided you with a resource file.
To download it, go to the YouTube video or the LMS, scroll down to the description, and click on the Patreon page link.

Once you’re on the Blender5 training Patreon page, scroll down to the attachments section, and you’ll find a file named human_skeleton.blend.
Click on it, wait for it to download, then click the folder icon in your browser to open the Downloads folder.

Right-click the file → Cut → go to the folder where you’ve been organizing your Blender learning files (for example, YourName_Blender_Learning > Chapter 1 Basics).
Paste the file there.

Now, copy the folder path from the top path field (Ctrl + C).


Opening the File in Blender

Launch Blender 4.5 (either from your desktop icon or by searching in the start menu).
Click on Open, paste the path into the address bar (Ctrl + V), press Enter, and select the file human_skeleton.blend.

This will open the skeleton model.


Revisiting Collections

In our last session, we discussed collections.
Inside the Scene Collection, you’ll see one scene. Within it, there’s a Human Skeleton Collection.
If you expand it, you’ll notice that all body parts are neatly grouped: head section, spinal column, etc.

For this session, let’s focus on the head section. Expand it, select the skull, and press Numpad Period to zoom in.


Objects as Containers

Every object you create in Blender acts like a container.
Inside this container, the very first thing you’ll find is the mesh data.

For example, this skull object has a mesh named skull_mesh. Currently, this container only holds the mesh.

You can rotate around it with the middle mouse button to see the structure.


Adding a Modifier

Now, let’s add a modifier to this mesh.
Go to the Properties panel → Modifier tab (spanner icon) → Add Modifier → Generate → Decimate.

Before applying changes, let’s check the mesh statistics:
Go to Viewport Overlays → enable Statistics.
You’ll see this skull mesh has 32,315 vertices.

If you’re using this mesh in a game and want to reduce complexity, change the Decimate ratio from 1 to 0.1.
Now you’ll notice the resolution reduces and the mesh triangulates. The vertices count drops to 3,229.

This modifier is now part of the container, along with the mesh.


Adding a Material

Next, let’s add a material.
Go to the Material tab, click New, and rename it Bones.
Set the Base Color to a slightly yellow tint.

Switch viewport shading from Solid View to Material Preview to see the effect.
You’ll also notice in the Outliner, this material is attached to the skull mesh.


Adding an Animation

Now, let’s animate the skull.
Switch to Numpad 3 (side view).

We want the skull to rotate. Currently, it rotates around the wrong axis.
So, with the object selected: Object → Set Origin → Origin to Geometry.

  1. Go to Frame 1. In the Transform panel → Rotation, insert a keyframe (I).
    A yellow diamond appears.
  2. Go to Frame 30, rotate the skull about 40° along the X-axis, and insert another keyframe.

Now, when you scrub the timeline between frames 1 and 30, the skull rotates.

In the Outliner, under the skull container, you’ll now see Animation → Skull_Cranium_Action.
Open the Dope Sheet → Action Editor, and rename this to skull_rotate.
The Outliner updates automatically.


Understanding Blender’s Data Structure

So, the structure is like this:

  • Every object = container.
  • Inside it:
    • Mesh data
    • Modifiers
    • Materials
    • Animations

Sharing Data Between Objects

Let’s try this:
Go to Add → Mesh → Cube. Zoom in (Numpad Period), move it, and position it above the skeleton.

Now, in the Properties → Mesh Data tab, there’s a dropdown.
Select skull_mesh for the cube.

Immediately, the cube takes the skull’s geometry, even though its name is still “Cube.”

To share animation, open the Action Editor, select skull_rotate, and apply it to the cube.
Now, the cube also rotates with the same animation.

This shows that data can be shared between objects, either directly or by duplicating it (something we’ll dive into next session).

Delete the cube afterward to keep things clean.
Go to File → Save.


Wrap-Up

In this session, we learned:

  • How Blender structures objects as containers.
  • How mesh, modifiers, materials, and animations fit inside these containers.
  • How data can be shared between different objects.

In the next session, we’ll explore the various display modes in the Outliner window.

 


06 Blender Scenes and Collections


Hello and welcome to our sixth session! Today we’re exploring Blender’s Outliner window. For this session, I’ve provided a resource file—let’s download it first.

Open the YouTube video (or your LMS). In the description, click More and you’ll find a link to our Patreon page.

Click that link to open the Patreon page. Scroll down until you see the file rtx3090.blend. Click it and wait for the download to finish.

Once the download completes, click the folder icon in your browser’s download bar to open your Downloads folder. Right-click the rtx3090.blend file and choose Cut. Now navigate to your learning folder—for example: F:_yourname__blender_learning\Chapter 1 – Basics—right-click inside that folder and choose Paste.

Let’s open the file in Blender. Instead of double-clicking the .blend file like last time, we’ll do it from inside Blender. Click in the address bar at the top of the folder window, right-click and Copy the path.

Go to your Desktop or use the system search, type Blender, and open Blender 4.5. In the splash screen, click Open, or go to File → Open. In the file browser’s address bar, right-click, press Ctrl+V to paste the path, and press Enter. You’ll be taken to the folder where you saved the file. Select rtx3090.blend (if you see a numbered autosave like .blend5, open the main .blend), then click Open.

When the file loads, you’ll see the RTX 3090 card model—designed entirely in Blender. Using what you learned in the previous class, press and hold the middle mouse button to orbit around and view the card from every angle.

Now, let’s focus on the Outliner window on the right side. If that panel feels too small, you have two options:

Option 1 (switch the editor): In the top-left corner of the 3D Viewport, click the Editor Type dropdown and select Outliner to view it full-screen.

Option 2 (keep your 3D Viewport): Leave the 3D Viewport as is. Move your mouse over the Outliner, then press Ctrl+Space (or Spacebar if your keymap is set that way) to maximize that area. Press the same shortcut again to restore it. Click inside the Outliner to begin.

That’s it—your file is open, navigation is set, and the Outliner is front and center. Let’s dive in!

ou have a Back to Previous button to return to the original workspace. Move your mouse over the Outliner, press Ctrl + Spacebar to maximize it, and let’s explore—starting with Scenes.

 

Right now, by default, Blender has one Scene. Click the Scene selector and you’ll see there’s just one. Rename it by selecting the name and typing nvidia3090_master. I’ve added “master” to mark it as the primary scene.

 

Next, click the double-page icon (the Scene add menu). You’ll see four options: New, Copy Settings, Linked Copy, and Full Copy.

 

Click New. A completely new scene is created; name it new_scene and press Enter.

 

Click Back to Previous to return, and switch to the new_scene you just made. You’ll notice no objects appear here yet. Don’t worry—your model isn’t lost.

 

Open the Scene drop-down again and switch back to nvidia3090_master. You’re back in the original scene with everything intact.

 

This is how you can create multiple scenes in Blender. Now, move your mouse over the Outliner again and press Ctrl + Spacebar to make it full screen.

 

Let’s look at Copy Settings: choosing this will create a new scene that copies the current scene’s settings (render settings, units, etc.) into the new one.

 

You also have Linked Copy and Full Copy. Let’s try Linked Copy:

 

Choose Linked Copy and name the scene nvidia3090_linked, then press Enter.

 

Click Back to Previous and ensure you’re in nvidia3090_linked.

 

Select a component—for example, the fan. Press Tab to switch from Object Mode to Edit Mode (shortcut: Tab).

 

Press A to select all of the fan’s geometry, then press S, then Z to scale along Z and scale the fan up.

 

Switch back to nvidia3090_master. You’ll see the fan is modified here as well. That’s because a Linked Copy shares the underlying data.

 

You don’t want that change to affect the master. In nvidia3090_master, go to Edit → Undo three times to step back to the original state. Press Tab if needed to return to Object Mode. Now the fan is back to original in both nvidia3090_linked and nvidia3090_master.

 

Return to nvidia3090_master. Click the double-page icon again, but this time choose Full Copy. Name it full_copy and press Enter.

 

In full_copy, select the same fan.

 

Press Tab to go to Edit Mode, press A to select everything, then S, then Z to scale it up along Z.

 

Press Tab to exit Edit Mode, and switch back to nvidia3090_master.

 

Now notice: the master is not affected, while the change exists only in full_copy. That’s the key difference—Linked Copy shares data; Full Copy duplicates it.

 

Back in the Outliner, we’re in NVDR3090_master, and you can see the Scene Collection. Move your mouse over this panel and press Ctrl + Spacebar to make it full screen. Inside Scene Collection, you’ll find all segments of the NVDR3090 card.

I’m going to continue modeling—adding the motherboard, chipsets, and other components. I don’t want my NVDR parts and motherboard parts to get mixed up, so I’ll organize them—just like using folders in Windows Explorer.

In Blender, we organize with Collections. At the root is Scene Collection. I can create additional collections under it. For example, I want a collection named NVDR3090 to hold all current components. On the right corner, click the New Collection icon. You’ll see Collection 1 created under Scene Collection. Double-click it, rename it NVDR3090, and press Enter.

Now I’ll move the existing components into NVDR3090. I’ll select the objects—from the top of the list down to Steel Cage—then drag them into NVDR3090. Inside NVDR3090, I’ll organize further: I want all air ducts grouped together. Right-click NVDR3090, choose New Collection, double-click the new collection, name it air_ducts, then drag Air Duct 1 and Air Duct 2 into air_ducts. Release the mouse—both are now inside the air_ducts collection.

Return to NVDR3090, click Back to Previous to go to the 3D Viewport, and create a fans collection to group all fans. In the viewport, select a fan, press M (Move to Collection), choose New Collection, name it fans, and click Create. In the Outliner, you’ll see fans now contains that fan. It currently sits under Scene Collection; I want it under NVDR3090. Select fans and drag it onto NVDR3090 so the fans collection lives inside it.

Orbit the view (middle-mouse). There’s another fan. Select it, press M, and move it to NVDR3090 → fans.

Next, I’ll create a chassis collection. In NVDR3090, right-click → New Collection, rename it chassis. Back in the 3D Viewport, select the chassis main body (Steel Cage), press M, then move it to NVDR3090 → chassis.

I want to verify what else belongs to chassis. Some items are organized; others aren’t. To check, I’ll temporarily hide collections using the checkmark/visibility toggle in the Outliner: click it for air_ducts—all air ducts hide. Do the same for fans and chassis.

Now, I’ll add the side panel to chassis: select the side panel, press M, move it to NVDR3090 → chassis. It hides immediately because the chassis collection is hidden. Apart from these two, both belong under chassis.

I have a component named Fan Holder 2; with Shift pressed, also select Fan Holder 1. Press M and move both into fans. Then select Coolant Pipes, press M, and move them into air_ducts.

Create a chipsets collection: NVDR3090 → right-click → New Collection, rename it chipsets. Select the main motherboard, press M, move it to chipsets, and switch off (hide) chipsets. Select the main chipset, press M, and move it into chipsets as well.

Create a ports collection: NVDR3090 → right-click → New, name it ports. Select Port Sockets, press M, move them to ports, and switch off (hide) ports. Select the second component named Sockets, right-click (or just press M) and move it into ports. There’s one more related component; it also belongs with sockets, so I’ll move it into ports.

Now there are three GUI elements. With Shift, select 1, 2, 3, right-click (or press M) and move them into a new collection named granite_body, then click Create. Drag granite_body into NVDR3090 and switch it off.

Finally, I have text objects NVDR RTX and RTX 3090 name. Select both, right-click → New Collection, name it labels. Drag labels into NVDR3090. Now you’ll see: labels, granite_body, ports, chipsets, chassis, fans, and air_ducts—all clearly organized. Collapse chassis, chipsets, and ports to keep things tidy.

This is how we organize and maintain complex models: with collections, it’s easy to select and isolate what you need. For example, if you want to work only on the fans, just switch off (hide) all other collections so only fans remains visible.

Now switch everything back on. With that, we’ve learned how to organize our objects into collections in the Outliner.

 

Here’s a crisp recap:

  • Opened rtx3090.blend, used Ctrl+Space to maximize panels and Back to Previous to return; oriented to the Outliner as the project’s hierarchy hub.
  • Scenes: Renamed the default to NVDR3090_master. Explored New, Copy Settings, Linked Copy (shared data—edits propagate), and Full Copy (independent—edits don’t propagate). Demonstrated with the fan scaling example.
  • Collections: Built a clean structure under NVDR3090: air_ducts, fans, chassis, chipsets, ports, granite_body, labels. Moved items via drag-and-drop or M → Move to Collection from the 3D Viewport.
  • Visibility & isolation: Toggled collection checkmarks to hide/show groups and focus work (e.g., work only on fans).
  • Outcome: A tidy, scalable Outliner that speeds selection, isolation, and variation testing across scenes.

Next session: we’ll master Blender’s data structure (data-blocks, links vs. copies), Outliner filters (search & restrict toggles), and display modes (View Layer, Blender File, Orphan Data, Data API).

 

 

 


Sunday, September 7, 2025

05 Bleder viewport navigation skills


 

Script: Blender Viewport Navigation — Session 5

Opening (Voiceover)
Hello and welcome to our fifth session in the Blender 5 series. In this session, we’ll explore 3D viewport navigation step-by-step. We’ll begin by downloading a starter file, placing it in the correct folder, opening it in Blender 4.5.2 LTS, and then learning how to move around and understand Blender’s X, Y, Z coordinate system. Follow along and don’t skip a step.


Part 1 — Download the CT.blend file

Narration
I’ve shared a CT.blend file for this session.

  1. Open the YouTube video for this session (or access it via your LMS).
  2. Under the video, click “More” in the description to expand it.
  3. Click the Patreon link provided in the description.
  4. On the Patreon page, scroll down to the “Attachments” section.
  5. Find the file named CT.blend, select it, and click to download.
  6. After the download completes, click the folder icon in your browser’s download bar to open your Downloads folder.
  7. Right-click the file CT.blend and choose Cut.

Part 2 — Place the file in your course folder

Narration
We’ll keep our files organized exactly like in the previous session.

  1. On your PC, open the F: drive.
  2. Open the folder you created last time: yourname_blender_learning.
  3. Open chapter 1 basic.
  4. Right-click inside this folder and Paste the CT.blend file here.

Part 3 — Open the file in Blender 4.5.2 LTS

Narration
Now let’s load the scene.

  1. Double-click CT.blend.
  2. The file opens in Blender 4.5.2 LTS.
  3. This scene contains a CT map (a city-style layout) already built in 3D.
    We’ll use this to practice viewport navigation.

Part 4 — Meet the Viewport Gizmo (X, Y, Z)

Narration
Navigation in Blender is anchored by the gizmo on the right side of the viewport.

  • X axis = Red
  • Y axis = Green
  • Z axis = Blue

Rotate with the Gizmo

  1. Move to the gizmo’s circle.
  2. Left-click and drag on the circle to rotate the view.
    You’ll see the city from different angles and perspectives.

Rotate with the Mouse

  1. Click and hold the Middle Mouse Button (MMB).
  2. Move the mouse left/right to rotate horizontally.
  3. Move the mouse up to tilt down (look downward).
  4. Move the mouse down to tilt up (look upward).

Using the MMB, you can freely orbit and examine the entire city from any viewpoint.


Part 5 — Selecting an Object & Understanding Object Names

Narration
Let’s click a building to observe how Blender identifies objects.

  1. Left-click any building in the scene.
  2. Look at its name (for example, something like
    filler_Salz_T8_group8_cube11_001).
    Blender uses such internal names to track objects in the scene.

Part 6 — Coordinates: Position = (X, Y, Z)

Narration
Every object’s position in Blender is defined by three coordinates:

  • X (left ↔ right)
  • Y (front ↔ back)
  • Z (ground ↔ sky / up ↔ down)

We’ll examine each axis in clear, orthographic views.


Part 7 — Top Orthographic View (X & Y)

Narration
From the top, you’ll see how X and Y work—just like Google Maps.

  1. On the gizmo, click the Z icon to switch to Top Orthographic view.
  2. Roll the mouse wheel down to zoom out.
  3. Notice two main lines on the grid:
    • Red line (left ↔ right) = X axis
    • Green line (bottom ↔ top) = Y axis

Movement meaning in Top view:

  • Moving an object right or left = moving along X.
  • Moving an object forward or backward = moving along Y.

Part 8 — Right Orthographic View (Y & Z) and Showing Z Axis

Narration
Now we’ll look from the side to bring Z into focus.

  1. On the gizmo, click the X button to enter the Right Orthographic view.
    In this view, you’re looking along the X axis, so you mainly see Y (horizontal) and Z (vertical).
  2. If you don’t see the Z axis (blue) yet, turn it on:
    • On the top-right of the viewport, click the Overlay button.
    • In Axis settings, you may notice X and Y are enabled while Z is off.
    • Enable Z to reveal the blue axis.

Meaning of Z:

  • The blue Z axis represents vertical movement—from ground up to the sky.

Script: Viewport Navigation in Blender

Welcome back! In this session, we are going to master viewport navigation in Blender. Understanding how to move around the 3D space is one of the most essential skills before we dive deeper into modeling and animation.


Axis Navigation by Clicking

When you click on the axis letters in the gizmo:

  • Click Y: First click → Back view. Click again → Right view. Next click → Front view. Another click → Left view.
  • Click X: You toggle between right and left views.
  • Click Z: You see the top view.
  • Ctrl + Click Z: You see the bottom view.

So:

  • A single click gives one direction.
  • Control + click flips it to the opposite side.

Using the Numpad for Views

Blender provides handy keyboard shortcuts with the numpad:

  • 0 → Camera view (if a camera exists in the scene).
  • 1 → Front view.
  • Ctrl + 1 → Back view.
  • 7 → Top view.
  • Ctrl + 7 → Bottom view.
  • 3 → Right view.
  • Ctrl + 3 → Left view.

And here’s a powerful shortcut:

  • 9 → Flips to the opposite side of your current view.
    • Example: If you are in front view (1), pressing 9 takes you to back view.
    • If you are in top view (7), pressing 9 shows bottom view.

Rotating Views with Numpad

You can rotate the viewport incrementally:

  • 2 → Rotate around the X-axis (forward direction).
  • 8 → Rotate around the X-axis (opposite direction).
  • 4 → Rotate around the Z-axis (anti-clockwise from top).
  • 6 → Rotate around the Y-axis (clockwise).

So remember:

  • 2 / 8 → X-axis rotation
  • 4 / 6 → Z and Y-axis rotations

Middle Mouse and Object Focus

  • Middle mouse click and drag → Rotate around the scene.
  • Shift + Middle mouse → Pan the view.
  • Numpad Period → Focus on the selected object, making rotation orbit around that object.

Example: Select a building, press Numpad Period, then rotate with the middle mouse. The viewport rotates around that building only.


Orthographic vs Perspective

  • Orthographic View: Objects keep their exact proportions, no matter the distance. Great for precise modeling.
  • Perspective View: Objects nearer appear larger, those farther look smaller—closer to how our eyes see.

Switch between them with Numpad 5.


Adding and Aligning a Camera

If no camera is present:

  1. Go to Add → Camera.
  2. Place it at a desired position, for example at X0, Y0, Z0.
  3. Set your viewport to a nice angle using the middle mouse.
  4. Go to View → Align View → Align Active Camera to View.

Now the camera snaps to your chosen angle.
Press Numpad 0 to see through the camera.


Fly/Walk Navigation (Game-like Controls)

Blender also lets you navigate like in a video game:

  1. Press Shift + ` (tilde key, left of 1).
  2. Use W to move forward, S to move backward, A to move left, D to move right.
  3. Mouse scroll forward → Increase movement speed.
  4. Mouse scroll backward → Decrease speed.
  5. Rotate view with the middle mouse while moving.
  6. Right click → Exit this mode.

This makes navigating large scenes intuitive and fun.


Wrapping Up

With these navigation techniques, you can now:

  • Switch between front, back, top, bottom, left, right, and camera views instantly.
  • Rotate, pan, and focus on any object smoothly.
  • Toggle between orthographic and perspective for precision or realism.
  • Move around the scene with game-like WASD controls.

Finally, don’t forget to save your file once you’ve explored!

In the next session, we’ll dive into the Outliner window before moving on to adding and manipulating objects.

 

 


Saturday, September 6, 2025

04 Workspaces and how to customise it


Session 4 – Exploring Blender Workspaces

Intro
Welcome to Session 4! In this lesson, we’ll explore Blender’s Workspaces from the top menu bar and understand what each one is designed for.


1) Starting point: Layout

  • When you launch Blender, it opens in the Layout workspace by default.
  • I have chain_animation.blend open and I’m currently in Camera View.
  • Press Numpad 0 to toggle into Camera View, and press Numpad 0 again to toggle out of it.
  • In Layout, you’ll see four panels:
    1. Viewport (main working area)
    2. Outliner (top-right; shows your scene’s collections and objects)
    3. Properties (bottom-right; object and scene settings)
    4. Timeline (bottom; for playback and keyframes)

2) Modeling

  • Click Modeling on the top workspace bar.
  • Notice the mode automatically switches from Object Mode to Edit Mode.
  • Here you typically see three panels:
    • Viewport (center)
    • Outliner / Collections (right)
    • Properties (right, below the Outliner)

3) Sculpting

  • Go to Sculpting for organic forms like faces, creatures, and cloth.
  • The mode changes to Sculpt Mode.
  • You’ll again see three panels:
    • Viewport
    • Outliner
    • Properties

4) UV Editing

  • Open UV Editing to prepare meshes for texturing.
  • On the left, you have the Image Editor (to unwrap and view UVs).
  • On the right, you have the 3D Viewport (to select and unwrap geometry).
  • You still have Outliner and Properties on the right side as part of the standard layout.

5) Texture Paint

  • Switch to Texture Paint to paint directly on your model.
  • On the left, you’ll see the Paint/Image Editor.
  • On the right, you have the Viewport for painting on the 3D model.
  • Outliner and Properties remain available on the right.

6) Shading

  • Go to Shading to assign and build materials.
  • The Shader Editor sits at the bottom for node-based material setups.
  • On the left, you have a File Browser to quickly bring in textures.
  • An Image Viewer is available for inspecting images.
  • Outliner and Properties are on the right, as usual.
  • Shading is crucial—you’ll use it constantly for look-dev.

7) Animation

  • Open Animation to set up and polish motion.
  • You see two views:
    • A Camera View
    • A regular Viewport
  • At the bottom is the Timeline for keys and playback.
  • Outliner and Properties are on the right.

8) Rendering

  • Click Rendering to review output.
  • This workspace provides a render display so you can focus on final frames and results.

9) Compositing

  • Go to Compositing to combine and enhance rendered images—similar to After Effects.
  • You’ll layer and process images node-by-node.
  • We’ll dive deeper into compositing in a later session.

10) Geometry Nodes

  • Open Geometry Nodes for parametric modeling and procedural setups.
  • This is where you’ll build reusable, non-destructive tools for modeling and motion.
  • We’ll explore this in detail in future lessons.

11) Scripting

  • Finally, Scripting is where Blender’s Python integration shines.
  • You can write, open, and execute Python scripts directly inside Blender to automate tasks and build tools.
  • We’ll explore this later as well.

12) Adding more workspaces (+)

  • Click the “+” icon next to the workspace tabs to add preset layouts:
    • General (multiple options)
    • 2D Animation (four panels tuned for grease pencil)
    • Sculpting (two panels)
    • VFX (four panels for tracking and effects)
    • Video Editing (two panels for cutting and audio)
  • You can also duplicate the current workspace to create a custom version.

13) Start from Layout & fix the screencast-keys toggle

  1. Switch to the Layout workspace.
  2. You may notice the Screencast Keys overlay is missing.
  3. Press N to open the 3D Viewport Sidebar.
  4. Find Screencast Keys (add-on panel), turn it OFF, then turn it ON again.
  5. Press N to close the Sidebar. The overlay should now be visible.

Tip: This toggle is a known quirk; a quick off/on restores the overlay.


14) Duplicate Layout and name your workspace

  1. Click the “+” icon next to the workspace tabs.
  2. Choose Duplicate Current.
  3. Rename the new workspace to “Sathrit” (your custom workspace).

You’re now editing a safe copy without altering the original Layout.


15) Meet the “secret” Editor Type button

  1. In any panel, go to the top-left corner and click the Editor Type selector (the “secret button”).
  2. This menu lists ~23 editor types, grouped as:
    • General (9)
    • Animation (6)
    • Scripting (3)
    • Data (6)
  3. Try it: in the main window (currently a 3D Viewport), change it to File Browser.
    • The entire panel becomes a file browser you can use to navigate assets.

16) Add a new right-side panel (Vertical Split)

  1. Hover over the vertical border of the File Browser until the cursor becomes a double-arrow.
  2. Right-click → choose Vertical Split.
  3. Move the split line roughly to the center and click.
  4. In the right panel, set Editor Type → 3D Viewport.
    • Result: Left = File Browser, Right = 3D Viewport.

17) Add a bottom panel (Horizontal Split) and set it to UV Editor

  1. In the left (File Browser) panel, hover on its bottom border until you see the double-arrow.
  2. Right-clickHorizontal Split.
  3. Place the split where you want and click to create a new bottom-left panel.
  4. In that bottom-left panel, set Editor Type → UV Editor.
    • Result: Bottom-left = UV Editor, Top-left = File Browser, Right = 3D Viewport.
  5. You still have Outliner and Properties on the right side, and a Timeline across the bottom from the original Layout (if present in your theme).

18) Swap the Timeline for the Shader Editor (for look-dev)

  1. Click the Editor Type of the Timeline area (bottom).
  2. Change it to Shader Editor.
    • Result: You now have UV Editor, File Browser, 3D Viewport, Shader Editor, plus Outliner and Properties—a great modeling/look-dev layout.

19) Save your layout with the file

  1. Go to File → Save.
  2. This saves the current workspace layout with your .blend.
    • (Optional, future-proof): To reuse this layout every time, File → Defaults → Save Startup File.

20) Remove panels using “Join” (clean up quickly)

If you want to remove a panel and give its space to a neighbor:

Method A — Join via Right-Click

  1. Hover over the border between two panels → Right-click.
  2. Choose Join Down, Join Up, Join Left, or Join Right (as appropriate).
    • Example: Join Down removes the bottom panel and expands the top one.
    • Example: Join Left removes the left panel and expands the right one.

Method B — Corner Drag (crosshair/hairpin)

  1. Move to a panel corner until the cursor shows a crosshair/hairpin.
  2. Click-drag into a neighboring panel to split it, or drag out to collapse/join (depending on direction and Blender version).
  3. Release to confirm.

Try it now:

  • Join Down to remove the bottom UV Editor and expand the File Browser.
  • Join Left between File Browser and 3D Viewport to remove the File Browser and make a larger Viewport.
  • Similarly, you can join away Outliner and Properties if you want a pure viewport setup.

21) Challenge: Build a Four-Panel View (Top, Front, Right, Camera)

Goal: Only four panels across the entire screen, each a 3D Viewport.

  1. On the “Sathrit” workspace tab, right-click → Rename it to “Four Panels”.
  2. Remove any extra bottom panel (e.g., Shader Editor) using Join Down or by corner dragging to collapse it.
  3. Split vertically once to make left and right halves:
    • Hover border → Right-click → Vertical Split → click to confirm.
  4. Split horizontally on each half to make top and bottom rows:
    • Hover border → Right-click → Horizontal Split → confirm.
    • You should now have a 2×2 grid (four panels).
  5. Ensure all four panels are 3D Viewports (use the Editor Type button if needed).
  6. Set views using the Numpad:
    • Top-Left: Numpad 7 = Top view
    • Top-Right: Numpad 1 = Front view
    • Bottom-Left: Numpad 3 = Right view
    • Bottom-Right: Numpad 0 = Camera view
  7. (Optional) Press 5 in each panel for Orthographic (if you prefer ortho for Top/Front/Right).
  8. File → Save to store this four-view layout with your project.

Pause here and try it yourself before moving on. Getting comfortable with split/join and view assignments will speed up your workflow massively.


22) Recap & What’s Next

  • You learned how to duplicate workspaces, toggle Screencast Keys, switch editor types, split/join panels, and save custom layouts with your file.
  • Next session, we’ll focus on the 3D Viewport—navigation, view controls, shading modes, overlays, and selection essentials—so you can model and animate efficiently