The Complete Guide to Blender

Graphics: Computer Modeling and

Animation: Volume 2 9th Edition John
M. Blain
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 The Complete Guide to
Blender Graphics
BlenderTM is a free Open-Source 3D Computer Modeling and Animation Suite incorporating
Character Rigging, Particles, Real World Physics Simulation, Sculpting, Video Editing with Motion
Tracking and 2D Animation within the 3D Environment.

Blender is FREE to download and use by anyone for anything.

The Complete Guide to Blender Graphics: Computer Modeling and Animation, Eighth
Edition is a unified manual describing the operation of the program, updated with reference to
the Graphical User Interface for Blender Version 3.2.2, including additional material covering
Blender Assets, Geometry Nodes, and Non-Linear Animation.

Divided into a two-volume set, the book introduces the program’s Graphical User Interface and
shows how to implement tools for modeling and animating characters and created scenes with
the application of color, texture, and special lighting effects.

Key Features:
• T he book provides instruction for New Users starting at the very beginning.
• Instruction is presented in a series of chapters incorporating visual reference to
the program’s interface.
• The initial chapters are designed to instruct the user in the operation of the
program while introducing and demonstrating interesting features of the program.
• Chapters are developed in a building block fashion providing forward and reverse
reference to relevant material.
Both volumes are available in a discounted set, which can also be purchased together with
Blender 2D Animation: The Complete Guide to the Grease Pencil.

Abut the author

John M. Blain has become a recognised expert in Blender having seven successful prior
editions of this book to date. John became enthused with Blender on retirement from a
career in Mechanical Engineering. The Complete Guide to Blender Graphics originated from
personal notes compiled in the course of self-learning. The notes were recognized as an
ideal instruction source by Neal Hirsig, Senior Lecturer (Retired) at Tufts University. Neal
encouraged publication of the First Edition and in doing so is deserving of the author’s
gratitude. Gratitude must also be extended to the author’s wife Helen for her continuing
encouragement and patience as new editions of the book are compiled.
The Complete Guide to
Blender Graphics
Computer Modeling
& Animation
EIGHTH EDITION

Volume 2

JOHN M. BLAIN

Boca Raton London New York

CRC Press is an imprint of the

Taylor & Francis Group, an informa business
AN A K PETERS BOOK
Eight edition published 2024
by CRC Press
2385 Executive Center Drive, Suite 320, Boca Raton, FL 33431

and by CRC Press

4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

CRC Press is an imprint of Taylor & Francis Group, LLC

© 2024 John M. Blain

First edition published by AK Peters 2012

Second edition published by AK Peters 2014
Third edition published by AK Peters 2016
Fourth edition published by AK Peters 2017
Fifth edition published by AK Peters 2019
Sixth edition published by AK Peters 2020
Seventh edition published by AK Peters 2022

Reasonable efforts have been made to publish reliable data and information, but the author and publisher cannot
assume responsibility for the validity of all materials or the consequences of their use. The authors and publishers
have attempted to trace the copyright holders of all material reproduced in this publication and apologize to
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Except as permitted under U.S. Copyright Law, no part of this book may be reprinted, reproduced, transmitted, or
utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including
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that are not available on CCC please contact mpkbookspermissions@tandf.co.uk

Trademark notice: Product or corporate names may be trademarks or registered trademarks and are used only for
identification and explanation without intent to infringe.

ISBN: 978-1-032-51056-9 (hbk)

ISBN: 978-1-032-51055-2 (pbk)
ISBN: 978-1-003-40431-6 (ebk)

DOI: 10.1201/9781003404316

Publisher’s note: This book has been prepared from camera-ready copy provided by the authors.
Contents
CH01 Objects in the 3D View Editor 1

1.1 Object Primitives 2

1.2 Additional Objects 2
1.3 The Add Cube Tool 4
1.4 Objects from Add-ons 5
1.5 Blender Assets 9
1.6 The Assets Library 12
1.7 BlenderKit 15

CH02 Editing & Add-Ons 19

2.1 Object Mode and Edit Mode 20

2.2 Object Mode Tool Panel 20
2.3 Edit Mode Tool Panel 21
2.4 Add-ons for Editing 22

CH03 Editing with Generate Modifiers 27

3.1 Accessing Modifiers 27

3.2 The Modifier Selection Menu 28
3.3 Modifiers – Generate 28
3.4 The Bevel Modifier 29
3.5 Array Modifier 30
3.6 Boolean Modifier 32
3.7 Build Modifier 33
3.8 Decimate Modifier 35
3.9 Edge Split Modifier 36
3.10 Mask Modifier 37
3.11 Mirror Modifier 38
3.12 Multiresolution Modifier 40
3.13 Remesh Modifier 40
3.14 Screw Modifier 41
3.15 Skin Modifier 43
3.16 Solidify Modifier 44
3.17 Subdivision Surface Modifier 45
3.18 Triangulation and Weld Modifier 47
3.19 Wireframe Modifier 50
CH04 Editing with Deform Modifiers 51

4.1 Modifiers for Editing - Deform 52

4.2 Armature Modifier 52
4.3 Cast Modifier 52
4.4 Corrective Smooth Modifier 53
4.5 Curve Modifier 54
4.6 Displace Modifier 55
4.7 Hook Modifier 56
4.8 Laplacian Deform Modifier 58
4.9 Lattice Modifier 59
4.10 Mesh Deform Modifier 62
4.11 Shrinkwrap Modifier 63
4.12 Simple Deform Modifier 64
4.13 Smooth Modifier 65
4.14 Smooth Corrective Modifier 66
4.15 Smooth Laplacian Modifier 66
4.16 Surface Deform Modifier 67
4.17 Warp Modifier 68
4.18 Wave Modifier 70

CH05 Editing Using Curves 73

5.1 Curves Circles and Paths 74

5.2 Bezier Curve 76
5.3 Bezier Circle 77
5.4 Nurbs Path 77
5.5 Nurbs Circle 77
5.6 Modeling from a Curve 78
5.7 Closed Loops 79
5.8 Using Nurbs Curves 80
5.9 Nurbs Circle 81
5.10 Nurbs Curve 83
5.11 Lofting 84

CH06 Material Assignment 89

6.1 Material Assignment 90

6.2 Viewport Shading Modes 91
6.3 Material Properties 91
6.4 Material Node System 92
6.5 Material Properties Expanded 94
6.6 Properties Assignment Components 95
6.7 Adding Materials (Datablocks) 95
6.8 Multiple Datablock Assignment 97
6.9 Material Nodes 100
CH07 Constraints 103

7.1 Introduction to Constraints 104

7.2 Track to Constraint 104
7.3 Constraint Stack 105
7.4 Transform Constraints List 106
7.5 The Transformation Constraint 107
7.6 Tracking Constraints 110
7.7 Relationship Constraints 111
7.8 The Action Constraint 111
7.9 The Shrinkwrap Constraint 112
7.10 Follow Path – Extrude/Bevel 114

CH08 Shape Keys & Action Editors 117

8.1 Shape Key Editor 118

8.2 Set Limits of Movement 120
8.3 Inserting Keyframes 120
8.4 The Animation 122
8.5 Additional Keys 122
8.6 Action Editor 123
8.7 Shape Keys and Action Editor in Practice 124

CH09 Particle Systems 127

9.1 The Default Particle System 129

9.2 The Emissions Tab 131
9.3 The Emission Source Tab 131
9.4 The Cache Tab 132
9.5 The Velocity Tab 133
9.6 Particle Display 135
9.7 Particle Emission Options 136
9.8 Particle Emission 137
9.9 Normals 139
9.10 Particle Modifiers 142
9.11 Particles Array 143
9.12 The Viewport Display Tab 145
9.13 Particle Interaction 146
9.14 Force Effects 147
9.15 Boids Particles 149
9.16 Hair Particles 153
9.17 Particles for Arrays................................................................162
9.18 More Particles....................................................................... 163
9.19 The Assignment Panel.......................................................... 166
9.20 Particle Exercises................................................................. 167
9.21 Multiple Particle Systems......................................................173
9.22 Keyed Particles..................................................................... 175
CH10 Physics and Simulation 177

10.1 Applying and Cancelling Physics 178

10.2 Real World Physics 178
10.3 Force Field 182
10.4 Collision Physics...................................................................182
10.5 Cloth Physics 182
10.6 Soft Body Physics 185
10.7 Fluid Simulation 186
10.8 Quick Methods 200
10.9 Fluid Simulation Continued 202
10.10 Fluid Simulation Experiment 206
10.11 Smoke and Fire Simulation 211

CH11 Dynamic Paint 219

11.1 Dynamic Paint - Painting 220

CH12 Geometry Nodes 227

12.1 Geometry Node Workspace 228

12.2 The Geometry Node Pipeline 230
12.3 Arranging Nodes 234
12.4 Multiple Pipelines 237
12.5 The Geometry Node Modifier 238
12.6 Spread Sheet Editor 239
12.7 Node Selection Menu 244
12.8 Editing Shapes 244
12.9 Procedural Mesh Objects 245
12.10 Naming and Color Coding 248
12.11 Arranging Objects 248
12.12 Subdivision Surface Node 249
12.13 Add Convex Hull 250
12.14 Materials (Color) for Geometry Nodes 252
12.15 Instance Objects 253
12.16 Bloom - Object Glow 254
12.17 Spiral 255
12.18 Point Cloud and Fields 256
12.19 Creating a Landscape 260
12.20 The Assets Library 264
12.21 Animation 267
12.22 Maths 269
12.23 Summary 275

CH13 Drivers 277

13.1 Blender Drivers 278

 13.2 The Drivers Editor 279
13.3 Expanding the Demonstration 281
13.4 Workflow & Examples 282
13.5 Transform Driver 282
13.6 Scripted Expression – Orbit a Point 284
13.7 Randomise Object Properties 287

CH14 Non Linear Animation 301

14.1 Non Linear Animation Workspace 302

14.2 An Action 302
14.3 The Animation 303
14.4 Armature Actions 308
14.5 Parenting 309
14.6 Practical Application 310

CH15 Rigging – Rigify – Animbox 311

15.1 Prerequisites 312

15.2 Rigify 312
15.3 Models for Animating 312
15.4 Preparing a Model 313
15.5 The Armature Assembly 314
15.6 Generate the Armature Control Rig 319
15.7 The Magic of Animbox 322
15.8 Installing Add-ons in Blender 326
15.9 Make Human Export 328

CH16 Blender Render Engines 329

16.1 Cycles Render 330

16.2 Starting Cycles 330
16.3 Cycles vs Scene Content 333
16.4 Create an Object Light Source 335
16.5 Cycles Using Nodes 336
16.6 Cycles in Practice 336
16.7 Cycles Lighting Effects 339
16.8 Workbench Render 341
16.9 Workbench Lighting 343
16.10 Workbench Materials 343
16.11 The Options Tab 346

Index.......................................................................................................347
Introduction
The Complete Guide to Blender Graphics - 8th Edition provides instruction in the use of the
Computer Graphics 3D Program Blender. The book has been compiled in two separate volumes
with Volume 1 being inclusive of all material which will allow a new user to obtain, install and
operate the program. Volume 2 is complimentary to Volume 1 encompassing some of the more
advanced aspects of the program. The books are an operation manual for those who wish to
undertake a learning experience and discover a wonderful creative new world of computer
graphics. The books also serves as a reference for established operators.

Instructions throughout the book demonstrate Blender with examples and diagrams referenced to
the Graphical User Interface (GUI).

In selecting Volume 2 of The Complete guide to Blender Graphics it is assumed you are
conversant with Blender and its interface and the fundamentals of operating the Blender Program
as described in Volume 1.

Volume 2 provides an introduction to Blenders features which expand on the basics of Modeling
and Animation. Knowing that these features exist and where to find them will significantly improve
the working experience and enhance your ability to produce fantastic effects.

The Complete Guide to Blender Graphics originated when Blender's Graphical User Interface
was transformed with the release of Blender version 2.50. Subsequent editions of the book have
kept pace with developments to the program and have included new material.

The 8th Edition of The Complete Guide to Blender Graphics is applicable to:
Blender Version 3.2.2

The Blender program is maintained by the Blender Foundation and released as Open Source
Software which is available for download and FREE to be used for any purpose.

The program may be downloaded from: www.blender.org

I
The Complete Guide to Blender Graphics provides a fantastic learning experience in
Computer Graphics using Blender, by introducing the operation of the Blender program
through the use of its' Graphical user Interface. The book is intended to be read in conjunction
with having the program in operation, with the interface displayed.

Instruction is presented using the tools displayed in the Graphical User Interface, with basic
examples demonstrating results. Understanding where features are located, their uses and how
they are implemented will allow the reader to more easily follow detailed instruction in the many
written and video tutorials available on the Internet.

Instruction provided on the internet in the form of written and video tutorials is integral to the
compendium of Blender learning material. Although comprehensive, The Complete Guide to
Blender Graphics is limited by the number of pages in a volume. The internet vastly expands
the knowledge base of learning material.

Important: The Blender Program is continually being developed with new features being added
and improvements to the interface and operation procedures being amended. When reading
instructions or viewing video tutorials the version of the Blender program for which the instruction
is written should be considered.

Program Evolution

Blender is continually evolving. New versions of the program are released as additions and
changes are incorporated, therefore, it is advisable to check the Blender website, from time to
time for the latest version.

At each release of Blender a different Splash Screen Image is displayed in the interface.

Blender Version 3.2.2

II
Earlier versions of the program and documentation may be obtained which provide valuable
information when you are conversant with the current release of the program. Video tutorials
available on the internet may not strictly adhere to the current user interface or work flow. Major
transformations occurred when the program changed from version 2.49 to 2.50 and again at the
change from version 2.79 to version 2.82. Since 2.82 development has continued.

Previous Versions of Blender

As previously stated, Blender is continually evolving with new versions being released. To fully
utilise internet material you may find it advantageous to study older tutorials by installing previous
Blender versions. Previous versions of the program can be obtained at:

https://download.blender.org/release/

Installation
Note: You may install multiple versions of Blender on you PC.

Blender Features
A comprehensive display of the Blender features is available at:

www.blender.org/features?

III
The Author
John M. Blain

John was born in Swindon, Wiltshire in England

in 1942. At the time of writing this makes him a
pretty old dude. He emigrated to Canada with
his family in 1952 and now lives in Coffs
Harbour, New South Wales in Australia.

Drawing and painting were skills John

developed from an early age and while
attending school on Vancouver Island he
became interested in wood sculpture inspired
by the work of the indigenous west coast
people. Artistic pursuits were curtailed on
graduating from high school when he returned
to England to undertake a technical engineering
apprenticeship. Following his apprenticeship, he worked for a short period in England and then
made the decision to return to Vancouver, Canada. On the voyage between Southampton and
Vancouver, he met his wife to be and Vancouver became a stopover for a journey to Sydney
Australia. In this new country, he began work as an engineering draughtsman, married, had
children and studied engineering. The magic milestone of seven years saw John with his young
family move out of the city to the coastal town of Coffs Harbour, New South Wales.

Coffs Harbour was a center for sawmill machinery and John became engaged in machinery
design and manufacture. He acquired a sound knowledge of this industry acting as installation
engineer then progressing to sales. This work afforded travel throughout Australia, Canada, the
United States and New Zealand.

On retirement, artistic pursuits returned with additional interests in writing and computing. Writing
notes whilst learning computer animation using Blender resulted in The Complete Guide to
Blender Graphics. The first edition, published in 2012, was well received and encouraged John
to compile a second edition inline with the latest version of the Blender program. This afforded
the opportunity to include new material. Subsequent editions have followed until this newly
reformatted eighth edition.

V
Preamble
The Preamble will walk you through the method of reading this book in conjunction with
operating the Blender program. It is assumed that you are conversant with the Blender program
and its Graphical User Interface as described in Volume 1 of The Complete Guide to Blender
graphics.

Formats Conventions and Commands

In writing this book the following formatting conventions have been adopted:

Paragraphs are separated by an empty line and have not been indented.

Key words and phrases are printed in bold text with the first letter of a component name
specific to Blender capitalised.

Headings are printed in Bold Olive Green.

The following conventions will be used when giving instructions.

When using a Mouse connected to a computer, the commands will be:

Click or Click LMB – In either case this means make a single click with the left mouse
button with the Mouse Cursor positioned over a control on the computer Screen.

In some instances it is explicit that the left mouse button should be used.

Note: Computer Screen and Monitor are synonymous.

Mouse Over: Place the Mouse Cursor over a control.

A Control is a specific area of the Computer Screen.

Mouse Cursor Command Example

Mouse Over on View (Highlights Blue). Click LMB to display the View Menu.

The View Menu contains a selection of text annotations which are button
controls for selecting functions affecting the 3D Viewport.

VII
 A Control: Is a designated area on the computer Screen represented by an icon in the
form of a button or bar, with or without text annotation.

Double Click – Make two clicks in quick succession with LMB (the left mouse button).

Click, Hold and Drag – Click the left mouse button, hold it depressed while moving the
mouse. Release the button at the end of the movement.

Click RMB – Click the right mouse button. Clicking is used in conjunction
with placing the Mouse Cursor
Click MMB – Click the middle mouse button over a button, icon or a slider
(the middle mouse button may be the scroll wheel). which is displayed on the Screen.

Scroll MMB – Scroll (rotate) the scroll wheel (MMB).

The Graphical User Interface (GUI)

When Blender is first opened what you see on the computer Screen is the Graphical User
Interface (GUI) for the program. This arrangement of panels is the interface which allows you to
communicate with the program by entering commands (data) using the Keyboard and Mouse
previously described. The panels that you see are called Editors or Headers with one exception,
the Splash Screen.
3D Viewport Header Upper Screen Headers

Outliner
3D Viewport Editor
Editor

Splash Screen

Properties
Editor
Mouse Cursor

Timeline Editor

Lower Screen Header

VIII
Note: In the preceding diagram the different Editors have been colored to distinguish one from
the other. Changing Editor background colors, in affect, modifies the color scheme or Theme of
the GUI. The Theme of the GUI in the diagram is not what you see when you first run Blender.

The very first time Blender runs the Graphical User Interface displays on the computer Screen
with a default Theme or color scheme named Blender Dark. You will see this as one of the
Quick Setup options in the Splash Screen.

Splash Screen
Theme Options

Quick Setup

Theme: Blender Dark

Click to display Options

Clicking the Theme button displays a menu with alternative Theme Options. You may select
any option depending on your preference. Having made a selection click the Next button to
apply your Theme. The color scheme changes and the Splash Screen is replaced.

The Graphical User Interface

with Theme: Blender Light
selected.

What! You want to try a

different Theme!

Logically, you would think,

reinstating the Splash Screen
would provide the Quick Setup
controls previously employed.

IX
To reinstate the Splash Screen click the little Blender Logo in the Screen Header and select
Splash Screen in the menu that displays.
Click the Blender Logo.

The Splash Screen is reinstated but it is different from

the initial display containing the Quick Setup options.

To try a different Theme, in fact, to customise Blender

to your personal choice you go to the Preferences
Editor by clicking Edit, Preferences in the Screen
Header..
In the Preferences Editor, select Themes in
the left hand column and click on Presets to
display the list of color schemes.
Click Presets

The assumption has been made that you are conversant with the Blender GUI, therefore, you
may be aware of the Preferences Editor and the procedure for selecting Themes. The forgoing
instruction is provided to familiarise you with the method of presenting instruction in the book
which incorporate references to Editors, Headers, Panels and Tabs.

The following diagram will recap on these terminologies when viewing the interface.

X
 Editor Header Upper Screen Headers

Outliner
3D Viewport Editor
Editor

Splash Screen

Properties
Editor
Mouse Cursor

Timeline Editor

Editors Lower Screen Header

There are four Editors displayed when Blender is first opened. The Editors are; the 3D Viewport
Editor, the Outliner Editor, the Properties Editor and the Timeline Editor. In the center of the
display you see the Splash Screen showing you which version of Blender you have opened and
containing buttons for selecting a variety of functions.

Traditionally the Splash Screen image is changed at each new release of the Blender Program.

At the top and bottom of the Screen you see Screen Headers. At the top of each Editor Panel
there is also an Editor Header. Headers contain Button Controls for selecting functions
pertaining to the Screen or the Editor as the case may be.

Note: Clicking the Left Mouse Button with the Mouse Cursor in the 3D Viewport Editor
cancels the display of the Splash Screen (Reinstate as previously described).

Note: In the preceding diagram the default background colors of the different Editors have been
altered to distinguish the panels.

Controls - Buttons, Icons and Sliders

Each Editor in the GUI is a separate panel with a Header at the top of the panel. The Headers
contain buttons which activate functions or display sub menus with buttons for activating
functions.

XI
A button may be a text annotation which highlights blue on Mouse Over or an icon representing a
function or a bar with text annotation. Clicking a button relays data to the program to perform an
action.

Example 1 : The 3D Viewport Editor (the default Screen display – Upper LH Side)

Editor Type Selection Button Editor Mode Selection Button Button withText Anotation

Editor Type Icon

Mode Buttons
Editor Header

Tool Panel
(sub panel)
3D Viewport Editor
Button (Upper LH Corner)
In the Tool Panel

Note: The buttons shown in the diagram can be seen in the panel at the upper left
hand side of the default Blender Screen arrangement.

Note: In giving instructions, Default means, that which is displayed on the computer
Screen before any action is taken.

Example 2 : The Properties Editor (the default Screen display – Lower RH Side)

The default display shows the content of the Properties Editor with the Object Properties
active. In this state the controls affect the default Cube Object in the 3D Viewport Editor.

XII
 Note: In this instance the Editor Header is extended to the
vertical array of buttons at the left hand side of the Editor.)

Properties Editor Icon

Editor Display Selection

buttons. The display in
the Editor panel
depends on which
button is clicked. Cube Object
(in the 3D Viewport Editor)
Slider Controls
Object Properties (Adjust Numeric Value)
(see details following)
(Content of the Editor
Panel with the active Editor Panel showing the
Property – see Note) Object Properties
Button
Tabs (Click to display a Selection
Menu)
(Click to open a Panel)

Note: The Editor display

indicated by the broken
Tab Closed yellow line shows controls
Tab Open for the active Property. In
the diagram the Object
Panel Opened Properties is active.

A Button in Blender can be a small square or rectangular area on the screen or an elongated
rectangle in which case it may be referred to as a bar. Some buttons display with icons.

An Icon is a pictorial representation of a function. In the diagram the icon in the upper left hand
corner indicates that the Properties Editor is displayed.

A Slider is an elongated area, usually containing a numeric value, which is modified by clicking,
deleting and retyping the value, or clicking, holding and dragging the Mouse Cursor that displays
on Mouse Over, left or right to decrease or increase the value. Some sliders have a small arrow
at either end which display when the Mouse Cursor is positioned over the Slider (Mouse Over).

Click on an arrow to incrementally alter the value. Some sliders directly alter the display on the
computer Screen.

XIII
Slider Control Detail Properties Editor Mouse over to display double
Object Properties Button headed arrow. Click to show
Transform tab Typing Cursor (blue line).

Slider Controls in the

TransformTab affect
the position of the
Cube (the selected
Object) in the 3D
Viewport Editor.

Slider Controls Typing Cursor.

Delete, Backspace
and retype a value.
Press Enter.

Object Properties

Cursor displays on Mouse Over Click Arrow to

Click, Hold and Drag Left or Right Increment the value.

X Axis Z Axis
Y Axis

3m

With the Cube Object selected in the 3D Viewport Editor, altering the X Location Slider value to
3m and the Z Axis Rotation Slider to 19.8° moves the Cube forward along the X Axis (Red Line)
and rotates the Cube about the vertical Z Axis.

For Keyboard input, a command is; to press a specific Key or a series of Keys. Press Shift + Ctrl
+ T Key means, press and hold both the Shift and Ctrl Keys simultaneously and tap the T Key.
Num Pad (Number Pad) Keys are also used in which case the command is Press Num Pad 0 to
9 or Plus and Minus.

XIV
Command Instruction Example:

Go to the Blender Screen Header, Render Properties, click Render Image:

Remember: A control button, icon or slider which is displayed, indicates a specific location on the
computer Screen. Positioning the Mouse Cursor at this location and clicking the Mouse button or
depressing a keyboard button, inputs a signal to the computer. The interpretation , made by by
the computer is; signal received at specific location = perform explicit computation and export
result.

The example above means; in the Blender Screen Header, position the Mouse Cursor over the
Render Properties button and click the left mouse button, clicking once. In this case the signal
received by the computer with the Mouse Cursor at the position of the Render Properties button
tells the computer to display the Render Options Sub Menu. Positioning the Mouse Cursor over
Render Image in the sub menu and clicking once renders an image of Camera View (what the
camera sees). The Rendered Image is displayed in a new Editor panel, the Image Editor. The
image may be saved from this location but for the time being press Esc on the Keyboard to
cancel the render and return to the 3D Viewport Editor.

XV
 1
Objects in the 3D View Editor
1.1 Object Primitives 1.5 Blender Assets
1.2 Additional Objects 1.6 The Assets Library
1.3 The Add Cube Tool 1.7 BlenderKit Add-on
1.4 Objects from Add-ons

Objects in the 3D Viewport Editor are the Models and Characters you create as components of
a Scene. They also include the Lights that illuminate the Scene and Cameras which capture that
part of a Scene you wish to Render. In fact, pretty much everything entered in a Scene is
considered an Object in Blender.

One starting point for Modeling is the base Object Primitives that are entered in a Scene.
Primitives are then modified or edited to create new shapes which is the basis of Modeling.
Besides Object Primitives there are other sources for obtaining Objects as a starting point.

Figure 1.1

1
1.1 Object Primitives
Object Primitives are entered in a Scene by selecting from the Add, Mesh menu in the 3D
Viewport Editor Header.

Figure 1.2
3D Viewport Header

Note: Mesh Primitives are

one type of Object, others
include those shown in the
Add Menu.

They are considered to be

Objects since once entered
in a Scene they may be
manipulated to produce
effects. Mesh
Primitives

1.2 Additional Objects

Besides Mesh Primitive Objects there are a variety of additional Object Types available from the
Add Menu in the 3D Viewport Editor Header.

Curve - Bezier Curve Figure 1.3

3D Viewport Editor Header Curve Object Types are used when creating Models
and ancillary to the modeling process or for creating
Scene effects.

Control Handles
Object Mode For reshaping the Curve Edit Mode

Note: The Bezier Curve is one of five Curve Types; Bezier, Circle, Nurbs Curve, Nurbs Circle and
Path.

2
Surface - Nurbs Torus Figure 1.4
3D Viewport Editor Header

Object Mode

The Nurbs Torus has a cage surrounding the

mesh, in Edit Mode, which is used for shaping.
After shaping, go to Object Mode, RMB click and
select Convert To – Mesh.

Select Cage vertices and Drag

Edit Mode

Surface - Nurbs Cylinder

Figure 1.5 Select Cage vertices and Drag

Object Mode

Edit Mode

3
Note: Not all Object Types selected from the Add menu Render. The Bezier Curve does not
Render while the Surface – Nurbs Torus will Render.

1.3 The Add Cube Tool

The Add Cube Tool in the 3D Viewport Editor, Object Mode, Tool Panel, also provides a means
of adding Objects to a Scene.

Mouse over on the Tool, click LMB to see the Tool Options. Hold LMB, drag
the Mouse over an option (highlights blue) and release LMB to select the option.

With an option selected the Mouse

Cursor in the 3D Viewport Editor displays
as a grid which you position in the Scene
by dragging the Mouse.
Figure 1.6

Mouse over and click LMB

to see options.

Position the grid in the Scene.

Click LMB, drag the Mouse to
draw a rectangle (not necessarily
a square).

Release LMB and drag the

Mouse up to draw a cuboid
(Figure 1.7).
Click LMB to set the shape.

Figure 1.7

Figure 1.8

Clicking LMB reverts the Mouse to the Cursor with the grid attached. You may repeat the
procedure to construct more cuboids (figure 1.8).
To cancel the process click the Box Select Tool in the Tool Panel (upper Tool).

Note: The Add Cube Tool may be employed in Object Mode and Edit Mode. To enter Edit Mode
you must have a Mesh Object existing in the Scene. Constructing a new Object using the Add
Cube (shape) Tool in Edit Mode will see the new shape joined to the original Mesh Object.

4
1.4 Objects from Add-ons
The default selection from the Add Menu in the 3D Viewport Editor includes Mesh Objects and
other Object Types. You should, however, be aware that there are other Mesh Objects available
in Blender. To access these you have to activate Add-ons in the Preferences Editor.

The Preferences Editor is opened by clicking Edit in the Blender Screen Header and selecting
Preferences.
Figure 1.9

In the Preferences Editor select

Add-ons in the Left Hand Column.

In the Right Hand Column scroll

down and find the Add Mesh Add-
ons.

To activate an Add-on check the

box adjacent to the Add-on name.
Details
Click the triangle to
display Add-on details.

5
 Add Mesh: Default Figure 1.10 Add Mesh: Extra Objects

Extra Objects

Experiment with the different Add-ons to

discover new Objects.

Add Mesh: Archimesh Figure 1.11

Archimesh provides a selection of

Architectural components.
Gear Worm

6
Add Mesh: BoltFactory

BoltFactory allows you to generate different configurations of Bolts and Nuts. Figure 1.12

With the Add Bolt Add-on activated, selecting Add –

Mesh – Bolt from the 3D Viewport editor Header
displays a default Bolt in the viewport.

Expand the Last Operator Panel in the lower left corner

of the viewport to display controls for configuring the
Type of Bolt or Nut required.
Last Operator

Figure 1.13

Modified Bolt Settings Default Bolt Settings

7
Add Mesh: Discombobulator Figure 1.14

To use Add Mesh: Discombobulator you must

have a Mesh Object selected in the 3D Viewport
Editor.

With the Object selected, select Add Mesh,

Discombobulator in the Header.
Figure 1.15

Adjust settings.
Click OK

Figure 1.16
Duplicate Object

Object Mode Edit Mode

Discombobulating produces a duplicate of the selected Object, subdivided and reconfigured

into a confused shape according to the settings entered in the Discombobulator panel.

8
1.5 Blender Assets
In blender an Asset is a Pre-Constructed Model, a Material (color), or a Material Texture or
anything that is useful.

Objects are Assets in that they provide a starting point for Modeling and creating the
components of a Scene.

Computer Graphics Artists often draw on Assets to embellish their work or to save time. There
are many sources on the internet where Assets may be downloaded, therefore, Blender
incorporates an Assets Browser in the program which links to an Assets Library. There are
also Add-ons which may be installed in Blender to provide additional Asset Resources.

The Assets Library is a Folder you create on your hard drive which, initially, will be empty. You
add Assets to the Library which may be viewed and selected in the Assets Browser, then entered
in the Scene in the current Blender File. The Assets Browser is, therefore, a special Editor.

One Add-on is named BlenderKit which provides a selection of Models, Materials, Scenes, HDR
Images and Brushes. The Add-on has to be downloaded and installed in Blender where it
provides links to on-line resources. To obtain BlenderKit you have to register as a user then
select a Free or Paid option.

Many on-line sources for Assets provide Free Assets and Paid Assets.

The Assets Browser

As previously stated the Assets Browser links to the Assets Library. At the time of writing this
feature is under development, therefore, the procedure of operation will depend on your version
of the Blender program. Initially access to the Assets Browser is obtained by clicking the Editor
Type Icon and selecting Assets Browser in the selection menu (Figure 1.17).
Editor Type Icon
Figure 1.17

9
For convenience divide the 3D Viewport Editor vertically and make one half the Assets Browser.
Assets Browser Clicking here displays the Library Selection Menu.

Asset Icons will display here for the

Current File when they are created.

Library Selection Menu Figure 1.18

Blender 3.0.1 User_Library
displays in Blender 3.1.0

Selecting Assets Library or User Library results in the following message being displayed.
Figure 1.19

No Asset Icons display when Current File is selected since Assets haven't been created
(Marked). The Path to Asset Library message displays because the File Path to the Library
hasn't been set or the Library hasn't been created.

Asset Libraries are Folders created on your hard drive in which you save Blender Files
containing content Marked as Assets.

The Assets Library is simply a Folder that you create on your hard drive. The Folder may
include sub Folders to categories your Assets.

Windows File Explorer Figure 1.20

Assets Library Folder

Asset Categories
Sub Folders

10
To enable the Assets Browser to find the Assets_Library Folder you set the File Path in the
Preferences Editor. Figure 1.21

Before creating a Library, Assets may be generated when Current File is selected.

For example; A modified default Cube Object can be an Asset. With the Modified Cube selected
in the 3D Viewport Editor, go to the Outliner Editor, select Cube, RMB Click and select Mark as
Asset in the menu that displays. An Icon depicting the Modified Cube appears in the Asset
Browser when Current File is Selected).

Asset Browser Figure 1.22 Outliner Editor

RMB Click
select
Asset Cube Icon when Mark as Asset
Mark as Asset clicked.

In the Assets Browser, click on the Cube Icon, hold and drag into
the 3D Viewport Editor creating duplications.
Figure 1.23
Modified Cube

3D Viewport Editor

Modified Cube

11
Add a Material to the Original Modified Cube in the Properties Editor, Material Properties. In the
Outliner Editor, select Material under Cube. RMB Click and select Mark as Asset.
Assets Browser Figure 1.24 Outliner Editor Figure 1.25

A Material Icon is displayed in the Assets

Browser.
Click- Hold - Drag

Select one of the duplicated Modified Cubes in

the 3D Viewport Editor. Click, hold and drag the
Material Icon over to the selected Cube to apply
the material to the Cube.
Figure 1.26
The foregoing has created and applied Assets
with the Assets Browser in Current File mode.
Saving the Blender File saves the Assets. The
Assets are available when the File is reopened.
When a new Blender File is opened the Assets Original Modified Cube
created are not available in a new Blender File.

To make Assets available for all Blender Files you create the Assets Library.

1.6 The Assets Library

Figures 1.24 and 1.25 show the Assets Library Folder created with Sub Folders categories. For
convenience the Assets Library Folder has been created in the C: Drive of the computer. You can
create a Folder and name it anything you like to be used as an Assets Library, providing you
enter the File Name and File Path to the Folder in the Preferences Editor.
Figure 1.27

Library Name File Path

Preferences Editor – Asset Libraries Tab

12
Adding Assets to the Library

Assets are added to the Library as previously explained when adding to the Current File. The
only difference being; you select Assets_Library instead of Current File.

Windows File Browser Figure 1.28

Blender File
The caveat for adding Assets is; you must have Blender Files containing what you wish to be an
Asset saved in your Assets Library Directory.
Blender File View Figure 1.29

Folders in the
Assets Library

Blender File
Containing
Human
Figure

Make_Human_Figure

Make_Human_Figure.blend
Figure 1.30
RMB Click
Make_Human_Figure
Mark as Asset

3D Viewport Editor Outliner Editor

13
Clicking Make_Human_Figure in the Outliner Editor and Mark as Asset places an Icon in the
Assets Browser (Figure 1.31). Click the Icon in the Assets Browser, hold and drag into the 3D
Viewport Editor to place the Model in the 3D Viewport Editor. You will have to Rotate and Scale to
suit the Scene. Blender Assets Browser
Figure 1.31

Icon in the
Assets Browser

Assets Packs

Assets Packs are collection of Blender Files containing pre-constructed Models. Models can
sometimes be very complex which means they are time consuming to create. There are
numerous websites which offer Assets Packs which will save you time when creating Scenes.
Some Packs are free, others require payment.

One free Asset Pack is named Ground Foliage Pack which may be downloaded from:

https://www.motionblendstudio.com/blender-vfx-assets
Figure 1.32

This particular Assets Pack downloads as a ZIP file named blenderGroundFoliage.zip

Unzipping the file produces two Folders; MACOSX and blenderGroundFolige.
Figure 1.33
The Folder named blenderGroundFoliage
contains several Blender Files. The Ground
Foliage Pack is contained in the File named:
Files in the Folder groundFoliage which is a Blender File.

14
Opening groundFoliage.blend, in Blender, displays a selection of models which may be
Appended into other Blender File.
Figure 1.34

3D Viewport Editor

Stump

You may also select each Model in the Outliner Editor and Mark as Asset which adds the
Model to your Assets Library.

Assets Browser Figure 1.35 Outliner Editor

Stump
Marked as Asset

You may add as many Assets as you like to the Assets Library, providing you have Blender Files
saved on your PC containing the Assets. The saved Assets will be available when you open a new
Blender File.

As you can imagine, over time, the Assets Library could become heavily populated and you will
accumulate many Blender Files.

An alternative is to use on-line resources. One resource is the BlenderKit Online Assets
Library.

1.7 BlenderKit
BlenderKit as an Add-on to Blender. Download: https://www.blenderkit.com/get-blenderkit/
Figure 1.36

15
 Download BlenderKit v3.0.7 Figure 1.37

blenderkit-3.0.7 saved in the Downloads Folder

The blenderkit-3.0.7 File is a compressed ZIP File. Do NOT unzip the File.

Go to the Preferences Editor, Add-ons. Click on Install. Navigate to the Downloads Folder in
Blender File View and select blenderkit-3.0.7. Click Install Add-on at the bottom of the panel.

Don't forget to activate the Add-on once installed.

Install blenderkit-3.0.7 in
Figure 1.38
Blender
Activate the Add-on

The Welcome Panel displays when

the Add-on is activated.

16
With BlenderKit installed and Activated the Properties
Panel in the 3D Viewport Editor (press N Key to toggle
display) includes a BlenderKit Tab.

Figure 1.39

With Search highlighted, clicking on one of the categories

opens selection panels for choosing an Asset.
Models

Other Categories

BlenderKit is linking Blender to an on-line Assets Library, therefore, Assets are not stored on
your PC.
Note: There are Locked and Unlocked Assets. Unlocked Assets are free, Locked Assets, you

have to pay for. Figure 1.40

Locked
Locked Unlocked

Click on an Asset to expand the Icon.

17
Mouse over on an Asset, click, hold and drag into the 3D Viewport Editor. Zoom in and rotate
the View.
Figure 1.41

In Figure1.41 the Motorcycle bear riding

Model is imported into the Blender File
complete with Materials and has a Metarig
for posing an Animation.

To use Material Assets, have a Model in the 3D Viewport Editor selected. Click, hold and drag
the Material Asset over the selected Model.
Figure 1.42

UV Sphere
Suzanne (Monkey)

Note: Some Materials take a while to load and only display with the 3D Viewport Editor in
Material Preview or rendered Viewport Shading Mode.

18
Another random document with
no related content on Scribd:
to themselves the office of escort. Quite gleefully they followed her,
as she, unconscious of their presence, trudged toward the hotel. She
was so thoughtful as to save them even the small trouble of
transporting her.
“Like the feller that let the bear chase him into camp so’s he could
shoot his meat nigh home,” whispered one of the gentlemen.
Carmel proceeded rapidly; too rapidly for such precautions as she
should have observed. She was without plan; her mind was in such
chaos as to render planning futile. Instinct alone was not inactive....
No matter how shaken the objective faculties may be, those superior
subjective intuitions and inhibitions and urgings never sleep. Their
business is so largely with the preservation of the body which they
inhabit that they dare not sleep.
Quite without thinking; without a clear idea why she did so, Carmel
turned off the road and took to the woods. Self-preservation was at
work. Instinct was in control.... The gentlemen behind quickened
their pace, disgruntled at this lack of consideration on the part of
their quarry.... It was with some difficulty they found the place where
she entered the woods.... Carmel herself had vanished utterly. In that
black maze, a tangle of slashings, a huddle of close-growing young
spruce, it was impossible to descry her, to tell in which direction she
had turned. Nor did they dare make use of a flashlight in an effort to
follow her trail. However, they must needs do something, so, keeping
the general direction of the hotel, paralleling the road, they
proceeded slowly, baffled, but hopeful....
 CHAPTER XXIII
IT is not easy for one unaccustomed to the woods to remain
undeviatingly upon his course even in the daytime; at night it can be
accomplished only by a miracle. Carmel, in a state of agitation which
was not distant from hysteria, had paused neither to consider nor to
take her bearings. Of herself she was utterly careless. The only
thought in her mind was to reach, and in some manner to give aid to,
Evan Pell if he remained alive. Instinct alone moved her to turn off
the road and seek the protection of the forest. Once engulfed in its
blackness she stumbled alone, tripping, falling, turning, twisting—
hurrying, always hurrying.... The physical exertion cleared her brain,
reduced her to something like rationality.
She paused, leaned panting against the bole of a great beech ... and
discovered she was lost.
The evening had been cloudy, but now the clouds were being
dissipated by an easterly breeze—a chilly breeze—and from time to
time the moon peered through to turn the blackness of the woods
into a cavern, dim-lit, filled with moving, grotesque alarming
shadows. The shape of fear lurks always in the forest. It hides
behind every tree, crouches in every thicket, ready to leap out upon
the back of him who shall for an instant lay aside the protective
armor of his presence of mind. The weapon of fear is panic.... Fear
perches upon the shoulder, whispering: “You are lost. You know not
which way to go.... You have lost your way.” Then there arises in the
heart and brain of the victim a sensation so horrible that words
cannot describe it; it can be realized only by those who have
experienced it. It is a combination of emotions and fears, comparable
to nothing.... It is a living, clutching, torturing horror. First comes
apprehension, then bewilderment. A frenzied effort to discover some
landmark, to tear from the forest the secret of the points of the
compass. One determines to sit calmly and reflect; to proceed
coolly.... The thing is impossible. One sits while the watch ticks fifty
times, and is sure he has rested for hours. He arises, takes two
steps with studied deliberation, and finds he is running, bursting
through slashings and underbrush in unreasoning frenzy. And frenzy
thrives upon itself. One wishes to shout, to scream.... Fear chokes
him, engulfs him. Reason deserts utterly, and there remains nothing
but horror, panic....
Carmel experienced this and more. Throbbing, rending terror was
hers, yet, even at the height of her panic, there lay beneath it,
making it more horrible, her fear for Evan Pell. She uttered his name.
Sobbing, she called to him—and always, always she struggled
forward under the urge of panic. Even the little nickel-plated electric
flash in her pocket was forgotten. That would have been something
—light! It would have been a comfort, a hope.... How long she ran
and fell, picked herself up to stagger onward to another fall, she did
not know. For minutes the woods were an impenetrable gulf of
blackness; then the moon would emerge to permit its eerie light to
trickle through the interlacing foliage, and to paint grotesque patterns
upon the ground beneath her feet. Threatening caverns loomed;
mysterious sounds assailed her.... She was sobbing, crying Evan
Pell’s name. And then—with startling suddenness—the woods
ceased to be, and light was.... The heavens were clean swept of
clouds, and the moon, round and full, poured down the soft silver of
its radiance—a radiance reflected, mirrored, turned to brighter silver
by the rippled waters of the lake.... Carmel sank in a pitiful little heap
and cried—they were tears of relief. She had reached the lake.
It was possible to reason now. She had turned from the road to the
right. The Lakeside Hotel was to the left of the road, and, therefore,
she had but to skirt the shore of the lake, traveling to leftward, and
she must reach her destination.
She arose, composed herself, and, womanlike, arranged her hat and
hair. Then, keeping close to the water for fear she might again
become bewildered and so lose this sure guide, she started again
toward her objective.
As she turned a jutting point of land she saw, a quarter of a mile
distant, the not numerous lights which indicated the presence of
Bangs’s ill-reputed hostelry. This sure realization of the nearness of
danger awakened caution. It awakened, too, a sense of her futility.
Now that she was where something must be done, what was there
possible for her to do? What did she mean to do?... She could not
answer, but, being an opportunist, she told herself that events should
mold her actions; that some course would open before her when
need for it became imminent.
Small things she noted—inconsequential things. The lake had fallen
during the dry weather. She noted that. It had receded to leave at its
edge a ribbon of mud, sometimes two feet, sometimes six feet
wide.... This was one of those inconsequential, extraneous facts
which appear so sharply and demand attention when the mind is
otherwise vitally occupied.... She noted the thick-growing pickerel
grass growing straight and slender and thrusting its spears upward
through the scarcely agitated water. It was lovely in the moonlight....
She noted the paths upon the water, paths which began without
reason and wound off to no destination.... Her eyes were busy,
strangely busy, photographically occupied. No detail of that nocturne
but would be printed indelibly upon the retina of her brain so long as
she should live.... Details, details, details!
Then she stopped! Her hand flew to her breast with sudden gesture
and clutched the bosom of her waist. She started back, trembling....
Was that a log lying half upon the muddy ribbon, half submerged in
the receded waters of the lake? She hoped it was a log, but there
was something—something which arrested her, compelled her.... If it
were a log it was such a log as she never had seen before.... It had
not a look of hard solidity, but rather of awful limpness, of softness. It
sprawled grotesquely. It was still, frightfully still.... She gathered her
courage to approach; stood upon the grassy shelf above this shape
which might have been a log but seemed not to be a log, and bent to
peer downward upon it....
She thought she screamed, but she did not. No sound issued from
her throat, although her lips opened.... She fell back, covering her
face.... The log was no log; it was no twisted, grotesque drift wood....
It was the body of a man, the limbs of a man fearfully extended....
Carmel felt ill, dizzy. She struggled against faintness. Then the
searing, unbearable thought—was it Evan?... She must know, she
must determine....
Alone with the thing beneath her, with the fearsome woods behind
her, with the lonely, coldly glittering lake before her, it was almost
beyond belief that she should find the courage to determine....
Something within her, something stronger than horror, than terror,
laid its hand upon her and compelled her. She could not, dared not,
believe it was Evan Pell.
From her pocket she drew the little, nickel-plated flashlight and
pressed its button. Then, covering her eyes, she forced herself inch
by inch to approach the lip of the grassy shelf.... She could not look,
but she must look.... First she pointed the beam of the light
downward, her eyes tight-closed. Clenching her fist, biting her lips,
she put every atom of strength in her body to the task of forcing the
lids of her eyes to open—and she looked, looked full upon the awful
thing at her feet.
For an instant sickness, frightful repulsion, horror, was held at bay by
relief.... It was not Evan. Those soggy garments were not his; that
bulk was not his.... She dared to look again, and let none decry the
courage required to perform this act.... It was a terrible thing to
see.... Her eyes dared not remain upon the awful, bearded face.
They swept downward to where the coat, lying open, disclosed the
shirt.... Upon the left bosom of the shirt was a metal shape. Carmel
stared at it—and stared.... It was a star, no longer bright and
glittering, but unmistakably a star....
Then, instantly, Carmel Lee knew what had become of Sheriff
Churchill....
It was enough; she was required to look no more.... The spot was
accursed, unendurable, and she fled from it; fled toward the lights of
the Lakeside Hotel.... That they were lights of which she could not
beg shelter she did not think; that she was safer with the thing which
the lake had given up she did not consider. That the living to whom
she fled were more frightful than the dead whom she deserted was
not for her to believe in that moment. She must have light; she must
feel the presence of human beings, hear human voices—it mattered
not whose they were.
Presently, forcing her way through a last obstruction of baby
spruces, she reached the thoroughfare, and there, hidden by the
undergrowth, she stood, looking for the first time upon this group of
buildings so notorious in the county, so important in her own affairs.
The hotel itself, a structure of frame and shingles, stretched along
the lake—a long, low, squatting, sinister building. A broad piazza
stretched from end to end, and from its steps a walk led down to a
wharf jutting into the water. To the rear were barns and sheds and an
inclosure hidden from the eye by a high lattice—a typical roadhouse
of the least desirable class.... She searched such of its windows as
were lighted. Human figures moved to and fro in the room which
must have been the dining room. An orchestra played....
She had been on the spot but a moment when she heard the
approaching engine of some motor vehicle. She waited. A huge
truck, loaded high and covered with a tarpaulin, drew up to the gate
at the rear of the hotel. Its horn demanded admittance, the gate
opened and it rolled in.... She waited, uncertain. Another truck
appeared—high loaded as the first—and was admitted.... Then, in
quick succession, three others.... Five trucks loaded to capacity—
and Carmel knew well what was their load!... Contraband!... Its value
to be counted not by thousands of dollars, but by tens of thousands!
The facts were hers now, but what was she to do with them? To
whom report them?... And there was Evan. What mattered
contraband whisky when his fate was in doubt? Evan Pell came first
—she realized now that he came first, before everything, before
herself!... She asked no questions, but accepted the fact.
Keeping to the roadside in the shadows, she picked her way along
for a couple of hundred feet, meaning to cross the road and to make
her way to the rear of the hotel’s inclosure. There must be some
opening through which she might observe what passed and so make
some discovery which might be of use to her in her need.... She
paused, undecided, determined a sudden, quick crossing would be
safest, and, lifting her skirts, ran out upon the roadway....
There was a shout, a rush of feet. She felt ungentle hands, and,
dropping such inhibitions as generations of civilization had imposed
upon her, Carmel fought like a wildcat, twisting, scratching, tearing....
She was crushed, smothered. Her arms were twisted behind her, a
cloth jerked roughly over her face, and she felt herself lifted in
powerful arms.... They carried her to some door, for she heard them
rap for admission.
“Who’s there?” said a voice.
“Fetch Peewee,” said one of her captors. “Quick.” Then came a short
wait, and she heard Peewee Bangs’s nasal voice. “What’s up?” he
demanded.
“We got her. What’ll we do with her?”
“Fetch her in,” said Peewee. “Up the back stairs. I’ll show ye the
way.”
Carmel, not struggling now, was carried up a narrow flight of steps;
she heard a key turn in a lock. Then she was thrust into a room,
pushed so that she stumbled and went to her knees. The door
slammed behind her and was locked again.... She got to her feet,
trembling, wavering, snatched the cloth from her face, and looked
before her.... There, in the dim light, she saw a man. He stood
startled, staring with unbelieving eyes.
“Evan!...” she cried. “Evan!... Thank God you’re alive.”
 CHAPTER XXIV
HE did not come toward her; did not move from his place, and then
she saw that he stood only by clinging to the back of a chair.... He
leaned forward and stared at her through eyes drawn by pain.
“You’re hurt!... They’ve hurt you!” she cried.
“My ankle only,” he said. “Sprained, I fancy.” Then, “What are you
doing here?” He spoke almost petulantly as one would speak to a
naughty child who turns up in some embarrassing spot.
“I—I found your letter,” she said.
“My letter?... Ah yes, my letter.... Then I—I brought you into this
trap.”
“No.... Evan, it was a fine thing you did. For me. You—have come to
this for me.”
“It was an exceedingly unintelligent thing—writing that letter.”
“Listen, Evan.... As long as I live I shall be glad you wrote it. I am
glad, glad ... to know there is a man capable of—of sacrificing and—
maybe dying for——”
“Nonsense!” said Evan. “It was a trap, of course. And I thought my
mental caliber was rather larger than that of these people. Very
humiliating.” He frowned at her. “Why did you have to come?”
“You ask that?”
“I most certainly do ask it. You had no business to come. Wasn’t my
failure to return a sufficient warning?... Why did you take this foolish
risk?”
“You don’t know?”
“I want to know,” he said with the severity of a schoolmaster cross-
questioning a refractory pupil.
“Must I tell?”
“You must.” Carmel was almost able to see the humor of it. A
pathetic shadow of a smile lighted her face.
“I didn’t want to—to tell it this way,” she said. “I——”
“Will you be so good as to give me a direct answer? Why did you
come rushing here—headlong—when you knew perfectly well——”
He paused and his severe eyes accused her.
She moved a step closer; her hands fluttered up from her side and
dropped again; she bit her lip. “Because,” she said, in the lowest of
voices, “I love you—and—and where you were I—wanted to be.”
The chair which supported Evan tipped forward and clattered again
into place. He stared at her as if she were some very strange
laboratory specimen indeed, and then said in his most insistently
didactic voice, punctuating his words with a waggling forefinger, “You
don’t mean to stand there—and to tell me—that you love me!”
Carmel gave a little laugh.
“Don’t you want me to?”
“That,” he said, “is beside the question.... You ... you ... love me?”
She nodded.
“I don’t believe you,” he said. “You couldn’t. Nobody could.... I’ve
been studying this—er—matter of love, and I am assured of my
complete unfitness to arouse such an emotion.”
Her heart misgave her. “Evan—you—you love me?”
“I do,” he said, emphatically. “Most assuredly I do, but——”
“Then it’s all right,” she said.
“It’s not all right.... I don’t in the least believe you—er—reciprocate
my feeling for you.... You are—er—deceiving me for some reason.”
“Evan—please—oh——” Her lips quivered and her voice became
tearful. “You—you’re making it—terribly hard. Girls don’t usually have
to—to argue with men to—to make them believe they love them....
You—you’re hurting me.”
“I—er—have no intention of doing so. In fact I—I would not hurt you
for—anything in the world.... As a matter of—of fact, I want to—
prevent you from being hurt....” At this point he bogged down, the
wheels of his conversation mired, and progress ceased.
“Then,” demanded Carmel, “why do you make me do it?”
“Do what?”
“Propose to you, Evan Pell. It’s not my place. I have to do all the
courting.... If you—you want me, why don’t you say so—and—and
ask me to marry you?”
“You—you’d marry me?”
“I don’t know.... Not—I won’t say another word until you’ve asked me
—as—as a man should.”
He drew a deep breath and, bending forward, searched her face with
hungry eyes. What he saw must have satisfied him, given him
confidence, for he threw back his shoulders. “I can’t come to you,” he
said, gently. “I want to come to you. I want to be close to you, and to
tell you how I love you—how my love for you has changed my life....
I—my manner—it was because I couldn’t believe—because the idea
that you—you could ever see anything in me to—to admire—was so
new. I never believed you—could.... I—was satisfied to love you. But
—Carmel—if you can—if some miracle has made you care for a
poor creature like me—I shall—Oh, my dear!—it will make a new
world, a wonderful and beautiful world.... I—I can’t come to you. Will
you—come to me?”
She drew closer slowly, almost reluctantly, and stood before him. His
grave, starving eyes looked long into hers.
“My—my dear!” he said, huskily, and kneeling upon the chair with his
sound leg—in order to release his arms for more essential purposes,
he held them out to her....
“Your arms are strong,” she said presently. “I had no idea.... You are
very strong.”
“I—exercise with a rowing machine,” he said.... And then: “Now we
must think.... I didn’t much care—before. Now I have something to
live for.”
His words brought Carmel back to the realities, to the prison room in
which they were locked, and to the men below stairs who had made
them prisoners for their sinister purposes.
“I have found Sheriff Churchill,” she said.
“His body?”
She nodded. “And this house is full of contraband liquor. Five big
trucks—loaded....”
“All of which is useless information to us here.”
“What—do you think they will do with us?”
Evan turned away his head and made no answer.
Carmel clutched his arm. “Oh, they wouldn’t.... They couldn’t.... Not
now. Nothing can happen to us now.”
“At any rate,” he said, gravely, “we have this. It is something.”
“But I want more. I want happiness—alive with you.... Oh, we must
do something—something.”
“Sit down,” he said. “Please—er—be calm. I will see what is to be
done.”
He sank into the chair, and she sat close beside him, clinging to his
hand. Neither spoke.... At the sound of footsteps in the hall outside
their heads lifted and their eyes fastened upon the door. A key
grated in the lock and the door swung inward, permitting Peewee
Bangs to enter. He stood grinning at them—the grin distorting his
pinched, hunchback’s face.
“Well,” he said, “here you be—both of ye. How d’ye like the
accommodations?”
Peewee evidently came to talk, not to be talked to, for he did not wait
for an answer.
“Folks that go meddlin’ in other folkses’ business ought to be more
careful,” he said. “But numbers hain’t.... Now you was gittin’ to be a
dummed nuisance. We’ve talked about you consid’able.... And say,
we fixed it so’s you hain’t goin’ to be missed for a day or so. Uh huh.
Had a feller telephone from the capital sayin’ you was back there on
business.”
“What—are you going to do with us?” Carmel asked.
“Nothin’ painful—quite likely. If you was to turn up missin’ that ’u’d
make too many missin’ folks.... So you hain’t a-goin’ to. Nope. We
calc’late on havin’ you found—public like. Sure thing. Sheriff’s goin’
to find ye.”
“Sheriff Jenney?”
“That’s him.... We’re goin’ to kind of arrange this room a little—like
you ’n’ that teacher feller’d been havin’ a nice leetle party here.
Understand?... Plenty to drink and sich.” He drew his head back
upon his distorted shoulders and looked up at them with eyes in
which burned the fire of pure malice. Carmel turned away from him
to determine from Evan’s face if he understood Bangs’s meaning. It
was clear he did not.
“Don’t git the idea, eh?” Peewee asked, with evident enjoyment.
“Wa-al, since we got a good sheriff and one that kin be depended on,
things is different here. He’s all for upholdin’ the law, and he aims to
make an example out of me.”
“Sheriff Jenney make an example of you!” Carmel exclaimed.
“Funny, hain’t it? But that’s the notion. You bet you.... Goin’ to kind of
raid my hotel, like you might say, and git evidence ag’in’ me. Dunno’s
he’ll find much. More’n likely he won’t.... But he’ll find you two folks—
he’ll come rampagin’ in here and find you together as cozy as bugs
in a rug.” Peewee stopped to laugh with keen enjoyment of the
humorous situation he described. “He’ll find you folks here, and he’ll
find how you been together to-night and all day to-morrer.... And
plenty of refreshments a-layin’ around handy. Reg’lar party.”
“You mean Sheriff Jenney will come to this hotel—officially—and find
Mr. Pell and myself in this room?”
“That’s the ticket.”
“Why—why—he’d have to let us go.”
“Sooner or later,” said Peewee. “Fust he’d take you to the jail and
lock you up—disorderly persons or some sich charge. Drinkin’ and
carousin’ in my hotel!... Course he’ll have to let you go—sometime.
Maybe after the jedge gives you thirty days in the calaboose.”
“Um!... I think I comprehend,” said Evan, slowly. “I—In fact, I am sure
I comprehend.... Sheriff Jenney did not originate this plan, I am
sure.... Nor yourself. It required a certain modicum of intelligence.”
“’Tain’t no matter who thought it up—it’s thought,” said Peewee, “and
when the town of Gibeon comes to know all the facts—why, I don’t
figger you two’ll be in a position to do nobody much harm.... Folks
hain’t apt to believe you like you was the Bible. Kind of hidebound,
them Gibeon people. Sh’u’dn’t be s’prised if they give you a ride out
of town on a rail.”
“Nobody would believe it. We would tell everyone how we came to
be here.” This from Carmel.
“We’re willin’ to take that chance,” grinned Peewee. “Seems like a
certain party’s got a grudge ag’in’ you, miss, and he allus pays off his
grudges.”
“As he paid off Sheriff Churchill,” said Carmel.
“Killin’,” said Peewee, sententiously, “is quick. This here’ll last you a
lifetime. You’ll allus be knowed as the gal that was arrested with a
man in the Lakeside Hotel....”
He turned on his heel and walked to the door; there he paused to
grin at them maliciously before he disappeared, locking the door
after him with elaborate care.
“They—nobody would believe,” said Carmel.
“I am afraid, indeed, I may say I am certain, everybody would
believe,” said Evan. “I have seen the reactions of Gibeon to affairs of
this sort. Gibeon loves to believe the worst.”
“Then——”
“We would have to go away,” said Evan, gravely.
“But—but the story would follow us.”
“Such stories always follow.”
Carmel studied his face. It was Evan Pell’s face, but for the first time
she saw how different it was from the pedant’s face, the
schoolmaster’s face, he had worn when first she met him. The
spectacles were gone; the dissatisfied, supercilious expression was
gone, and, in its place, she perceived something stronger, infinitely
more desirable. She saw strength, courage, sympathy,
understanding. She saw what gave her hope even in this, her
blackest hour. If the worst came to the worst she had found a man
upon whom to rely, a man who would stand by her to the end and
uphold her and protect her and love her.
Yet—she closed her eyes to shut out the imagined scenes—to be
branded as a woman who could accompany a man to such a resort
as the Lakeside, and to remain with him there for days and nights—
carousing!... She knew how she regarded women who were guilty of
such sordid affairs. Other women would look at her as she looked at
them, would draw away their skirts when she passed, would peer at
her with hard, hostile, sneering eyes.... That would be her life
thenceforward—the life of an outcast, of a woman detected in sin....
It would be horrible, unspeakably horrible—unbearable. She had
valued herself so highly, had, without giving it conscious thought, felt
herself to be so removed from such affairs as quite to dwell upon a
planet where they could not exist. She had been proud without
knowing she was proud.... It had not been so much a sensation of
purity, a consciousness of purity, as a sureness in herself, a certainty
that evil could not approach her.... And now....
“Evan—Evan—I am frightened,” she said.
“If only you had not come,” he answered.
“But I am here—I am glad I am here—with you.”
He stretched out his hand toward her and she laid her hand in the
clasp of his fingers.
“We have until to-morrow night,” he said. “Twenty-four hours.”
“But——”
“Empires have fallen in twenty-four hours.”
“Maybe—some one will come to look for us.”
He shook his head. “They will have taken care of that.”
“Then you—think there is no chance.”
“I—— Carmel dear, the chance is slight. I must admit the chance is
slight. But with twenty-four hours.... If——” His eyes traveled about
the skimpily furnished room, searching for something, searching for it
vainly. “If I could walk,” he said. “I’m—almost helpless.”
She went to him, trembling, the horror of the future eating into her as
if it were an acid-coated mantle. “I—I won’t be able to live,” she said.
He did not answer, for his eyes were fixed on the door which led, not
into the hall, but into an adjoining bedroom. They rested upon its
white doorknob as if hypnotized.
“Will you help me to that door?” he asked. “I’ll push the chair along.
You—can you keep me from falling?”
Slowly, not without twinges of hot pain in his injured ankle, they
reached the door. Evan felt in his pocket for his penknife, and with it
set about loosening the screw which held the knob in place. Twice
he broke the blade of his knife, but at last he managed the thing. The
white doorknob rested in his hand.
“There,” he said, “that is something.”
“What?... I don’t understand.”
He sat in the chair, removed the shoe from his sound foot and then
the sock. He did this slowly, methodically, and as methodically
replaced the shoe on his sockless foot. Then he lifted from the floor
the stocking and dropped into it the doorknob. It fitted snugly into the
toe.
“Er—I have read of such things,” he said. He grasped the sock by
the top and whirled it about his head. “Mechanics,” said he, “teach us
that a blow delivered with such an implement is many times more
efficacious than a blow delivered with the—er—solid object held
directly in the hand....”
 CHAPTER XXV
“I HAVE come to the conclusion,” said Evan Pell, “that every man, no
matter what his vocation, should be a man of action. That is to say,
he should devote some attention and practice to those muscular and
mental activities which will serve him should some unexpected
emergency arise.”
“Yes,” said Carmel.... “Yes.”
“I find myself with little or no equipment for strenuous adventure.
This, we must admit, proves itself to be a serious oversight.”
“Do you know how long we have been shut in this room?” Carmel
demanded.
“I do. You were—er—propelled into this place at approximately ten-
thirty last night. It is now five o’clock to-day. Eighteen hours and a
half.”
“Nothing has happened—nothing!... We’ve been fed like animals in a
zoo.... I dozed fitfully during the night. We’ve talked and talked, and
waited—waited.... This waiting! Evan, I—it’s the waiting which is so
terrible.”
“There are,” said Evan, with self-accusation in his voice, “men who
would escape from this place. They would do it with seeming ease.
Undoubtedly there is a certain technique, but I do not possess it. I—
er—on an occasion I attended a showing of motion pictures. There
was an individual who—without the least apparent difficulty,
accomplished things to which escape from this room would be mere
child’s play.”
“To-night,” said Carmel, “the sheriff will come to this hotel, and find
us here.”
“What must you think of me?” Evan said, desperately. He turned in
his chair and stared through the window toward the woods which
surrounded the hotel upon three sides, his shoulders drooping with
humiliation. Carmel was at his side in an instant, her hands upon his
shoulders.
“Evan!... Evan! You must not accuse yourself. No man could do
anything. You have done all—more than all—any man could do....
We—whatever comes, we shall face it together.... I—I shall always
be proud of you.”
“I—I want you to be proud of me. I—the man will be here with our
food in half an hour.... Would you mind standing at some distance?”
She withdrew, puzzled. Evan drew from his pocket the stocking with
the doorknob in its toe and studied it severely. “This,” said he, “is our
sole reliance. It has a most unpromising look. I have never seen an
implement less calculated to arouse hope.”
He edged his chair closer to the bed, grasped the top of the sock,
and scowled at a spot on the coverlid. He shook his head, reached
for his handkerchief, and, folding it neatly, laid it upon the spot at
which he had scowled.
“A—er—target,” he explained.
Then, drawing back his arm, he brought down the improvised slung-
shot with a thud upon the bed.
“Did I hit it?” he asked.
“I—I don’t think so.”
“I knew it.... It is an art requiring practice.”
Again and again he belabored the bed with his weapon, asking after
each blow if he had struck the mark. “I fancy,” he said, “I am
becoming more accomplished. I—er—am pretending it is a human
head. I am endeavoring to visualize it as the head of an individual
obnoxious to me.”
“But why? What are you about?”
“I have heard it said that desperate situations demand desperate
remedies. I am about to become desperate. Do I look desperate?”
He turned to her hopefully.
“I—you look very determined.”
“It is, perhaps, the same thing. I am very determined. I am
inexorable.... Please listen at the door. If he comes upon us before I
have time to make essential preparations, my desperation will be of
no avail.”
Carmel went to the door and listened while Evan continued to
belabor the bed. “Decidedly,” he panted, “I am becoming proficient. I
hit it ten times hand-running.”
“But——”
“Please, listen.... You see how impossible it is for me to escape. I am
unable to walk, much less to make satisfactory speed.... You,
however, are intact. Also, if one of us is found to be absent, this
unspeakable plan must fail. I am working upon a plan—a desperate
plan—to make possible the absence of one of us—namely, yourself.”
“Silly!... Do you think I would leave you here—for them to—to do
what they wanted to?”
“If you escape they will dare do nothing to me. That is clear.
Undoubtedly they will be chagrined, and at least one of their number
will be—in a position to require medical attention. I trust this will be
so. I should like to feel I have injured somebody. A latent savagery is
coming to the surface in me.”
“But what are you going to do?”
“I think I had best assume the position necessary to my plan,” he
said. “Would you mind helping me to the door?”
He hitched his chair along until it stood close to the wall at the side of
the door opposite from its hinges. Evan flattened himself against the
wall where it would be impossible for one entering the door to see
him until well within the room.
“There,” he said. “You, also, have your part.”
“What—what must I do?”
“He will be carrying a tray of dishes. If—events should so shape
themselves that he should drop this, a tremendous and alarming
crash would result. It would spell disaster. You, therefore, will be at
the door when the man opens it, and will reach for the tray. Be sure
you have it grasped firmly—and on no account—it matters not how
startled you may be at what follows—are you to drop it. Everything
depends upon that.”
“And then——”
“A great deal depends upon yourself. The unexpectedness of our
attempt will militate in our favor. Should matters eventuate as I
expect, you will be able to leave this room. From that instant I cannot
help you.... But, an attempt on our part not being expected, I rather
imagine you will be able to make your way downstairs and out of
doors.... It is only a chance, of course. It may fail, in which event we
will be no worse off than we are at present.... You will then hasten to
Gibeon and take such measures as you conceive to be adequate.”
“I shan’t leave you.... I shan’t, I shan’t, I shan’t.”
His lips compressed and an expression appeared upon his face
which she had never seen there before. It was masterful, an
expression of conscious force. It was the real man peering through
its disguise. His hand clenched into a fist.
“By Heavens!” he said, “you’ll do as you’re told.”
“Evan!”
“Precisely,” he said. “Now make ready.”
They waited, wordless. It was five minutes perhaps before heavy
feet ascended the stairs, and they heard the rattle of dishes as the
man set down his tray to unlock the door. He thrust it open with his
foot, picked up the tray and stepped through the opening. Carmel
stood before him. She stretched out her hands for the tray and
grasped it.... As she did so, Evan Pell, standing poised over his
chair, swung forward his homely weapon.... His practice had made
for efficiency. The doorknob thudded sickeningly upon the man’s
bald head; he stood swaying an instant, then his knees declined
further to sustain his weight, and he folded up into a limp heap on
the floor.