3ds Max + Vray: Modeling Projects for Advanced Architectural Interiors | Adam Zollinger | Skillshare

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3ds Max + Vray: Modeling Projects for Advanced Architectural Interiors

teacher avatar Adam Zollinger, Professional Arch Viz Artist / Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 17m)
    • 1. Modeling Wall Panels

    • 2. Modeling an Intricate Wood Floor

    • 3. Modeling a Detailed Window

    • 4. Modeling Window II

    • 5. Modeling Console Furniture

    • 6. Console Model II

    • 7. Console Model III

    • 8. Modeling Home Decor Piece

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About This Class

This project based course has many modeling exercises that help you to increase your skills and create advanced architectural interiors. Students will create the basic bones of an interior image by following along and modeling different detail elements of the scene. Students will learn poly modeling techniques, as well as some advanced modifiers and other tools.

Where This Course Will Take You

This course takes you beyond basic tools in 3ds Max, and into the world of high-end architectural (arch viz) imagery. You will learn the professional workflow and tools that are used in the industry to achieve stunning, photorealistic results in 3d. 

Project Files

Follow along with the various parts of the project that are provided for you and create a professional arch viz interior by the end. Along the way you will have learned all sorts of tips and tricks, workflow techniques, and tools in advanced software packages, all while creating your own custom rendered scene to add to your portfolio.

Meet Your Teacher

Teacher Profile Image

Adam Zollinger

Professional Arch Viz Artist / Teacher



Adam has been working as a professional (and award winning) 3d artist for over 10 years, but his expertise does not stop there.  He has also authored / illustrated a children's book, and created graphics for numerous mobile games, and has been teaching 3d graphics professionally for 5 years.  He has expert knowledge in the following programs: 


3ds Max




After Effects

Unreal Engine 4


Various other software programs and plugins

Most importantly, he has dedicated himself to lifelong learning, and he loves to teach others as well. 


From the artist: 

"I mostly work in the Architectural Visualization industry. ... See full profile

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1. Modeling Wall Panels: Okay, so this is not a basic modeling course, but I do want to go through some of the modeling that is unique to this project and perhaps some of the more advanced stuff that isn't familiar to everyone. So let's take a look at my finish seen here and what we've got going on inside and that. Okay, so there's the whole scene right there and you can see the walls are just created with basic polygons. And I extruded big openings in it for the windows and actually closed that window off because I wanted it darker in this other room so that it really has kind of a shadowy feel in the front. And then it opens up into this very bright room so you can see right now the window's air not modeled This credenza back here buffet whatever you wanna call it is not completely model. It's just kind of a box. So in the finished image I'm using as the promo image, where is the finished result here? This is exactly the model I rendered from, so it's not completely finished, as you can see, so we'll finish some of those things I want to look a little bit at this wall here and how it created that again. The outside is just basic polygons, and I kind of created this one and this one and bridged between them to create a closed off opening. And that's to keep the light out, which is of course, important. And that's just the basic shell. And then, for these panels, let's look through the view. You can see these panels here. Let's isolate them and take a look at what I did. These are actually very easy to model. Okay, so what I did was I took a box. Alright. Rectangle, I should say, standard primitive shapes. OK, go to rectangle converted to an ad. It's plein, but right clicking. And then I just created a basic profile like this. We'll say something like that, okay? And then bring this out and close it off close flying. Yes, it's going to the Verdecia mode and line this all up. Okay, And then take these and make them something like that. Okay, so there's a basic profile. Let's take this and make it a busy a corner and kind of Ah, just do that. Give it that little edge. And let's take this up here, okay? Something like that. All right. So a very basic profile, And then we just took this and we swept it. I have the sweet modifier. Here's you've maybe seen some of my other courses. And if all this is too advanced for you, then you can go back to my other courses, which are more beginner. I expect some sort of knowledge from you from your previous courses or just from your own knowledge of how to model and on all the things that I'm doing. So I'm moving through this pretty quickly. Take the edits, Pline. And you can use sweep right there and use a custom shape Pick this one we just made. Like, so make sure everything's working right. You can see that There's some weird creasing going on right there. And that's because of smoothing. So we want to actually not smooth the path. So we get a nice, crisp corner there, but we will smooth section, which is this this shape here. We want it smoothed along those lines. Okay, so there it is. Okay. Once you have your spine and your sweep made sweep is just a modifier, obviously. But let's convert that to edit Polly. Now we can take the borders and it should be. Actually, we made it a closed objects, so there is no borders. But if we delete these back faces and we will have a border right here, borders have to be open. And we will cap it like that. Of course, you could have just made another rectangle and attached it to that Polly. I do want it to be all one at a poly because then I can stretch it all together. So now what we need to do is turn on our access constraints move only in the X. Of course. The other way to do that is to turn on your gizmos, select X, make sure it's highlighted or select. Why make sure it's highlighted. All right, so I'm doing that via hot keys. OK, now that you have that one panel made, you just need to move in place. Well, actually, let's do it right over here. Could delete this now and we select the entire element and copy it over. Clone to element is what we want. Don't want it as a separate object okay, and then we include it one more time. And the nice thing about this now is that we can stretch the whole thing together like this . We could make that center panel bigger, right? And then we can even take all three of these elements and copy them down. Like so get them in place with our snaps on. I'm using Hot Key s to turn on and off my snaps. As you can see, I really want this at 2.5 T snap. Okay. I had a little glitch in my computer and it shut down what I was working on. But that's OK, because we were already, to this point, basically right. Copied it around with my different Ed Polly elements. And then you can just take the same thing, take the same kind of panels, rotate them around 90 degrees to make the next wall and just follow along that outer shell that's created with that at Polly's to keep the light out, as I said and just covered in these panels. So for this part right here, that might be the only complicated part. But obviously what you can do is just continue take these elements. Rotate here, rotate here 90 degrees C in bottom 90 degrees right there and then go from the top view and just place it like So Okay, so you can just build up all your walls just like that. These air usual create really nice panels for you. So that's pretty basic. That's how we did the panels. Let's move on to something else. I think we're gonna talk about how I created the floor in this scene. 2. Modeling an Intricate Wood Floor: Okay, now let's take a little look at how he created this beautiful floor down here. It's not super complicated, and I've actually shown how to do this before in some of my other classes. But let's go over it here. It's a little bit of advanced modelling and some tips and tricks that I know just from creating a lot of these. OK, so all this is is one object, well, really, one element of a three D polity copied around a bunch of times, But there's a few things that we need to do to make it look really nice. One thing is, I added a little bit of extra modeling into there so they could, but a noise might of fire on it and add a little wave and variation into there. And then you can see I have a material by Element, which makes it so that I can put the different material elements on there, making a random texture going throughout the floor. You can see that I created this in a small panel, and you need that to be big enough so that you don't see this. Visually, you don't catch the repetition so you can take this panel and copied over here and then maybe mirror it so that it doesn't. It repeats even less often day. But you need enough variation in a big enough panel so that you're not gonna catch the tiling in the variation. So to create this from scratch, what you would do is take this and say rectangle and create a rectangle, and we want it to be exactly four times as long as it is wide like that. So two feet long, well, six foot long, two foot wide, but really this way do for long. Six wide. Okay, that's our rectangle. And then we can put a simple extrude on it, which I have a button for. Here. You can also find it in the modifier panel here extreme, and we'll say that we are going to extrude it 0.7 inches. Then we can select these edges around here, and we're gonna put a slight sham Ferrand. Um, easiest way to select him is to select just the face and then hold down control while you go into edge mode and it will select all the adjoining edges mhm from just a small chance for just to see those edges. Okay, Now we're gonna add that extra modeling. I was talking about what these lines going across. We can do that by simply selecting these edges and thes edges altogether. And then using a connect command connected four times, actually, three times to create four sections. Okay, so these should all be six inch squares now, So we're close to getting our single panel just right. Are single board. Now, we need to make sure the mapping is right on there. So let's put a U v W map. We want to take off Rheal World here, and we're not going to get into materials yet, But here we have just a basic standard material with a bit map put in the diffuse slot. Okay. We need to make sure the materials are gonna be right. We're basically planning for the future here, So I just took this. This would material and I'm cropping it to here. I just in my crop box to make it the size of one panel basically and then hitting apply right. So that's applying that crop. Make sure it's showing in view port and put it on that material. So there it is. We have our images tiled toe one and one. And are you VW map is one and one, so it just applies it directly. If you look at the gizmo, there's a perfect outline around this object putting that image, mapping that image directly onto it. Okay, so that mapping is correct for that object. Now we can convert it to it. Polly again, Make sure the mapping is right first and then converted to edit Polly. Now we can simply rotate it 45 degrees. Let's make sure this is getting to exactly 45 degrees. If you're having trouble getting it exactly, you can get the angle snap on, right, and then we can copy it and I want a copy it in sub object mode element and I'll show you why in a minute. Clone to Element. We want it to remain as part of the same Polly now because we divided into perfect squares . This point in this point should line up exactly. And they do. It looks like we missed part of our polygon. We did. That's not what we want. You want to make sure we're in element and we get the whole element, Not just these faces. Okay, let's try that again. Clone to element. This line in this line should line up perfectly, just like that. And there you have it. Now, we just do that over and over. And the more we get, the faster they reproduce. Okay, Now, the mapping is gonna be the same on all that. But that's good. We want the mapping the same. We're just gonna change the material, right? And it's gonna be the same size material, so it'll still work. Now. We simply want to take this and continue copping around. Isn't that cool? Rotates all of them at the same time. Make sure you're in a pivot point center to do that so that it takes each of them and rotates them around their own pivots. Get that corner lined up right there. And that is our basic building block. Everything should line up, and it does. Now we can just take this copy it up, glowing to element. So we have our basic panel. We need to move this into place, make sure everything lines up here, and then let's copy that all one more time and we'll have a big enough panel that there won't be really any Repeat that we notice. So there we go. Now, you might need to clean up your edges so that it can repeat for you this way. But no. There we go. No, you just copy this around. Boom. We got this huge floor, right? That's too big of a panel. We don't need it that big, Kate. Now, all the only the only other thing we did or I did to this floor was one. Make a way. Better material. But we're gonna be doing that later. I put a slight noise might of fire on it in the Z direction on Lee. OK, so scale that noise modifier down to, let's say, 10.5. Make it fractal or not, you might need Teoh experiment with this a little bit to see what you want. But then, just in the Z modifier on Lee, you can take it up, say 33 for 30 secs of manage. That's that's probably plenty. Right? And that gives you just the that that way. Venous in the floor. See, like right there, that edge sticks up a little bit much, right? and that's great. You'll notice that will be very subtle, but you might notice it if you know it's there. If not, it just adds to the realism. And you can go as High Ra's lows you want. You can see that for floor is getting a little too deformed there now, obviously. But that is just enough to add a little bit of very, very subtle realty reality to your floor. Okay, and then the last thing that we do is add a material by element, which is right here in our modifier stack. Okay, now we make as many material elements as we want, and then we hit random distribution and turn it up to that same number. So if we make six different board materials, we put them all in one subject object material, and we turn this up to random distribution. Six. Okay, so over here, let's look at this one. The material. There's eight different types of boards. They all have the same mapping, but they're different images, so different images mapped in the same way onto these boards, and there's eight of home, and so it's randomly distributing those eight different materials throughout these boards. We were to do that with our material. Here are standard material. We would look well, let's look at the existing one. Okay, There's the eight different materials. They look terrible in here because my rendering set standard right now, and these are very materials, but there's the image. Okay, So all I did was basically take this image. Well, I set up one material right with that image. And if you look in the reflection, it's cropped in the exact same place. But it's a reflection map now. Well, let's do it so we can see. Okay, so take this copy based it into your speculum. Her again. It's got the same crop. This. You would change this now to a reflection map instead of the Diffuse Mount. But we'll use it just as it is right here. There you go. Then. You could do the same with the noise map or a bump map. Sorry. Okay, so there you go. You can change the maps or whatever you want, but you've got your material set up there. And then what you need to do is just turn this into a multi subject material by going here . Keep old material has some material, and then just copy this, all right? You can just you can actually just drag it like that. And you want to copy it? Not as an instance, but as a copy. And what you do is take this one and say, OK, now, let's take this diffuse and slide it up to this area or this area right there. Okay? And then on the 3rd 1 and you might adjust your reflection settings a little bit for that one to you. Just make these things have slight variations and take in a different part of your would map. Or you could make completely different materials for each one If you wanted to do that too , that is all. Okay, But in this example, we're just going to do it like this and we set up. Let's see, make sure you set your number 23 here. You don't have a bunch of random black materials in there. And then you set this to three. Right? Make sure each one showing the diffuse minute. Okay, The 1st 1 looks like that The 2nd 1 looks like this. And the 3rd 1 looks like this. Okay, So the only reason I'm talking about this now, even though it's more materials and we're going to get into that later, But with this one, you have to plan ahead. So we mapped that one object and then copied it around, so it's all mapped properly already. So now we just apply different diffuse maps to it, using this material by element and voila, we have a very nicely varied floor with a different looking planks of wood throughout. Okay, so you're gonna need more than three different types of materials on their three different diffuse maps. You'll want probably like eight. I'd say six minimum, but this one has eight case. So that's how we created the floor, right? Hopefully as helpful to you. Hopefully you picked up some tips and tricks in there. Let's move on 3. Modeling a Detailed Window: Okay, Now we're gonna have some fun and actually model together. You're gonna follow along as I modeled this window, because currently it's not there, and it needs to be there. OK, so let's just isolate just that piece there and we're gonna put a window into here frame and all. Okay? And I'll show you that again. Just using basic Polly modeling. We can make a really advanced model. And the important thing here is that we just pay attention to detail because we're going to try and model this scene as if we can look, set up a camera anywhere in the scene. And no matter what we're looking at, it's going to be high quality and photo realistic. The only thing I'm not modeling is the other room that's behind me. Other than that, we want everything to kind of be high quality. So if we want a shot that's looking at this window, which I sort of do, we need to make this window look really good, and it will make the light coming through the window look a lot more realistic than just having a big blank spot here. Obviously, so again, we can just do a sweet Let's do that. Let's just use one of these standard bars in here. This will just give us the basic frame again with the sweet. We don't want to smooth the path and it's a little bit thick for us. So let's do OK now. An important thing here is gonna be Let's make it a little less wide to Oh, yeah, much less wide actually there and then we'll just slide it to the outside. Okay, there. So there's a basic frame. An important thing here is gonna be to look at reference images. So I'm gonna go ahead and find those bring them up on the Internet and then we're just gonna carefully try to model a fancy looking multi pane window here based on those images. Okay, I've found some images, No great ones. But this is basically the kind of look I want to get right here. I think I'll do a double window with the column in the middle and make him make him double hung. That's okay, so they'll have tracks on the side. One will be offset from the other, and they'll have these actual and they'll look kind of like this with the actual windowpanes going on here, Actual separated glass in the window. And yes, so that's a close up. Obviously, is not gonna look that antique because we're doing more of fancy. Seen these air more modern windows, although that's the kind of look I want. But we want the fancy kind, the actual divided light windows, and we could search a lot. But this is a pretty good reference, really, really. We just have to understand the construction of the window and then just build these things and we should have a pretty nice, detailed window. So back in here, let's divide this into Let's just take this and isolated. Let's divide this into two areas by putting a rectangle. We'll convert that to edit Polly, and we'll split it right down the middle by doing a connect. Now we've got are two different areas of the window. No, from the inside set, this attuned, hefty okay from the inside would see what we do here. Let's just start creating some geometry. Let's say in set both of these by polygon like that, then will extreme what inset apply extreme. Let's extreme that back about that far we can detach those two rectangles. You're just gonna build a frame here because there's a basic frame. Let's put some tracks in there for those windows so they can kind of sit in there. I think what that construction would look like is something like you'd have a track for one window and then maybe a small something like that, and then the other window, something like that. This actually might be a lot smaller. Let's even at all our lines here. Yeah. And then what we'll do is, um, round some of these edges so that we don't have perfectly crisp edges, because again, we're paying attention to detail, trying to put slight details in that add realism. So let's champ for those edges a little bit. Just ever so slightly. Okay, that can give us our profile for a sweep. We got up in a place here in our frame. Well, actually, take I think that sweep would go all the way around a window like this as again, use our trusty sweep command, use a custom shape, pick our little shape here to make our window track area. Make sure the smoothing is right. It is let's move that into place. Make sure the settings on your you can see that it's not in line with where I wanted it. So you can use this to put it in line, and I move it in the place like so right about there. Probably make sure profiles air looking good. Yeah, that's pretty good. And we might want this actually to be thicker in the center. Let's move it one inch over by right, clicking one inch in the X direction. Move this negative one inch in the extraction. Here we go. Negative one inch in the X direction and then take this and we'll just our sweep to fit in there properly. We'll just do this on one window, obviously, so that then we can instance it to the other window. Okay, so there's our track for a window. Now let's build one window again. We can get the right size by creating a poly here, splitting it in half. Connect Now, if we take just this one part here and build a window out of it, it's to lead that part. We know it's gonna be exactly half the width that it needs to fill up. OK, now, with just this one window, this should be pretty easy. What we can do is, let's see what's the best way to do this. We can either shell it now and give it some depth, or we can create the face of it and do that later. Let's see. I think it's easiest to create it like this, and again, we can just do some add some edges into here. I'm using Swift Loop again and probably right about there and see, Maybe those edges need to be a little wider. Something like that. Okay, so there's the basic shape of the window, and then we'll cut it into various different windowpanes by using the connect tool. So get us an even split well one. Two connections along there and one collection connection along this side. Okay, very nice. Now let's see. I think what we'll do here is take this polygon or these polygons and in set them a little bit. Do it. Do it by individual polygon like that. Make it a little less like that. Let's drag that this way a little bit. It's at work. Yeah, that's looking good. And then you can extruded in. And then once you can do is let's do one more extrusion like that, and then just do eat those edges. Now, one thing I want to do is take these ones here. This line, this line in this line loop it. It's not gonna let me loop it. But it's just these ones here. I guess that's not loop this point. OK, let's just so manually select those ones, those ones and those ones holding down control to select multiples. And then I'm gonna chant for those kind of flatten out that edge so we don't have a sharp edge in the front that should look like that. Okay, that's a pretty nice window there. Now, obviously do we need some thickness to the window? So let's take the border, the open border, hold down shift as we drag to create new geometry. I didn't catch that. We're selecting a border which is open edges, making sure we're dragging in the Y direction on Lee and holding down shift. It's giving that window thickness and the only other thing I'm gonna do his take again the border. I'm going to select these borders in here and then hold down control while I switched two faced to face. Okay. And then I'm gonna extrude those faces in on themselves using the local normal like that. Okay. Can you see what that's doing? Let's go over here. It's taking them in creating a little slot for our glass to sit in. Okay, so this is might be going a little overboard on the detail, but it's OK. All right. So the profile looks like that. And then what I'm going to do is just mere this using a symmetry modifier, Okay? And we want to go and take our mere line and go like this, rotated, going into sub object mode of symmetry, rotating this and then we want to flip it. No, we don't want to flip it. Yes, we dio. So we want the mere to be right in that groove, recreated for the mirror for the glass to put it right about there and then flip. Now we've got thickness to our window. And perhaps it's too much thickness because those those stiles and rails look a little too bulky at this point. But that's okay. Let's just convert that now to an edit. Polly Oh, actually, no. Leave the symmetry there. Go out of some logic mode. Take the vergis ease. It seemed we don't want these ones. And then we can. Let's show the finished result here. And as we have that showing Weekend Dragon to make our stiles and rails the right size, what do you call those on the windows mountains, anyway? Whatever. Those things are cold. And there you have it. Okay, So finished window looks like that. Let's see if it'll fit into our track here. Probably not. Still a little too thick, Right. So let's center it right on there. Let's do the same thing again. Move those courtesies even more so it fits right into that track. And there you have it. Now we can create some little piece of glass to fit in there, and we've got a nice window 4. Modeling Window II: Okay, I'm putting a little more detail in this window. I selected all the edges around the outside of this window frame here and also on these corners there. And I'm just gonna do a simple champ for on that like that. Soften that edge a little bit. And there we go. Let's add our glass into year by just making a rectangle. And I think I'm going to subdivide it a few times. So the glass is gonna go right into this slot right there like that. Let's place that extruded. Turn it into an edit folly. Get it down to the right size, right, Drag a little more. Drag it up to there. That's right in that little track there. And then we don't want it to be perfect glass. Right? So we can divided up this way by doing some connect. Maybe Like that. Maybe like this. A few more This way. Now we can just add another noise modifier and little variation to that glass. And this time we wanted in E. Why access, right? No X, No Z. Yes. So we need to scale it down, obviously and then turn this way down. I had some really slight way, venous. Let's make it just the slightest 3 30 seconds. Just some slight weakness to that glass. Make this even smaller like that. And there's some slight slight waves in that glass. OK, that's perfect. Now in copy that around and just place that glass in its little slot. Maybe near this one. So it doesn't match the other side? Exactly. Mirrored in the y axis. Take this one. And that's mirrored in the X axis. Okay. And then let's just copy those up. There's our window. Pretty nice. And now what we can actually do is just collapse all this to net Upali and then just go in and attach this class. Just keep it clean and organized. Okay? So there's one window and the second window coming right up right up here, Actually, yeah, that works. Actually, these would kind of overlap a little bit, but this is okay. We need to set this in this other track, which is where Right here. I got to get rid of this thing that we used for original sweep. Okay, so that window sits right in there. It should be slightly separated, and they are okay. So there's a Ah, window, one window and we can copy again, right to the other side. Let's isolate again. It's two windows. Yeah, let's cheat a little bit this. I want to be slightly larger in the Y direction only so that these two overlap. So obviously, when you scale it, it messes up your proportions and everything. But we're just gonna cheat it real quick because this one Yeah, that one's gonna sit just like that and overlap just a little bit. Its like that whole thing. And we should have our window. Yeah, it should look more like that from the backside. Looks like this. Okay, there it is. And we could adjust that how we want right now, I think it's got a nice amount of detail. I don't know if it's totally accurate as to how that thing would be, but I think it's going to render very well, which is a a big plus picture. That track is in there as well. Make sure everything's in the right place. It looks like it is. There we go. There's our window. Now, if we set up a camera, we're not gonna get to cameras yet. but take one of my existing ones for my final project. Let's copy it over here and look through it at our nice window. Here we go. That'll render Riel nice. Okay, so now if we're looking directly at the window, we have something very good to look at. A very nice model, okay? And so even if we're looking to that part of the stream now, there's not just a big blank spot there. But we have this really nicely modeled window that should come in handy for us as we move forward. 5. Modeling Console Furniture: okay. When we last left off, we had made our window, which is looking pretty good. Now I want to concentrate on this little side console over here, which is going to look basically like this. Okay, here we go. This is west down there we go. There's our console. So I have adjusted the size of it to be a little higher. So it's not such a low slung piece of furniture because it's meant to be a media console, but we're using it kind of is a buffet, but it is gonna be the exact same style. So I mean, use that as my reference, and I've just made the size, whatever I want. Okay. So you can see we have drawers here. We're gonna have sliding doors over here and then just these simple legs, and then we're gonna have to map it nicely for the wood. Now, I think what I'm gonna do is just start from scratch on this and use this is the basic shape and ah, just show some of the modelling techniques that I would use here. If you want to know more about building furniture and especially like organic furniture and just Hi, Polly Fringer. I have a class all about that and really, it deserves its own class because it's it's a lot of information, but also some basic tips and tricks here for modeling some furniture that is high poly, but it's not really organic shaped. So I think what I'm going to do on this one is just use the basic shell here. So let's take out everything except for the outside. It's just to meet that and we'll select the border here and just come back kind of like that. And then we can capped that off factor. Okay, so there's a basic shell of our furniture. This is basically just a box with the front champ for it and then beveled in for that look that we were not for the mid century modern piece of furniture. Now, if you look at the image Little Dio, it's got these kind of rounded pieces. Well, just this one around in peace that comes down right in the center here as a divider that we will just create a separate object. You can see I split it into three parts, so I have kind of my measurements here this could just be a render a ble spine. But let's make it render with a lot of sides, just to make sure that there's no fasting in that thing. And then we can turn it right into a NEDA, Paulie, or leave it however we want. And then we can just crash it in up here, go to about right there and about right there, okay? And then just put it in a place in the top for you. We're only moving in. The X direction should be right about there. That should work just fine. Let's make sure yeah, I should have left. It is a spine, so I can adjust the diameter and make sure that's right. Now I could go here and scale it, but I think the diameter is luckily just about writes about an inch. I could scale it in just the X Y direction like this to make it bigger still. Maybe we'll leave it like that to accentuate it a little bit. That looks good. Now. We need to think about how this thing would be built in actuality. So let's let's say there's a divider here that comes back to the back, and that doesn't need to be edible. We can just go to this plein sub object mode here and maybe offset it. Good outline. Make sure we're on center and outline it from the center like that just to make a little rectangle that could be extruded. Make sure that's up in the right place, right about there and then extruded. It could be a lot cleaner about where everything lines up and snaps to each other, but in this case, we don't really need to. Let's make a drawer to sit in there and make sure to leave a little gap here. You don't want to snap there because you want to see a little gap. That's how it would be built with the nice tight gap right there. Make those corners and just kind of eyeball it too right about there. Let's make that gap a little bigger, so we can definitely see it when we render on all sides and it's gonna be about that size right there. And then we can just extreme, of course, in a couple different things you could do. We could make the whole juror like this. Let's do that and then we can put into place. This part is a little bit of overkill. Obviously, we want to make this seem very high, detailed, but making the actual drawer behind is overkill, because there's just no way we would ever see it. But hey, we're gonna do it anyway. Let's just turn that into a basic get it Paulie again. And I like doing that because then I can just Then it's all just about pushing and pulling instead of using modifier so much, which I tend to find a little easier. Now. If this was drawer, let's see. Well, let's make it an actual drawer. We don't want to just be a box. This is the part that's really overkill, totally unnecessary. But showing you how to use all these tools is important if you don't know how and again Polly modeling is something that definitely requires its own course, and I have courses that go over it in depth here. I'm just giving you tips and tricks on how to do some basic furniture, so that drawer looks pretty good. You could put a slight micro Cem for on it by selecting the face holding on control, going to edge mode and that will select all the edges around that face. Now, this chance for would be very small because this is really that's a little too small but won a seat in context about right there. Okay, this is modern for furniture. It's got kind of crisp, sharp edges, so that looks great. And now, because this is just a Nepali, we can just simply copy it down as an element or as its own object and make the rest of the drawers right. Picture that gap is there. Now the bottom two. We will split the difference between this space here. It's a little taller than the actual piece. So these George will be pretty big, probably right about there and right about there. So that's pretty good eyeballing that will work just fine for us. OK, there is the front of the drawers. Okay, now these these track doors over here, the sliding doors. Let's make a little track for them, right? Let's go to our side view here, and let's just make a rectangle about like that and then converted to Annette's plein going to oversee mode. I always like to make these all into corners like so and then get this in the right place. And we could just make that a render a ble spine and go directing Will not radio, obviously that slide it in the place. It's obviously way too big right now, so let's just start adjusting until that track looks about right, let's get that done to the right size. Continue to adjust. Continue to adjust. Okay? That's not in the right place, Actually, let's go back to a right view. Make sure erecting wasn't right. Location. Make sure we're in sub object Verdecia mode. Okay? I don't want it to be quite so thick. Still, I should just be a really tight little track for our door. Let's put it right out here on the edge like that. Okay? Convert to it at Bali because we're going to use, um, Polly tools again. I love the poly tools. If you can't tell, so select that one edge there, and then we can just do a ring on it. Like Beyonce. I said put a ring on it. He does know about that. Okay, here we go. Ah, yeah. Ring and connect. So you went to the Connect tool brought up the dialogue window, and we're connecting it twice. And let's slight it out to the edges. I like that about like that. Okay, So if these air tools you're not familiar with, then this is a great primer for you, Jim, for that's not what? Okay, So those two, Yes, that is what we want, Champ. For what I was starting to say. Is this a great primer for you just to show the basic ways in which you can use all these tools are all super handy. Okay, so we're taking those those new loops we made and we're tampering them just to spread them apart. Basically. So now we have track one and track to, and what we can do is take these edges ring again And what that's doing is selecting this one the one over on the side, all the way in a ring. OK, basic Polly, modeling stuff. Then hold on, control his select face, okay. And that selects all the faces that are attached to the D edges that I previously had selected, which is exactly what we want. And now we extrude it slightly ever so slightly by local normal okay. It'll start at 10 by default. If you right click on that, it will set it to zero for us, and then we can go a little bit negative, he said. Right about there. Okay, now we have our tracks for our doors perfectly set up. And in the next video, we'll add the doors wide. Some hardware and I had some legs. 6. Console Model II: all right, we were in the middle of putting on some doors. Let's do that. That should be pretty easy. It's looking a picture real quick. Okay, so we just have doors going each direction. Simple piece of hardware. And then we just really need to do the legs and were there. It's a pretty simple furniture, a piece of furniture to get started on really no organic shapes. Everything is hard lines, but it's a great way to explore all the different Polly tools, and I'm using spying tools to start my creations as well. So this is just a rectangle and turn off the enable rendering in view port and in render. So that is just the spine. And then there's a couple different things you can do here. You can extrude it, or you can put a normal modifier on it. Course, you may not have this tool panel, but those were all found in the modify panel that's going here and put in normal. Okay, we don't flip the normal. He wanted to stay that side, but that just turns it into a shape. You could actually just right click on this rectangle and turn it convert to it appalling as well. But then once it's just a face sitting there in space, we can put a shell on it and there's our door, right? We also could have just extruded the rectangle to make a door. But either way, let's just use that cause it looks great. Now it needs to fit into this groove that we made here. And I'm now looking at that thinking the groove is not thick enough. So what we can do with that is, of course, just scale it. You could go into the verge ISI sub object mode here and select the Vergis is you want and kind of stretch them over. I'm just going to scale it in some object mode in the X axis only like that, and then move it over into place. Make sure that door is thick enough. That looks thick enough. Okay, so let's turn this door into a net apology. Now we can just kind of make it the exact size we need and just put it into their could be a little bit smaller, maybe like so. So it doesn't fit absolutely tight into that groove, because that wouldn't be right, moving in the Y axis down. Make sure it's just sitting right in there. Perfect. And we can again put those micro champers on the edge. Let's do that just for consistency again. We went to the face, selected the face and then control to the edges to select all the edges that were connected to that face. Okay, just the slightest of champers. And then we will hold down shift. Well, we copy this guy to there, and it should be an instance, actually. You know what? It's probably not an instance. Well, maybe it is. I'm trying to figure out how it would work here in the center. You're not gonna have a gap there, So this would be a little longer than to the halfway mark. And since these Aaron instance these air instances, that one now just got longer over there. So if we just move that down like so now we have some overlap there, right in the center, which I think is exactly how it would work. There you go. We've got it sitting in a track. If anything, you could make that a little thicker. This whole track a little thicker and the doors a little thicker, but I think it's OK for now. We'll have to see when you render. I guess now the hardware is luckily super simple. You'll find that modern furniture is oftentimes much easier to model than traditional furniture because there's not a bunch of curves and things like that on it. Let's check this line right here to make sure that's right. Yes, that's right, the drugs right up to it. Okay, so the hardware can be very simple. We could just probably make that with spines. Let's take one of these doors to be right about there, and we'll just make a spine coming out like that. Look at it from the other view. Let's leave it down here so we can see it and just go to the modify of that splint and enable and render radio. Of course, make it small, something like that. And then we can convert that to add a poly and take that as an element sub object. Copy it up and then let's move it out here, holding down shift to create a new element, rotating at 90 and now take it. Move those virtues. She's out. Move those were dis ease down. And this handle is actually bigger in radius than these little stems that hold it on. So again, in just the X Y axis, we will scale like that. Make sure in scale and sub object mode wouldn't work otherwise, can move that into place so that they're definitely overlapping. Got a nice little overlap there. Now these ones there's definitely a beveled edge, so we can do that by just selecting the face holding control. Actually, when you take a spine to create, you're polygons. It will get thes faces down here that you don't want. So actually, it would have been better to do it as a circle extruded because that makes a cleaner end cap. I just went in there and selected those edges and hit remove, but that may or may not be clean. When we try to do our bevel, I'll show you what I mean, actually, so this time let's do instead of bevel. No, we instead of champ, for we are going to use Bevel. That's just, uh and in for about double okay, and that should have happened on the bottom face as well. That's perfect. So we could have selected all those edges and did a sham for, but instead we just selected a face into the bevel. And it's nice and clean. Perfect. Now we move this handle into place and we can see that it's already too small because I am not list looking at reference dimensions. I'm just kind of eyeballing things, and that makes it too small. It's actually a pretty hefty little piece of hardware there. So let's actually just scale the whole thing up in sub object mode. Make sure we're scaling in all directions here. It's actually more like that is not. And then, actually, let's see. Let's make sure the radius is right, and then we can stretch the height of the whole thing like that. Let's move these closer to the ends a little bit there. So there, that IHS let's move it out so that it's at the right place right about there. That looks close to correct, I think, Yeah, it's probably a little squat here than that. So let's make it a little squat here. Probably right. There is what that looks like to me, and obviously, if you have two monitors, I would suggest putting the piece of furniture upon your other monitor so you can just look at it while you're building. I don't have that luxury while I'm recording a screen, OK? Actually, no, we don't want to copy that in some object mode. We want to copy it just as an object. Yes, just like this. And make it an instance. Put it over here. Moving into place like that. Okay, if anything, those could be a with those could afford to be a little beef year. But for now, we're going to accept that. And yea, we've got the same hardware on the drawers as well. So that becomes very easy for us, doesn't it? Small victories, Especially when you're on deadline and under budget or under the pressure of a budget, I should say little things like that are great. This building furniture can be one of the most time consuming things that you do. It's also one of the most fun, but it can kill a budget real quick if you're doing a bunch of custom furniture. Okay, we've got all this. Let's cut to the legs. Okay. On the legs. These are gonna be really simple It's actually just a kind of a cylindrical leg at an angle and then just boards attaching it. So that's very easy. Let's create one. And then instance it around. Be a circle about that size not enabled for rendering. Get it up here. We'll just do a basic extrude on it in the negative direction. Converted to edit Polly, our old friend Polly. Okay, I moved overseas up to the floor height and then we're gonna take those same verdict season . Scale them down in the X and Y direction like that. Make sure that looks right. That's a little too tapered. Some like that. Okay, And there's other ways to do this. You can make a cylinder and put a taper modifier on it. You could do that kind of stuff that that seems way more tedious to me. That's why I love these poly tools because it just makes things quick and easy. This definitely has a chance for on it, and we'll actually make it Probably multiple champers to make it a little bit kind of rounded like that. So just turn up the champ for edges to three. Check Mark. Here we go. I think that's about right for that thing. Now it just has a rotation on it. Fortunately, our pivot is in the exact right spot to rotate it like this, right? If it wasn't, then you could go into this tab here and go to pivot Effect Pivot. Only then you could move it. So if you wanted to rotate it from here, you could do that right. Rotate around the pivot, make sure that you're in use. Pivot Point Center has your rotation point, but we actually want the pivot there and we can rotate like that and we can rotate like that so it rotates in two directions, like so. The only problem is that now it doesn't quite intersect at the top. So let's actually let's look at how this works Here. You have got to much cheaper and going on, and it's just kind of flat on the bottom. It's not actually rotated things. Let's undo that. This thing is looking to Dick. First of all, it's much more slim, and it's, I think it's got more of, ah, shoulder on it. Let's do one line here like this scale that one out. I think it's more shaped like that and then you can either. Let's see, you can do a big Jim for on this to smooth it out like that. That's good. You could also do a turbo smooth on this to make it really, really smooth. Turbo smooth. But then you'd have to address he edges up at the top, which would be the easiest way to do that would be to just take remove that face up there. Then the turbo smooth won't try it around that corner. And it'll just stay flat like that. Okay, Now you've got a really high poly object. It's going look really smooth, and it's gonna be hard to work with because got so many faces. So let's actually take that off. And I think what we could do here how about we look at a f f d modifier for this would be a pretty good modifier to use instead of rotating it. It actually kind of like slides to the side. So what we can do is an FFT modifier. Four by four by four is fine. And what this does is transform things without using transform. So we go to the control points and you can take those control points and kind of slide this thing over. So let's do that for each part of this. Make sure it's kind of a straight line coming down now from this other side, we will do the same thing. Sure. It's going out about the same amount. I could see how that doesn't. Nice little kind of soft transform on our object. This wants to be straight. So watch your control points to make sure they're coming down straight. I've got kind of a little shift in there, which I don't want. That's about right. And that's about right. Okay, you can convert that to it. It pulling out. Or you can leave it there so you can come back to it later. I'll just convert it. I look great. Looks close. Maybe it looks a little scrawny for this big thing that is holding up. Maybe because I changed the proportions of the furniture. I should have made this leg a little bigger, too. Or maybe we need to put a center leg in there. But that doesn't really fit this style. Okay, so what I can do is just kind of scale it up in just the X and y like that. And that definitely looks better. Okay, we will accept that some little weird weirdness going on here. I don't really like the shape I would go back and remake it if this was for a final project . But you guys have seen the tools, so we're gonna move on, and I think it'll still look really good in the render. It's more about demonstrating and making a perfect project here. Okay, Now I'm just instant singing around, hearing him no clone for the mirror because I've already got the clones. Let's make sure we get this distance right here by looking at the image. Yeah, it's pretty far off the edge. One thing I have that's not going well for me is that the's legs air long in proportion to the overall height of the piece of furniture. So I should have actually exaggerated these lakes up. But because of the shape of my buffet, it doesn't It doesn't really look the same. I could adjust that by shifting all this up, but I'm not gonna do that because not essential to the course. If we start rendering and I'm looking at it thinking that looks really weird. Then it is essential to the course, and we'll go back and fix it. But when you're eyeballing furniture, this is what this is kind of the problems that you run into making sure those proportions get just right. And I'm also adjusting the piece of furniture to fit my room, which means I have to kind of eyeball the proportions and see if they look right or not. Could okay, just building these last little pieces here. We'll finish this up by just doing some rectangles and extremely make that into a net. Upali need one back here to actually, that should be an instance. Of course. Okay, I'm gonna finish this up. And in the next video, we'll move onto the next thing. 7. Console Model III: Okay, hold on a second. I thought I could just leave it as is, but I can't do it. So for back for one second, I'm adjusting the proportions of this. I took this base after I made it. A couple things I've noticed about it that are wrong. First of all, these sides need to come in like that. I made it all into one that apology so I can just stretch the whole thing together, which is really handy. Okay, I made it way taller, and I'm gonna take this thing and actually kind of attached everything that I can stretch it all together too. I just find that easier. You can leave these always individual objects, but then you'd have to stretch them all individually. So have fun doing that. Okay, once this is all attached. I missed the track. Make sure everything is attached. Okay. Is that a police? And we will stretch this part up to there, and then we just need to address the proportions of our drawers up here. And that looks OK. Make sure that handle gets re centered. Hey, that's looking pretty good. Let's Reese entities. Uh, we missed one thing right there. Let's make sure and just attach that. Just remain consistent here, and we'll just take those vergis ease. That's that wall between the drawers and the sliding doors. Now our console looks pretty nice. Let's make sure this side is the same distances that side based on my highly accurate eyeballs. Close enough. Okay, these look not quite in the right place. Remember, those will remain their own elements, which is nice. When you want to go back and put like materials on and everything like that. We'll need to be able to select the individual pieces, which we will do by making strong use of the select by element tool. Okay, we're really just the elements of object, all right? I think there it is. That's a pretty good consul. And let's go back into here. Look at some of our cameras, which will be talking about how to set up later. A lot of stuff there on the table. OK, there's our consul as looking pretty good. Okay, so our models coming together, we've modeled some of the more complicated and interesting things in the scene. Let's continue to move forward 8. Modeling Home Decor Piece: Okay, So if you've gotten this far in the course, you're probably thinking Now, come on, dude, teach me something that I don't know. You're probably making some snide comment on the remarks right now, like, Oh, this is so basic and that's OK. It's hard to make a class that fits everybody's level. But so far we've just showed basic Polly tools, which probably a lot of you know already if you're in this course. But maybe you're wondering how I did some of the decor stuff, which is a little more complicated, perhaps. Well, the truth is, I bought a lot of the decor, but I did also make some of it. I can make it all myself, but buying it is, ah, lot cheaper and faster a lot of times. So I actually suggest doing that because when you buy stuff, someone has probably spent days making that just perfect, and it costs you like 15 bucks to buy it. So let me ask you, this is three days worth of your time worth $15 or not. Mine's worth a whole lot more than 15 bucks, so buying it is actually the way to go. Sometimes but sometimes often times you have to make something completely custom because a designer or a client says, I want this and you look all over the Internet and you cannot find the object that they want in three D. So you just have to build it. So it's very handy to know how to build it all yourself. But if it exists on the Internet already by it, especially if it's high quality, well, only if it's high quality. Okay, so this little home decor thing, there were some interesting modelling tricks that went on with this. So I'll go over some of those because that's this is no longer basic Polly modeling. There is some of that. But there's also some other tools that maybe you haven't seen before. And maybe you have and you're still gonna make your comment anyway. That's okay. At some point, I bet you will teach you something that you've never seen before. Okay, so let's just start with a circle here. Let's make the interpolation go up. So it's a nice circle. Okay. What this is is just like a ring with kind of like Christmas lights strung around it. Okay, that's all it is sitting on a base. So how did I make that? Well, I'm not gonna model the light bulb, because that is just basic Paulie modeling it Looks like I've actually got a mistaking it right there. And if you look inside, it just got the little filament, and I mean, the way you model that is just using basic Polly tools, but looking really, really closely, I'd like a little Christmas light and just trying to mimic it. So it's just about being meticulous in your modeling, about using the same basic tools. So let's enable rendering on this little spine here, and I can see some fascinating. So I want the interpolation even higher like that. That's really high, but no fastening. Okay, so then to make it this Christmas lights strand string around it, what I did was make a helix right there. Okay, so let's just make a basic helix and we'll go in and modify everything later. Okay, so there's a helix, which is just like it's like a spring or ah, spiral or ah, yeah, a spring in a spiral. Okay. And you can adjust all the parameters of it. There's radius one, which is the outside radius. There's radius to which is the inside radius. You want them to be the same. We want them to be about will say half an inch. Okay, 0.5 inches. All right, Good, good, good. Now, how many turns do you want in that helix? Well, we want a whole bunch see my spring shape happening there. That's pretty cool. And then we wanted just the height. That's the last thing. Okay, so let's spread out those coils by quite a bit. Let's turn down the turns. How many times you want that to wrap around? Well, I don't know. We're gonna have Teoh figure that out. Now, let's rotate this whole thing so that it's in line with our little circle here. Okay? Now what I did was use a bend modifier. What's placed this up here, and I don't like the radius of our turns. Let's make those quarter inch, quarter inch whips 8 30 seconds, otherwise known as 1/4. Okay, now let's try and bend modifier on that and see if we can't get it to bend all the way around that turn. The bend modifier is confusing because I don't know why. Just the angle and direction thing. It doesn't really is not really intuitive, but you can see I'm making a circle there. Okay, So if I took that and made the direction different like that 90 degrees now we're making a circle, right? Okay, so let's move that into place here, and it's gonna be bending starting at the pivot. Okay, so it's actually working quite well. And when you're doing the bend modifier, I would suggest going into just a Ortho graphical perspective. You so you can see how it's bending, and then you'll know kind of how to adjust this from there. So obviously want that At exactly 360 degrees, the direction as you saw was which way it spending. You can bend it across different axes and you can see the wacky stuff you can get here, right? So you want to adjust this until you get something that looks like it's starting to form a circle and then you'll change the direction to make sure it's going in the right direction . Okay, Now you can see it's created a circle here, which is what we want, but it's not a big enough circle. So that's where we go back into our helix and we start adjusting and we can put it on show and result so that we see what the end result is as we change the height of our helix. So right about there is what we want, right right there. And then let's add some more turns into it. So it goes around that thing a little more and then let's see, let's change that height. So it's right there. So it's kind of weaving its way around this thing. There's a couple spots where it's wrong. I can see. And that's because our pivot is not in the exact right place. Okay, so now adjust that height down. Here we go. There it is. Now, it should be just going right around that thing. Yeah, that's perfect. Okay, now, if you wanted that to look more like a light cord, you could render it as a rectangle, right? Change its shape. We probably don't need the insane interpretation going on here, which is really, really high. Okay, just keep adjusting this until it's the right size. Something like that. Okay, cool. No, I think what we would do here. Let's see. Can we turn that into an edit spine? You how we can Now, let's just at it. Spine turning down the interpolation won't work here because it's already kind of burned in . Making it at its plein gives us the ability to do the next little trick that I'm going to show you. And I don't like how thick this is. So I'm going to change it back. Yeah, maybe Like that. Okay, now, the next little trick is just the align tool. Let's take one of these objects here is actually a group. I've got the polygon of the light. Okay, copy that. Over here, and we'll ah, detach it from its group. But we'll take this light here, and we'll get it kind of positioned how we want. Let's just say like that and we'll go to the other view and make it straight up it down close enough Doesn't actually need to be right on the money, because what we're gonna do is all that is is a group of the polygon of the light and in actual light group together. And then we're gonna take the pivot of that object and make sure it's right there where we want it to connect to the wire. Okay, that's where we want to put that pivot for now. Make sure it's a line properly with that thing and we will just take this group and we can go to edit just getting tools. A line spacing tool que no will pick the path which needs to be a spine. It was Select our helix. Now you can see our count is at three right now. So it took that at its pivot and copied it around on our helix, which is absolutely not what we want right now, although it's close. So we wanted to be in centers we wanted to be following, which means it follows kind of the direction of that line. You turn off, follow, you'll see they all stay in the same direction. And then what you do is just go instead of count, will go to spacing unchecked count and say every four inches. Okay, Boom. Look at this. It always goes away for whatever reason, when you move, but there it is. That's all following. It's following the shape of my cord. At every four inches, you could make it every three inches. If you want. Like that cool and just hit apply so it's no longer it's no longer paying attention to count. It looks like there's 25 there, but really, it's just putting as many as it needs to have one every three inches and apply it. Okay. Now, with the pivot being where it ISS, you can also go into the local pivot of it and adjust them individually now that they're here. Okay, So, like, this one is going through the metal hoop and we don't want that so we can adjust it. You can check him all. Make sure none of them are. If you just want some toe look more interest interesting in their placement than you can. Ah, adjusted like that. Make sure there's not a lot of overlap. We got some problems right there. This one just happened to be You're right where it would run into the metal hoop. So we just cheat that over. Maybe Like that. Just getting it was in the right place. Yeah, that's right. Okay, So anyway, that's the spacing tool. That's the he looks tool. That's the bend modifier. Just some more tools for your toolbox. Gay. The rest of this was just made with basic Polly modeling. But, ah, this is not necessarily a something that would that I would put in this room if I was actually decorating it. But it was an interesting kind of model to make, and these little lights add a little interest to the scene as well. That's kind of a cool thing. And, ah, you know, these are the kind of tools that you use when you're making little knickknacks and things to Philip your room with. But again, if you could buy it, go ahead and do that too. Okay, Hopefully those tools are helpful for you moving forward.