Blender 2.8 UV Mapping | Darrin Lile | Skillshare
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44 Lessons (5h 57m)
    • 1. 01 Introduction

      2:15
    • 2. 02 What is UV Mapping?

      3:19
    • 3. 03 Marking Seams and Unwrapping

      5:46
    • 4. 04 Testing for Stretching

      5:41
    • 5. 05 Seams and Applying Scale

      6:21
    • 6. 06 Arranging UV Islands new

      6:17
    • 7. 06 Arranging UV Islands

      6:17
    • 8. 07 Using the UV Map for Texturing

      8:30
    • 9. 08 UV Mapping a Cylindrical Object

      8:16
    • 10. 09 Adding the Soda Can Texture

      11:02
    • 11. 10 Using Smart UV Project

      6:59
    • 12. 11 Creating a Wood Texture in Krita

      7:05
    • 13. 12 Creating and Applying a Normal Map

      6:09
    • 14. 13 Beginning the UV Map of the Dumpster

      9:20
    • 15. 14 Continuing with the Dumpster

      7:55
    • 16. 15 UV Mapping the Wheel

      5:59
    • 17. 16 Organizing the UV Map

      10:47
    • 18. 17 Finishing the Dumpster UV Map

      7:57
    • 19. 18 Beginning the Dumpster Texture in Krita

      11:56
    • 20. 19 Finishing the Dumpster Texture Map

      9:20
    • 21. 20 Applying the Texture Map to Different Materials

      10:05
    • 22. 21 Beginning to UV Map Building 1

      7:32
    • 23. 22 Continuing to UV Map Building 01

      9:11
    • 24. 23 Finishing the Building UV Map

      11:54
    • 25. 24 Using the Stitch Tool

      8:03
    • 26. 25 Testing the Texture Size in Krita

      5:54
    • 27. 26 Creating the Color Map for the Building

      9:50
    • 28. 27 Finishing the Building Textures

      9:40
    • 29. 28 Creating Materials and Applying Textures

      7:25
    • 30. 29 UV Mapping the Trash Can

      9:07
    • 31. 30 Adding Sculpt Detail to the Trash Can

      6:27
    • 32. 31 Baking a Normal Map

      8:53
    • 33. 32 Beginning to UV Map the Head

      7:55
    • 34. 33 UV Mapping the Head

      9:54
    • 35. 34 UV Mapping the Torso, Arms, and Hands

      7:12
    • 36. 35 UV Mapping the Legs and Boots

      11:09
    • 37. 36 UV Mapping the Eyes and Teeth

      7:08
    • 38. 37 Scaling and Packing the UV Islands

      8:37
    • 39. 38 UV Mapping the Ground and Building 5

      9:24
    • 40. 39 UV Mapping Building 2

      11:01
    • 41. 40 UV Mapping Buliding 3

      12:56
    • 42. 41 UV Mapping Building 4

      8:12
    • 43. 42 UV Mapping the Remaining Details

      12:24
    • 44. 43 Conclusion

      0:25
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About This Class

UV Mapping is an essential skill for applying textures to 3D objects in Blender 2.8 for animation and games. In this course we will look at what UV Mapping is, why it is needed, as well as the tools and techniques to help you efficiently map your 3D objects in Blender 2.8. 

You will learn about:

  • Avoiding Stretching in Your UV Islands

  • Hiding Seams

  • The Importance of Uniform Scale

  • Blender 2.8's Smart UV Project Tool

  • Blender 2.8's Live Unwrap Tool

  • Blender 2.8's Align Tool

  • Blender 2.8's Stitch Tool

  • Optimizing a UV Map for a Game Character in Blender 2.8

  • Texturing in Krita

  • Applying Textures in Blender 2.8

So, if you’re new to UV Mapping, or maybe it all hasn’t quite clicked yet, then join me, for this introduction to UV Mapping in Blender 2.8.

Meet Your Teacher

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Darrin Lile

Blender Foundation Certified Instructor

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Transcripts

1. 01 Introduction: Welcome to Blender 2.8 UV mapping. I'm Daryn Lile, a Blender Foundation certified trainer, and in this course we will not only go over the fundamentals of UV mapping and Blender 2.8 , but will also go through several projects, each one of increasing difficulty to help you get comfortable with UV mapping. Now each project will highlight a different tool. A different technique in Blender 2.8 to help you. UV map. Your three D objects will also talk about baking texture maps. For example, this trashcan has been sculpted to get the indentations along this part of the can. We'll go over how to bake a normal map and apply it to the UV mapas. Well, we'll talk about UV mapping mawr complex objects and how to optimize your UV map when you have multiple similar parts on your objects, such as these wheels here. And, of course, as you can see, we will also be taking the UV maps into creator to apply textures to the UV maps and bring them back into blender so that you can get a firm grasp on why we're creating the UV maps and also how they will affect your textures and your texture in process. We will also talk about UV mapping a character as well as how to optimize your UV map for a game character when you need to be more efficient with your UV maps. Now all the project files are available with the course. You can use the textures I've provided or use your own in the text during exercises. This course does assume some knowledge of blender navigating in the three D view object mode edit mode, things like that. But for the most part, this is an introduction to UV mapping and Blender 2.8. So we will go at a steady pace, explaining everything along the way. Now I'm one of those strange people who actually enjoys UV mapping. I find it to be kind of like a puzzle, and I don't expect everyone to enjoy it as much as I do. But I do hope that you can see it doesn't have to be complicated to get good UV maps for your three D objects every time. So if you're ready, let's get started 2. 02 What is UV Mapping?: before we jump directly into UV mapping some three D objects. Let's talk a minute about what is UV mapping and why do we need it? At its core, UV mapping is the process of creating a two dimensional image of our three dimensional object. It's like if you took a cereal box and strategically cut a couple of corners so that you could open up the box and lay it out flat on your kitchen counter. Then once it's flat, you could paint on it, draw on it, paste on some photographs or images to it. And then when you're all done, you could pick it up and assemble it back to a three D object to a box and tape up the corners. So it all holds together again. And that's kind of what we're doing with UV mapping. We're taking a three D object. We're deciding where to cut it. We're laying it out flat so that we can then apply two dimensional images. Now, when you first open up blender, you have a cube here, and it actually has a UV map on it. If I come over here to the U. V editing tab, you can see that when we click on that, the cube switches to edit mode and you can see over here this is the UV editor. There's a flat representation of the cube here in this view, and as it turns out, every three D object. Every primitive mesh object here in blender that you can create has a UV map attached to it or already created. So the purpose of this is to be able to export this, say, to creed a or gimp or photo shop and be able to paint or draw on it. We could add images or textures here in blender, and whatever we put on this UV map here is going to appear on the faces here on this cube. So OK, you may ask, Why don't we just use this UV map? Why do we need to create our own? Well, the problem is, is that this UV map is just for this particular shape. Let's say we hit the three key to go to face mode and then clicked on this face here and hit E and extruded this up. Now it's at the a key and select everything again, even though the object has changed. We now have mawr faces. Edges. Vergis is are you? The map over here hasn't changed at all. So just because we change the object doesn't mean the UV map changes. So let's try this again. I'm gonna tab back into object mode and hit the X key and delete this and I'm gonna press a shift A and go to Mesh Cube. And here we have a new cube all tab back into edit mode. And here we are, back at that same UV map. So we can't just use the UV maps that come with the objects. Once we begin to change them extrude scale, add geometry to it, then we need to go back and UV map it so that it reflects the object the way it is. But how did they get this UV map? What process did they go through to create this? Well, in the next video will delete this UV map, and we'll give it a try ourselves using some of blenders, UV mapping tools 3. 03 Marking Seams and Unwrapping: So if we wanted to create a UV map that looked something like this one, how would we do that? Well, first of all, what we can do is come over here to this UV maps area here under our object data panel. And this UV map layer holds all of these U V s. And we could come over here and just hit the remove UV map button and delete those. Now our object has no UV map associated with it. All right, So what can we do just from this here? If we press the U key on the keyboard, we get the UV mapping menu and right up top. We've got Unwrap. Let's give that a try. I'll click that and this is what we get and what it's done is it's taken each one of these faces and put them just one right on top of the other Appear we can switch between UV edge and face select mode. So if I just select UV and I click on one of these, let's say and I hit G. You can see I can move this out and keep moving and keep moving, and we can begin spreading these out, and you can see how each face has been laid one over the other. And that's not really what we want, because when we put a texture on one face, it will appear on all of them. So let's try something else. What I'll do is I'll hit the two key and I'll hit all to a to de select. And if we select a few edges, I'll say, slick, this edge this and this. What we can do is we can add a scene. Weaken, say to blender. These selected edges should be seems or should be, the edges we want to cut, just like that cereal box so that we can open up the object and lay it flat. So we've selected these three edges. Now we can do is press control e, and that brings up the edges menu. And in this menu we've got Mark seem. If I click this, you can see those selected edges now highlight kind of, ah, reddish orange. So now let's hit the a key and select everything and then let's hit you again and click that unwrapped. Okay, we've got a little bit different thing Now there's still some issues here. This doesn't look quite right, but it appears that we're being ableto lay at least this part of the cube out flat the way we want. If I come over here and select this face right here, you can see that's the one there. If I then press control I and invert the selection. All of these faces now are still being represented by this one object or this one shaped. So what we can do is we could go back to edge mode and we could begin selecting a few more edges. What if we selected this edge and this edge and Ah, well, let's try this one and this one down here. So we've kind of created edges all the way around here. I'll press control E and Mark seem you can see the seams there now. All right, so let's hit a press you and unwrap. Ah, Now we're getting something a little closer to what we were after. All of the faces now have been laid out flat in a non overlapping pattern. But how do we get that T shape that we saw before with that other UV map? Well, we could take maybe one of these edges and we could remove this seem and move it somewhere else. Maybe. Let's press control. E clear the seam here. Now you can see we don't have a seam there and maybe we could put a seam here. Let's try this Control E and Mark scene. Now let's press the a key to select everything over here. Even though our seems have changed, the map still stays the same because we haven't unwrapped it again. So now let's press you and unwrap again. And there we go. Now we can see we've got that T pattern the way we had from the Default Cube, but it's still not quite right. I'd like to turn it 90 degrees. So what let's do is over here in the UV editor. Let's press the a key, and then let's just turn it by pressing our and typing in 90 Well, that didn't quite work, now, did it? I'll hit the escape key, So let's try this. Let's try our negative 90 and there we go. Now we compress the G key and just move it up into place and we have a UV map very similar to the one we had from the Default Cube. So that right there is generally how we're going to create our UV maps. We're going to try and figure out where we can cut the three D object using our seems tool , and we may have to do a little bit of experimentation. Try putting a seam here. No, that didn't work and try again on another edge. But ultimately what we need to do through our UV mapping is really two important things. One we need to create the UV map so that we can avoid stretching. And two we need to be able to hide our seems when they would be distracting or break up our textures in a way that we don't want. So we need to hide the seams and avoid stretching. And in the next video, we'll talk about how we can do that. 4. 04 Testing for Stretching: So what do I mean? By avoiding stretching? Well, to see, we're gonna have to actually apply a texture. And let's go ahead and work on that. Now I'm gonna tab back into object mode and I'm gonna come right up here to this corner of this window and click and drag to create a new window. We have our UV editing window here, but I want to change this one from a UV editor here to a shader editor here. Now that we have this, I'm gonna hit the n key to close that panel. And here, in this note editor, we can actually apply our textures to our material for our object. Now, one problem here is that if we go over to the materials panel, we can see we don't have a material for this object yet. If we click on the object, we can see our material. Panelist Blank. We can click new here to create a new material. We can also click new over here. It's the same thing. So I'm gonna go ahead and click new over here so that when I do, you can see what happens here. We get this Shader node here and a material output note here. This shader note is reflected over here in the materials panel. And if we scroll in here, you can see these different sockets and we can attach different nodes to these various sockets. We're gonna use the base color here in this course, probably the most. But now that we've created this material, let's go ahead and give it a new name. We can do that over here or over here so we can call this. Um well, let's call this UV test pattern. That's gonna be the name of our material. And now we want to actually put a texture on this object so that we can see if we have any stretching in our UV map To create a texture we can hear in the UV editor create a new one by clicking new here in creating a new image. So I'll click new. And for this, let's call this, um, UV test texture and our size of 10 24 by 10 24 pixels is fine for now. But down here for the generated type instead of blank, which would just give us ah, black image. Let's click this and choose UV grid. And what that's going to do is give us a black and white checkered pattern, so that will be able to see any stretching very easily on the object. All right, so I'll click. OK, and here it is. I'm gonna scroll out a bit. Here's our UV test texture that we're going to apply to our UV test pattern material. So let's come over here in the note editor and press shift A Let's go to texture and choose image texture. Here we go. And in this node, we want to add this texture. Well, we've already created the texture. So in this pull down, we can see it here. And that's the same pull down over here so we can just choose it from the pull down here and then connect the color with the base color on the principled shader. Okay, so now we should be able to see it. But we can't yet. What we really need to do is just slide over and click on the look Dev display. I'll click here and there's our texture. So what do we have here? Well, what's going on? If I tap into edit mode again. What's going on is we're actually laying this checkerboard texture over our flat UV map. And when we're doing that, each of these faces are getting a certain amount of the texture here. So let me just make sure I'm in UV mode here and I'm gonna select this UV and this UV right here. Let's now hit the G key and just drag this out and look at what happens. As I dragged this further and further away, the checker pattern gets more and more squished. And if I hit the g key and move this in like this, let's say I just move it way into here and we've only got, say, one, 2.5 rows of squares here in this particular face and you can see over here we've just got 1 2.5 eras. Well, and let's say that this was a building and we were putting a brick texture on this and over on this side, we had the brick textures the way they were supposed to look. But over here they were stretched way too much. This wouldn't be what we'd want out of our UV map. We'd want something where the texture is fairly consistent across the whole object. So even here it's a little bit squished. If I pulled this back a little bit like this, there we go. So now we've got a more consistent texture throughout the object, and that's what we're trying to do. We're trying to avoid this kind of stretching that we see here so that our textures are applied mawr realistically or the way we want them to be. In addition to making sure we don't have our textures stretched when we're UV mapping, we also want to make sure we hide any unsightly seems from the viewer. A visible seem consumptive times give us a drastic break in the texture and be very distracting for the viewer. So in the next video, we'll look at avoiding visible seams. 5. 05 Seams and Applying Scale: Well, we don't have to go too far to see a visible seem here. If we tab back into object mode, you can see that right here on this edge. We've got our texture up here with pretty much square black and white checkers. And then these here are squished, and right along this edge you can see that visible scene. Whereas if you look here, these two faces right here have a continuous part of the texture that doesn't break. It's all the same size. It flows over the edge seamlessly. Let's go back and take a look at our UV map real quick and see where that is. So if I hit the two key to go toe edge mode and select this edge now, we can't see it currently. But if we come over here right here to these two arrows, we can keep you ve and edit mode in sync. So if I click this now, we can always see the U. V s. Even if things over here aren't selected and we can see where that edge that we've selected here is right there. So with this edge, it's a smooth transition between one face and another on the texture. With this edge over here, of course, you can see these two selected here in the UV map are the same edge here. But of course, these two are wildly different. That's causing the difference in the texture from one face to the other. So this is the kind of thing we need to avoid. We need to avoid stretching, and we need to avoid visible seams when they become distracting. Now, if we tumble around over here, this seem over here may not be as distracting. Depending on the object we're dealing with. You can see here that this top part here and the and the side here are the same size, the top here and the side. But they're off just a bit. You can see this square doesn't quite line up with this square and depending on the texture that maybe OK, maybe it's a, um, a stucco wall or unevenly painted piece of machinery. Something like that. That this break in the texture wouldn't be that visible. So you have to consider what kind of texture is going to be going on the object to get a sense of whether or not a seam would work there. So what let's do is kind of put this all together at least what we've talked about so far and try and use that cereal box image that we had earlier to apply it to this object will create a cereal box and see if we can apply those images that label design to our object here. So well, let's do it. Let's go ahead and tab back into object mode and I just want to change the shape of this. So I'm gonna press s and why, and scale this in just a bit. And then maybe on press S and Z and scale this up just a bit, So we kind of get a cereal box kind of shape. Here. I'll go to the move tool and move it up. So it's just kind of sitting on the grid and notice how, as I've changed the shape of the object, the texture has stretched on it. And that's because if you recall, the U. V S didn't change their still like this. Even though I changed the scale, the proportions of the object, the U. V s air still the same. So Of course, As you may have guessed, we're gonna need to re UV map this. Now we can just go ahead and select everything and press you and unwrap. And there we go. But take a look at this. We've got some pretty serious stretching here. End up on the top and the bottom. But our UV map is still pretty even over here. It looks about the same. So how do we fix this? Well, the problem is is our scale. And if we hit the n key to open up this panel here and we need to tap back into object mode , we can look at our scale here and we can see that it's non uniform. If we created a new object, let me just press shift a and create another cube and let me just move this to the side. Here. You can see that this cube, when it's first created, has a scale of 11 and one in the X, y and Z, and that's a uniform scale. And when we UV map, an object blender is looking at the objects scale to try and help it lay out the UV map. I'm gonna hit X and delete that here. So what we really need to do is now that we have our object in the shape that we want it, we need to apply the scale to get it back to a uniform state. And to do that, all we really have to do is just press control A and we can apply our transformation. Then we can apply all the transformations, just rotation and scale rotation. But all we really need is just scale. So let's just click that and take a look at this Now we've got all ones. All right, So now if we tap back into edit mode and hit the U key and unwrap now, look at what happens. The squares on our object are all square again, right? And that's what we want. That's good. And look at our UV map. It's now been reorganized to better represent our object the way it is now, and that's what we want. That's good. All right, we're on our way to text oring this cereal box. But now we need to talk about yet another issue, and that is texture resolution. How to try and use this 01 space, this square here as efficiently as possible to get as much of the texture within our U. V s as we can. Currently, the vast majority of this area of this square here has no UV is over. We're not using this texture space very efficiently. So in the next video we'll talk about recreating our UV map to use our texture space a little better. 6. 06 Arranging UV Islands new: let's first begin by taking a look at the texture we're going to be using. If we take a look at this, we could see that we've got a continuous texture from the front to one of the sides here. And then we've got brakes. It looks like they've actually cut it apart completely here. And then we've got a continuous texture on the back to one of the sides as well. So I think I like my seems the way I'm gonna break apart the object to reflect this so that we can get a continuous texture over that edge. All right, let's go back to Blender here, I think. What? Let's do. First of all, let's just clear all of our seems I'm gonna hit the A key and press control E and then choose clear. Seem here now, as I'm working, I kind of feel like the checker pattern over here is getting in my way. It's hard for me to see the island, so I'm gonna go ahead and just hit the X here to remove that texture out of this view. And that's all it does is just remove it out of the view. It's still here attached to our material so we can see it in our three d view. Okay, so I know I want to maintain this face and this face together, right, since that's what our texture has. So what I think I'll do is go into edge mode with two key and I'm just going to select these edges all the way around that area. Say right to here and let's give this a seem control. E Mark seems there we go and we can also do that back here as well. We had the back and one of the sides as a continuous texture as well. So let's go ahead and press control. E and Mark seems here. Now Let's see. I think we've got seems all the way around the bottom seems all the way around the top. So those will be broken out separately as individual UV island. And then we've got the front and the side and the back and decide as all one UV island. All right, so let's give it a trial hit the a key. Then I'll press you and unwrapped And there we go. So what I'm a do is just press the R key, and then I'm gonna hold the control key down. And you can see in the upper left corner of this screen of the UV editor screen, you have the degrees of rotation. And I'm just gonna hold the control key down until I get to 90 degrees and click and we go . I can hit the g key and kind of move this in just a bit. Now, we need to know if if these air arranged properly So I'm gonna hit the two key to go to the edge, select again. And if I select this edge right here, look at what happened. This edges now turned on the bottom, so I need to flip this around. All right, so let's go to face select. And if I select this base and I believe this face here, right? Yep. There we go. I can hit the r key and type in 1 80 it will spin it around. So our 180 and enter Now, if I select this edge right up here Yeah, there it is. There. Okay, let's try the same thing over here. I'm gonna get the three key to go to base mode. And this back here and this year it looks to me like these air in the proper place if I hit the two key and select this edge, sure enough, it's here on the top. But these islands here are kind of in an awkward place. They're kind of it seems that this ed should really match up with this edge up here. So what I could do is go back to face mode, select this, move it up it the R key and control and turn it 90 degrees and just maybe put it right up here like this. Just so it's in place and for the front. If this is our edge down here, yeah, you can see that this edge and this edge kind of go together. So I'm just going to take this and move this over like this. That's not strictly necessary. But I just like to arrange things so I know what they are. I'm gonna hit the a key, and then I'm gonna hit the G key. And I'm gonna move these into this 01 space at the S key and maybe scale it down just a bit . So that. I'm sure that everything is in this square and is in this gray square. And you may wonder, why do I call this the 0 to 1 space? That's an important thing to talk about. So if I hit the n key, I can open up this panel here. We've got image, tool and view, and here in the view, we've got something cursor location. And currently it's here at the bottom left hand corner of this square and its location, as if on a graph, is at 00 Now, if I type in, say one and zero, it moves over here. If I type in one and one, it moves up here. And if I type in zero in one, it moves over here. So this is really just a graph. If I click on this button here, I can click and move this cursor around, and you can see the different coordinate locations for it, as I do right over here. So if I put this back to zero and zero, it goes right back here. So this is really just a coordinate space between zero and one. So it's often called the 0 to 1 space. All right, So we have broken up our three D object into multiple flat Plains and laid them out here in the UV editor. The next thing we need to do is actually apply that image. The image we saw here. So how do we do that? Well, what we're going to need to do is actually go into a paint program. I'm gonna use creative for this particular object, but you can use gimp or photo shop or Corell Painter. Really? Just about any two d paint program. So in the next video, let's work on that. 7. 06 Arranging UV Islands: let's first begin by taking a look at the texture we're going to be using. If we take a look at this, we could see that we've got a continuous texture from the front to one of the sides here. And then we've got brakes. It looks like they've actually cut it apart completely here. And then we've got a continuous texture on the back to one of the sides as well. So I think I like my seems the way I'm gonna break apart the object to reflect this so that we can get a continuous texture over that edge. All right, let's go back to Blender here, I think. What? Let's do. First of all, let's just clear all of our seems I'm gonna hit the A key and press control E and then choose clear. Seem here now, as I'm working, I kind of feel like the checker pattern over here is getting in my way. It's hard for me to see the island, so I'm gonna go ahead and just hit the X here to remove that texture out of this view. And that's all it does is just remove it out of the view. It's still here attached to our material so we can see it in our three d view. Okay, so I know I want to maintain this face and this face together, right, since that's what our texture has. So what I think I'll do is go into edge mode with two key and I'm just going to select these edges all the way around that area. Say right to here and let's give this a seem control. E Mark seems there we go and we can also do that back here as well. We had the back and one of the sides as a continuous texture as well. So let's go ahead and press control. E and Mark seems here. Now Let's see. I think we've got seems all the way around the bottom seems all the way around the top. So those will be broken out separately as individual UV island. And then we've got the front and the side and the back and decide as all one UV island. All right, so let's give it a trial hit the a key. Then I'll press you and unwrapped And there we go. So what I'm a do is just press the R key, and then I'm gonna hold the control key down. And you can see in the upper left corner of this screen of the UV editor screen, you have the degrees of rotation. And I'm just gonna hold the control key down until I get to 90 degrees and click and we go . I can hit the g key and kind of move this in just a bit. Now, we need to know if if these air arranged properly So I'm gonna hit the two key to go to the edge, select again. And if I select this edge right here, look at what happened. This edges now turned on the bottom, so I need to flip this around. All right, so let's go to face select. And if I select this base and I believe this face here, right? Yep. There we go. I can hit the r key and type in 1 80 it will spin it around. So our 180 and enter Now, if I select this edge right up here Yeah, there it is. There. Okay, let's try the same thing over here. I'm gonna get the three key to go to base mode. And this back here and this year it looks to me like these air in the proper place if I hit the two key and select this edge, sure enough, it's here on the top. But these islands here are kind of in an awkward place. They're kind of it seems that this ed should really match up with this edge up here. So what I could do is go back to face mode, select this, move it up it the R key and control and turn it 90 degrees and just maybe put it right up here like this. Just so it's in place and for the front. If this is our edge down here, yeah, you can see that this edge and this edge kind of go together. So I'm just going to take this and move this over like this. That's not strictly necessary. But I just like to arrange things so I know what they are. I'm gonna hit the a key, and then I'm gonna hit the G key. And I'm gonna move these into this 01 space at the S key and maybe scale it down just a bit . So that. I'm sure that everything is in this square and is in this gray square. And you may wonder, why do I call this the 0 to 1 space? That's an important thing to talk about. So if I hit the n key, I can open up this panel here. We've got image, tool and view, and here in the view, we've got something cursor location. And currently it's here at the bottom left hand corner of this square and its location, as if on a graph, is at 00 Now, if I type in, say one and zero, it moves over here. If I type in one and one, it moves up here. And if I type in zero in one, it moves over here. So this is really just a graph. If I click on this button here, I can click and move this cursor around, and you can see the different coordinate locations for it, as I do right over here. So if I put this back to zero and zero, it goes right back here. So this is really just a coordinate space between zero and one. So it's often called the 0 to 1 space. All right, So we have broken up our three D object into multiple flat Plains and laid them out here in the UV editor. The next thing we need to do is actually apply that image. The image we saw here. So how do we do that? Well, what we're going to need to do is actually go into a paint program. I'm gonna use gimp for this particular object, but you can use Creed a or photo shop or coral painter. Any two d paint program will do so in the next video. Let's work on that. 8. 07 Using the UV Map for Texturing: Okay, well, we've managed to use our 01 space. Here are texture resolution a little bit more efficiently. We've increased the size of our UV islands to take up more of the space. Now, what let's do is export this UV map out to create a so we can apply our textures to export this out. I'm gonna hit the a key and select everything. And then I'm gonna go to the U. V's menu here and go to export UV layout. Now, I'll put this in my textures folder here, and if we come down here the size, we've got it currently a 10 24 by 10. 24. And I happen to know that this particular images only about 500 pixels big. So why don't we take our resolution down to something like 5 12 by 5 12 just so we aren't having to scale up our image to fit the U. V s and therefore cause some pixel ization. We've got the format here as P and G, and we've got the fill opacity at 0.25 Now we're using a PNG because it automatically comes with an Alfa Channel, so we'll have transparency will be able to see through it. But the actual you, the islands will have a capacity of 0.25 so we'll be able to see through them. But they'll be slightly more opaque. All right, let's give this a name. Let's call this cereal box. You've ease. There we go. And export. All right, so let's go over to create a and take a look at it. I've gone ahead and opened up Creed A and then opened up our cereal box image here that we're going to use a couple of things that I've done here in the credit interface is I've gone to Windows and work space, and I'm using the default workspace here. In addition, in here, I'll click in here and press shift s, and that will bring up the snap menu. And I've turned off everything you might see. Um, image center or image Bounds checked. It's just easier for what we're gonna do if we uncheck everything here. All right, let's bring in our UV map. Let's go to file. Ah, open. And here it is, our cereal box, U V s and I'll click open. And there it is. So you can see how that fill opacity at 0.25 gave us this kind of shaded view of the U. V s over here in the layers panel. I'll click on this and just type in UV so we know what that is. So now what we can do is come over here to the fruit loops tab here to our cereal box. And if I click on the rectangular selection tool right here, I can just click and drag a selection right here. It looks like I got a little bit of the black in here. I wanna press control, shift A to de select. You can also come up here to select and choose De select. Here. I'm gonna try that again. I didn't get that quite right. There we go. That's a little bit better. And I'm gonna go ahead and select all of this, including that side panel is well right there. All right, let's press control. See? And then let's go back to the U. V s and let's press control V. And there it is. All right, so now we need to fit it into this panel right over here. Remember, this is the front. So I'm gonna come over and turn on the transform tool right here. And I'm also gonna take this layer and drag it down underneath the UV. So we're seeing that image underneath the UV area here. With that layer selected, I'm gonna click on it to turn on that tool, and I'll just move this over here like this, kind of covering up those black lines and I'll click here and dragged down and try and stretch it down just a little bit like this. There we go. All right, let's do that again. I'll come over here to the cereal box image. I'll press control, shift A to de Select. I'll grab the back of the box right here. And that side right there. Press control. See? Go to my U V s Control V to Paste. Make sure I'm in my transform tool over here. Click on it. Now let's move it over here in the place and I'll just grab this corner and kind of stretch it down Just a bit. Kind of like that. There we go. I can press enter. It looks like I've got it a little bit too low down here. I'm gonna pull it back just a little bit like this and hit Enter again. All right, Now, let's work on the tops here. Maybe I'll go back over here and I'll press control. Shift a again to de select. And for the top, Let some Let's grab this area right up here, right there. Let's say and we go control. See, Control V, and I'll just drag this over. This will be the top of the box like this, and I'm just gonna grab the corner and stretch it out to 50 UV island, and then over here, control, shift A and let's grab this down here on the bottom like this. Right here. All right, Control. See Control V Click. And let's drag it over here and then stretch it out to fit the U. V s. There we go now to enter, and then I'll come over here and hide the U. V s layer. We don't want to export that out again. That was just a template. Just a guide to tell us where to put the images. So I'll just hide that layer right here. And now there's our UV map. One more thing I usually do in something like this is I add a black background. So I'm gonna come over here and create a new layer. Just click here and I'll drag this down to the bottom. Let's call this, Ah, background. There we go. And let's come over here to the fill tool. Click that and in the color selector over here, I'll just click and drag all the way up the black. Now I can come over here and click in an open area, and it will fill that with black. All right, I think we're ready. Let's export this out and see how it looks in Blender. I'll go to file export and let's call this cereal box. Um, let's call this C O L for color map and save quick. Okay, and there we go. Let's go back to Blender now here in Blender, all we really need to do is just replace this test texture. Are you V test pattern with the actual image that we want to bring in. So I'll go ahead and just click the X here and get rid of that and then let's click open and browse to our Textures folder and here is that Cereal box CEO? Well, I click on this icon here. We can see it. Let's select it, Click open. And there it is. There is our cereal box tab back into object mode and yeah, that's looking pretty good so you can see what I've done here. I've just insured that this corner here has that continuous texture on it, and I've ensured that this corner here has that continuous texture. The seams here, where it isn't continuous, isn't too bad because the images or the texture has a natural break there. But you can see from this example how you can keep in mind what textures need to be continuous and what can be broken up by seems as well as making sure that your UV map uses the 0 to 1 space barely efficiently. 9. 08 UV Mapping a Cylindrical Object: Well, now that we've kind of gone through the whole process of UV mapping an object exporting the UV map text oring it in an external program, etcetera. Let's now begin looking at different kinds of objects. And I think as we do, we're gonna find opportunities to learn about other tools that blender has for you. The mapping. So what I've done is in this scene this, um, UV mapping 08 I've created a scene that has several objects in it to come up here to the scene collections to the outline. Er, you can enable the visibility on the different objects here. So what let's do is just work through these objects for the rest, the course building on our knowledge as we do each one and ultimately will have an entire scene you ve mapped and textured. So that scene here is kind of an alleyway. So I've got a building seen collection here. I'll enable this. So here's our alleyway. We've got some buildings that we can work on here. We have a character how enable this so ultimately will get to the point where we'll be able to UV map a character. We've got um, a dumpster here that we can add to our scene in the alleyway. We've also got a, uh, a wooden pallet that we can duplicate and spread around the scene. We've also got, Ah, a soda can here, and we've also got a trashcan We can also duplicate and put a few of these around the scene as well. So what I'd like to do is begin with this soda can I'll just select it and hit the period key to zoom in. And I'd like to just go through the process of UV mapping and texture. Ring this just like we did the cereal box and see what we can come up with. So let's go over to our UV editing tab here. I'll select everything and hit the period key and zoom in and you can see we've got a remnant of that original UV map when I created a cylinder, that's what this is here. Now you can delete it as we did in the UV Maps section over here. But honestly, you really don't need to, because once you begin the UV mapping process, it'll just redo this, and it really won't be a problem. Let's now take a look at our texture that we're gonna be using on this. So here's the texture that we're gonna use for our coat can. Just a basic label. In addition, we've got, ah, the top of the can as well. We can use this as a texture instead of actually having toe model the top in the tab here. So this may be an object that would be on a shelf in the background of an animation or something, and that's something that you never really have a close up of. But in looking at our textures here, we can see that we're gonna need to break out the side of the cylinder of the can on its own on its own UV island so we can place this texture on it, and we need to break out the top to add this. So let's take a look at that for the can Here. I'm going to assume that maybe this is the front. So if we spin around back here, I'm just gonna press Ault and click this edge right here up. I better hit the two key to go to edge mode first. Now click Ault. There we go and grab that edge. In addition, I think I want to add an edge here along the bottom of the top rim. You can see we're getting some clipping here as I get close to this can. What we can do to solve that is pushed the n key and come over here to view. And this clip start an end is what we want to change. So currently, anything closer than 0.1 meters we're going to clip. What we can do is change this to save 0.1 And now if I hit in to close that when we zoom in , we don't clip into the object. All right, so let's press ault and shift and click this edge right here. And I don't want this to continue on here. So I'm gonna press the sea key to go to Circle Select. And I'm a middle mouse button click and drag and that can de select that edge. Then I'll right click the mouse to get out of that tool. I better de select that edge there. Alright, How about down here? I think I need to press all shift. Click this edge because I think that's where we're gonna stop the label and down here is gonna be a silver medal color once again impressed that. See key in middle mouse button, click and drag and de select that edge there. All right, so now that we have this and we go toe wire frame and you can kind of see what we have and by going toe wire frame, I can see that I've got one more. Excuse me, two more edges that need to be de selected, so I'll press shift and click this. Well, that's not gonna work. Let me press the sea key. Ah, middle mouse button, click and drag with C Key and the same thing over here, to be sure and get those de selected. All right, now, let's go back to our solid view. I'll press control e and Will Mark seems okay, So now let's take a look at it. If we hit the a key and then press you and click Unwrap, this is what we get. And that's not too bad. Actually. What I would like to do, though, is Tab back into object mode and let's take a look at our scale. If we go back to item here, we can see our scale is a little bit off, right? It isn't exactly uniform. Let's go ahead and apply our scale again. With that control, a key combination will hit the in key to close that, and then I'll press control a and let's apply the scale. Now that we've done that, let's come back to edit mode it the a key and let's press you and unwrap and let's see if there's any difference there is. There's actually quite a bit of difference here on the side panel of the cylinder here. Now, when we do an unwrapped, we get this panel down here, I'm gonna click this little arrow here and open that up. And when we unwrapped an object, we have two methods that we could use. One is angle based, and one is conform all, and you can see a slight difference for these two algorithms when we switch them back and forth so you can see conform all angle based and when the scale is applied. When you have a uniform scale, the difference between angle based and conform Eliza's usually pretty minimal. It's when you have non uniforms scale that. You can really see the difference between these two methods. I think I'm gonna go with conform. All that just looks like it's a little bit straighter here. Okay, so we have a fairly good UV map Now, I'd like to go ahead and turn it. I'm gonna come over here and press the a key and then on press are and hold the control key and rotate this 90 degrees. There we go. And then I'll hit the geeky and kind of move this into place here. Now, in addition, since I have this sink, Modoff, I have the ability that shoes and move UV islands here. So if I turn this on, you can see I don't have that. But if I turn it off, I've got UV islands here. You ve islands select. So when I choose that, I can just click on a UV island and it'll select all the points in there, and I can at the G key and move it around and maybe put it right there. Maybe I'll grab this one here and just move it away from this so it isn't quite so close. So our textures don't get overlapped. I'll click this one and maybe move this over here. All right, so now that we have our UV map laid out fairly nicely, let's go ahead in the next video and add a test texture that UV test pattern and see how we're doing in terms of our stretching. 10. 09 Adding the Soda Can Texture: well, once again, we're going to need to create a material for this object and then add our test texture to that material because textures are assigned to materials and materials are applied toe objects. So let's go ahead and create that material. I can come over here to the materials panel and you can see we don't have any material here . So let's go ahead and just click new and let's call this. Ah, soda can. There we go now for the cereal box. We created a new window over here so that we could see the nodes and how they're being connected. We could do the same thing over here if we want in the base color. We could click on this circle right here, and we get a similar menu, as we had in the Note editor, so we can choose image texture here, and we get this panel. And now if we click new, we get the same panel and we could create our UV test texture. So that's what I'll do. I'll just type in UV test texture here, and I happen to know that that texture that we're gonna put on this is about 1200 pixels big. And in fact, let me just hit Escape here, and let's go over to create a here in credo. With that label open, I've gone ahead and just gone to file open, and we can see down here it's 12 78 pixels wide, so I think if we use that 10 24 will be good. We won't have to increase the size of the texture too much to fit the UV map. All right, let's go back to Blender. And now let's go ahead and click on that new button again, and we'll once again UV test texture will leave it at 10 24 and let's go ahead and choose instead of a UV grid. Let's try this color grid and see what it does. I'll click here and then let's click. OK, all right. And there it is. So what this is is just a checker pattern as well, but it adds color and the letters in numbers here to help us see if there's any stretching going on. Let's come over here and I'm gonna middle mouse button, click and drag this. Slide it over and let's go to our look death right here and there we go all tab back into object mode and there is our test texture and it really doesn't look too bad now, does it? There's a tiny bit of stretching along up here. Not really that bad at all. There's a tiny bit of stretching down here. Yes, so that's actually looking pretty good. Here's our scene back here, but I don't think that's gonna be a problem either, since we have basically a uniform red color back here. So OK, I think we're doing pretty well now. One thing we could do is we could align and straighten the edges just a bit for you, V islands. Here, let me select this and tab back into edit mode to see this a little better. I'm gonna go ahead and close out this texture. Just take it out of this view. There we go. And all I want to do is just make these a little bit straighter. So let's begin with, say, this one right along here. This edge right here, I'm gonna press altar and click here, and that selects that whole edge. We can then right click to get the UV context menu. And here we've got these Align X and align. Why menu items If I click this? Look what it does. It straightens that up. So I could maybe all click this and right click and a line X and that straightens that up quite a bit. So I could go through all of these and kind of straighten them up. I don't know that we we need to do them all. We could do the ones that are bent the most. The ones in here are pretty straight Me old click over here and right click the line X Don't click, right? Click a line X so we could do a few of these and that might straighten it up a bit. All right, well, why don't we do the ones on top as well? So, Ault, click right click And these were gonna align in the y axis like that and we go the line. Why the line? Why? And we could even do this one down here. The line. Why? There we go. All right. So I think our UV map looks pretty good now. What we should do now is go ahead and export it out and apply the textures in Creed A. So let's go ahead and hit the a key over here and I'll go to UV export UV layout. I'll go to my textures. And here we've got 10 24 by 10 24 already. I think that's fine. So let's give it a name. Let's call this s 02 Can you Weise and hit export UV layout? All right, let's go over to create a here in credo. Let's go ahead and go to file open. Here's our soda. Can u V is right here. And let's now take this image here. Press control A to select everything. Control. See to copy. Now let's go over to our U. V s gonna go ahead and change the name of this layer to U. V s and oppressed control V to paste that in. I'll drag this down below the U. V s layer and then I'll come over here to our transform tool right here. Click. And now let's move this into place. I'm gonna move it right down to this corner right here, and then I'll click and drag on that corner and let's try and get it lined up like that. Let's go ahead and bring in the image for the top is well, so I'll go to file open here in my textures. All opened this one up to select the circular top. Let's switch over to the circle Selection tool, the elliptical selection tool and what I'm gonna do is just click and drag and then hold the shift key down to make sure it's a circle. And then I'm just gonna drag out like this and let go. And there we have our selection. Now the problem is, is there's no really good way to move a selection once you've drawn it out. I can't just go to the move tool here and click and drag because that's what happens. So let me undo this. So what we can do is come over here and add a new paint layer. I'll just click here and now with this new paint layer here we can come over to the move tool, click and drag it, but we can't see it. So if I move it here and then hit enter, you can see I've moved it, but we can't really see it. So what? You can do is come over here to this transform tool right here. Now you can't see the selection, but you can see the square around it. Kind of strange, but it works pretty well. Let's move it around right about here. Let's say and I'll hit, Enter and there's our selection. So maybe it's a little too big. Let's click on it, hold the shift key and click on a corner and kind of scale it in some and hit Enter and there it is. Okay, so I think all I need to do is move it up a bit. Something like this. Let's say and hit, Enter and there we go. We've got our selection around the top of the can. Now, to copy that, we've got to go back to the layer with the actual image on it. So let's click here and then press control. See, go back to our U. V s press Control V. And there it is. And let's go ahead and click and press shift and bring this down a bit. Um, I think I'm gonna move it over here, and these outside edges here are for that rim of the lid. Let's go ahead and move it and maybe shrink it down just a bit like this. Let's try this. There we go and hit, Enter. And then what I'm gonna do is turn off the U. V s. And I just want to sample a color here, so I'll go to my color selection tool. I'll click here and you can see it's grab that color over here. Here it is. Now, what let's do is let's just fill these with that same color. So I'm gonna add a new layer here, put this layer underneath everything go to my fill tool. And oh, also, I need to hide all of these like this, and then fill the image. Now I could bring them all back, and here we go. All right, so let's give this a try. I'm gonna hide the U. V s. And then I'm gonna go to file Export and we'll call this soda Can C o L for color map. All right, let's go back to Blender and see how it looks here in blender instead of our UV test pattern. Let's click the X here and let's click open. And now we can browse to our textures and our soda can color map open that up to have in the object mode. And there we go. So I think we'd probably need to adjust the size of this. You can see I've got it a little bit too big here. So we need to adjust the size of of that top. We can, of course, go back and do that. We go back to create a turn this back on, I'll choose. Here it is, right here. I'll choose this layer, go to the transform tool and just hold the shift key and kind of shrink it in just a bit. From there we go. Maybe put it right in here. Now let's hit, Enter. Turn off the U. V s and lets export this again and try it again. I'm just gonna export it straight over the old one. There we go to replace that and in blender. Let's just, ah, take away the old one. Bring in the new one right here and there we go. So it's getting a little better. That's good. All right, Well, in the next video, let's work on that wooden pallet in the scene, and I think that's going to allow us to try out a couple of more tools in the unwrap menu. 11. 10 Using Smart UV Project: before we move on to the palate, I think I'd like to adjust the material a little bit here. As I said, textures are assigned to materials and materials are applied to objects. And the look of our objects comes from all of that, from the texture from the material and from the lighting. So over here in the material panel, I'm gonna bring the metallic up. Since this is ah, metal can. I'm just going to bring this up some. And I'm also gonna take the roughness down quite a bit like this and you can see as I do, it gets more and more reflective. And you may be wondering, Well, what is it? Reflecting? There isn't anything here. If we come over to the part of the top bar that has our looked of button here, we can click on this little pull down, and you can see the HDR image that's in this scene. If I click on rotation, you can see that it actually spends around in the view port here and we can choose other images as well. We can click on the sphere and choose other HDR images. We could also click on the gear and install new HDR images if we want as well. So for this one. Ah, well, let's see. We've got this and this. Ah, I kind of like the trees One. I'm gonna go with this for now. I kind of like that, but that's a little bit too reflective, isn't it? It's like a mirror. I'm gonna bring the metallic down some and maybe bring the roughness up by Let's say 0.1, Let's say so. There we go. It We're getting a little bit closer to what I'd want. We could take the speculator down as well, and then bring this metallic back up. So maybe the metallic could be a 0.2. And the roughness could be a 0.1. Yeah, that's not too bad. All right, well, let's now take a look at the palate. Let me twirled these up over in our outline. Er I'm gonna hide the soda can, and I'll bring out the palette. Here it is. So for this, we want some sort of a wood texture, but we also want to UV map it so that we can align the wood grain to the objects to the planks and if we were to go in here, I'm gonna select it and tab into edit mode. If we were to go in and select all of these edges, each individual one and Mark seems and then unwrap and try it again and move seems around. This would be a lot of work for a knob checked that really isn't that important in the scene. So there's a couple of other options that we have in that UV menu. So let's go ahead and hit the a key to select everything. And of course, you can see that that original UV map from the Cube that began this is still here, and that's really not gonna be very useful for us here. But if we select everything and without marking any, seems if we press the U key weaken, go to the next menu, item down this smart UV project or even the light map pack, and give these a try. These actually go about breaking up the UV map by edges rather than requiring you to actually select Seems so. Let's give these a try. A Let's begin with light map pack and let's click this and then click OK and let's see what happens. Well, that's interesting. That's that's That's not too bad. But they're these huge blocks here. And if we select this icon here to put these in sync, go to face mode and then select one of these, we can see I'll hit the Z key and wire frame. We can see that that's the face that we're dealing with, and that's really not at all. The same shape is that faces it, so this isn't really helpful. But I think one of our issues is that the scale hasn't been applied yet. So let's do that. Let's hit the n key And over here under the item tab, you can see our scale here. It is certainly non uniform, and in addition, the rotation is off to. So what let's do is let's press control a and let's apply the rotation and the scale. I'll click that now you've got ones for the scale and zeros for the rotation, and that's good. That's what we want. So let's hit the n key to close that panel. It's tab back into edit mode and select everything, and then I'll press you endless. Choose light Matt Pack again and click. OK, all right, so we're getting it a little bit better. But let's take a look at some of these squares here. If I click this, I like the Z key and go toe wire frame. You can see that this is the face that this represents. And even though we applied the rotation and scale, this still isn't proportionally the right size right? This is square. This is rectangular, so this isn't really working for us here. So let's try that other one. Let's try. If we select everything, let's press you and let's try this smart UV project. If we click this and then just keep everything at the default and hit, OK, now we're getting somewhere. Now it looks like all of these faces are the right proportion and the right scale matching the object over here in the three D view. So if we selected one of these and hit Z and wire frame, there it is there, and that looks a little bit better. That looks like a better representation of our three D object. All right, so we're getting somewhere. Let's, um, do that again. I'm gonna press you and smart UV project and okay again. So we get this panel down here and you'll notice over here that all of these UV islands air really packed very tightly together. And if we come down here, we see the island. Margin is at zero. I'm just going to click the arrow here and bring it up to say 00.3 and that moves these apart just a little bit. And I think that's probably a good idea. Now you may be wondering, Well, why didn't we just do that with cereal box? And the coat can? Well, when you're putting specific textures like a label, things that have to be placed in a very specific way, it's really better if you choose where the seams are, because blender isn't going to do it the way you want to do it for this kind of texture, where we're just gonna be putting a general wood grain on this. As long as everything is going in the same direction, I think we'll be fine. So in the next video, what let's do is we'll export this out, will find a texture out on the blender cloud and will apply it and do a little editing in Creed A. Before we bring it back here in the blender 12. 11 Creating a Wood Texture in Krita: all right with the UV map selected here, I'll just come up to the UV menu, choose export UV layout and let's go to our textures folder. And for this 10 24 by 10. 24 should be fine. I'm gonna call this palette U V s and let's export it out. All right, let's go over to create a here in Creed. I'll go to file open and let's find our palate. U V s here they are. Click open. Okay, well, we have them here, but what are we gonna put on them? We need to find some sort of texture that we can use here. To do that, I'd like to go out to the blender cloud, so I've gone to cloud dot blender dot org's and I've clicked on libraries here, and here are a lot of goodies that we can use. HDR images, textures, characters. There's a great art gallery here of blender work, and if you don't know the blender cloud is a subscription service that gives you all kinds of cool stuff. Your subscription helps support the blender foundation and the development of blender, but all of these textures that I'm going to use in this course will be in the project files . So you'll be able to get to these even if you don't have a subscription to the Blender Cloud. So I'm gonna go to textures here and in the textures I'll go to would write down here a the bottom. And here we have just a lot of selections, a lot of choices that we could use for our would for our palate. Um, I kind of like this one here. It's wood plank 01 and it's pretty big. It's 40 96. So we've got plenty of resolution to play with here. Yeah, let's go ahead and try this one. I'm gonna click that and then Click Download, and I'll put it in my textures folder here. Here we go. All right, so let's go back to create a and let's go file open. And here it is. Here's our wood plank image. Open that. And there it is. So I think I'll just press control a and then control C and bring this whole thing and it's it's gonna be huge. So let's go back to the U. V s and let's hit the minus key to zoom out because this is going to be pretty big. And then I'll press control V and there it is. Now we can't see it. Really, Because we're just seeing what's in that original 10 24 square. I'm gonna take this. I'm a drag down below the U V s so we can see the U. V's over it. And then over here I'm gonna click on my transform tool, and now we can see it a little bit better. All right, so if I zoom out some more, I think I better turn it. I'll click out here and turn Hold the shift key toe, snap it, turn it 90 degrees and then, ah, I'll grab this corner, hold the shift key down and reduced the size quite a bit here. And I'm gonna put it right in here and hit. Enter now zoom in with the plus key and we can click and move this around Now I think I want to put it. I like the kind of ah dark area here that we can get with this. Let's try that. I feel like the grain. Maybe still a little too big. Let's shrink this down some and maybe go like this. I'm just trying to get the appropriate side grain for the size of the planks here. All right, so there's that. I'll hit the enter key, and now we need to just duplicate this and move it over. I think what I'll do is just press control J and that will duplicate the layer. And then I'll click on that here and then click. Hold the shift key and drag over like this. Now I'm not sure I want that black area again. That might look like it's repeating too much. So what let's do is I'm just gonna press enter and then I'm gonna go over here toothy rectangular selection tool again. I'm just going to click and drag and kind of cut off that area of black here. And then I'll hit Delete control, Shift A to de Select to go back to my transform tool, and I'll just slide this over a bit like this. There we go. Okay, so we have a repeating pattern with the knots in the wood, but I'm hoping those are at places where that repeating isn't very visible, so let's give this a try I'm gonna turn off the U. V s and go to file Export will export a PNG, and we'll call this instead of U V s will call it C O L for color and save. All right, let's go take a look at it. Here in Blender. The first thing we really need to do is give this a material, So let's click on the new button over here in the materials panel, Click New and let's call this palette. There we go. Now, once again, we can click on this little circle at the base color right here. We can choose image texture, and then we can click open and browse to our textures, and here it is palette color. So let's click open and we can't see anything yet, mainly because I don't have the look to have turned on. So I'll click here and there we go. So now there is our wood grain, and it's looking okay in that. There's not a lot of repeating textures, visibly repeating textures that I can see here, which is kind of nice. I like that. However, there's a couple things I want to change here. First of all, We don't need so much speculum on this. I'm gonna bring this down like this. There we go. And let's take a look at this in our UV editor over here, so I'll tap into edit mode and then let's just go to this, pull down and choose our palette here. So there's how it looks within the UV editor, and honestly, that's actually pretty good. There are a couple things I'd want to do before I'd say I'm finished with this. So two things, mainly one. I'd like to adjust the color. The color here is a little too dark for my taste. Now I could go back to create a and adjust the color or the brightness there. But we can also do that here in blender. And the second thing I want to do is create a normal map that will allow us to have a little bit more texture and grain to the wood. I want it to look as if it be very rough to the touch. So in the next video, we'll work on those 13. 12 Creating and Applying a Normal Map: So, first of all, let's work on the normal map to do that. Let's go back to create a and create A has a nice tool here under filter and edge detection called height to normal map, and we can generate a pretty good normal map with this. The only problem is that it does this destructively. In other words, it will create the normal map over your existing layers. So what let's do is let's select these two layers and I'll right click and let's duplicate the layer once again with control J. Here we go. So now we have copies of this. I'm gonna hide the originals here and let's merge these two together, so we're only dealing with one layer at a time. So once again, I'll right click and I'll choose Merge with layer below and there we go. So now we have just one layer and I'll change the name of this layer. I'll just call it normal. Okay, so now that we have that, the other two are hidden and we have that selected. Let's come up here to filter edge detection and height to normal map, and now you can see what it does it actually overlays this over the layer and currently are radius is at 1.0. We can click and drag and drag this way up and create some pretty crazy effects, but I don't think we need to do that. I'm just going to click in here and type in ah, to and hit. Enter. So we get Ah, two point. Oh, I think that's probably enough With that, I'll click, OK, and we have a normal map. So let's give this a try. I'm gonna go to file and export, and I'll call this instead of U V s. Let's call this, you know are for normal map. I'll save okay. And let's go back to Blender Now for this. I'm gonna go ahead and open up that other window that we had before. I'm gonna click up in the corner and dragged down like this, and then I'm gonna pull this menu down and go to our shader editor. And here's the node representation of our material. I don't really need this panel once again sold Hit the n key. And now what let's do is let's go ahead and add a normal map if we zoom in here. We can see that we have, Ah, normal socket here. So what we need is another image node that we connect up to this socket. So let's press shift a and go to texture image. And then let's go ahead and click open and let's browse to our textures and choose palette Normal. I'll click open now We need to convert from this yellow socket here, a color map to this blue socket. Here we want to tend toe keep with the same type of sockets. It's not always necessary, but recommended. I'm gonna press shift A and under vector, I'm gonna bring in a normal map. Note. Click here. Drop that. Now we've got the yellow color to the yellow color and the blue normal to the blue Normal. I don't know if you could see that change, but now we have a little more texture to this. Let me see if we select the normal map here and press the M key Weaken ta go the mute on and off. So I'll hit the M key and you can see over here in the three d view the difference. We've got just a little bit of texture being created. You can see it especially long here. See that now? We could also increase our strength. If we take the strength of something like three, you can really see it. But maybe two's good. Let's try that. Yeah, to is pretty good. We can get a pretty good sense of the rough texture of that at a setting of two. Yeah, let's do that. Okay, so now what I like to do is lighten the color up just a bit. I want toe come up here. And in between the image node and our principal shader, we can insert a curves node that will allow us Justo, adjust the brightness here a bit. So let's press shift a and go to color rgb curves. And I'm just gonna drop this right here, and it'll automatically connected up. Now, if I click here in the middle, I can add a node. A point here. And if I click on that and drag it this way, it'll brighten it up. If I drag this way, it'll make it pretty dark. So let's just do it a little bit. Let's just bring it up a little bit this way and lighten this up just a little bit. Like this. Kind of wanted something like that. Maybe Like this. There we go. So once again, I could get the M key when we can mute that and you can see the difference. Right? So I think I like it like that. All right, so we've got our palate UV mapped and textured. We've taken a look at using the smart UV project Unwrap method instead of marking our seems . And remember, not every object is gonna be good for something like smart UV project This particular object very good for it because it has a lot of very regular, similar pieces to it. But if you need to place a texture exactly like a label or if the object is more organic and shape, then you should probably think about using Seems well for our next object. Will use the dumpster to talk about how we can UV map and organized a more complex object that has many pieces and different types of textures and materials. 14. 13 Beginning the UV Map of the Dumpster : Well, let's take a look at the dumpster and see what we need to do to UV map This. Now, I recommend that as you do your three D models as you finish a model, you go ahead and do the UV mapping. At that time, you know how you modeled it. And if you leave it for a later date, you may kind of forget what you've done. And since I've modeled this, I have a sense of how it's made, how it's built. So let's take a look at that. I'm gonna select it and hit the tab key to go into edit mode and let me just move this over . Here we go. So if I press the three key to go to face mode, I'm gonna hover over this piece on the front and just press the L key and the L Key will select linked components. I'm gonna come over here to the move tool. And if I click and drag, you can see that this piece is its own object. Or or I should say, its own part of the larger object. And in addition, I'm gonna press alter a to de select and then I'm gonna hover over this and press the L key and that will select all the link components there. If I take this and I move this back, you can see that this is its own peace. If I hover over this part right down here, you can see this. Here's a piece. And also, if I hover over this little trim part, I'm gonna press the l key here and kind of just move this up and we go so you can get a sense of how this is created or how this was modeled. I broke it up into pieces, knowing full well that it would need to be UV mapped and that oftentimes when something is in pieces like this, it's easier to UV map. Now, of course, it's still all one object because I made sure that at the end of the process I selected everything and press control J. And that joined all the separate objects into one. Okay, so I'm gonna press control Z and with try and get everything back into place. There we go. And let's go over here to the item tab and tab into object mode. And let's take a look at the scale and the rotation. The scale is uniform. It's true, but it isn't all one. So I think we should probably go ahead and apply the scale. The rotation looks fine. So in object mode here, let's go ahead and press control A and choose to apply the scale. Now these air, all ones. That's what we want. All right, I'll go ahead and press the end key to close that. Let's move this back right over here and this window right here. I could go ahead and get rid of this. For now. I'd like a little bit more room for my UV map. So I'll hover over this border between the two windows, right? Click and choose join area, and then I'll drag up here and join those two areas. Okay, so how should we begin this? Should we just select everything and hit smart UV project and be done with it? Can we do that? Well, let's give it a try. Let's tab into edit mode, and you can see that it's kind of a mess over here. These are all just remnants of the original UV maps that came with the primitive objects. But if we select everything and hit you and just choose smart UV project, let's see what happens. I'll click, OK, and there we go. And honestly, that's not too bad. I think there are some inefficient areas like the trim is still kept in a rectangle here. We're not using our space here in R 0 to 1 space very efficiently. But generally speaking, it split things up fairly well. Like this is the bottom. Um, if I hover over this, you can see that that's the side. But it's arranged in a way that I think would make it difficult to actually texture it. If we were to try and texture this in Crete, it would be difficult to try and figure out which parts are which. What is all this? Is it the trim and in addition for the lids up here on top? If I hover over it and hit the Elke look at how split up that is, how do we get our textures onto that? Right? That's gonna be a challenge. And you're gonna be introducing. Ah, lot of seems into this object into your texture that you don't really need. You don't need all those seems there. So smart. UV project does a pretty good job with fairly simple objects like that pallet. But for this, that's a little bit more complex and has some different. That has a lot of parts to it. It may not work real well. Well, we've tried our smart UV project, and it didn't quite work out like we'd hoped. So let's now come over here and we can just remove our UV map there and let's begin again. So what I like to do is to try and create the UV map in such a way that it's easy for me to texture it in a to de paint program like Rita. So let's begin right up here at the front, health it the three key to go to face mode, and I'll just press the L key to select linked components there. And with this selected, I'll just press you and unwrapped and there we go. So there is our first piece you ve mapped. Now all of this space out here outside the 0 to 1 space, all of this area is free to use. You can just hit G and move this out here and just keep these out here temporarily as you work on your object. So just think of all this is extra work space. But in the end, we're gonna need to get everything here in the 0 to 1 space. Now it's true that we don't have to have it in the 0 to 1 space. If we're going to stay here in blender, things can bleed out, or you can even keep things outside here. But I think it's a really good practice to try and get things within the 0 to 1 space. Because if you take your objects anywhere else besides Blender if you go into a game engine , if you take it into a PBR text Oring program like substance painter, everything's gonna need to be here within the 0 to 1 space. All right, so we've created that front piece. What about our side and back pieces when I think I'd like to split thes out. So if I go to edge mode with the two key and press Ault and click this edge and I'll press shift Ault and click this edge, let's go ahead and Mark seems here Control e mark seem. So now we've got the back split out from the two signs. So let's see how this works. I'm gonna go ahead and press the L key and that will select everything even though we have a seam here. If I came down here and shows seem now, look at what it does. It just confines my selection to that area within that scene. So you can use these to help you select what you need here in edit mode, I'm gonna press, shift and click the seem again to undo that. And now with these selected, I'll press you and unwrap. All right, so there we've got our two sides in our back. Let's go ahead and move these out of the 01 space. I'll come up here to face mode and notice. I've got my keep selection in sync on here. Go ahead and just hover over this and press the l key And let's move this out. Now, which way should this go? If I select just this one here, that's on the bottom. Okay, So what that tells me is that I need to press our hold the control key and turn this 90 degrees, and that's on the bottom. There. Okay, here's the back. This is our side Over here. That's this side. So we could take this, move it over here and turn it like this. I'm gonna turn it 180 degrees and put that here, and then I'll grab this one and hit the G key and move it over here. Actually, what I should do is move. These here should not. Since I want to align them to the front, I'll select this one with the l key and move this over here. Now, I can also take thes and kind of scale him up just a bit. So? So the edges match a little bit better. There we go. All right. And I guess I could go ahead and scale this up so that we have it a similar size to the front. So now you can see what I've done here. I've put the front panel here. I've put the side panels here and the back. I've gone ahead and put up here so I can kind of tell what is what as we continue to build our UV map. Ultimately, we're gonna have to take all of this and put it into the 0 to 1 space here. But for now, I'm just keeping everything outside in the work area here as I continue to UV map the rest of the object. So in the next video, let's continue working on UV mapping the dumpster. 15. 14 Continuing with the Dumpster: for the bottom of the Dumpster. I think all we need down here is just to create a seem all the way around this bottom panel to break it out on its own. I don't know that's ever actually going to be seen, but just in case we should probably do it, I'll press the three key and select that face. And then I'll press control e and choose Mark seem and that will just create a seem all the way around that face. Then what I could do is come over here and let's now select this edge, oppress Ault and click that edge, and that will select all the connected edges there. And then let's go around and do that same thing with all shift click and get all of these other edges as well on the corners. And then let's go in press control. E and Mark seem now if we hover over this impressed the Elke, it'll just select that bottom piece. Now we compress you and unwrap and there we go. So now we've got the trim and the bottom panel and we go, so maybe I'll grab that one and move it down here and I'll go ahead and hit the Beaky and border. Select all of these and move these out here is well, so as an aside, let me just show you something Here. This right here. If we hit the Beaky and Border, select this tiny little dot here, that's everything else. So all the other objects air just squished down into a single point There, that's all that is. All right, so we've done the front, decide the back. We've done the bottom. Let's take a look up here at this top trim. So if I hover over this and press the l key and see there, that is, that's all one piece. Let's go ahead and do a similar thing that we did down at the bottom and just all to click an edge on the corner here, an old shift click each of the corners here like that, and then let's go ahead and Mark seems with Control E. And now let's hover over that press the l key and let's hit you and unwrap And there are those top trim pieces there. So let's just hit G and move those aside. Now let's think about these top pieces. Remember when we did smart UV project? It broke each of these pieces. Each of these rectangular extrusion is up here out on its own, and we don't want to do that. I'm gonna hover over this one and press the Elke, and I think it's gonna be hard to see up under this if we don't hide the rest of the dumpster. So with this selected, what we can do is weaken hide the UN selected objects by pressing shift page, and then we can bring everything back again by pressing all to h. And there we go. So I'm just gonna once again hover over that and press the l key and then shift h to just isolate that now for this. I think I do want to do the same thing we just did and press Ault and click these edges here to kind of open it up along each of the corners and let me come over here and do that all shift click that all shift click this one and this one as well. Okay, so now it's press control. E and mark seem so there's that I think that may be all we need. Let's give it a try. I'll select it with the L Key and then press you and unwrap. And there we go. Yeah, I think that's actually just fine. I don't think that will be a problem. So let's bring everything back with Ault h. And then I'll just de select that and with the Beaky border. Select that and hit G and move this over here. All right, Now let's try this one here. Lets do the same thing with suppressed the L Key, but the period key to zoom in. I'll press shift H to hide everything else. And then let's Ah, just old click these corners again, All to shift click here year and here control E mark seem. Now let's press the l key you and unwrapped. And there we go. All right, old h to bring everything back called a and then I'll just border. Select this and move it over here so you can see as a UV map each piece they pop into the 0 to 1 space. And that's why each time I'm moving things out of there so that when it pops in, I don't get overlap and have to try and separate UV islands out from each other. Okay, so we've got the front, the signs, the back. We've got the top and the bottom. But we need now are these side pieces. We've also got these tiny little triangles. And once we UV map one, I think what we're gonna do is just duplicate them, and then we're gonna mirror them over here to the other side. But for these rails here, I'm gonna press the l key here and the l key here. And let's then press shift h and take a look at these. All right, So if I select this one and hit the period key and zoom in So what I've done here is actually deleted the faces on the interior. I don't know if you can see, but I've got this edge here with no face, and that's mainly because we are gonna see them. They're gonna be hidden away, kind of inside the dumpster. And also, I don't want to UV map them. Having them deleted is just easier when it comes to UV mapping. So what I'll do is just press ault and click this edge and select that entire edge on the outside there and press control E and choose Mark seem there. And I'll also do this same thing on the other side. I'm just gonna all to click this control E mark scene, and we should probably split these edges out as well just to break that up. Control e mark seem. And the same thing over here, here and here. All right, let's go. Now, do that over on the other side. I could just delete this and duplicated over, but it isn't that hard. I'll just select these edges here, control e mark, seem spin around, and I'll select this edge of the period key to zoom in and then press shift and select these injuries as well. Mark seem. And there we go. OK, so let's go ahead and UV map thes Now that we have, this seems marked. I'll hit the l key here and here. You and unwrap. And there we go. All right, I'm gonna hit G and move these to the side All it old age to bring everything back. Okay, we've got most of the dumpster done. Now, the last things we need to do our things that we're probably going to duplicate, maybe mirror and use the same UV texture space for all of them, like the tires and these triangle panels. So I'll show you a good way to have the UV islands of all of these pieces on top of each other. So when we texture one, we texture all of them, so that's coming up next. 16. 15 UV Mapping the Wheel: Now you can see over here in the UV map that I've accidentally moved our little singularity over here as I was moving things around. But if I hit the B key and border select that you can see, it's just the items I haven't you ve mapped yet. And if I d select that impressed the Beaky and Border select all of these that I have done it selects everything else, and I can just hit h and hide those away. All right, so now what I think I'm gonna do is just UV map. One of these things. One triangle, one wheel, delete the rest and then duplicate that you ve mapped item over to the other places because I don't need to do the same thing four times here, and I don't need to do the same thing six times here. So let's begin with one of the tires. I'm gonna press the Z key and go toe wire frame, and then I'll maybe go to the top view here, and I'll just sit the Beaky and Border select thes and hit X and delete faces. And then I'll just grab one of these two. This one here. I'll just grab this and delete it. And there we go. So now I can just focus on this one, and when I'm all done, I'll duplicate it over to the other places. And this is something that you should keep in mind as your three d modeling. As you're creating an object, you may want to UV math apiece before you begin duplicating it off onto other parts of the object. All right, so for this I think all I really need to do let me hover over this and press the L key. And then I'm hit the period key toe, frame it up and center my tumble around that object. I think what I need to do is go into edge mode and just select the edge right around here. Impress Alton, Click that control E mark seem. And then I'm gonna press ault and click this one and Marcus seem there as well. That's just splitting out the tire. Maybe kind of Ah, hard rubber material from the inside from the wheel, which is probably a metal. So I'm gonna hover over this Now, press the elke and I'm gonna click on seem right there And then I'll press you and unwrap. And there it is. Now it's a little bit warped. I could maybe come over here to the unwrap method and change from conform to angle based and see how that looks. That's not too bad. I could use that. I suppose now, if you wanted to, you could split this up with an edge. Say, at the bottom here. Maybe you could select this edge, add a seem and split it out. So it's one long strip instead of, ah, circular UV island like this. These air such small pieces. I don't think it's really gonna be a problem if it's circular like this. All right, so what let's do is maybe hit the B key over here and border select this and that selects just that tire, part G and just moved that out. All right. Now what I can do is just come over here and I'll just select these directly. I'll hit the L Key and let's just select each of these pieces. I'm just hovering over them and pressing the L key, and I've got seems selected to delimit the selection. There we go. So now we've got all of those pieces selected, and we do not have these selected appear. That's good. So now oppress you and let's use that smart UV project. And OK, and there we go. That looks pretty good. I'll hit Thebe Key and Border. Select that and let's just move this out of the way. All right, let's do the same thing real quick for these up here. All we really need to do is just hit the Elke. I'll press shift and click that seem so to de select it. I'm gonna hit the l key for all of these and hit X and delete faces. And then for this one, all I'm gonna do is just select this edge. What a all to click this edge shift All click these and press control E mark seem. And then I'm just gonna select these edges here like this. Control E mark Seem. There we go. So now we've got this piece right here, and we've got the wheel down here as a single individual pieces. We will then duplicate and move these back into place at the end of the process at the end of UV mapping the dumpster to bring everything back on a press, Ault h And there we go. We can see everything there. Oh, and you know what I didn't do? I didn't UV map this. I'm mark the seams, but I didn't create the UV map, so I'll hover over and press the L key. I'll hit you and unwrap And there we go. All right, So must select those UV islands right there, g and move that aside. All right, Now, we don't have our little singularity out here, Which tells me I think we have everything you ve mapped. I'll hit the Beaky and let's border select all of this, and it looks like we've got everything done. And over here is the wheel. Yep. I think we have everything done. So in the next video, what we'll do is began arranging the UV islands, adjusting the scale so that the scale in proportion of our UV islands matches that of our three d object and then also getting everything into the 0 to 1 space. So we'll work on that coming up next 17. 16 Organizing the UV Map: well before we go any further, let's go ahead and add a UV test pattern just to see how we're doing in terms of stretching and the songs of our textures. So let's go ahead and create a new window right up here again, and I'll switch this to a shader editor. I'll hit Thean Key to close that panel. And then let's create a new material. We can do that up here. I'll go ahead and click New and we'll call this Dumpster. There we go now. Recall that it's also over here in the materials panel here, but let's go ahead and now create a new image node with shift A and texture image texture. Let's go ahead and connect our color up to our color socket on the principled shader. And then down here, let's go ahead and click new and I'll call this Ah, UV test texture, and I'll change this too. I'm gonna go with just the UV grid, just the black and white, and then click OK, and there we go. So here is our UV texture. We can't see it yet because we need to come over here and go to our look devil click here and we can't see it. Well, because we don't have it here in our image texture. So let's pull the menu down and choose our UV test texture. All right, there it is. So it looks pretty good. There are a couple of not too big issues here, But if you look at the checker pattern here on the bottom panel, these are quite a bit bigger than the ones on the side in the back. And let's go over here. Let's take a look here. This right here is the bottom. And if I scaled this down, I'll hit the S key and scale it down. Those checkers get bigger. And if I scale this up, they get smaller. And our task here is to try and be sure that within this total object, all of these checkers are proportionally the same size. Now, they could all be this big, or they could all be this big. It really doesn't matter how big or small the checkers are. What matters is that they're all the same size, and we've got a bit of a problem here. So how do we fix that? Well, we can of course manually, go in and scale these up or down to get all the checkers the same size, and sometimes you need to do that. But what we could do is select all of the UV islands that are not our triangle and our wheel, because these down here are going to be dealt with, as I said at the end of the process, mainly because they're kind of a special situation will deal with these here pretty soon. But let's go over here and I'll de select everything. And then I'll press the Beaky and border. Select all of this so it should select everything except the wheel and the triangle. And then we can come up to the UV menu here and choose average island scale. And what that will do is make all of these UV islands proportionally the same size relative to each other, that they are over here in the three D view. So let's go do that. Let's press U V S and then average island scale, and there we go. Now, if you take a look at everything, all of those squares are the same size, which means when we apply our texture say to the front and to the side are textures will be the proper size. All right, so now that we've done that, we need to rearrange things here in the 0 to 1 space. Now, blender has another tool that can help us do that. But keep in mind, it's an automated tool, so it may not do it the way we want it to be done. But let's give it a try over here under the UV menu. We also have pack islands and noticed that once again, I'm not including our special situation. You've ease over here, right? I'm just including all of these. So let's try this. Let's try UV and Pack Island, and what that will do is pack all of the selected islands into the 0 to 1 space. Here we go. There we are. Now. Notice what it did. It shrunk them all down so that all the squares are now bigger. But they are all still the same size now. And that's fine. That's good. So is this OK? Is this going to be a decent layout for us when we take it into creator? Well, let me turn off the UV test texture here with the X. As I said, it's still here on the model. And then I'm gonna press control space bar to make this one screen full screen. All right, so let's think about this once again. I think I'd like to rearrange these to better represent the three d object, because I'm not sure. Is this the back or is this the back or is this the bottom of the dumpster? I think this is the bottom and which side is which? Here. And are these the rails here? I think they are. And these two. So I'd like to rearrange this. So I have a little bit more confidence of what each of the UV islands is. All right, I wanna press control space bar again and let me shrink this a bit, and I'll make this a little bigger here. So what we should do is, first of all, figure out what's the front? This is the front here. Okay, So what I'm gonna do is I'm gonna use my work area here to rearrange these, and then we'll put these back into the 0 to 1 space, so I'm gonna hit the l key and I'm grab this and move this over here. Then what is this Here? That's this. Okay, so I'll hit the l key and hit G and move that over here and then this one, that's that. Okay, I'm gonna hit the Elke and own press our control, turn this 180 degrees and move that over here. So I know that now. That's the front. And these are the sides. Here we go. Ah, let's find the back right here. And it looks like it's flipped upside down. Right, cause here's supposed to be the top, but it's down here in the UV map. So hit the l key press are control and spin this around 180 degrees G and moved that. So I'm gonna call the back. I'm gonna put the back right up here on top of this, right. And then this one, this is the bottom. So I'm gonna put this down on the bottom here like that so you can see what I'm doing. I'm just rearranging these so that I know what they are. And honestly, you don't have to do this. If you can figure it out yourself. um, when you have the UV map in another program, that's fine. But I like to spend just a little bit of time here to arrange things. And I think it saves me time once I get to the texture in part. All right, so for the top, I think, Ah, this right here, this is the one on the right. So I'll just move this over here to the right. I better de select everything here before I do that. And then press the Elke and then move that over here, maybe turn it just a bit like that. And then I'll select this one. Bring this over here like that, so I know that that's the one on the left. Okay, now these over here on the sides, if I hover over this and press the L key and on the inside as well pushed the Elke, that's these two here. All right, So what I'm gonna do is just hit g and move these, and then I'm gonna grab this one and move it over here and this one our control and rotate this and move that into place here. Okay? Now, I know that these are the other ones. Turn that. Grab this and move that here. Okay, so now we've got the main part of the dumpster. The lids, the rails. Now let's think about these guys here. What are all of these guys? Well, here is I'm the shift click Seem there. So it selects all of that. Here is the top. So what I can do is just take this whole thing and maybe moving up to the top like this here and then this down here, that's the bottom. So let's just grab this lips once again, de select everything, then grab that. Oh, that's selecting everything, including the bottom down here. I can just press shift and click to De Select that someone. Let's turn this it g and moved it in here. All right, so now if we take all of this g and move this into here, we may now need to just shrink this down just a bit. I'll hit the s key and shrink that down and noticed that I'm shrinking everything down proportionally. So all of these air still proportionally the same size compared to each other, right? Let me grab these and just move these in a bit. Here we go. So there we have the UV map for the dumpster, the main parts of the dumpster. Now what we need to do is work on the wheel and the triangle here. So in the next video, what? Let's do as, let's concentrate on these and we can place these in this area and in this area over here, so we'll work on that next. 18. 17 Finishing the Dumpster UV Map: Okay, So what are we gonna do with these things? Well, we need to deal with them in a little bit different way because I'm going to try and mawr efficiently use the texture space for each of these. So if I were to just UV map, these as they are now, it would split the four wheels and all the four real hardware pieces all over the UV map. It would be hard to texture because they'd be split all over the place and it would take up extra space on the texture. So to get around that, what I'll do is put all of the U. V s for the wheel, one on top of the other. Let me grab the triangles here and just move these out of the way for now. And I'll grab these and let's kind of move these down here so we can work on them. Do you? All right, So currently, if we take a look at this, we see that the checker pattern for the tire is a little bit smaller than the rest of the wheel. So let's go ahead and just grab this. I'll be key and border selected and let's just scale it up or down to try and get it to be about the same sighs. If I scale it up, they get too small. Okay, so let's scale it down a bit until they're about the same size as all the others. Now they're kind of warped because we're not laying it out all in one strip. But once again, it's really I don't think it'll be a problem because it's just a solid texture and it's gonna be very small and hard to see within the scene. But that looks generally about the same size, right? So we've got him a little bit more equal here and here. All right, so let's now put this with this here like that. So that is our UV map for the wheel, the tire in the wheel. Now what let's do is just select all of this, which then selects this tire here, and let's begin duplicating them and putting them in place. So I'll go to the top view with the seven Kilo Z key to Goto wire frame. And now with this, let's just put these in place. I'm gonna press control space bar again to make this a little bit bigger. And now I'll just press shift d hit the X key and will slide this over to here. It looks like it goes right about there while it's here. I'll go ahead and hit our and spend it just a bit because I don't want all of these to be facing in the same direction. And then I'll press shift D and why? And pull this back like Saito right about here. And maybe spin this one around like that and then shift d x and this one goes right in here . And that's not bad like that. Yeah, something like that. All right. So control its face bar, tumble around and go back to our solid view. And there they are now. Did you notice something that, as we duplicated the U. V's didn't really change? And that's because, as we duplicated, the UV islands were placed right on top of each other. And that happens when we miron object as well. So if I come over here and if I hover over this and I hit the geeky look, there's one. There's too right so you can see him all here if we split him out. Let me press control Z toe. Take them all back like that. Now weaken border, Select all of this and get it into the 01 this space. So let's take it up here. Let's scale it down. And maybe we could even, ah, turn it all press are in control and turn it 90 degrees. And let's put it right in here, right in here like that and the UV texture or the checker pattern. Let me go to the look, Dev. Maybe a bit different than the rest, but actually, they're really not that far out of proportion from the rest of the object. All right, so let's now do that same thing for the triangles here. Now for this. Here they are. We're going to not only duplicate but also mirror over to the other side. But let's do that. Let's select this. I'll hit the L Key, and that selects everything because I have seem turned off here. Let's go back to the top view and back to wire frame and let's just duplicate shift D and then press the Y key and bring it here in the why. And I'll put it right there and then shifty. Why? And let's put this Oh, right about here. Let's do that. Okay, so now here they are. I'll select these. Let's go to the front view, press shift, D Z and bring these down, and then will rotate them Our hold, the control key. And let's rotate it 90 degrees like that and we go and put those right in there. Yeah, so there we have those pieces. Now, let's then mayor them over. So impressed the Elke and select them all again. I could, of course, just come over here and press the Beaky and border. Select all of those because once again, they're just being placed one on top of the other. Now we need to do Is mayor these over? We have our three d cursor in the center of the grid. If you don't, you can press shift s and choose cursor to world origin. And then what we can do is come up here and change our pivot point for this selection to the three d cursor. You can see the move gizmo snaps down to where the three d cursor is now. We just need to duplicate and mirror these over. So what? Let's do his press shift. D and hit enter and then to mere them over, let's press control em and then choose the access we want to mirror on, which is the X axis at the X key and then enter. And there they are over there and throughout all that, all that duplicating and moving and then mirroring the UV. Stay right there, one on top of the other. We can, of course, select one. I can just click here and hit the G key and move it off like that. If we wanted just to see that it's all there. So now let's do it at the B key border Select. Let's scale these down on. Let's move him up here into place. Scale them down and we can put him right here. There we go. Now let's go back to our look, Dev, and just see how they look. So there you go. That's just a way to mawr. Efficiently used the UV space when you're dealing with exact duplicates of objects across the model. Alright, How tab back into object mode and there we go. Let me go over to the layout tab. Go to look, Dev. And there you are, that is Are you ve mapped dumpster 19. 18 Beginning the Dumpster Texture in Krita: now I'd like to go through the process of creating some simple textures for this so we can then talk about the relationship between textures and materials to texture. This in Creed A. We need to export a UV map. So let's go back to the U V editing screen layout here. If I come over here and hit the a key, I can go to UV and export UV layout and let's go to our textures folder. I've got, ah, the format as a PNG and the size at 10 24. That should be fine. I'll, uh, change the name here to Dumpster U V's. There we go. And let's go take a look at Preda here in Crete. I'll go ahead and open up that file. Here we are, Dumpster U V s. I'll open that up and here we go. I'll change the name in the layers so we know what it is. Now let's bring in some textures that we can use on this. I've gone out to the blender cloud and downloaded a few things that I think might be helpful. I'm gonna press control. Oh, here to open up my textures folder and I've downloaded this grunge map here. Ah, this one here, a metal texture, another metal. These Ah, plastic textures here. And I think that's all I grabbed for this particular object. Yeah, so let's go and just open these up and they'll come up as tabs up here at the top of creator. So I've gotta actually scroll over here back to my original, and I think what I'll do is change this to a creed a file instead of a PNG so ago file save as. And let's change it to a creed. A document. And let's call it, um, Dumpster texture. There we go. Okay, So now let's work on the metal for the metal. I've got this metal blue here. I think I want to change the color to maybe a green, but let's go ahead and use this. First, I'm gonna press control a and control see, and then go back to the texture tab here. And I'm just gonna press control V and let's see how it looks. If I zoom out a bit by scrolling the mouse well, I come over here to my transform tool. You can see, but it's quite big. I'm gonna go ahead and just shrink it down quite a bit. And I think I'll just put it over each of the pieces of the metal parts of the dumpster. So let me zoom in here and let's just take this and ah, put it right over this, right over the front. Remember, we have this as our front. This UV island here. There we go. And then why don't we take that layer and drag it down below the UV so we can see it underneath our UV islands. And with this one still selected lis press control J and that will allow us to create a new layer. And I can take this and move it over here like this. I'll just grab that corner and drag it over. So we're just creating very basic textures now so we can take a look at the basics of creating a texture map and then also taking it back into blender and using multiple materials with this same texture map so we can have multiple materials on our object while all using the same texture map. All right, so with this selected aguan press control J again, grab this and drag it over here. There we go. And also, we're gonna want it, um, down here on the bottom, on the rails and also on the back. So me grab this. I think this is one yet. Let me press control J. And let's grab that new one and drag it down here, and I'll just stretch it a bit. Cover that you ve island. Let's duplicate that with control J. And I'll select it. And let's move it up to here and get it over that you ve island. All right. Um oh, these down here. So let's do that. Let's control J this I'm gonna enter. Click here and let's move this down to here and bring that like that. And then one mawr control J click and move this over here. Okay, so now we've got those. Oh, we should also cover this and the trim to now, shouldn't we? So let's go ahead and it controlled J and make a new layer. And I'll just grab this and move it down to here like that. And then, um, up here. Oh, we need these. So we grab this. Which one is this? Hear? There it is right there. So select that layer control J. Click here and bring this up like this. I'll bring this down. Well, you know what? I'll bring this out over here like this, and we go like that. And while I still have this layer selected, I'll use the rectangular selection tool, and I'll just create a rectangular selection right there and hit. Delete. Clean that up. All right, control, shift A to de select and let's see, Do we have everything done? Oh, no, we don't. We need these down here. So this is that right there. Let's press control J enter click. OK, gotta go to my transform tool. And then let's just drag this along here like that. There we go. Okay. So now we have the medal of the dumpster. Taken care of. Let's go ahead and take all of these and collapse them down into one layer. I'll take this one and go all the way to the bottom. Here and shift. Click this and then I'll press control e. And that will merge all these together. So I'll call this painted metal. There we go. Now we'd like to clean up the overlaps outside the U V islands here. So what I'm gonna do is turn off that painted metal layer, come down to my selection like continuous selection tool here, and then click somewhere out in the empty area of the U V of the UV map. Well, actually, first I need to select the U. V s then do that. So I click out here and now you can see it selects everything outside of the U V Island. Now what I'll do is turn on my painted metal layer, turn off the U. V s, and that selection still stays. And then I'll just press the delete key to clean up all those extraneous areas. Alright, control shift A to de select. So there's the beginnings of the metal. Actually, if I turned that off, let me select that painted metal. And there's a couple of things I want to do here. I want to first change the color to maybe a green. So with this layer selected, I'll come up to filter adjust, and let's take a look at the color balance here. If we open this up, I can kind of increased the greens on all of these Thea Shadows the mid tones. The highlights. So let me just drag the greens up here like this, like this. And like this, Well, that's a little too much. Let's bring that back just a little bit. I don't want it quite that bright green. So something like that, maybe. And then I'll click. OK, and then I'll go back to filter adjust and let's go to the color adjustment curves. And just like in blender, I can add a note here. And if we drag up, it gets lighter. And if we dragged down, we can make it a little bit darker. But maybe something like that. Now, let's just put a grunge on it. I've got thes grunge scratches and grunge dirty. I'm gonna take this crunch dirty here, press control a control, See, Come back to my texture tab and I'll just paste this in and we will just kind of drag this down. And in fact, I think I want to spin it around. I'll come over here to the corner, click, hold the shift key and spin this around 180 degrees like that. Now what we should do is just kind of dragged this down, and I'm gonna put it over. Kind of this whole area right in here like this? Well, no, I think that's a little too stretched, so maybe I'll just put it over one at a time. Let me do that. Something like this. Yeah. And then I can take that layer and decrease the opacity so it isn't quite so heavy handed there something like that. I could also change the blend mode by coming up here. And instead of normal, we could try, multiply, and that will make it very dark. Or we could try ah, color dodge or darken or burn. You can try whatever you want, so I'll go ahead and use burn here. And let's just ah, do something kind of like that. There we go. So now what I could do is just take this and duplicated with control J and put it around on the other ones as well. So maybe appear. I just go like that. Control J. Grab that and move it down here so you can see what I'm doing. Just moving it around using the grunge to kind of give a little bit mawr interest to the texture troll J. And I'll do it the same thing over here. In fact, over here, what I'm a do is go ahead and kind of collapse everything down. So it's a little bit. Yeah, something like that. Control J. Get this over here, and then I'll do the same down here. So duplicate this once again and move this down here like this, like that, and move this over here and just overlay all of this with this particular grunge, uh, texture. I'll go ahead and do this here and this, and I'll duplicate this real quick and put this over here over these. All right, so now we can go through the same processes before we can collapse. All of these with control e and I'll call this grunge one. And then we can do the same thing by enabling the U. V s selecting everything outside the U V Islands, turning that layer off, going to the grunge layer and hitting delete, and that will clean that up. All right, so there we've got the painted metal of the dumpster in the next video. Let's work on creating the texture for the lids as well as the tire and wheels 20. 19 Finishing the Dumpster Texture Map: I see that when I was creating the grunge map here, I missed a few parts when I was cleaning it up. You can see that here, let me go to the zoom Tool and I'll just zoom into that. Yeah, I need to clean this up. So with this grunge layer selected, I'll go to the rectangular tool and just click and drag and delete that control shift A to de select. And then, ah, let's see what else we have here. Well, there's a little bit there. Ah, there's some over here. Let me grab this. Ah, the rectangular tool. And just believe that. And in addition, we could come over here to the painted layer and delete that as well. What about over here? Yep. There's one there. Okay, let's zoom back out by scrolling the mouse wheel and let's work on the lids of the dumpster . I'll bring back the UV islands and so right over here, we need to add some textures. Now, I've got scratches here, and I've also got PVC solid here, and this one is Well, I don't think I want to use this for the lids, Maybe the tires or something. like that. But this one. Let's try this. A press control A and control. See, let me go back over to our textures tab. And over here I'll press control V. All right, so that's way too big. Of course. Let's go to the Transform Tool and take a look at it. I'll click and drag and let's drag it down. Something like this. We'll zoom in and let's just put it. And right over this, like this, I think this will be fine by if we just kind of squish it down like that. And then we could take it control J to duplicate click on it and move this over here like that. Okay, And we need to do a little cleanup. Now. Here I will take this woman rectangular tool and just clean this up a bit. Control shift A to de select that. All right, let's, um, select these two layers. Let's press control e to merge them together. And then let's call this Ah, plastic lids. Now I'm gonna drag this above my grunge layer here, and so these two are kind of together. This one here could use its own grunge, and that's kind of what that scratches one is for. I think, Let's press control a and control, see and go back to our main layer here and let's paste this into here. Let's take a look at it. It's huge, just like everything else. And that's what we want. Really. We don't want to scale up any textures. If we're doing anything, we want to be able to shrink him down to preserve the resolution. So if we take this and let's ah, get this in place here, There we go. And then I don't want it quite that opaque. So I'll take the capacity down quite a bit. Something like that. Maybe change the blend mode from normal to multiply. Let's try that. How did that work? Well, we can see that scratches a little bit in there. Yeah, let's give that a try. Um, I will then take that layer and duplicated it. Enter selected and move it over here like this. There we go. So that's what we get for the lids. It looks like I need to Ah, clean this up over here, just like I did with the color right there. Delete that control shift A and then let's combine these two together. These are our grunge layers control E, and I'll call this grunge to There we go Also, What we need do is select that you've ease layer Goto our contiguous selection tool. Click in an open area and then let's go to the grunge hit Delete. And then let's go to the plastic lids layer and hit delete there as well. All right, control, shift a and let's bring everything back. Now let's work on the wheels down here. I have one of these PVC, so this is the one we've already used. So if we scroll over here with the arrow keys this PVC Yeah, let me try this one. Control A and Control, See and then back to our main layer here. Let's go ahead and press Ah, Control V. But I think I'll go to the top here. Control V. There it is. And, ah, let's turn on the transform tool and let's click and drag and take this down pretty small like this. Now let's grab that and let's move it over the tire. So yes, something like this is really all we need. I don't know that we need it to much smaller. If we get any smaller than this, it will be. I think the textures will be too small. So what we need to do is cut this out from the texture, leaving just the tire. Now there's a few ways we could do this. We could, of course, just turn everything off. Go to the U. V's layer and with that continuous selection tool once again, just select everything. And now if we just hit delete, that'll leave that there. But we do have to clean all of this up. To do that, we can just go to our rectangular tool again and just click and drag all of this like this and delete that. And then we could just do the same here. I guess we could just click and drag here elite and click and drag here. Yeah, that's an easy way to do it. All right, so we have bumps. I pushed. Ah, shift in the middle mouse button in that rotated my canvas. Here, we can go up to, ah, view canvas and reset canvas rotation right there, and that'll bring that back to where it was. The problem is, is that shift. Middle mouse button is pan in blender, so I sometimes do that. Here is Well, all right, view canvas reset rotation. Okay, so let's now work on the metal part of the wheels for that, I've got this texture right here. And instead of bringing in the whole thing, I think I only want part of it. I think I only want something like this. You know, I don't think I need that whole thing. So with this selected, I'll just press control, see? And then go back to the main, uh, texture. And let's just paste this in here and we go shouldn't be as big as the other ones, but it's still pretty big. I'll bring this down here and let's just put this right in here and I'll bring that in like this and we go now. We have a little bit of bleed over into the tire that we could go in and delete that, Sure, but what we can also do is just take this layer and drag it down beneath the tire one and it and it goes behind it. So that's one way to do it. Let's take these two layers and combine them. I'll press control E and let's just call this a wheel. And now let's select those U V s continuous selection tool. Click in an empty space and then let's go back to the wheel and hit delete. And there we go. So that cleans that up. All right, control shift A. Let's take a look at it, all right. I think that's pretty good. The last thing I like to do is put a black background in this, so I'll go ahead and create a new layer here, drag it down to the bottom and call it background. And then let's take our color and make sure and drag it up to the black, so it's completely black. I'll go to my fill tool here, and I better turn off all of these layers first and then click in here and fill that layer . Now we can bring everything back, and there we go. There's our color texture. All right, well, in the next video, let's go back to Blender. Let's bring this end of lender, and then let's talk about creating multiple materials on the object while still using the same texture map 21. 20 Applying the Texture Map to Different Materials: Well, let's export this texture map out will go to file and export. And let's put it in our textures folder. We'll call it Ah, dumpster C O L for color map and there we go. All right, let's go over the blender Hearing blender. We don't need that UV test pattern anymore, so go ahead and hit the X to close that out and let's click open and goto our textures folder. And here's that dumpster color map. Let's bring that in and there it is. So let me de select this and I'll tab in the object mode and there is our texture Now. We can, of course, adjust this a bit. Here in the principle to shader, we can bring up the metallic here. Maybe let's reduce the speculator highlight and let's increase the metallic here so we have more of, Ah, metal material here, but as we do that, we're also changing the material on the plastic lids and the rubber tires down here. So how do we split them up so that we can get a different look and feel for each of the different parts that have a different material? Let me take the roughness down here and you can see if we do that, we get a reflection. Let me bring that back. We don't need that much. I'm I'm looking at this part of the dumpster. Currently here. Ah, let me bring that up. Yes, So maybe we can do, Ah, a medal of 0.2 and a roughness of 0.4. Let's try that. Let's just see. All right, That's OK for now, I think. But as I said, how do we adjust the material of the lid so it looks more like a plastic. Well, to do that, we're gonna have to give it a new material you can see over here in the materials panel. We have our dumpster material, and we have our our texture map being fed into that material. Now, if we come down here, we can go ahead and pull this menu down and choose the color map here. But what we need to do is select this part of the dumpster, the two lids with the l key, and we need to give them a different material. So what let's do is come over here and create a new material slot for this object was click the plus button here. And let's call this new material slot. Uh, dumpster lids. There we go. And let's call this Dumpster Main. Yeah, there we go. So we know what that is Now notice we have a whole new material here, and for this material, we don't have a texture assigned to it yet. And in addition, even though we created a new material and the base color of this material is just plain white, we can still see the texture on the lids. And that's because we haven't assigned the faces here, the selected faces to that material. Yet to do that, we just need to come down here with these selected and click a sign. And there we go now that new material has been applied. So we've already used our texture on that other material. How do we get that on this? A swell. Well, we could just use the same texture again. If we press shift a and go to texture and image, let's connect this up and let's just pull the menu down and selected again. And there we go. So now we've got this part of the texture on Lee being assigned to this material. And I'm gonna press control I over here to invert the selection and all of this other part of the texture being assigned to the dumpster main material. Right, So you can have just one texture, but because you're creating multiple materials, you can assign that same texture to those materials. And the materials will essentially split the different parts of the texture out, so you can adjust them individually. All right, so if we go back to the lids, let me, ah, press control. I again to invert the selection. And now we've got the lid selected. Now we can come over here and adjust the material for these. So these here we still want some sort of speculate highlight on them and we could adjust the roughness here. So a speculator highlight is this kind of white highlight that we're seeing here And the lower the roughness, the tighter that highlights going to be and the higher the roughness, the mortgage if used, that highlight is going to be so Let me just get it. So it's I don't know. We don't need it too bright here. Something like that, right for a plastic lid. Let's say I also want to give a new material to the tires into the wheels. So for the tires, let's go ahead and tab into edit mode and de select this and I'm just gonna press the l key to select that they can see it down here. I'm gonna hit the period key to zoom in. What I'm gonna do down here is actually used the lasso Select Keogh Click here, go to select Lasso. And I'm just going to click and drag carefully around this like this to get in between there to select all of those tires. Now, let's create a new material slot, a new material, and this material is gonna be called dumpster tires. There we go and I'll click a sign. Now we need to assign that texture back to this in the same way we did before. Grab that. Now it's pulling the texture just from here for these. All right, so let's just select this one. I'm gonna zoom in here and for this. What let's do is I think I can reduce the roughness of bits reduced the speculator quite a bit. This may be there we go and then I could go ahead and add one of those RGB curves in between here so I can make it a little bit darker. I'll press shift a and go to color rgb curve and dropped that in. And then, just like we did before, I'll create a point and drag it down just a little bit so it can make it a little bit darker. There we go, something like that. Now we could leave the metal as it is, but I think let's go ahead and create a new one for this is Well, so I'm gonna create a new material slot. New material will call this Dumpster wheels For this. I need to, ah, tab back into edit mode and let's just grab all of these. I'll hit the Beaky and Border. Select all of this like that. Oh, looks like I caught some of these in here. I'm gonna get the B key and shift border select to de select those All right with those selected. Let's go ahead and click a sign and then let's add our texture dear. Pull the menu down and grab that, and then this, too, is a metal material. So I'm gonna take the speculum down, take the roughness down, bring up that metallic. We can turn it all the way up to be almost a mirror if we want. But no, let's take it down like this. And then I want to make it a little bit darker as well, so I'll go ahead and add a color. RGB curves into here and I'll drag this down just a bit, making it a little bit darker. All right, so there we go. That is our dumpster. Let's go back to the layout tab and take a look at it so it doesn't look too bad. There's more that we could do here. Of course, this was a very quick bit of text, a ring, but what we could do is maybe add a light Teoh kind of get a sense of how it might look in the scene. Let's turn on the buildings collection here, and I will also maybe click on the scene collection that main seen collection. And then I'll press shift a and let's create a light, a sunlight and clicking on that scene collection. Just make sure that it's created out here and not hidden away in one of the other collections. All right, here it is. I'm gonna drag this up and I need to go to my rendered view to be able to see it, So I'll click here. I see that my pivot point is still a three d cursor. I need to change that. I'll change it to medium point. And that brings that up here. And what I'll do is just turn it all hit R and X and rotated a bit. And then I'll hit, um, are and why? And rotated this way just a bit like that. There we go and I'll come over here and with the strength, maybe I'll change it to five. Let's say, there we go. You can kind of see what that might look like with a bit of light. All right, Well, with that process in mind, let's begin working on the alleyway itself on the various buildings here in the alley. We'll go through the same process. Will UV map them arrange the UV maps so that we can export them out to create a and apply textures there. So in the next section, let's get started on that 22. 21 Beginning to UV Map Building 1: all right to begin on the buildings. I think what I'm gonna do first, to just hide the dumpster away. I can hide the light away as well. And let's switch back over to either the look Dev or the salad display mode here. Either way, I think what I'll do is select one of the buildings this building. Here, let me open up my seen collection here. And if I select this building, you can see it's called Building One. Here it is, here in the outline, er well, let's do is just isolate this building and work on it on its own. To do that, Let's just press shift H and that will hide everything that hasn't been selected. And now let's also take a look at its scale and rotation. We'll hit the n key to open up a sidebar, and we can see that our scale it is uniform, but it isn't all one. So let's just begin right up front by applying the scale of press control A and let's choose scale. Okay, now we've got that all ones and all zeros in the rotation. That's gonna help. Let's it thean key to close that Now let's take a look at it and think about what we want to do here. I'm gonna tab into edit mode and you can see kind of how it was built here. It's a pretty simple model, but there are some different parts to it that are going to need different textures and maybe even different materials. If we swing around behind here, you can see I've removed the back and the bottom of the cube here just because we're never going to see it. And therefore we don't need to UV map it, um, up here, along here at the top, we've got this trim or cornice. I'm just going to press the three key to go to face mode and then press Alton click between two edges here and you can see that this trim goes all the way around. If I press control plus and expand that selection, Well, that didn't really do quite what I'd hoped. Let me shift. Click here and shift click here and then what I can do is press shift Ault and click between two faces there and also shift all to click year is Well, so now we've got that whole part selected, so that right there is going to be a different material than the rest of the building here . Down here will be brick. This will be concrete. And these little ledges underneath the windows here will also be concrete. All right, so we're gonna have to think as we do this. What's going to be what? Material up here. This will probably be its own thing as well. I'm gonna press all to a to de select that. And then I'm gonna hit the sea key to go to the circle. Select Tool. I'm just going to click and drag up here. All of this will be some sort of, I don't know, gravel or tar or some sort of texture here, so we need to think about all of that as we begin to UV map. All right, so let's some go ahead and go over to the U V editing tab here. Um, I've still got the interface here. The way we had it for the dumpster. I don't need this color map anymore, so I'm just gonna click the X here, and we've still got the UV map from that original cube in here you can see that here. I'll zoom out a bit so we can see are building. I'm gonna hit the b key and just border Select all of this and hit G and just move it way away so it doesn't get in the way. And as we UV map each of the parts of this building, they'll pop here into the 0 to 1 space. All right, so first of all, let's hit the two key to go to edge mode, and I'm just gonna press ault and click this edge and then shift all to click here. I'm just gonna go around and click this edge all the way around here. There we go. And let's go ahead and add a seem all press control. E and Marcus seem there. All right, so now what let's do Is this also break that out along here? Let me ah, make this a little bit bigger so we can see it here. So down here, lying press all today to de select. Let's select this edge here and then all to shift click down here That edge. Now we get it all the way along there. So let's add a seam here, control e mark seem. There we go. So we've got to seem up here. And it seemed down here. Let's also break it out along here, Oprah's Ault and Click That. So this seemed goes all the way up or this edge selection goes all the way up to here, and I think that'll be fine. Let's give this a try. Control E Mark seem there. All right, So we have that along that corner and I'll go ahead and do it here. Let's see how this works as well. Control E mark seem, Let's go ahead. And now just select the building part we've We've got quite a bit of other pieces in here like the cross bars of the window, the window itself, um, and these ledges below the windows here. But let's not worry about those right now. Let's just hit the Elke and select just these parts. Just the walls in the trim and the roof. So what? The's seems in place. Let's go ahead and press you and unwrapped. All right. What do we have here? Let's take a look. So we have the front part of the building here. You can see the windows. We have a couple pieces of trim up here, but we didn't split the trim out over here at the back. And so we're seeing that here. So let's work on that. Let's let's go ahead and add a seam right along here. All press Alton, Click this. That's control E mark seem. And then over here as well. All to click here. Control E mark seem OK, we've got that now. What about the front? Well, the front we may be able to deal with by using another unwrap method. Let's give that a try. I'm gonna press the l key again unless press you and unwrap. Now let's change from angle based to conform well and see what happens. Well, that didn't help it all now did it. All right, let's go back to angle based and let's try and figure out what's going on with our UV island here for the front of the building. Now we could go in and use our Align X and Y and straighten these out. But I'd also kind of like to figure out why this is happening. I think what's going on is the inside of the window frame here. I think these air pulling a little bit too hard. In addition, we could break the windows out here. You can see the windows down here, this area and this area. Those could be their own UV islands, but otherwise, so far the rest of the building looks pretty good. So in the next video, what let's do is let's work on cleaning up the front a little bit more. 23. 22 Continuing to UV Map Building 01: Now what we can do is instead of relying on the seams and the UV unwrapping weaken, do it ourselves projecting from a particular point of view. So I think these Windows frames are pulling quite a bit and causing some of that stretching . So what let's do is let's go ahead and select just this area. Say, right in here, I'm gonna cover over this and press l and with seem on, it's only gonna select what's within that scene toe hide everything else. Once again, I'm gonna press shift H and that will just give us that wall. Now what let's do is go to the side Ortho graphic view and project it from that angle. So if I pressed the with one key on the keyboard, I go to this view, that's not what we want. If I press the three key looks like that's behind the wall, I'm gonna go in front of it. So instead of the three key, which gives me the right Ortho graphic view, I'm gonna press control three and go to the left Ortho graphic you hear? Now what I'm gonna do is just press you and right down here we've got a project from View now. Project from few bounds will fill the entire 01 space. But if we do that, it will kind of stretch things. So I don't want that. I'm gonna press you and choose Project from view. And there we go. Now, we've taken away a lot of those problem issues we've had and are laying it out nice and straight. Now, I can also see in here. Look at this. When I'm here in face mode, it looks like I've got some extra faces. Let's take a look here. We hit the three key over here, and you can see it in here. They're these extra dots. There's a dot Over here in the UV editor. There's a dot for every face. And look at this. They're these extra ones here. So it looks to me like when I was modeling this, I added some extra geometry on accident around the windows, and that could have caused some of that stretching as well. I mean, with one key, and yeah, sure enough, you can see these extra Vergis is here. Look at that. So I think perhaps some of that stretching some of that curving of the UV map was caused by this extra geometry. So keep that in mind as well. When you see that warping of the UV map and you've already applied this scale in rotation and you're still getting some oddness, this is certainly a possibility. Some extra geometry that you didn't know was there. So what I'm gonna do is select thes and press X, and I'm gonna choose dissolve vergis ease and that will get rid of those. And I'll go through this whole thing and get rid of these. There is no reason to keep these around. They can only cause further trouble so x and dissolve Vergis ease. I'll go ahead and do that for the rest. Here is Well okay, I've cleaned those up now. And while I was doing that, I realised one more thing. Now we're not seeing the inside of the frame. So how do we get these onto the UV map? Do we need to select thes individual faces and then UV map Thes. I think probably a simpler way would be maybe to go toe edge mode and just select these edges right in here. I've just press Ault and clicked. Imagine that. Selected that whole edge in there and you can see that reflected over here. Now, if I just hit the s key and scale in There we go. Now we can see the inside of that frame. So let me go through and do that same thing all the way around. All press Ault and click here and then press s and scale in here. That Let's do that over here, Bolt, click s and scale. And I'll do that for these other ones as well. All right, there we go. So we have all of those windows laid out pretty well. I think I want to break these out right down here. So these windows here, I think I'd like to break these out so that I can place them on the texture map in the same area as the other windows when I do those. So what let's do is just press you over here in the UV editor and that automatically unwraps the selected areas. Now we can just get G and move these aside. I'll just move him over here and there. We have the front of the building. You be mapped all right, Let's bring everything back. I'll press Ault h to bring everything else back. Now we kind of need to move things out of this 01 space. Let's do that outfit G and move this over here. And then I'll press all today and hit B and kind of move this over like that. Ah, here, those windows. Those were kind of big. I was kind of scale those down a bit and move those up here. So once again, I'm just using the work area out here to arrange the UV Islands as I go. All right, what else do we need to deal with here? Well, we need to deal with these window ledges the's air similar to the wheels and the tires of the Dumpster. In that it's just ah single part duplicated several times across the object. So we could just UV map one of these, delete the rest and then duplicate the UV mapped piece and place them back where they belong. So let's give that a try. With this selected, I'll just press shift H again that the period key to zoom in and what we can do is just select this edge in this edge, this edge and this edge and notice how I've removed the back of this object mainly because it's just easier to UV map if you remove that piece. So I'm the press control e and Mark seem. And then let's select it. Press you and I'll Click Unwrap And there we go. Let's press ault h and bring everything back. Now what let's do is just go through in the three D View and select these pieces with the l key that it X and delete faces. Now let's press control three. Remember, that's the left Ortho graphic view and let's go through and duplicate this the UV mapped one and place it on the other windows so I could get the l key over here. Or I could come over to the UV editor and press the Beaky and Border Select that either way is fine. A press shift d and why? And slide this over here and click shift D and why? And slide that over to here now. What I could do is hit the Beaky and Border select over here. Oh, I better hover over here first and then hit the Beaky now I'll border. Select that and that selects everything because they're all being stacked one on top of the other. And then over here, I'll press shift D and Z to move in the Z axis, and I'll just move these down and put them right about there. All right, so that is, as you can see, if I border, select that that's all those window ledges. All right, so let's just hit G and move these aside. And lastly well, there's this piece right down here. It's a window ledges. Well, except it's scaled a little smaller. I'll just select that s shift H. That's the period key. And then let's just grab these edges right here. Press Control E and Mark seem selected. And then let's press you and unwrap. And there we have that one as well. So let's press all to H to bring everything back De Select that grabbed this piece right here. That's that other window ledge. I'm gonna bring that down here, and we can probably scale that down quite bit too. Alright. So I've UV mapped the majority of the building due I have everything. Let me hit the Beaky and Border Select that? Ah, the windows there and the cross bars in the windows. Right. That's what the's are over here. So I think we're gonna need to do a similar thing as the window ledges will need to select one UV map it delete the rest and then duplicated across to the other windows as well as for the windows themselves. So in the next video will do that and then will take all of those UV islands and arrange them here in the 0 to 1 space. 24. 23 Finishing the Building UV Map: Well, with our windows selected, I guess we could just press you and unwrap. And there it is. There's our window. And we could just do that again. We could just in face mode select this window and and hit you and unwrap. And it'll just put it one right on top of the other so we wouldn't have to duplicate it over. You unwrap, you unwrap. And these as well. There we go. So now if we border, select all of these, Scale it down a bit. We can move these up here. Let's say just for now, we still have to will do a lot of rearranging here. So where it is and how big it is Doesn't really matter right now. Let's take a look at these cross bars on the windows. I'll hit the L key into the period key and zoom in a press shift h and hide everything. Now for this. How should we do this? Well, we could, I suppose, just select these edges on the front. We could all to click this and then select these here. Yeah, let's try this. Let's just select these edges all the way around on the front like this. And let's see how this works. Uh oh. And I missed one right here, too. Okay. So fell in over here, so All right. I think I have them all. Now, let's press control. E and Mark seem. Yep. I think that grabbed him all. Now let's see how this works. Let's press the a key. Let's hit you and unwrap. Well, it kind of worked. Except for inside here. You can see this square here. We could choose conform alone and see how that works. A little bit better, actually. Why don't we split this out by just selecting a couple of edges? Maybe this one and this one. Let's try this mark. Seem selected all and hit you and unwrap. Yeah, that should be fine. We could actually come over here and go to face mode, press the l key and kind of move things around. So they're more in line over here like this, you know, just line them up a little better. I guess that maybe turn this our control and turn that 90 degrees. And then this one here, we could also turn this. So it's more in line with these. I guess. There we go. So now we have this whole UV map for the window crossbars. Let's press Ault age to bring everything back, and now we could just select this and duplicated to the other windows. So let's first of all, go through and select all of these crossbars. We don't need all of these. That's we already have our UV mapped one. I'll press X and delete faces. And then let's go ahead and grab this press l de select the seem. So it selects all of it. And then let's press control three. To go back to our left Ortho graphic view. And let's just press shift D and why? And move this over here shifty and why? And we'll put these in place. Now let's go ahead and grab thes as well. Blips. Undo that. Grab this one like that. There we go. And then let's press shift D and Z and move these down like that. There we go. So now we have all of those UV mapped as well. So is that all of it? Is that all of the building in press B and border select all of these and sure enough, it looks like that is all of the building. Okay, so let's work on this a bit. Let me make this window a little bit bigger while we work on it here. I could even close this for now. Right? Click on that border and choose join and drag up to there. There we go. So it's a little bit bigger now. All right, let's start arranging our UV map so we know what each of the parts is. All right, So this one I know that's gonna be the front. I'll just take this and I'll move it down here. Maybe we could begin arranging this right down here. Um, this side over here, I'll press the l key and then choose seem so this side is this right here. So hit g and move this down. And we could probably just scale it down a bit. So it lines up with that pretty well like that, right? I bet you this right here is this. Yep, That's that sign. So let's g and move this down. We should spend it around 180 degrees. So it's press are 180 and enter. And then I'll scale this down. I know that this is the top. Because I know this face here corresponds to that. So let me just hit the l key now and move this dear scale it up just a bit. Not a lot. Just a little bit to line it up with the front UV island. Okay, now the roof up here, me hit the Elke. That's this Which one is Okay, so that's that. So I'll hit our control. Internet like this? Because I know that this corresponds to that base there, and I'll move this so it's right up on top of the building, so I know that that's the roof. Now what? What about thes here? What are these? I bet these air all the trim, right? Yep. Sure enough. So let's ah, bring this down here and let's I'm just gonna lay these out along the bottom of the UV map . So let me grab this and are control and turn that 90 degrees and put that there. That could probably be shrunk down because it's really only Aziz. Bigas that front. You ve island. So maybe like that? Um, these Let's see what these are at the l key here. And I could, ah, our control and turn that. And let's see if we can put that right about years. Shrink it down some. All right. Do the same thing here. Our control. Shrink it down like that. So it fits. Kind of right in there. Okay, so we know that those air are trim. What else do we have? We've got a piece right here. What is this? Ah, that's the back. All right. Well, maybe we should, um, just put that right down here. Let's see how that will work. We could shrink it down and put it right down here, or we could actually put it up on top of that. Maybe that makes well, No, I'm gonna want it down here because I convey sickly take that concrete texture and just put it right down here at the bottom of the UV map all at once. Now, as I'm doing this, I'm realizing that this is going to be very rectangular, and I'm gonna want to do this. I'm gonna want to put this in this square 01 space. So perhaps what I should do is take this island right here and move it up. I'm gonna put it right up here. And maybe I'll take this and move it down here like this just so I can try and keep Ah, fairly square shape to this. Move these up like that. So that's more of a square shape, right? That's kind of what I'm looking for. And also the roof here. I don't think we're ever going to see the roof really in detail, close up. So I could maybe shrink that down just a bit and placed the other pieces in here. And then we'd maintain that kind of square shape for the UV map. Yeah, let's try that. So for all of this in here, let's first take Ah, the windows here on Graham. This with the Beaky. That's all the windows. And let's bring this down here. I'll actually turn it 90 degrees. And let's shrink this down like this. Maybe something like this. And keep in mind the windows air this big here so we could shrink that down quite a bit like that. Okay, we've got the windows there. What about these windows? Here. Here's this one. Yep. So let's go ahead and grab this and move this down here. We can shrink this down quite a bit as well. There we go. And this window here, let's turn this 90 degrees like that. Shrink it down and spring it down here. We'll hit the period key to zoom in, and we could shrink this down quite a bit as well. All right, so there's our windows. And once again, I can place a window texture here in one place, and it'll will cover all of the windows there. All right, so we have three more pieces. Here is the window ledges. Let me select all of these, and we can scale these down quite a bit. And let's get this. May be right in here. Something like this. There we go. And here is another window ledge. We could maybe scale this down. Move this over into here. Something like that. And then we've got our window frame here. So let's just grab all of these like this, and let's scale them down and get him in here like this. Here we go. So we could maybe grab this now and move it up out of there like that, using this space here and there we go. So we've got a pretty well laid out UV map there. It's it's squarish, which is good. Let me hit the Beaky and border selected. Let's move it into this 0 to 1 space and then we can maybe scale it up to try and use as much of that space is possible. See how big we can get it. Maybe about like this. Yeah, that uses that space up pretty well. There we go. All right, so in the next video, what let's do is let's apply our UV test texture and see if there's anything we need to clean up. 25. 24 Using the Stitch Tool: Now that we've got our UV map pretty much laid out, let's add that test texture and see how it looks. So once again, I'm gonna grab this corner here and dragged down and create a new window. And then I'll change that window to a Shader editor. Here, I'll hit the n key to close that panel, and now we should create a new material for this. If we come over here to the materials panel right here, you can see there's no material, and also you can see there's no material up here. So let's go ahead and do that. I'll click new, and for this, let's call this Ah, building one right. That's the name of the building over here. We can now create a new image texture node with shift, a texture, image, texture. And I'll drop that right here now to create that UV test texture. Let's just click new, and I will call it UV test texture. And let's change the generated type to UV grid and click OK, All right, so there we have it. I'll drag the color over here to the base color, and there it is, all right. It's looking pretty good. Actually, we've got the checker pattern pretty much the same size here, all the way around. And that's good. That's what we want. Now, one consideration I do have is this corner. If I bring back a couple of the buildings, you can see that the alley is going this way. And generally speaking, I think I'm gonna be viewing this alley from this direction. So what's happening on this corner right up front by the camera is actually pretty important. So let me hide these again. And currently what we have here, let me come down here and I'll hit the L key right here. If I hit the g key and move this around, you can see that as I move it around. That texture isn't consistent around that corner. Now, Aiken, place this pretty well. I can line it up so it matches the edges of the front UV island. But still, I think I, like toe have a seamless texture going around that corner just to make sure everything is lined up properly to do that right. What I ought to do is reconnect these two UV islands back up. So I initially created a seam there. But what I'd like to do now is join these back together. To do that, we can use the stitch tool. If I go to edge mode and I click Ault and I click this edge right here, the other one is also selected because were in this keep in sync mode. So if I select this, then this edge over here is selected. And if this edge over here selected, then this edge here on the left is is also selected because it's all the same edge. What I want to do is just unclip this. I'm gonna turn that off and then I'm gonna get the a key over here in the three d viewing when I select all of it, Then I'll be able to see all of the UV islands here. Now if I come in in edge mode right here and press Ault and click this edge now, this is the only edge selected. We aren't keeping in sync here between the three D and the UV map. So I conflict this edge and Ault shift. Click this edge separately. Now what I want to do is tell blender to stitch those two edges together. And to do that I can come over here to UV and right here is stitch. So if I click this now, I've got this green thing happening. The edges air green and way down here at the bottom, you can see we've got mode, edge and tab. If I press tab, it changes to Vertex mode and it tries to find all the vergis. Is that air shared among that edge. You can see there's a do you over here and it's trying to connect those edges up. That top trim is connected there. Seacon see kind of a ghost image of what will happen if we use Vertex mode, and that's not really what we want. So I'm gonna hit the tab key again to get out of that and you can see Ah, snap is on, which is good. Mid points is off on. If I hit the M key, I can turn that on and you can see that this is what's gonna happen. It's going to connect these two in the middle of those two edges. I'll hit em and turn that off. You can see that here. I can also switch which island is going to move to connect up. So currently, the edge of this island is gonna move toward the front and connect up there. I could hit the I key and switch it so this side is gonna move over. But I think I want this right here. So with all this set up now and I really haven't changed much at all, the defaults are usually pretty good here. All I've got to do is just click. And now those two UV islands are connected. So if I come back here to island mode, click that and then click in this island. It will select that entire thing now because it's all one island. If I hit G, you can see the texture moves all at once or around that edge. So there's a seamless connection or a seamless texture over that edge. And that's what I wanted. I wanted to make sure that any texture I put on there, which will probably be a brick texture, will be seamless across that corner. All right, so now that I have that the way I want it there, I think I'm ready to export this out so that we can take it in to create a to do that. Of course, I need to hit the a key over here to select everything. And then I'm gonna click UV and good export UV layout. And let's take it over into our textures folder down here at the bottom. I'm gonna change 10. 24. I'm gonna change this to 2048. So it's two K, so it's twice as big. There we go. And then let's call this. Ah, building 01 U V s. And there it goes. All right, let's go open it up in Crete, here in Crete, I'll go to file and open and I'll browse to my textures folder And here we go. Here's my building. 01 U V s right there. Click open. And there we are. I'll change the name here to U. V s for that layer. And now let's go see if we can find a few textures for this. Here at the blender Cloud at cloud dot blender dot or guy. I've gone to the libraries and I'll click on textures. And in here, um, there is some brick. So let's take a look at these see what we want from this. Oh, yeah, I see. There's a lot of good brick in here right here. That's pretty nice. I go ahead and grab that, and I'll put it in my textures. Let's go back, see what else we can find. There's quite a bit here. I kind of like this here. I'll grab that. That's a 40 96 texture. That's four K. That's pretty good. And they've got a lot of other things, like speculator and bump and things like that. But I think all I really want is just the color. For now, I'll grab that and, um, and let's get one more to try to. How about ah, how about something like this and I'll download that? And once again, all these textures will be part of the project files so that you could just grab them out of the textures folder. Or you can come here to the blender cloud and grab some different ones. All right, so let's go back to create a And in the next video, let's bring some of those textures in and begin placing them here on the UV map. 26. 25 Testing the Texture Size in Krita: Now let's bring in those textures that we downloaded. I'll go to file and open and maybe, um maybe this brick here, let's give this a try. So there it is. I'm gonna press control a and control, See? And then we'll come back over to our building tab with the U. V s. And let's just press control V. And then let's come over here to our transform tool so we can see it. There it is. I'm gonna drag it down below the U V s and then all press shift and click and drag it down . So it's pretty small up. I did it again. I moved whore rotated the canvas again. I need to go to view canvas and reset canvas rotation. There we go. I need to stop pushing the shift key when I want to pan the view here in Creed A. So if I grab this and move it over to here Hit, Enter and let's see what's going on here. It looks like this is still too big. So once again, I'll bring it down and we really want to get the brick pretty small on this UV island. So maybe something like this. Let's see. Is that too small? We may not really be able to tell until we take it into Blender. Let's see how this works, though. I will take this and I'll press control J to duplicate it. And then I will click that hold the shift key and click and drag, and I'll try and put it right on the edge of I did it again. There we go up, try and put it right on the edge of this right here. Kind of like that. Can we go? And then let's duplicate it again. Control J. I'll hit. Enter Ah, click shift drag and I'll drag it over here. Try and get it right lined up with that and let's keep going here, Control J. Enter Click shift, click Drag right there And it looks like we could do one more just to get it a little bit. Ah, a little bit wider there. Well, actually, what we could do, we could try this. We could take all of these. I'll just select all of these over here. Press control e to collapse it. Then I'll go to my transform tool and let's just click and drag right over here and drag that out just a bit like that. All right, so now that we've done that, we can begin to duplicate it on down here. So let's press control J Inter click and then let's bring this straight down like this. Gonna put that right in there. Let's see how that works. Now it's Grandma, uh, this one. Yet let's do that and let's that's control J enter and we'll drag this one down like this and maybe one more troll J There we go like this. All right, let's see how this is going to work. One of the things that we need to make sure of is that the size of these bricks are correct when we put it on the actual building. And to do that, we really need to take this in just as a test and see if it's going toe work. So let me turn off that you've ease here, and I will just export this out. Let's just go for file export. Ah, we'll call this building 01 c o l. For now and now let's go back into blender and just apply this and see how it looks here in Blender, all we really need to do is just take away. This UV test texture will just hit the X here, and then we'll click open and let's browse to our textures folder and that building 01 color map. There it is. I'll just click open. And now let's see how it looks. So the question here is Do those bricks look about the right size for that size of a building? And I think I think they do. I think that's gonna be okay. It looks like we've got some stretching in here that we're gonna have to deal with. See how it's angled here. Let me tap back into edit mode, and that's these things right in here. This area right in here. Let me go to the face, select tool and just select one Here. I'll hit, keep in sync and then we'll select that. Let's see where that is. Here. I'll hit the period key. There it is. So we're gonna have to think about how we're gonna fix this. But for now, our main concern is to get the bricks the right size, and I think we've done that here We've also overlapped these other UV islands. But that's okay. This is just a test, all right, now that we figured out that this is a good size for our bricks in the next video, let's go back into Creator and begin placing the textures for the other parts of the building and getting everything cleaned up and finalize our color map. 27. 26 Creating the Color Map for the Building: back and creator. Let's go ahead and turn the U. V's on, and we need to just add brick to this side as well. I mean, select all of these layers and press control e to merge all those together and then I'll just press control J. And now let's just grab that and move it up here and put it over that there. All right, let's clean up the outsides here. I'll Ah, turn off the bricklayer and let's go to our continuous selection tool click outside the U. V s here. And then let's turn this one back on the brick selected and hit delete and that will clean that up. And then let's press ah, control shift A to de select and let's grab the rectangular selection tool here and drag that and hit delete. So I believe that's all of the brick that we need to deal with. I'll just go ahead and call this layer brick, and I'll lock the layer here so we don't accidentally change it. Now the trim Here I put all the trim down at the bottom of the UV map here. All this is a concrete. So I went out to the blender cloud, and I grabbed a concrete texture. Let's go ahead and open that up. Here we go. Here it is. I'll click open with press control A and control see and then go back to our U V's layer. Endless press control V Goto, our transform tool. Zoom out and let's hold the shift key and reduce the size of this. Now, I think what we could do is just move this down here and we could duplicate this across this and we may be able even just to stretch this. Let's take a look and see how it looks. Hero hit, Enter. And no, I think that looks a little to stretch saw press controls e to take that back. And I'm just gonna need to bring that back down again like this. Okay, so that didn't work. And sometimes you have to try it and see. All right, let me bring this down and I'll put it right about in here. And let's go ahead and duplicate this as well. So with this selected control J enter, click Hold the shift key and let's move this over. And I'm just going to do this all the way across. Okay, here we go. So we have that all the way across there that's gonna be for the trim. But we also need it Up here is well in this area. So let me grab one of these and I'll press control J and enter. And then I'll just drag this up here and let's put this in here is Well, so with this, I'll just ah, once again, press control J. And let's drag this up. Put this right in here like that. Okay, so now we need to clean this up. Let's select all of these press control E and we'll call this concrete. I'll hide these to go to the U. V s, click the selection tool and select outside the U. V s. Then I'll go back to the concrete here and let's hit, delete. And then there's a little bit of cleanup that still needs to be done in here. Let's go ahead and do that. I'll grab that rectangular tool. Delete, delete, and one right here. Looks like there we go. All right. There's the concrete and the bricks. So far. What else do we have? What? We've got the top of the roof here I found a Anasco fault. Texture. Maybe that might work for the roof as if as if it's a tar roof or something. So let's go to file and open. And, um, here we go. I've got this ground asphalt. So let's open that up. There we go. Control a control, See? Go back and let's pace that in. Go to transform tool. And let's just shrink this down quite a bit. Maybe, Um, maybe in like this. Let's see how this looks. Maybe a little bit smaller for the roof. There. Something like this. Yeah, let's try this. All right, let's begin again. Control J. Enter. Click and then shift, Click and move that down. Try it again. Now we'll take all three of these and press control E. And now it's all one layer and then I'll control J. Now let's to that some more was just move it over some and cover this area as well. All right now we need to collapse all of these Control E and we'll call this roof. Here we go. Let's turn these off. Go back to the U V's layer, select everything outside, and then we'll go to the roof and hit, Delete. And then we'll do a little bit of clean up here, the rectangular tool, and clean this up here, clean all this up here. There we go that we've got the roof and the trim. The last things we need are the cross pieces in the windows and the windows themselves. Now the windows. I've found something that may work. I'm not sure Let's go to open. And I've got this glass patterned here. I don't know that this will work, but let's give it a try. It may be small enough in this scene, so it just won't matter. We will see Control V and let's shrink this way down and put it right in here. So maybe Ah, maybe something like this. Let's do this like that. And then what we can do is just once again duplicated with Control J. And I'll just grab it and move it over here like this and I'll shrink it down and then control J grab that new one and put it right over here and kind of fit it to the size. There. There we go. All right. Once again, I'll collapse. Um control E will call them Windows. And let's once again clean it up a bit. I'll Ah select outside the U. V s. And if we choose the windows here and hit delete, that should clean that up pretty well. Okay, Now, the last thing I've got here are these window cross pieces for that, I've found a texture. Um, what did I find? Oh, a metal texture is if it's kind of old here, I don't know if that's gonna work, but let's give it a try. I think what I'll do is just click and drag in here, and I don't need the whole thing. I'll just press control, see here and then go back to our building, U V's and Control V here. And let's move this into place right about like this. Yeah, something like that. Okay, so we also need to clean this up. I think with this selected, all I'll do is just go to the rectangular tool and just click and drag right in here and hit Delete control shift A to de select. And there we go. Now, what I can do is de select everything. Select the U. V s and Let's go in and clean up around here. So that's this right here, right? Yeah. So it's hit, delete and clean that up. Okay? No, the last thing I'd like to do is just create a new layer. I'll just click here to create a new layer and drag it to the bottom. Will call it background, and I just want to make it black. I'll go to my fill tool here and let's hide all of these and then click in here and make that black and we will bring everything back. So there is the color map for the building. We could add grunge and dirty up the brick and the roof and the windows. But for now, let's just take this in and see how it looks. So to do that, let's go to file and export, we've got it said, is P and G. That's good. We'll call this building 01 CEO. L again, and we'll just save right over the last one. And there we go. All right, So in the next video, we'll go back to Blender and see how it looks 28. 27 Finishing the Building Textures: to bring in our new color map. I'll go ahead and just hit the X here and just click open and let's go to our textures folder again. And here it is, building 01 color. I'll click open, and there we go. So now we've got let me tab in tow object mode here. Now, we've got our textures on our building here, and they look pretty good. We've still got that problem with the windows here. Ah, the brick the size of the brick, I think looks pretty good. The trimmed concrete on the window sills and the trim up top looks pretty good. So, yeah, I think we're doing okay. There are a couple of things I'd like to change. I think down here really would be better if we had, um, like, plywood or some sort of wood. As if these have been boarded up down here so people can't get in through the alley. In addition, I like the brick to kind of pop out. I'd like it to have ah, displacement to it. Kind of like we did with a normal map for the wooden pallet. So we've got some things to work on. First of all, let's go ahead and deal with these pieces right in here, so I'll tap into edit mode and I'll go to face mode and click this. And here we have it here. I'll hit the period key. Now there's actually two ways we could deal with this one. We could deal with it by breaking, say, these pieces out and rearranging so they don't overlap. And the other way is really kind of cheating and going ahead and overlapping. If we look down here at the windows at the bottom, you can see they actually look pretty good. You can see here the brick is even and not stretch like the other ones. And that's because if we come over here, you can see we didn't scale these in the windows. Here you go toe edge mode and then maybe tumble around in here and I'll press Alton, Click this edge and let's try and select these in here. You can see that if I select these, the edges up here are also selected, so they're not scaled in the way we have them here. But let's take a look at our first way of fixing this What we can do is with are in sync, button turned on. We can go to the move tool. And we could just grab a face and move it out like this. And then we could take this in, scale it in hit s and X, and scale it in like this and then bring it back and put it right up here. Now, what does that do for us? Well, let's quickly do that for the other one is as well. I can just take this and press s and X and scale it in like this. Now we can do is turn this in sync off, right at the A key disliked everything over here in the three D view. Now we can do is take these edges here right here, and scale them out S and X that Take this edge here, scaled out s. And why, like this s and ex scale this out, this one s and why and scale this and I'm holding the shift key as I scale this out. Now look at what we've done over here. We've arrange these. Let me ah, tab back into edit mode and go to the in sync Tool here. No, What we've done is we've just scaled these out so they don't have that angled connection here on the corners. And that has straightened them out quite a bit. Right? So that looks pretty good. Now the other way. Weaken, Do this. Let's go over to this one. Let's say the other way we could do this is turned this sync tool off. Select our three d object over here. Still an edge mode. I could press Ault and click this to select that whole thing. NAFTA hit the s key and scale out. Can you see what's happening over here in the three D view? See how, as I scaled that back to where it waas, it's actually going to straighten out so I can put thes UV is right back where they were right on top of each other and those straighten out. So we're doing something we're not really supposed to be doing. We're not supposed to be overlapping u V s in this way, but it works. It kind of works here, and I think it will be just fine. So what I'm gonna do is come over here and select these others and just scale them out just like we did for the last one. And I think these will be just fine. So let's Ah, now we're gonna work on this one here, Don't click this s and scale these out. So it's always good to know the rules like no overlapping. You've ease. Because sometimes you have to know when you're breaking the rules, too. So either way, I think is going to be fine for this particular project. All right, well, now that we've done this and we've kind of seen how it looks here in Blender, let's go back to create a and maybe generate a normal map for the brick as well as a board up these windows here at the bottom you're in created to create our normal Matt for the brick. Let's go ahead and turn everything else off all the other layers here. So we just have the brick, and then I want to duplicate this. I'm gonna press control J again for this, and I'm gonna call this brick normal and I'll turn off the original here. Now we can go up to filter will go down Teoh edge detection and height to normal map and let's click that. And then it tells us that our layer is locked, so let's go ahead and unlock that. So let's try that again. Filter edge detection height to normal map. And here we go. Now, if we assume and it looks to me like it's reversed. In other words, the grout is sticking out on the bricks are being pushed in, so we need to flip that. To do that, we can come over here to the X y and Z axes, and we can change, say, the Y axis from positive. Why? To negative why? And that will flip the brick out and pushed the grout in. And that's probably the kind of thing we want here Now. We could also increase the radius. We could maybe ah, clicking here and type in two, and that will push that out just a little bit more, and then we can click. OK, I'd kind of like to fill this whole thing with this default color, so let's create a new layer and dragon beneath it. Let's sample this blue color here with the eyedropper tool. I'll just click here. You can see it's been sampled here. Now I'll just select this. Go to the fill tool, click there. And now if we bring that back now we have that color over the whole thing. So we can then select Thies to press control E Oh, and I better rename this. There we go. Now we've got our normal map. Let's go ahead and export this out. We can go to file export and we'll call this building 01 Um, you know are for normal map and will change this to a P and G and click save. Now if we turn that off and turn everything else back on, what we can look at is putting would over those bottom windows. So let's go out to our Textures folder. Let's grab that wood plank texture that we downloaded earlier. And for this I'll just press control a and control. See, Come back over here and let's paste this in with Control V. I'll bring it up to the top here like that, and I'll turn on the U. V s. Now we go to our transform tool and I'll shrink this down quite a bit and then we should be able to take this maybe And just put it right over this whole thing like this. I met like this. Let's try that. I will turn everything off. Select the U V s year. Let's turn that layer back on it, delete and we go. And now if we turn everything back on but we don't need the normal map and we go control shift A to de select. Now we've got those windows boarded up. All right, so in the next video, witless do is let's take this into blender, apply the normal mapas well and will split the building out into multiple materials so we can adjust the roughness and the speculator individually for the different parts. 29. 28 Creating Materials and Applying Textures: Let's bring in our new textures. Now I'll go ahead and hit the X toe. Close that one out and I'll hit open and then in textures. Let's bring in this building 01 color And there we go. We've got our new textures there with the wood in the bottom windows. In addition, let's bring in that normal map. I will right over here. Press shift A. And let's bring in a texture, image, texture and drop it right here. Ah, click open and let's go find that normal map in our textures folder. Here it is, building 01 normal. I'll open that up now. We can't just hook it directly up to the normal socket here. We're gonna need to add a normal map node. So let's do that. Let's press shift a go to vector and normal map and will drop that in here Now if we took the color to the color and the normal to than normal, let's see what we get. Well, we get something, but the building looks very shiny now and we see a little bit of displacement happening on the brick. But we've got this strange look to it and That's because we need to change our color space here from SRG be to non color, so we'll click that now That helps it look a little bit better. And we can begin to see the normal map doing its thing here on the bricks. We could come over here to the strength and just click and drag on this and increase this. If we take it up to 10 it looks a little too much. Let's bring it back down. Maybe let's get it right around. Ah, 1.5 or so, Yeah, something like that. I think we can work with that. So that gives us a little bit of normal displacement there. That looks pretty good, but it's still, I think, a little bit too shiny for brick. Well, let's do is take this speculator and drag it down and we can take the roughness up a bit if we want to. And that looks pretty good for the brick. But now the windows have no shine to them. Even though they're dirty and old, they should have a little bit of reflection or speculator iti to them. So what we're gonna need to do is split this up into multiple materials. Again, let's go ahead and name this material here that we have. Let's call this building 01 main, and this will just be for the brick and the concrete. And then let's create a new one here. Let's get the plus, creating a new material slot and then let's click new to create a new material. And let's call this building one windows. And for this material, let's go ahead and add that color map again. I'll press shift a texture, image, texture. We can pull the menu down and choose that blender. 01 color map here Now, When we created the new material, nothing really changed for the windows. No, did it. What we probably should do is tab into edit mode here, and let's select each of the windows. I'll just go in here and click these like this. And then let's assign this new material to thes faces. So with the Windows material selected, I'll click a sign and there we go. Now, if we look at him, they just have the default gray on them. We haven't put a texture on this yet, so now we can take that color, drag it over to the base color, and there we go now that adds that window texture back onto that material. Now, with this, we can work on adjusting the speculator ity and the roughness for the windows. So maybe let's take the roughness down and you can begin to see some reflection in there when we do that. But let's take it down a little more here. There we go. There you go. You can see that reflection in there. And in addition, I think I'd like them to be a little bit darker. So what let's do is let's go ahead and add that RGB curves node, a press shift, a go to color and RGB curves. And if we dropped that in here now, we can add a node right here and drag that down some, and that will make it a little bit darker. Maybe that's too dark. Let's bring that back like that. But I kind of want him to be more bluish, so maybe I'll go over to the blue curve here by clicking the B and add a node and increase this up like this so it makes it a little bit bluer. Yeah, So maybe now we take the coloring. Go Dannell a little bit like that. Yeah. So now we've got a more reflective material here, and we can also target just that material and change the color just a bit. All right, that looks pretty good. What about the roof? I feel like we need to do something a little bit different for the roof than we did for the brick. So for this, let's go ahead and create a new material slot. Click the plus button, then click New and let's call this building 01 roof. Now we'll tab into edit mode and select the faces of the roof, and then we'll select the roof material and click a sign. There we go. Now we can do is add back that image texture right here. Pull the menu down and slick that color map and drag it over to the base color. There we go. So we have it back on here. But what I'd like to do is reduced the speculator ity quite a bit. Increase the roughness like that, and also add that RGB curves right in here so that I can drag this down and make it a little bit a little bit darker. Yeah, like that. All right, that looks pretty good. I also realized I didn't add allege over here. I feel like I should have done that, but that's pretty easy to do. We can just tap into edit mode and hit the l key press shift D And why? And slide that over and just kind of add a new one right in here. Oh, yeah. Let's press s and why? And scale that out a bit. There we go. You can just add that right in there. There we go. Okay. So now we have our building. UV mapped and textured. Let's go ahead and move on to another project. Now the trashcan where will actually do a little bit of sculpting to create a normal map to create a texture So we'll do some sculpting than will bacon normal map and will apply that normal map texture to the low polly object. So that's coming up next 30. 29 UV Mapping the Trash Can: So we've taken a look at the importance of having a UV map to apply two dimensional textures. We've created the UV maps. We've take them into Creed A. We've applied the image textures there, and we brought him back in. Now there's another reason. Similar reason, I guess, to create UV maps. And that is to capture sculpt information so we can sculpt on an object and then bacon normal map the same kind of map that we generated in CREA and apply that to our object here in Blender. So let's take a look at how to do that. I'm gonna go ahead and hide the buildings collection right up here. Just turn off the I icon and let's bring out the trash can. Here we go. I'm gonna actually go over to the layout tab and select it and then hit the period key. So here is our trash can. It's fairly low. Pol Ive got a bit of detail here upon the top around the bottom of the trash can. But generally speaking, it's relatively low. Polly and I'd like Teoh add some sculpt details to this. Let me ah, open up a new window over here. And let's just take a look at a reference image and see what I'd like to do here. Gonna click open and go to my Reference Images folder and click here to see the images. And right here, let me open this up. You can see how it's got these ridges bulging out along the main part of the can. And if I were to do this just with the modelling tools, I'd have to add quite a bit of new edges new polygons to this. And I don't want to do that. I want to keep it relatively low, Polly. So what we can do is we can actually sculpt this information on here and then bake a normal map that we can apply to this low polly object. So to do that, we're gonna need to create a UV map. So let's work on that. First, I'm gonna come over here to the U V editing screen layout and ah, let me just hit the l key to select this thing and hit the period key. You can see we still have the remnant of the UV map from the original cylinder. But I'd like to recreate this just to make sure that it's conforming to the way the trash can is. And also, we don't have the bottom of the trash can here in the UV map either. So let's work on this. With the can selected, I'm gonna press shift H and that will hide all the insulated objects. I'll go into edge mode, and I think that this is the front. Let me turn on the buildings again. Yes. So this is the front of the can. I'm gonna spin around back here and create a seam in the back. Just so I'm kind of hiding it from the viewer. No press Alton click here and that will select everything all the way down here. And I don't want all of this. So to diesel like this, I'm actually just gonna hit the sea key and use thesis Ikle, Select tool and just press the middle mouse button and click and drag to de select those. And then let's press control E and mark seem And then let's like this edge right here and press control. E and Mark seem there as well, so that should give us the main part of the can laid out flat and then also the bottom. So let's give this a try. I'm gonna get the a key, press you and I'll click. Unwrap. Okay, that's pretty good. Let's Ah, tab into object mode and hit the n key. And let's make sure our scale and rotation are applied. The scale is uniform, but it isn't one. So I'm gonna go in press control. A. M applied the scale lengthy in key to close that. Now it's tab back into edit mode and I'll just hit you and unwrap again. And there wasn't much of a difference there. But if we switch from conform Aeltus to angle based Ah, there's a bit of a difference there. Let me try this again. Conform away and angle base. I kind of like informal better, right? Seems a little more uniform, but even so, I think there's more that we can do here. I think what I'd like to do is move this guy right here. Let me just move this out of the way. I'm gonna choose Island Select mode and just click this and hit the G key and move this out of the way. Now click this and Let's press are in control and spin this around 90 degrees. There we go. And, um, I kind of need to straighten these up a bit. I'm afraid if I leave it curved and I sculpt on it, I won't get straight lines. So weaken, select each edge here and use that align Why? Or X to kind of flatten these out. If I all click this when I can right click and choose a line why? And then press Ault and click this one and try it again. Right Click, Align. Why all to click? We can do that and I can go through and do that. Here is well so Ah, I'll just go through this real quick. There we go. There's those Now What we could do is maybe find the center of this would say, this is the center right here. Let me go to UV Select and just select one right here in this center. And let's press shift s and move the cursor to that point. And then let's come up here and change our pivot point from median to two D cursor. No, we could do is scale from here and kind of widen this part out so the vertical edges are more straight up and down. It's all come over here and turn on the proportional editing tool and let's see what we can do here. So if I hit S and X, But I can scroll this in and out with the mouse wheel and Aiken, click and drag and move these out. You can see I can kind of expand these out so they're a little bit more straight up and down like this. Now, I could also change my fall off type as well. So maybe instead of smooth, we could try Linear. Let's try that S and X and pull these out just a bit like this. Get these a little bit straighter like that. That's looking pretty good. And then I could always come back into these parts here and align these along the X. Something like that. And I'll give these a try as well. Yeah, something like that. I think that could help quite a bit. All right. So I can press ault h and bring everything else back. And ah, let's just work on this piece here. I'll just press the L key to choose the lid and then let's press you and unwrapped. And there we go. That's pretty good. Let's take a look that handle here. I'll just press the L Key and hit the period key to zoom in. So maybe I'll just select this edge along here all to shift, click this edge and then maybe used shift to select this edge and this edge here. And then let's just create a seam like that. There we go now, just hit the Elke, select that whole thing and press you and unwrapped. And there it is. So if we then press A to select everything and then come over here and press a now, we should be able to go to our U V's menu and choose average island scale. And that will make everything proportionally the same size as in the three D view and then go to UV and pack islands and that will pack it all into the 01 space. Now I feel like this is upside down, so let's go here to the Pac Islands pop up menu here and let's uncheck rotate and that will flip it over. And then I feel like they're a little bit too close together. So let's maybe take the margin down toe. I don't know. 0.1. Let's see how that works. Yeah, that spreads it out a little bit better. Let's try 0.1 Well, they're still pretty close. About 0.5 Yeah. There we go. Okay. So now we have our UV map of the trash can in the next video. Let's begin working on the sculpting. 31. 30 Adding Sculpt Detail to the Trash Can: Well, the first thing I'll do actually before we begin sculpting is I think I want to split the lid out as its own object, at least for the time being while I do the sculpting, because when I bake the normal map, I don't want to bake this information appear the ridges on the top of the lid. I just want a big what we're gonna sculpt here on the side of the can. So let me just hit the l key here in the l key here that will choose the handle and the lid . And then I'm just gonna press the peaky and separated by selection. So there we go. Now we have the trash can. 001 We can tap back into object mode and then go and let's just rename this for now. We're gonna put these back together, ultimately, but for now, let's just call it trash can lid. All right, so now I'll select the trash can and let's go over to the sculpting tab right up here. Now we have all of our sculpting tools over here. I'm just gonna hover over this and pull this out just so we can see the names of them. I'm not gonna be using really very many of these at all. I think I'll just be using the draw. And that's it. Because this really isn't about the sculpting. It's about the baking of the normal map at the end. Also, I'm gonna come over here to the modifiers panel and I'm gonna add a multi resolution modifier. And what that will do for me is allow me to increase the number of subdivisions so my sculpt strokes will be fairly smooth. All right, I'm gonna come over here to add modifier and choose multi resolution. And then I'm gonna come over here and click, Subdivide and let's do that once, twice. Well, let's give it three times here. And I don't know if you were able to see it begin to kind of smooth out as we subdivided this. If I hit the Z key and go to wire frame, you can see how maney polygons it's added. And also, if you pan or tumble around, you can see the original poly count here. So we've just added some temporary resolution to the trash can by clicking on that subdivide button. All right, Let's go back. I'll hit the Z key and go to solid. So up here is the radius of our brush, the strength of the stroke. If I click and drag on the trash can, you can see the stroke there. Now that's pretty good. But let me just press control Z to undo that. There are a couple things I'd like to do before we begin. First of all, we saw that symmetry was turned on, but I want to turn it on in two different axes. So let's come over here to the active tool time right here. And since we have our brush selected, it is the active tool here. So I'm gonna twirl the symmetry down and we're currently mirroring in the X axis. That's what we just saw. But I would also like to mirror in the Y axis as well, so that when we click and drag here, we are mirroring in the X and in the wide back here. All right, so let's control Z that undo. I should probably bring in that image as a reference for us here. Let me do that. I'll come over here and create an image editor and open. And let's go into the Reference Images folder. Click here to see it. And here we go. There it is. All right. So this is what we're kind of going after here. I'm gonna hit the one key to go to do the front view, and I think for this I'm gonna increase the strength and maybe decrease the radius. To do that, I can press the f key and that will increase or decrease the radius of the brush. So maybe I'll bring it down about like this, and then I can press shift f and I can change the actual strength of the brush here, so maybe I'll bring it up to about 0.7 or so. Let's try that. I wanted to be a little bit strong and a little more pushed out than we're seeing here so that I have some room to play with it once we apply the normal map. All right, So if I click here and drag, that's about what I'm looking for. But it's kind of jagged. If I press controls the I can come up here and I can turn on smooth stroke, but I don't think that's gonna do it for me. I think what I need to do is actually change the stroke method here from space tow line. And what I can do with that now is I can click and drag, and you can see I just dragged us down to wherever I want it and then let go. And there's my stroke. All right, so let's begin right down the center. I'm gonna click right in here and go right down the center like this. Maybe right about there where we go, and then I'm gonna go on either side like this, and I'm just going to do this all the way around. I mean, we only need to do it about 1/4 of the way. Since we're mirroring in two axes, I go like this. Maybe I better hit the three key now to go to the right Ortho graphic view. And here once again, I could be gin in the middle, right down the center there and drag this down. There we go. And I'll keep going like this, and I better turn it just a bit. And let's see what we can do here. Right here. I'm gonna hit the five key to go to Ortho graphic view and let me see if I can just add one right in here like this. There we go. Let's see how that works. I'll hit the five key and there we go. It isn't perfect. It's kind of jagged there at the bottom, but I think that's good enough for what we need here. So now what I want to do is bake this information to a normal map. So let's go back to our UV editing view right over here. And if I tap back into object mode, we won't be able to see it here. And that's because over in the multi resolution modifier, we've got a preview of zero. If we click and bring this up to, say three to match our sculpt, then we can see it there, all right in the next video. What let's do is go ahead and take the normal map and then apply it to the low Polly object 32. 31 Baking a Normal Map: All right, let's bake this out. I think I'm going to go over to the solid view here just to see it like that. That'll work. We'll hit tab, and there we have the side of the can and the bottom. Now, to bake this, we're gonna have toe switch from the E V. Render to the cycles renderers. If we come over here to the scene tab, you can see our render Engine is set to E V. Let's go ahead and change this. I'll just click here and choose cycles. This render engine comes with a section right down here to bake texture map. So this twirl that arrow down. And here we have our bake panel. Currently are baked. Type is combined. We need toe, pull that down and choose normal map. So let's choose that. And in addition, we need a texture, a pre made texture to baked, too. So when we bake a normal map, blender doesn't create the texture map as part of the process. It wants to bake the information to an existing texture map, so we need to create that to do that, we can come over here to this panel and click on New to create a new image. And let's call this, um, trash can, you know, are for normal map, and I'll just leave it at 10 24 with a black color and just click. OK, and there we go. So now we have our UV map over that black texture. If I tab back into object mode, you can see here it is. It's just a blank image Now. The other thing we need to be able to bake a texture is a material on our object. Currently, we don't have one of those here either. So let's go ahead and click new appear to add a new material to the selected object. There we go and I'll call this trash can. There we go. Now what we need to do is put this texture up here in the note editor so I'll press shift a and create a texture on image texture and click that here. Now, I can just come in here and pull this menu down and choose the trash can Noor right there. Now, the interesting thing about this is we don't even need to connect these up. We can just leave it here. Unconnected. All right, so now that we have the material created, the image texture created, let's make sure that the can is selected and then let's click Bake. And there we go. There is the normal map of our sculpt information now noticed. I chose clear image here. I have this checked and what that did is just cleared the Black away and gave it this default bluish purplish color here, and that's what we want. We don't want a black background on a normal map. It needs to be this default color. All right, so now that we have this, we need to save it to our hard drive notice. Here. The image menu has just a little ass tricks here. And that means that this image here has changed and it hasn't yet been saved to the hard drive. So even though I might come up here and choose file, save and save the blender scene, this image is still not saved. The hard drive. So if I closed out of blender now, it would go away. So to be sure and save your work, please remember to go to image and save and let's put this in our textures folder and save it here and now. There's no Asterix by the image here, and that's good. Now let's test this. Let's actually apply it to the material and see if it worked. To do that, we need to turn off or even delete the multi resolution modifier. So let's go over here to the modifiers panel. And instead of deleting it completely, just in case there's anything else I want to do here, I'm gonna go ahead and just turn these off in the view port and in the render. So we are back to our original low Polly object here. Now let's do is come over here and let's apply or a sign this normal map to our material. So to do that, let's once again press shift a could've vector and normal map and here we go. So now it's hook up the color and the normal, and let's change our color space from s RGB to non color. Now we're not seeing anything because we need to go over here to our look, Dev view. So I click here and there it is. So now we could actually come over here and play with the strength. Remember I said I was gonna make those strokes pretty strong. And that's because we can come over here and weaken Decrease an increase. We could take it up quite a bit, or we could take it back down. So I think I'll just make kind of bring it over here, Maybe, like 0.7. That's probably about all we need. Yeah, that looks pretty good. And in addition, we should probably also add some sort of, ah color map, a color texture. Now, we could take the UV map into Creed A and apply textures there, just like we've done before. But in addition, what we could also do Let me just ah, come over here. And what we could do is we could create a new image note here and just apply an image onto this and see what happens. Let's give it a try. I'm gonna press shift a and texture and image texture. And then I'm gonna click open, and I'm gonna go back to our textures folder. And wasn't there uh, metal here? This metal plate? We also have PVC grunge concrete. No, I think this would probably be the one I'd want. I'm gonna click this. I'm gonna open this one up and I'm gonna connect it to the base color and let's see what happens. Here we go. Yeah, that actually doesn't look too bad. We could come in here now and adjust the speculator and the roughness, so it's bring the roughness down a bit and maybe we could bring up Well, actually, since this is ah metallic object, let's take the speculator all the way down and let's grab the metallic and bring it up. Let's do that. There we go. So, yeah, that looks pretty good. Maybe about like that. Yeah. So all I'm doing is just bringing a color in and applying it directly to the object without having Teoh cut and paste and build a texture map in Creed A. Now, I'm only doing this because it's gonna be the same texture over the whole thing. There aren't any other parts that need a different kind of texture or a different color or anything like that. So, actually, I'm gonna change my view here from the trash can normal map to that metal plate image here , so I'll click that. And there it is. So you can see what it's doing is it's actually kind of stretching the U. V s based on that image, but that's OK. Since this is just kind of a uniform texture over the whole thing, I think it will work out just fine. So what let's do now is take this lid and also select the trash can. And now let's press control J and join these objects together. And now, since we chose the trash can second, it brought the lid object into the can object. And now that material is applied to both pieces. And if we selected and tab into object mode, you can see how the U visa are placed on that image. And once again, since it's just a uniform image there, a uniform texture, there aren't any part that need a different type of image or color. It works just fine, all right, so now we have our trash can with our normal map and our color map. In the next section of the course. Let's take a look at UV mapping, a character and the special considerations and tools that are needed 33. 32 Beginning to UV Map the Head: Well, let's move on from the trash can here and take a look at the character. I'm gonna go back to the layout tab here, and we can actually just take a moment toe. Look at what we've done so far. We could enable the dumpster palette soda can. And we could kind of move all of these so we can see here. Let's do this. So too can. There we go. So what we've done so far is just use these different objects to talk about different ways of UV mapping of text, oring even baking a normal map. And now what I'd like to do is take a look at this character. So I'm gonna go ahead and hide these now and reveal the character. And what I'd like to do is just go through the process of UV mapping a character. We're not gonna texture it. We're not going to go through the process of finding and applying textures for this particular object. But what we will do is talk about some of the special cases and a couple of tricks we can use to UV map, a character and how to think about approaching an object like this. A more organic object. All right, well, let's Ah, let me go ahead and close this. I'll just enjoying that here. Let's take a look at the different parts of the character itself. So if I select the body of the character, you can see that it's all one. Except for a couple of pieces right down here. You can see we've got eyes. We've got teeth. But the main body includes the torso, the legs, the boots, the hands and the head. However, what I've done to make our lives a little easier here is I've actually kept the head as a separate peace from the rest of the object. So if I hit the L key just like the head, you can see Well, it looks like I've still got the proportional editing to Alonso. Press the okey now hit the g key. There we go and you can see that the head is its own peace. Now there's also the eyes and the teeth, and we'll take a look at those as well. But for now, let's just work on the head. I'm gonna come back over here to the U V editing tab and I'll have period key, and I'll also press shift H to hide everything except this selected object. Also, I'll go into the characters seen collection and hide the eyes and the teeth as well. All right, I'll come over here and remove this metal plate texture. We don't need that anymore. Let's go ahead and talk about UV mapping the head. Usually for ahead. There is some sort of something in the back or on the head, like hair or a hat or the hood or something. And one of the best ways to hide a seam is to put a seem right back here in the back. Now he doesn't have anything, and he's bald as a cue ball. But generally speaking, this is the way to go To find that center edge, I'm gonna click here, and then I'm gonna come up to the top of the head and maybe press control and click here and those will connect up from the selected edge to the one I selected over here. Now, how far do we want to come up to the front of the head? Well, that really depends on you know, the hair and the hat and what he has on the head. Um, for this I think I'd like to maybe Onley come to this point here. So I'm just gonna press shift and click and begin selecting these edges right along here. So that's where I want to go. However, what I'd also like to do is have it connect up with the ears. So perhaps what I should do is grab this edge here and take it all the way over like this. So let's do that. All right. So I'm gonna press the sea key, middle mouse button, click and drag, and de select all of this and then I'm gonna press control. E and Marcus seem here, and then I'm also going to select an edge here and go all the way over here and control click this edge and that connected them up in the shortest path possible. That's not what I wanted. So I'm gonna press control Z, and I'll just press control and click up to here and that will create the shortest path and then control and click here is well, all right, Control E and Mark seen. So this kind of classic T pattern is something you'll see a lot among UV maps of heads, and we may need to extend this on up, but let's give this a try and see how it works. Actually, before we do that, though, recall that there is a mouth. So we need to actually go in here and take care of adding a seem to the mouth. And we should probably just add a seem right in here. I d select everything, impress Ault A and just add a seam all the way around the mouth inside here. So if we get the Z key and wire frame, we can see it there. So let's give this a try. We're gonna have to do mawr and maybe readjust the seams. But let's at least give this a try and see how it works. I'll let the a key we'll hit you and unwrap. So let me ah, move this up some. So currently we have the head here. I'm gonna go to Island, select and click this and then I'm gonna just press the R key and control click. Well, I don't even need to push control now, do I? So that's the head that's the face of the character, and down here is the inside of the mouth. I'm just gonna press G and move that to one side. So is this a good unwrap? Well, we won't really know until we apply our UV test pattern. So let's go ahead and do that. I'm gonna open this up. Some, like this, come up here and pressed new. We'll call this ah, character for the material, and then we'll press shift a and bring in an image texture right here. And let's create a new UV test pattern by clicking new. We'll call this UV test pattern and we'll change it from a blank image to a UV grid and we'll click. OK, now let's take that color socket and drag it over to the base color. And also, let's go ahead and go to look to have here. All right, so what do we have here? Well, we've got something that isn't quite what we want. We've got a lot of smaller squares here at the bottom and on the face. We've got these large squares here. So if we applied our texture to this a skin texture, we'd see maybe a normal skin pattern here But up here, this guy would have huge pores. So we want to try and tweak this UV map so that all the squares on the head are a bit more of the same size. We're never going to get it perfect because of the shape of the head. But we can certainly get closer. And in the next video, we'll work on that. 34. 33 UV Mapping the Head: the first thing let's do is use blenders. Live unwrapped tool. If we come over here to the U. V s menu, you can see it right here. We can turn that on. And also, let's go ahead and turn on our UV edit in sync here to keep that in sync. Know what we can do is we can actually pin a few of these U V's so they don't move, And as we then adjust the UV island, it will kind of continuously unwrap an update as we go. So let's try that. I'm gonna go to U. V S and you can see this pin menu item. The shortcut is P. Let's go ahead and pin some of these corners. So maybe I'll just select this one corner. Let me go to Vertex. Select here and maybe all. It's like this one right there. And this one here Actually, you know the problem now with it being an in sync is that it's selecting on the other side as well, and we're gonna want to be able to move these independently. So let's turn this off and then get the a key to select all of this Now we should be able to come over here to Vertex select and begin selecting these points individually. That's what we want to do. All right, So I'll go ahead and slick those and these and this, and we should probably go ahead and select a couple up here. I'm gonna switch to select mode so we don't get that transformed gizmo. I guess what I'll do is just shift. Select this point right here, and let's try that. Now I'm gonna press the peaky and that Now, if you can see it adds a little point. See that? A little red dot There for each of those selected Vergis is Okay, so now we have live unwraps still on, right? So if I took this point here, I selected that and hit G. Look at what happens. We can begin to move these around of it, and it continuously updates as we do so I can take this and maybe move it down like that. But you can see I can kind of stretch this out just a little bit to try and get these squares a little more uniform. Now that's not helping a whole lot, is it I'm getting a moving things around a lot, but not actually doing what we wanted to do. So let me try this point here all selected and hit the peaky. And then I'll hit G and moved down like that. I could also take, say this point and maybe this point over here and hit the peaky and maybe select one of these and begin moving this over like this. Grab this one and hit G and move it over so you can see I'm just kind of rearranging the UV map to try and get the squares a little more uniform. We can always add more points a out here and out here. I'll press the peaky and I'll select one and hit G and let's bring this out and maybe this down of it. Let's bring this one out. So we've done a little bit so far, but we still have these very large squares here on the face. What we can do is we could take some mawr edges and we could extend this on up toward the forehead here, like up to here and press control. E and Marcus seem here and then what? We could do? Is it d a key to select everything and let's select everything over here and let's UNP in all of this all tippy toe untended. All of that. And then let's hit you and unwrap again. There we go Now. We're doing a little better up here on the top because we've split that out, but we're still having some problems down here. Another possibility is we could actually add seems around the ears. Let's give this a try. I'll click these edges around the ears and let's break these out and see if that helps us any. Over here. Let's do this all to click this and I'll select these edges around the ears. And let's Marcus seem there now. Let's try it again. A you and unwrap. And that actually helped a little bit now, didn't it? It allowed this part of the face to have a little more evenly spaced checker pattern here, so that's helped some. Okay, what else can we do? Let me come over here and I'll Ah select these and get these out of the way for now. On we go. So now this one, we still have some work to do But now that we've broken the ears out and moved this seem forward, we could try again with our live unwrap. So what let's do is let's come in here, go to Vertex mode, and let's select these top points up here and hit the peaky. Maybe we could select these points here and hit the peaky. And this and this over here and maybe these two here. Let's try that. So once again, live, unwrap is on. So if I click one of these and hit the g key, you can see this is what happened. So now let's give this a try. What I'm gonna do is maybe bring these down right here. Yes, maybe bring this down. Looks like we could also stand to bring this down here in the middle to I'll hit P and then G and bring that down. Okay, Now, let's take this and move it out. This take this one and move it out out here when I move that up here like this. All right, So how are we doing? Quite a bit better. We've still got some stretching here on the chin. So let's come in and take a look at that. So the chin U V s let me click the in sync button here and the chin you've es If I hit the sea key and go to circle Select and let me go to Vertex mode here. I can select these here and that's the chin. That's that's kind of our problem area, isn't it? Right in here, right around in here. So this is probably where we need to maybe relax the U. V s here. See if that helps us any. So with all of this selected, I'm gonna come up to you V's and let's just click on minimize Stretch. Now, when we do this, it's just gonna progressively try and relax. The U V s here and we can click to stop it if it's going too far. So I'll click there and there it goes and I'll click again. All right, so we could come up here. Now you can see we've got 527 iterations so we could ah, type in, say, 800. See how that works. It begins to do a little bit of relaxing there. There's some issues going on here. I'm not sure I like what's happening there. So maybe we could take this down to 300. Maybe a little bit better, or what we could do is actually take this back down to zero again and re select our Verdecia. So maybe I could de select things here and just select around the mouth and the chin down here, So let's give that a try. There we go. Let's go up to U V and minimize Stretch. We could also pin these kinds of points here and pull out just a bit like this and like this to try and get those a little bit smaller. We could even put a point right in here and move this one around and see what it does as well. Now, one last little trick that we could try is we could actually select, say, the interior of the mouth right in here. Oh, a press. Alton. Click there and then we should change our pivot point back to median point here. And if we turn on the proportional editing tool here, what we can do is hit the S key and you can see the area of influence there. And if we drag out or in you can see how it begins to change the size of the checker pattern so we could maybe drag in a bet and then expand out or pull in some. So you can see how you can have a NIF ECT on the UV island with this as well so I could stretch out fel in. So if you confined Ah, a good kind of happy medium between the two. This is one way to do it as well. There we go. So, as I said, we were never going to get exactly perfect. But this certainly helps reduce a lot of the stretching here around the chin of the character. So in the next video, we'll begin working on the torso of the character. 35. 34 UV Mapping the Torso, Arms, and Hands: Well, let's go ahead and bring back the rest of the character with Ault H. And when we do, you can see that the torso and arms already have a UV map on it. But I want to do it again. Well, let's do it again and replace this. So I'm gonna come over here and just turn on solid view. And then let's mark our own Seems here. What I think I'd like to do is kind of Mark seems the way a shirt might actually be with the seam on down in here. If I press Ault and click here, you can see that selects that whole seem there. And I think that's the way I wanted to be. I'm gonna come over here and remove the seem up to this point right here. So press shift. Click this. This and this, and I think that's where I want the cuff of his shirt. End right there, so I'll go ahead and press control. E and Mark seem there Now. Let's take a look at this shoulder. What I'd like to do is split the arm out from the torso and I'll just press ault and click and hit the period key to zoom in and let's see which edge we think we should use. Maybe let's try this one all to click that, and we could try that. Would that be a good place for a seam of a shirt? Actually, I think this one would be a little bit better and that wouldn't it? So a press controlled e. And let's Marcus seem there, all right? And also, I'd like to split out the torso from, say, the belt. Um, let's go ahead and use this edge right here. Impressed. Control E and Marcus seem there, and now we need to do that over on the other side as well. So I think it was this one, right? And let's, um, de select some points over here like that Control e mark seem. And then but with one key. And let's just see which edges correct. Here it looks like this one. Yep. Control e mark seem. And all right, so now what I'm to do is just select this with the L key and then turn on seem and that will allow me to just select this and then I'll press l here and L here. Now, this shows me that I also need an edge in here. So what let's do is find where that edge ended, I guess. Right in here. Ault. Click that. Let me hit the period key. And this. Yeah, we need to split this shirt from the hand. Here is, well, control E mark scene and let's do that. Same thing over here. Looks like this one right here. Yep. Let's Marcus seem there. And now if we hit the l key and the L key in the l key that will just select the torso in the arms. So now what let's do is press you and unwrap and see what we get. All right, let's go up to our look deaf, De select that and take a look at it. Let's select this whole torso area again, and that's what we get. So you can see what happened is the torso was split at the seams on the side here. Here they are. And here and the head is up here. And the arms were split out from the shoulders right here and then also split on the bottom so they would lay out flat here. Yeah, I think that will work pretty well. Maybe I'll hit the a key and hit G up. Let me turn off that proportional editing tool, G, and moved that out here naff. We select everything. You can see all of our UV islands here. All right, well, let's take a look at the hands. Now that we've done that, let me select a hand here and let's zoom in and let's try this. Now it looks like we've got a a rogue piece here and that's fine. Oh, yeah, right in here. And that's fine. That'll be taken care of as we UV map this now. So for this, I think what I'd like to do is just create an edge all the way along here. Let me just press control and click here and begin moving. And if I extend an edge control click on down here like this and what I want to do is just continue it all the way along all the fingers and all around the thumb and come out this other side here so it's a little bit tedious. I'm gonna press control space bar to make the view port full size here and then I'm just going to go through impress control and click edges right along here. Kind of extend these all the way around. So maybe I could even press control. Click here. Sure enough. In and extended all the way over there. That's nice. Let me try that again. Control, Click. Oh, yeah. There we go. And maybe here. Good. And here bumps. No, that's not right about here. Yeah, that works a little bit better. And, ah, I could extend it here, Here, in here. And then the problem is I need to get it up into here. So let's take this and turn it like this and maybe even up to a year like this, and then control click up to here. So we've got a little bit of, ah, turn at the thumb. I don't think that will be a problem, but what that's going to do is split it out into two parts. Just the top and the bottom of the hand. All right, let's press control e and Mark seem, and then I'll press control space bar to shrink the view down again. And now let's press the Elke and select this in the l key and select that and hit you and unwrap. And there we go. Looks like two middle fingers. Uh, a little too pig. Let me click on angle based. There we go. That's a little more reasonable. So Ah, All right, so there we go. That's how I would UV map the hand in the next video. Let's work on the legs of the character. 36. 35 UV Mapping the Legs and Boots: since the last video. I went ahead and marked the seams for the other hand as well in just the same way. And now I'd like to work on the legs. So let's, um, think about where this seems should go for the belt. Kind of hard to say. Maybe this one here, lets try that Control E and Mark seem And, um, we've got this seems on the outside of the legs here, and this is really the way would be for any pair of pants. I think this seems air usually on the outside. And also you have an inseam on the inside. So let's come in here and maybe all to click right here. And that seem will go all the way up and then back down the other leg. That would work pretty well. Or we could try this one. Here. Lets try this. Yeah, maybe let's go with that one instead. All right, I'll press Control e and Mark seem there. Now we could do is just select these with the L key. I'll go ahead and select the front and the back, and I'll go ahead and select the front in the back of the belt as well. And then let's press you and unwrap Well, that looks pretty good. Ah, we can take a look at it here in the three d view. That's not bad. We can change from angle base to conform all and give that a try. Actually, I think I kind of like that a little bit better. Gosh, it's really hard to tell. Yeah, I think maybe I'll go with that one right there. Then we could take these over here and we could always just rotate these if we wanted them to be in line like that. But for now, let's go ahead and go with that. The only thing I don't like here is how the checker pattern is angled. Let's some try this again. Let's do you and unwrap and then change back to conform along. Let's take a look at that. There's still pretty angle, though, aren't they? And we've got some stretching here is well on the Cavs, so, yeah, I don't think we wanted to be like that. Okay, so we have the pants. What I should probably do is go ahead and move these out of 0 to 1 space here I'll just press G and kind of move these up here. If we hit the a key, you can see where I've put everything. I should probably move these around as well. So I'm here in Island Select so I can hover over the face UV Island and just selected and move it out and then maybe select these two here if the geeky and moved these aside as well . So I'm just beginning to build each of the parts and ultimately, as we've done before, we're gonna bring all of these back into the 0 to 1 space. All right, let's take a look at the boots here. I'm gonna select the boot with the L key, and you can see it's in different pieces here, so I'm gonna need to select the various pieces with the L key. But what we can do is actually UV map, each piece on its own. So if I just selected the tongue here with the L key and then let's press shift age just to take a look at it, and you can see here that it's really just all one piece, it has no thickness to it, and it looks as if we could probably just get the U key and unwrap it as is. So let's give it a try. I'll press you and unwrapped. And there it is. Yeah, that actually looks pretty good. So I'll select this and move this out here somewhere. Well, press Ault H in the three d view to bring everything else back. And let's try something else. Maybe maybe we could just press the l key for each one of these. And let's take a look at this shift H. And these also have no thickness, and they're just each one their own piece. So with these selected, let's try that again, let's hit you and unwrapped and there they are. All right. So if I press all h and bring everything else back, we could just select these four here and move these aside. Maybe I'll move it over here with the tongue of the boot and then let's ah, maybe select this piece. Let's take a look at this shift H. And I think we're looking at a similar kind of thing. It's all one piece. It has no thickness. Ah, let's give it a try. You unwrap. Yeah, yeah, That looks pretty good. Okay, old age. And let's like this, and I'll just move it over here with the others. Um, how about this right here? If I hit the l key, that's what that is. Shift H. That looks like it's ah, pretty good candidate for just hitting unwrapped. So let's do that, you unwrap. And there we go. Yeah, so all h to bring everything else back and then I'll just like this and bring it over here with these other ones. All right, so it looks like we're almost done now. Noticed that all of these checker patterns are very different in size, and that's okay for now, we're going to go through the process of collecting all of these up, averaging the island scale and packing them into the 0 to 1 space. So we don't have to worry too much about this. Currently, I'm gonna go down to the soul here and at the L key. And let's press shift H two isolated and on it, the period key. Now this is well, is all one piece, and it has no thickness, but I'm not sure it's going to lay out flat the way the others have because of this 90 degree angle here. But let's give it a try and see if it works. I'll hit you and unwrap, and it's actually not bad. Surprisingly enough, Um, these air kind of small here and we get some stretching back here. It may not be an issue, since the sole of a boot is probably just a solid color. But we could try something here. We could ah, maybe try and select this edge here all the way around. We don't want all of this back here, so maybe it should go down like this and then over like that. Well, let's seal weaken Dio. I'm gonna go back to solid mode because sometimes it's just easier to see that way. And I'll hit the sea key and middle mouse button, click and drag to de select all of these and these and these and then right click to exit out of that tool. Now let's bring um, let's bring this down like this, and then turn this like that and I'll just bring this back to here and over to connect to the other side here. Yeah, here we go. So maybe then these two. All right, so now let's try this. I'm gonna Marcus seem here like that. I was tried again. A you unwrap. Ah, that might be a little bit better. How are we doing here? Yeah, these squares are a lot more uniform along here. We still have a little bit of stretching in here. Probably not gonna be in an issue, but I think splitting out the very bottom of the shoe helped with some of this stretching in here. And the bottom looks fine, petal. Probably never be seen. Okay, so if I come over here and we can select these Oh, well, I better bring everything back over here, Ault h And then also like these two and I'll hit G and move these over here. There we go. So now we have the boot. UV mapped. As I said, it's okay for now that all the checkers are various sizes. We will fix that soon. So to complete the boots, we could go through the process of UV mapping this other one here, or we could actually duplicate this and mayor it over. Let's try and be tricky and do that. Let's let's hit the Elke and I'm gonna select all of these. Let me click here and let's select all of these and let's just hit the X key and delete faces. Now that's gone. Now let's select all of this dear like that. And then what? Let's do it. Just mirror it over so we can see here that if I turn on the move gizmo, the center or the pivot of all of this selection is here, and what we need to do is move it down to three D cursor or the center of the grid. So I'll come up here and change from median point to three D cursor. Right now, what we can do is mirror the silver and to do that, we can, first of all, duplicated with shift D and hit enter. And then I want a mere it over. So in the press, control em if the X key to tell it to mirror in the X axis and then hit enter and there we go. So now we have both of the boots you ve mapped and let me show you something over here. If I select everything. So here's all the UV islands for the left boot. But where's the right boot? All right, Where did it go? Well, it actually went underneath here. So if you hit G and move this out, you can see it there. And that's gonna be an important thing to remember. As we go forward, we're gonna also UV map this character as if it was a game character. And to do that, we're going to try and maximize our resolution by only UV mapping one side of the character . But that's coming up a little bit later. What we're going to do in the next video is work on the eyes and the teeth. 37. 36 UV Mapping the Eyes and Teeth: All right. Well, let's take a look at UV mapping the eyes. I guess what I can do is de select this and just hide it away here and let's go ahead and enable the eyes so we can see them. And I think what I'm gonna do here, let me just hit the period key and zoom in is I'm gonna go ahead and delete one side here and then when we're done with this, I will once again mirror it over just like we did with the boot. So I'll hit X and delete faces. And let's take a look at what we can do here. I think probably the best way to do this is to begin back in here. I'm gonna hit the two key to go toe edge mode and let's just extend this edge. I'll hit control and click here and control and click and let's extend it. I'll hit the three key to go to the side view and let's extend it about halfway. Let's say something like this. Yeah, let's go ahead and do that. I'm gonna press control e and Mark seem, and then we want to continue off onto the other side as well. So let's select that edge and control. Click and control Click and I'm gonna press control three to go to the left side and let's go ahead and maybe go to here, let me hit the Z key and go toe wire frame and see how far I went. Yes, so you can see I went to this edge right there. All right, And let me press control. E and Mark seem there now. I want to do it, um, perpendicular to that line. So let's say maybe this edge here. I'll control Click out here. Let's bring this on up. Oh, it looks like about right there. The let's Mark Aseem And then let's extend it on down as well. Down into here. Control. Click. And it looks like we go all the way to that edge right there. Alright, control E mark seem now let's go ahead and hit the n key and see how we're doing here. The scale is uniform, but it's not all ones. And I think that's also been the case for the character. That's not bad. We haven't had much trouble with it in UV mapping, but I'm gonna go ahead and press control A and apply the rotation and scale here. Now let's go ahead and tab into edit mode. Hit the a key and let's see how this works. I'll press you and unwrap and there we go. Let's change from angle base to conform all see if that helps. Well, no, that does not. So look, go back to angle based. All right, I think that looks pretty good. Now. What we can do is, since this is its own object, weaken tab back into object mode and move the origin of this object to the three D cursor here in the center of the grid. So let's go to object. Set origin, origin to three D cursor. And then we can come over here to the mirror modifier and select add modifier mirror. And there we go. So now if we apply this mirror modifier here, if we tap into edit mode, you can see that we've got the seams here on the other one as well. So there you go. That's a good way to UV map. Eyeballs. Let's take a look at the teeth. I'll go ahead and hide the eyes and bring the teeth out. Now these are a little bit more complicated in that they're just a lot of individual pieces . And usually we would keep the teeth and maybe the gums as their own object, because many rigs have bones for the upper teeth and the lower teeth that we would parent these two. In addition, you would have an eye bone as well, and you would parent the eyeball objects to those I bones. So that's why these air currently separate objects. Let's tab into edit mode and see what we have here. What we could do is maybe, ah, let me just select one of these with the Elke and at the period key and zoom in what we could do with this it. Well, we could do a couple of things. We could just select everything and we could go to you, and we could just use smart UV project. Let's see what happens there. We'll hit that click. OK, and there we go. And that's a bit of a mess, but generally speaking, these air on Lee going to be all white. Anyway, If you were going to be animating this character here in blender, you could maybe just give it a white material and not even have to worry about applying a texture and therefore UV mapping. However, if you were taking the character to another programs say to a game engine, you would need the UV map and apply a texture. You could just apply a uniform white texture to this and that would cover it all. But if you needed actually go in and paint or create specific detail on the teeth, you might want to do this another way. So I'm gonna use the lower teeth to take a look at that. Let me tab into object mode whilst like these, All right, so for these we could do it a little bit differently. We could just select maybe the central edge of each of these teeth and Mark Aseem and then unwrap them in that way. It's a little more tedious. It would take more time, but as I said, if you did need to actually create hand painted textures or some sort of details on the teeth themselves, then this would be the way to go. So without doing them all, let me just select these four and hit you and unwrap. And let's take a look at that so you can see you have a cleaner map and would probably be able to apply specific texture to this a little easier than our previous UV map with smart UV project Now, ultimately, these UV maps here tab back into edit mode here. These UV maps would not be incorporated into the overall character UV map because, as I said, these would be separate objects. All right, so in the next video, what let's do is let's go back to the UV map for the body and we will work on taking all of these UV islands, making them the same relative scale to each other as they are over here in the three D view and then packing them into the 0 to 1 space. So that's coming up next 38. 37 Scaling and Packing the UV Islands: well, before we begin packing all of these islands into the 0 to 1 space I see we've got a little a dot here. Ah, singularity still. And we need to figure out what this is. This tells me that there's something on the character that hasn't yet been UV mapped. So what I'm gonna do is de select this and I'll turn on the N Sync button here, and then I'll just press B and border. Select that and, ah, hits the eyebrows. Okay, so if we press shift h, that will hide everything except the eyebrows and we can see that they too do not have a back to them and have no thickness. So I think we could just go ahead and, um, press you and click on rap. And there we go. Yeah, that'll work list. Press all to H and bring everything else back. And now, as we take a look at it, you can see that the UV islands have a wide range of sizes here. You can see that the eyebrows are of course, way too big and compared to the face and the hands are also way too big in comparison to the pants, so we need to average the scale. So So they match the parts in the three D view. To do that, we can, of course, go back to our UV menu here and choose average island scale. And there we go. So now the islands here are in proportion relative to each other as they are over here in the three D view. Now we can go ahead and just pack everything in and see how it looks to do that. With all of this still selected Aiken, go to UV and pack islands, and that will pack it all into the 0 to 1 space. Now we've got our margin between the islands here at 10.5 That seems to be a little bit too much. Let's try 0.1 and see what happens. And that seems to be a little bit better now. We could just go with that and say, That's our UV map. However, even though they are mathematically proportional now, the problem is they aren't proportional in terms of human interest. When this character is in animation or a video game, the main area of interest is going to be in the face. And because of that, we should give the head UV island a little Mawr resolution, a little more texture space on the UV map. To do that, I can just come over here and maybe hover over. Let me switch to face mode and press alter a to de select everything, and then I'll just hover over it and press the Elke. And in addition, I could come in and go ahead and and select these parts of the head as well. You can see them here in here. Now let's just go ahead and scale that up. So let's hit Bess and scale it up quite a bit. So maybe it takes up 1/4 of the UV map, and that just allows the resolution of that texture to be a little bit greater. So let's hit a then and then go to U. V S and pack Islands once again. And there we go. Now that did pretty well, but I feel like we could maybe even bring it up a little bit more. Let's press the Elke and scale it up. Let's try this. I'll select everything and hit you and pack islands again. Yeah, I think that's kind of nice. So the actual face of this UV island is just right here, so that just increases the size a bit so that the actual part that people have interest in has greater resolution. All right, so that is our UV map. Now let me press Ault A and on press control and space bar to make it a little bit bigger. Now we could, of course, turn this so it's a little easier toe work with in a program like Photo Shop or something like that. In a program like substance Painter, it really wouldn't matter, because you're applying the textures directly to the three D model rather than applying them to the UV map. But let's also talk about if this is a game character. What do we want to do if it is a game character? Oftentimes, in a video game, your texture maps need to be fairly small, which means you really have to try and optimize the resolution of each UV island in the map . So often times for symmetrical characters like this. What you'll see is that they'll split the character in half UV map one side and then when it's mirrored over the two sides are one right on top of the other, just like we saw with the boots. So what I'd like to do is go ahead and try that just so I can show you what I mean. Here, I'll hit the one key here, and then maybe I will go to edge, mode and all to click and edge right down the center here. Let's see if that goes all the way around yet It goes all the way from front to back. So what let's do now is press control e and choose edge split. There we go. Now, when we hover over this side and press the l key, we should just be able to choose this side only. So I'll hit L over here, and you can see that selects that whole thing. Now, we're gonna also come down here and select these on the boots as well. We'll just do that real quick. There we go. And now let's just press X and elite faces. There we go. Now all we have is half of the character. So look at all the room it opened up here in the 0 to 1 space. Now we can repack these islands to make them larger and then mirror the character back over . So what I can do now is I compress a to select everything. And this time I'm gonna once again average the island scale right here. And then I'm gonna pack everything into the 0 to 1 space with pack islands. There we go. Now, once again, I want to go ahead and scale this up. I'm gonna take the head, scale it up like this. We go and hit a you ve impac Islands impact that in. No, we have our UV map pretty well in place. We have increased the amount of texture resolution we have for each of these UV islands. Now they're all quite a bit bigger in the 0 to 1 space. Now, what we can do is come over here, select our character, me de select, seem right there. And also we want to go ahead and grab that boot as well. All right, now we can do is take this and mayor it over. We can go to add modifier mirror. There we go. Now we can do is turn on clipping and apply the mirror modifier. We have to be an object mode. Here we go. Let me tab and object mode and click apply. There we go. Now you can see there is our character completely UV map. Let me go over here to the look Death right here. There he is, completely UV mapped. But we're only seeing half of the U. V s over here because as we've seen before, if we select one of these, you can hit G and move it aside. And each of these are one on top of the other Press control Z there. And in addition, you can see that the pants air actually looking a little bit better once we split them up. In other words, we could have applied a seam right down up, Let me go toe edge mode. We could have applied to seem right down the center here before and got a similar kind of unwrapped. But with this, we've actually split it in half to get a greater texture resolution. And there you go. There is our UV map. 39. 38 UV Mapping the Ground and Building 5: for the remaining part of the course. I'd like to go through and UV map the rest of the alley scene. Now I'm not gonna texture it. I'll leave that to you, and I do hope you go through and UV map and texture this as well. It really is great practice, but I've enabled the building seen collection here as well as the building details, and I've hidden away all the other objects. So first of all, let's just take a look at the ground plane here. If I tab into edit mode, you can see that it's just all one plane. And from my experience, I feel like if you're going to UV map and texture and item like this, you usually need at least a few subdivisions in here. Sometimes having just one big face can give you strange results. So for this, I'm just going to right click and choose subdivide. And then down here I'll just increase the number of cuts maybe 23 and that just gives us a few extra polygons for the texture to adhere to. I guess I'll also check over here, and it looks like the scale is non uniform So let's go ahead and press control A and I'll go ahead and apply the rotation and scale. All right, so now that we've done that, let's now tab back into edit mode and hit you and unwrapped. And that looks pretty good. Weaken, Try conform. All Either way is good. I'll go ahead and use. Conform. All All right. So that is the ground plane. Let's go ahead and give it a material. Do I still have my UV test material in here? It doesn't look like it. So let's go ahead and create one. I'll click new. We'll call this. Ah, you ve test and I'll create a new image note right here. Drop it in. And do I have my UV test pattern in here? Yeah, I do. There it is. And then I'll hook it up here and now we can see it there. Okay, so there's our first part of the alley UV mapped. Let's ah, give this building back at the back of Try, uh, it's period key to zoom in. And I could always press shift h to hide everything that isn't selected. But then when I pressed Ault age to bring everything else back. It's gonna bring all of these objects back as well. So I'll just scroll down the building seen collection, and Ah, this looks like it's building five. Just gonna de select all of these Now that we have that, let's go ahead and tab into edit mode and it looks like we should be able to maybe just select this edge up here and create a scene. Let's give this a try. Oh, and what we should probably do is go ahead and select these edges around the windows like this. Oh, and I've got these. I've got thes ah, window ledges here. So I'm gonna spin around to the back side and press control E mark Seem, there we go. So for these two, or what I could do, actually, so I didn't have to do that. I could go to face mode, select these two press control Lee and Mark seem, and it will just mark the edges around that selected face. All right, so we have that. Let's go ahead and just hit the Elke and select this select seem and that will just like that one part of the building. Oh, let's go ahead and tab into edit mode and take a look at our scale. Yet we need to apply to scale here. So press control A and rotation and scale because look at that. We've got 90 degrees in the Z of rotation, so I'll press control a and rotation and scale, and that makes those zeros and ones. All right, so now let's take this, you and unwrap. And there we go. Now it's upside down. So let's press are 180 and spinning around and there we go. Now let's work on the windows themselves. So let's just select these three bases and hit you and unwrap. There we go. Will hit G and pull those assigned. And how about the roof? We ought to ah, select this edge all the way around the roof. Here, here and here. Mark, this seem, um okay. And then let's let's select. Um Well, we could select this edge here, right here, Marcus seem. And this one and this one here and Mark seems they wrote Let's get this one all to click. Mark, that seem, um it looks like I've got a face here at the end. I don't know that I really need that there. But as long as it there, I guess I'll go ahead and break those out like that. And let's do that on the other side as well. I'll select that period key to zoom in. And now I can select this and this and Mark seem there. Okay, um, let's give that a try. So I guess what I could do is just hit the a key. Inspect everything. Now, let's just give this a try. You and unwrapped. See how that looks. Well, we've got some pulling here. Not sure why that's happening with switched to angle based, and that's even worse. So to fix that, what we could do once again is just selected this area here limited by seem. And then I'll just go to the front. Ortho Graphic view here, de select. Ah, these faces here, do you select those? And then let's just hit you and project from view. There we go. Yeah, that looks quite a bit better now. We've got these very long pieces here. What is this? I believe that Oh, that must be this. I needed to select these edges in here. So let's all to click these and mark those. That's what I should have done at the beginning. Yeah, let's all click Thes mark seem all right. Now, let's try that again. So I'm going to select this right here and move it out of the way and then border, select these. And let's re UV map all of this. You and unwrapped. Yep, that's better. But we've got these things we need to deal with these things here and for these. What we should do is maybe just select these edges right along here and that will break those out like this. Let's try this one on. Mark. Seem here. I'm just going to select that with the Elke and let's just give it a try and see how it looks before we do. The others unwrap that. Yeah, that looks good. Okay, So, weaken, just give this one a try, and I mean just the period key and that I'll choose thes and these press control Lee and markets seem there, and let's do the same over here. This one and this one, This one and this one. Okay, so now let's try that again. I'm gonna just select everything over here that isn't that front part and press you and unwrapped. All right, let's take all of this. Make sure that the scale is averaged like that. And then let's pack him into 01 space. Here we go. Let's try this. And there we go. Yeah, that looks pretty good. Let's now apply our material to it. I pulled this down. And where is that? There it is. You ve u V test. And if we have into object mode, Yeah, that looks pretty good. All right. In the next video will continue UV mapping the alley scene. 40. 39 UV Mapping Building 2: All right, let's try another building if I go up to building 10 well, that's this one that we just did. Let's go to building, too. We'll hide Building five. Let's take a look at this. It, too, has no back and, ah, me tab into edit mode you have. This one looks pretty straightforward as well. So let's give this a try. What I'm to do is add a seem right here, and I'll also add one here. So then control Lee and Mark seem. And let's take a look back here as well. Yeah, let me all to click this and let's create a seam there and select that edge. And Mark seem there now. We also need to probably do on edge all the way around the rooftop. Let's do that. This one and there's one right back here and we go. Good. Marcus, seem there. What else? Well, we've got this door down here. Let's take a look at this. I'm gonna hover over this and press the l key. And let's also grab this one. And then I'm gonna press shift h and take a look at this. See, we're in edit mode, so pressing shift. H won't mess with any of these over here. Um, it looks like that it's a single piece right here. One thing I didn't do is check to see if the scale had been applied. Let's take a look at that. No, it is not. So let's press control a and rotation and scale, and we go and then I'll tab back into edit mode. And for this, I can just press you and unwrap. That'll work. I'll go in and hide this with the H key. And then, um, this We will probably need to select edges up here and break that out like that. Will we need to break these out as well. Let's give it a try. I'll hit you and unwrap and Yeah, it looks like we're getting some overlapping, some stretching in here. And my guess is it has to do with this up here. So let's, um, select this edge and this edge and Mark Aseem And then is there anything down here? There is in You know what? We don't need it. Um, this is never gonna be seen. So what I'm gonna do, actually is just delete that because we don't need that. All right, let's give this a try now. Firmly press you and unwrap. We've still got some overlap happening here. Let's see what else needs to be done. Oh, I bet we need to selected this edge right here. Means like that. Yeah. See, this was still connecting those two pieces together. So let's Marcus seem there and let's also spin around over here and do the same thing here . Yeah, let's give that a try. Okay? So select it all you and unwrap. There we go. That looks quite a bit better. Okay, Now let's press all to H and bring everything else back. What haven't we done yet? Well, we haven't done the walls yet, have we? I guess what we could do is first of all, select the windows and let's Marcus seem around those it you and unwrap. And I'll just bring those out here. Um, what about this step here? It looks to me like this is its own thing. Yeah, that really is. So once again, shift H zoom in. Can we just Ah, UV map that as its let's give it a try? Sure. Why not? There you go. That looks good. Um, let's give the Oh, I never did get an edge along here, did I? Let me try this Mark that seem. There we go. Okay, So in addition to these were probably gonna need Seems up here as well. So I just pressed Ault and clicked that, and it selected that whole thing around the top. Let's do that. And, um OK, so now let's select this and let me turn on. Seem so that breaks that out. I guess I'll go ahead. It's like this and this And let's give this a try. You and unwrap. Um, that's not looking too good, now, is it? Let me turn off in sync here and let's take a look at this. Yeah, this isn't doing too well down here with the door. Let's give this another try. Let's just take this on its own. And once again, let's hit. Ah, well, it's the three key this time and then press you and project from view. Yeah, that's quite a bit better. So let's Graham that and hit G and move that down. Um, what else? Let's select the whole thing and see what we have over here. It looks like if I select this, I can hit G and move that out. I haven't been moving things out very much now, have I? So I've got kind of a mess here in the 0 to 1 space I've got Island Select turned on so I could continue to select here. And it will just bring out the different islands for me so I could begin moving these around like this and like this? Yes. So we can get these moved out. So what don't we have yet? Let's take a look. I will switch back to in sync mode here and hit the B key and border. Select all of these and that looks like just about everything. Let's go ahead and pack them into 01 space here. So with all this selected, let's go to UV. And first of all, we're gonna average island scale. But there we go. Now that we've got this, let's go ahead and pack them all in. I'll click on you and pack islands. There we go. Let's take a look at it. Well, we could try and flip this around. Maybe. Let's uncheck this. Yeah, that flips that you ve island around, but take a look at it. Look at this. If we go and turn this off and just select this, take a look at this. It looks like it's flipped around, right? It really should have the door on the other side. And that's because when I UV map this when I projected from view, it was actually projecting this way. So now what do we do? Well, what we can do is just mirror this over. So with this selected here, we can go up to UV and go to mirror and mirror along the X axis, and that'll flip that around. All right, but it g and move this back in here, and yeah, I think that's looking pretty good. We could go ahead and repack all of this. Let's give it a try. You pack islands, and there we go. That margin between the islands is 0.1 and I think that's pretty good. Well, let's ah, add the material. Let's come up here and pull that down and choose our UV test. There we go. Well, now what do you think is going on here? Take a look at this. Look at the roof. Did we even UV map the roof at all? Let's turn on in sync and I'll hit the sea Key and let's go to Ah, face mode and hit Seiki again. And let's just select all of these. And there it is. But there's something definitely wrong with that. Let's re UV map that and see what happens. Oppress you and unwrap. And there we go. Let's move that out. That geeky moved that out. Yeah, that's looking a little bit better. It looks like we didn't UV map these up here, either. See all of this? Well, I guess maybe we did. Let's take a look. I'm going to, Ah, select this and just move it out. I'll use the l Key and just move this out here like this. Now what let's do is let's re UV map thistle, press control I to invert the selection. It was just UV map. All of this except that front that we projected from view and then mirrored over. I'll hit you and Unwrap and there we go. That's a little bit better now. If we take this and we can move it back up here, let's go ahead and select all of these and say pack islands. All right, I think that's a little bit better. But we have this problem again as well. Let's unchecked the rotate box, and that's not bad. That helps with that. But well, a couple other things. I don't think we, um, worked on these. Let's go ahead and do these here. These two. You can see them here. How? They're kind of stretched and warped. Let's do those shift H and I will select this edge in this edge. Go ahead and mark that seem here, this one in this one. And when did the same thing over here? And you can see how the UV texture is kind of smeared on this as well. We don't want that. All right, so now let's bring everything back, Ault age. I will, um, de select all of this and then select this with the L key. Once again, I'll come over here, impress control I to invert the selection. Now let's press you and unwrap. There we go. Let's liked everything over here and tax them in. There we go. I think that did it. Good. So there we have building to UV mapped 41. 40 UV Mapping Buliding 3: for Building three. Let's go ahead and hide these others, building five on the ground here and let's see what we have here. This one has. Well, it's kind of hard to see. Let me go to our solid view here. That's a little bit easier to see. There isn't a whole lot to it here. However, there is some detail in here. If I turn on the building, details turn off to their Oh, we should take a look at what the details are on building, too. But this one has power supply and a light on the wall here, so we should probably take a look at that. But first, let's hide that and let's work on the building. So I think all we need to do is add some seems along here and along here. And let's add one here. Let's add a seam in here all around the rooftop. Let's control remark seem now back here once again, they're these faces that were created when I extruded the trim around the top out, and they are never gonna be seen, and I can make an executive decision here and go ahead and delete them. So we don't have to UV map them. That makes things a little easier. Also, over here, I feel like this part This is gonna be like a garage door kind of thing. So I feel like I can, um, split this out here, that I think it's gonna be enough of a different texture that it'll need to be its own UV island. So I'll Marcus seem around there. Um, yeah, Let's give this a try. Let's, of course, check our scale yet. We need toe. Go ahead and apply the rotation and the scale here. And then let's tab into edit mode. Let's select everything and let's hit you and unwrap and see what happens. That looks pretty good. This looks a little bit odd. See how it's kind of at an angle, and I think that's probably because we need to split this out now. First of all, it's got a face down here from the extrusion that no one is ever going to see. So let's delete that and we go. And second of all, we can go ahead and add seem to each of these corner edges right here, and that will help that lay out a little flatter, a little more evenly. So let's try that again to keep an eye on this piece here. You and unwrapped. Yep. There we go. That helped quite a bit. All right. I think that looks pretty good, actually. Let's go ahead and put the material on it. Here we go. And we'll go over to our look death right here. Yeah, that looks pretty good. Okay, So while we're here, let's go ahead and work on that building detail of building three. I'll bring that back here. And what? We're doing this. We really don't need to see the building. I go in and hide that. Let's select the light first. And, um, let's tap into edit mode and take a look at it. How many different pieces are these? Let's see. I'll hit the L key here. So that's one piece, and that is all Another piece there. Okay, so let's begin. Um, well, let's begin with this piece down here. I think that we could probably select an edge right back here like this. Marcus seem here and so that this piece right here will lay out as one long strip. Let's ah, select an edge. here. And Marcus seem there, right down here at the bottom. Actually, you know what? Let's not do that. Let's do it up here on the top because no one will ever see the top. Anyone who's going to be seeing this is gonna be seeing it from below. So let's go ahead and market here. There we go. So if I just select this piece, actually, if I just selected this piece right here and oh, you know, let's go ahead. And Marcus seem here all the way around that, and then now we can select this on its own. So let's hit L and L here. Now, let's go ahead and UV map. Just this piece to see how we're doing. You unwrap. Yeah, that's pretty good. Okay, I'm gonna select this and just move it aside here now for this. Um, let's take a look at this. I'll hit the l key and then press shift h and let's take a look at it. Okay, so we've got some issues here. One is that we don't need these faces here at all, because they're just never gonna be seen since There inside that light fixture, I'll hit X and delete faces. Next, let's once again choose a seam up here on the top. Since the scene will be viewed from the ground up, let's choose a seam on the top. So will hide it away from the viewer. There we go. Now let's just ah, see how this is gonna work. I'll hit you and unwrap. Not bad, but it's kind of warped, isn't it? Now, granted, this is a very small piece, way up high. I don't know that anyone's ever going to see it, but if we were going to make this a little bit better, we could Marcus seem here and maybe, ah, Marcus seem here. Let's try that. I'll turn off, seem and unwrap better for these. We've still got an issue with this one, and that's mainly because we've got this here. We could break this out as well if we wanted. Now, this may not be the way it needs to be. It really depends on the texture here, but let's give it a try. You and unwrapped. It's not bad, but I'd kind of like to have it all one piece, So let's remove these and go back. I'm gonna clear seem. And then I'm gonna get the l key and you and unwrap and let's take a look at conform all. And there you go. That's all I needed to do. But so sometimes you just gotta play with it a bit until you come up with the right solution all age to bring everything else back. Oh, I better ah, grab this year. But the G key and I'll move it out like that. All right, Now, let's take a look at this piece here. I kind of get the sense that we're gonna want to split it out like this. Let's see, Let's just select this now and hit you and unwrapped. Yeah, that's not too bad. Let's go. Angle based. Yeah, I think those air a little bit. Mawr Circular. Yeah. Let's go with angle base. There we go. All right? Yep. So there's the light fixture. And for this piece, Well, this is kind of a kind of a mess, I would say, Um, if I were doing this to you. The map. This is kind of a mess. It's a long, skinny object. And I would suggest giving this just a material like a metal material. No matter where you are, whether you're in a blender or you take it into unity, you can add materials to individual objects in unity. That's probably what I would do is keep it its own object and go ahead and add a material to it rather than trying to UV map. This, however, if you really, really wanted to let's give it a try. Um, well, currently, it is a path, so it isn't even a mesh object yet. So let's convert it to a mesh. I'm going to right click and choose convert to mesh where we go now, when I tab into edit mode, you can see we actually have edges and faces on this. All right? So I'm gonna go to the back of the object and select this edge and Marcus seem, And then I think what I'll do is just select an edge over here on this bend. Maybe, Ah, maybe right here. And I'll select an edge over on this bend as well like this. And then if we select it Oh, it's ah, check our scale yet blitz press control A and choose rotation and scale have into edit mode again and press you and unwrap. And there we go. So it's kind of a mess, but that's kind of what you get for something that's long and skinny like this. All right. Okay, so let's try this now. Right here for this. I'll tap into edit mode. And, um, what we could do for this is select this edge back here. Marcus scene. We could select this edge right here. Marcus seem there, and we're probably gonna want to Marcus seem on a couple of these edges, maybe four edges to let this open up. So let's try that. I'll Mark two seems here, and ah, two seems here, and I'll do the same thing up here and over here. Let's give this a try. See what happens. Okay, let's apply the rotation and scale, and here we go. You and unwrap. Yeah, that's not too bad. Let's go ahead and just and that material to it, see how it looks. Yeah. Okay. We could go ahead and add the material to these as well. Was that And then we could add it to this here. Yeah. So what I would say we could do now is take all of these and combine them into one object because of three objects now. And since we've UV map that pipe, we don't need to keep it its own object. So let's some select this this and this, and to combine objects we can press control J. And now if we tap into edit mode there, it all is. So let's select them all. Apply or average the island scale. Yes, see, that's going to really be too big to fit in there. What we could do is maybe split it in half. Let's do that. Well, let's find an edge right here down the middle like that. I don't know. That's not exactly in the middle. How about this one here? That and Marcus seem there. There we go. Okay, so it's to that you and unwrap. Yeah, that's that's better. So let's select everything once again, average island scale and then let's pack islands. There we go. So we have a lot of extra space here. We could, actually, if we UV map the details on building, too, we could put them on this UV mapas. Well, so that's something to take a look at here in an upcoming video 42. 41 UV Mapping Building 4: Well, the last building here is ah, building four. So let's give this a try. I'm gonna hide everything else, all of this. And let's see what we have here for this one. Looks like we have a similar set up. We've got Ah, a doorway in a step here. Windows and a roof. We've got no floor or back to the building. And I can also see we've got these things here that I'm gonna go ahead and delete while I'm here, right at the back here. And ah, let's also apply the rotation and scale control A and rotation and scale. Now let's see what we can do. First of all, I think what I'll do is go ahead and select these edges right along and here and split the rooftop out. And we go and Mark seem, um we should probably go ahead and do that around the top as well. So all press, Alton, click here. Looks like that. Got it all the way around. And we'll do the same thing on the corners. Markets seem there all to click. And Marcus seem there. All right, now, let's go ahead and do this. Ah, doorstep. Here I'll just It's the Elke. And when I did it selected everything. Oh, that's an extrusion out. All I did was just extrude out from the building front itself. And once again, there is a face here that we do not need. So let's get rid of that. And, um yes, so let's just ah, for this, I think this would be another texture. So I think this should probably be its own UV island. So I'm gonna go ahead and select all of these edges here. Well, I guess what should be here and there. Let's do that. Marcus seemed there to break that out. And then, um, is this part of the door it is, But the door is a different piece. So if we just hover over this and pushed the l key, we can see that it's its own peace. And this should probably be its own UV island as well. So I'll press you and unwrap that. All right, come over here and grab it at the G key and move it aside. It looks like it's upside down, so I'll hit our 180 There we go. I can tell because this face corresponds to this face here, Um, for this piece, let's see if we can just select this and click seem and well, that's like just that piece. Yes, it will. All right, so that's what we want. Let's go ahead and UV map that just to make sure we have it. Okay, I'll hit G and move that out. Um, what else? Well, we should probably go ahead and just do the front here. Let's Ah, select this, this and this and see how these were. We may have to redo the front, but let's give it a try. I'll press you and unwrap. And sure enough, the front is looking a little wonky. So over here we can select these and move these aside these air, the sides of the building, um, they to look upside down. I could press are 180 and enter. And this as well. Ah, this one here. Yeah, this looks a little bit warped, so let's go ahead and just select this part. Let's hit the three key. Unless press you and project from view. There we go. All right, so that looks a little better. We need to grab the roof and also the trim. So I'm just gonna press control plus and expand that selection right up to the edge of the wall here. And if we UV map these with you and unwrap, that should break it out into the roof right here and the trim right here. There we go. Let me hit the a key. Inspect everything. We still have some things in here. My guess is that that's the windows, the window sills and the cross bars here. So let's work on that. I'll select these two here and let's just hit you and unwrap those, okay, I can move that aside. Um, also the window sills. We've done this before, so let's just select these and press shift H and ah, now we can just select these edges here like this and like this and Control E and Mark seem now we could just select everything, press you and unwrap. Yeah, that looks pretty good. I'll move these down here all to H to bring everything back. Now we've got these little pieces right in here. That's these things. So let's go ahead and select thes with the Elke and press shift Age to hide everything else and let's see what we can do with these now. I'm not sure that these air really gonna be that easy to unfold flat. We could once again just select the top part. Well, let's see what happens if we just UV unwrap these as they are. You never know. Let's give it a try, you and unwrap. And you know what? That's really not too bad. So let's just take a look and see how it works on a press. Ault h. And I think it's now time for us to apply that material. Let's come up here and pull the menu down and let's choose UV test and let's see how it's working. Um, those air angled. It's actually not too bad. So we could take thes and just turn him like this. That would help a little bit, maybe like this. Yeah, OK, let's see if we've missed anything else here. Um, all looks pretty good now. Granted, not all the squares of the same size here, but we can fix that pretty easily now. Can't we weaken? Select all of these and click on UV average island scale and then we can pack all of these end of the 0 to 1 space. So let's do that. You ve menu pack islands. There we go. Let's take a look. Okay. Not too mad. Let's uncheck this. Yeah, that spends that around. And, um, I think that looks pretty good. Yeah, I think we may have it down there. All right, let's bring everything back and see if there's anything that we missed in here. Now, if we bring out the building details here, let me twirl this down and bring these out. We've got these taken care of. But it's these over here that we need to deal with. And also, I may want to deal with the smearing that's happening here. The smearing on the window sills may not be too bad, but the door is thick enough that this may be a problem, so we should probably take care of that, too. So what let's do in the next video is let's work on the building detail here the gutters as well as the ah door opening here that we're getting that texture smearing, and we'll work on that coming up next 43. 42 UV Mapping the Remaining Details: All right, let's begin with the gutters. Here. Let's Ah, maybe turn everything off. No, here they are. That's building to building details. Let's turn everything off year like this. So we just have that in our view. And I'll hit the period key to zoom in there. Now let's take a look at what we have here. We've got a kind of 1/2 cylinder, and it has thickness to it. The question is, will the viewer ever see the top of this? In other words, will they only see it from street level? Well, that's, Ah, executive decision. We'd have to make depending on the project, but for our purposes. Here, let's just pretend that we might see this from above so we can kind of go through the process of UV mapping this. In addition, we've got these pieces down here. I'll, uh, so like that. And zoom in So this kind of ah drainage system down into the ground. So we've got these pieces as well. So while we're here, let's just go ahead and work on this. Now we could swing around back here and select an edge that is hidden from view and go ahead. And Marcus seem here. Now that we've done that, let's try and unwrap it and see what happens. Oh, before we do, I'm gonna tab back into object mode and press control A and apply the rotation and scale. And then let's just select this if you and unwrap Not bad. Um and you know what we could do? Let's go ahead and add that material that you ve test material here and we can take a look at it here. Now, all of these were going to be all smeared. An awful. So ignore all of this up here, but at least this what I can do is press shift h and just isolate it. This has some warping in the back, but we've already decided that that's not gonna be seen up front here. It's really not too bad. So we could really decide that this is okay. And this might just work. Let me ah, select this UV island and press are 90 and rotate that. I think I'm gonna go with this on a press Ault. H and I will go ahead and grab this one over here and at the period. Key and then I'll spin around to the back and let's add an edge here, just like we did on the other one. And then let's hit L and you and Unwrap. And there we go. Um, I'll press our 90 to spin that around, and I'll also move it out of the way here. There we go. So maybe I'll grab this one and move it out of the way as well, Euro. There we go. So there are those two pieces Now. We've got all of this to deal with. First of all, I guess, let's go ahead and deal with one of the vertical pieces. Let's just select it and I'll press shift H so we can isolate it. And once again, we may just want to select an edge on the back. Uh, let me go to our solid view, just so we don't see the material at this point in time, and I'll just select this edge here and let's Marcus seem there and let's see what happens . You and unwrap, And that's what we get. That's that's not too bad. Let's go back to our look, Dev, and there's what it looks like with the UV pattern on it. Not too bad. All right, let's go do the same thing for the other one. Ault h To bring everything back, select this one at the period key. And let's choose an edge over here is Well, maybe this one, Marcus, seem Ah, let's select it with the l key. There we go. And then you and unwrap. Okay, well, we've got those. I can grab these and move these out of the way. All right. Um, so the top part, I think if we're going to assume that we may just see this top piece the the top part of the gutter, I think we need to Then add some seems here, shift age to hide everything. And maybe what we do is we add a seam all the way around here like this, and then Marcus seem and then, um maybe also Mark Aseem right in here. Let's see if I can if the period key and spin around. So what I'm doing is, um, selecting this edge on the inside and on the outside. Let's try this to break both the inside and the outside pieces apart from each other. Want to try this. I'll go way over here. There it is. Let me just select an edge and hit the period key to zoom in. That helps. And then all to click this and that selects that whole edge from the inside to the outside . Mark, seem here. Okay, so now let's try this. That's it. A you unwrap and here we go. So we've got Yeah, we've got, um what appears to be so I'm gonna go to the in sync here and let's try and figure out which pieces or which. So I'll hit the L key here, and that's the top or the insides. I should say this here. Right, Here's this bottom piece And down here, of course, we've got the end pieces, all right. I think that's pretty good. Let's now bring everything back with all th select everything. There we go. And now we're going to get another one of those crazy UV maps with the really long pieces. And everything else is very tiny, but I don't think we can really avoid that with this. So let's give this a try. I'm gonna go up to U V s and average island scales and then go to UV and pack islands and there we go. So what we could do now? He's actually moved this aside a bit like this. And we could go over to that other building detail right here. And we can combine all of these into one object and then arrange the UV map so that all of these UV islands are on the same UV map. Let's give that a try. I'll select this shift. Select this press control J. And now if we tap into edit mode, we can see all of the UV islands. So let me move this out a bit and maybe move this up a bit and give us a little bit more room for this. I think what I'd like to do is actually select this and this and maybe Border select with the Beaky Weise and I'm gonna move them away like that and then else, like these with the l key and just move these to the side. I'll press G and X and slide these over. Now I can take all of this and let's move this into here appear like this. So we're using a little bit more of that texture space here in the 0 to 1 space. So what this means is weaken build one texture in creed A to take care of these two objects . And then if we were taking this into a game engine, that would mean we were being a little bit more efficient with our textures, because we're doing all of this on one texture map. So what we could do from here is go to U V's and export UV layout, take it into creator and do all the texture ring. Then when we bring it back, we could if we wanted to take thes two and split them out again. So if I tab into edit mode and go to wire frame and I hit the Beaky and I'll border select this here, I could then press P and separate this by selection here and now it's two different objects . Let me go back. Teoh solid notes that we have this object here and this object here two different objects. And when we tab into edit mode, we see we just have the U. V s for this object here, and we just have the U. V s for this object here. However, these two objects will be different materials, right? So we can apply the same texture to two different materials. And those textures will apply to the correct places where the UV islands are. So we're just saving a bit of texture processing by putting them all on one UV map, all right? And the last bit I think we needed to do let me hide. These was that building was building to Yes, he was building two. Here, let me turn off four. And I just want to come in here and change the look of this right here. Let me turn on. Look, Dev, and this smearing, I think is a little too much. So what I'd like to do here is just selected that face and this face apps. Let me just try that again. This face, this face and this face and I want to UV map these individually. What I should probably do is select this edge and Marcus seen here and select this edge and Marcus seem here. And then when I select all of these three faces, I compress you and unwrap and that will unwrap all of them here. Now I'm gonna scale them all down. So they fit in this little doorway area right in here like this. So I want this one here to fit right in here. That and I want this one to fit right in there as well. Something like this. And then this one here can just go right in here. I don't think having it be like this at the top of the door is gonna be a problem, but I think that will help keep the texture of the doorway from smearing around that corner . All right, well, there we have it. We've gone through the alley scene and we've UV mapped everything I would suggest. Go ahead and take each of these UV maps into creator and give a try to texture in these. Use the textures from the blender cloud if you like, or find and create your own. But build your own alley scene. I think it's a great way to practice. And it's a great way to see how your U. V's are gonna hold up once you begin applying textures 44. 43 Conclusion: Well, thank you for joining me for this introduction to UV mapping and Blender 2.8. I hope it's been useful. UV mapping is one of those weird things that is unique to three D work, and I actually kind of enjoy it. It's like a puzzle for me. But even if you don't feel quite the same way, I hope that this course has at least helped you feel more comfortable with the process. Well, thanks again and take care.