Create & Design a Modern Interior in Blender 2.8 | Stephen Pearson | Skillshare

Create & Design a Modern Interior in Blender 2.8

Stephen Pearson

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39 Lessons (4h 42m)
    • 1. Introduction

      1:36
    • 2. Blender 2.80 Basics

      13:36
    • 3. Starting an Interior Scene

      3:59
    • 4. Setting the Dimensions

      4:28
    • 5. Adding the Window

      5:50
    • 6. Creating the Blinds

      12:20
    • 7. Lighting the Scene

      4:29
    • 8. Wood Floor Material

      8:10
    • 9. Wall & Other Details

      9:39
    • 10. Modeling the Couch

      13:56
    • 11. Simulating the Blanket

      7:44
    • 12. Couch Fabric Material

      7:21
    • 13. Setting the Scale Correct

      5:59
    • 14. Coffee Table & Rug

      3:48
    • 15. Modeling the Bookshelf

      7:02
    • 16. Adding the Books

      3:32
    • 17. Appending in the Pillows

      3:37
    • 18. The Final Models

      6:08
    • 19. The Mirror & Door

      4:50
    • 20. Creating the Canvas

      5:28
    • 21. Camera Settings & Rendering

      3:41
    • 22. Compositing the Render

      7:46
    • 23. Rendering a Clay Version

      4:50
    • 24. Night Time Scene

      13:37
    • 25. Eevee Rendering P1 Materials

      6:38
    • 26. Eevee Rendering P2 Baking the Lighting

      3:07
    • 27. Eevee Rendering P3 Adding Volume

      6:42
    • 28. Creating the Rug P1 Particle System

      9:24
    • 29. Creating the Rug P2 Materials

      5:35
    • 30. Creating the Tree Plant P1 Sapling Addon

      5:32
    • 31. Creating the Tree Plant P2 Unwrapping & Materials

      6:31
    • 32. Creating the Tree Plant P3 Modeling the Pot

      4:25
    • 33. Modeling the TV Stand

      8:31
    • 34. Modeling the Screen

      6:49
    • 35. Texturing and Materials

      9:45
    • 36. Grouping

      4:09
    • 37. Creating the Ottoman

      14:19
    • 38. Creating a Book in Photoshop and Blender

      16:44
    • 39. Creating Pillows in Blender

      10:20
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About This Class

Are you looking to learn how to design realistic interior renders in Blender? Are you struggling on getting your materials to look real? In this course we will be creating a modern interior in Blender from start to finish. I will be showing you step by step on how to model the room, texture it, add in professionally made models and more. 

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In the first section we discuss the basics of interior design. We talk about color schemes and why certain colors go well together. In the next section we start creating the room by modeling it and getting the dimensions just right. We will also learn about the Archimesh addon and how to easily add in a window.

After that, we move onto materials and models. You will learn how to model and texture a modern couch and how to simulate a blanket falling down on it.  In this course I am giving away 15 different professionally made models in which we use to fill up our scene.

The last section we focus on the camera and getting the right position and depth of field. Once the render is finish we jump right into the compositor and make the render stand out! What about a night time version of the render? Yup, there is also a video on that.  We will learn how to light the scene properly and add in some volumetrics to create a cool effect!

As a bonus section we will also render the scene using Eevee! In this section you will learn all about how Eevee works, how to bake lighting and how to render an interior the right way using this render engine.

If you are looking to get into architecture visualization and rendering or you just want to improve your Blender skills over all, this course is for you! I have structured it so that beginners or advanced Blender users can follow along easily. To get started Click that enroll button and jump right in! 

Intro Song provided by Tasty:
Title: VOIID - Azure
Label Youtube Channel TastyNetwork

You are free to use the models provided in this course for personal or commercial use but you are NOT allowed to sell or give the models away.

I look forward to seeing what you create!

Thanks

Stephen

Transcripts

1. Introduction: Hello, everyone and welcome to the crate and design a modern interior in Blender 2.8. Throughout this course, you'll learn from scratch how to model a room, texture it, create photo realistic materials, added professionally made models and more. Creating architecture in any 30 program is a great skill the hap and by the end of this course, you will have made the render that you see on screen. The first section is an introduction to blender and interior design. In this section, we will start by model in a room, setting the dimensions just right and adding materials and lighting. The next section is all about filling the interior. We start out by learning how to model a modern couch. In this short tutorial, we will model and texture the couch, and then we'll use the claw simulation to create the blanket. In this course, I'm giving away 15 professionally made models in which we use to fill out our interior. If you want to learn how to create these models yourself, don't worry. There are two Toro's at the end of the class for each of them. The last section we focus on at the camera and getting the right position and depth of field. Once the render is finished, we jump into the composite ER and make the render look really good. What about a nighttime version of the render? Yep, there's also a video on that. As a bonus section. We will also learn how to render our interior scene using TV. In this section, you'll learn all about how E V works, how to bake lighting and render an interior properly using this render engine. If you are wanting to learn about interior design and create a stunning render, hit that enrollment button and let's get started. I look forward to seeing what you create. 2. Blender 2.80 Basics: Hello, everyone, and welcome to another video in this one. We're going to learn about Blender 2.8 and I'll be going through the basics of how blender works. If you are completely new to blender, this is the video for you. Let's first start out by going over to the bright side under the render panel. We'll look at the different render engines. Right now. My render engine is in cycles. If we click on this weaken, switch over to E V or workbench. Workbench is just for sculpting or modeling. Usually this one is not for rendering cycles right here, which everyone should be already used to. This one is for rendering realistic materials, render lighting and all that stuff. It calculates it very well. And then, of course, TV is the new real time render engine in blender 2.8. In this course, though, we will be focusing on cycles will be learning how that works and rendering our final binge using cycles. And in the next section after that, we will render are seen using E V and blender to connect. But for the main course, we're gonna be using cycles. So the first thing that will do when getting started with 2.8 is we need to open up our preferences, so go over to edit and then click on preferences and then open up the key map underneath came out. We can see that the select with is currently set to right. I think the default is actually left. But since I am used to right click, I'm going to be staying with right click. If you want to change it to left, you can go ahead and do that. But I'm gonna be sticking with right over here on the space bar actions. I have this on play. So what if I was to hit Space Bar? The timeline will play down here. I think it used to be on search. If you want to go back to that, you can. The new default for search is F three and then over here we want to make sure excruciating pie menu is turned on and I'll show you exactly how this works. So once you have all of your settings the way that you want him, you can go ahead and exit out, and then we can start working in blender, So to select an object, you can go ahead and right click or left collect. Depending on which one you have selected. I have right click selected. So whenever I right click on an object, it'll highlight it in the orange outlined so far, right? Click on the camera. You can see it selected right click on my lamp. You have it selected. So to move around the three D space in Blender, you're going to hit the middle mouse button and then click and drag in. This will rotate your view all the way around and so you can look underneath over top and just rotate around the object that you're focused on to change the focus of an object. You can just right click on it and then hit the period key on your number pad, and it will focus in on that object. So now you can see if I rotate the view. It's focused on this object rather than the cute. I'm going to select the Cube and then press period on my never pad to zoom back anoint. If you don't have a minimal spun, you can go up to edit, go to preferences and underneath input you can turn on. Emulate the three button mouse if you click on that and hit exit. If you hold down the altar key and left click, it'll act like a middle mouse button. Right now I'm holding Ault and left, click and moving around. I'm not hitting the middle mouse button, and it's rotating the view since I have a middle mass one. I'm gonna go ahead and disabled us, though, so I'm gonna go over to input and then turn off in and emulate three button mouse to scale and object in blender. You can go ahead and hit the S key on your keyboard, and it will scale it up. You can see if I bring my mouse in. It'll skillet down. If I bring it up, it'll skillet up. You can also put in different numbers for this. So let's say I wanted to scale this at exactly five times its current, uh, current size. I can hit the five key, and it will scale it up five times Now. If I move my mouse, it's not gonna do anything. Since I put in a manual number, you can also scale down objects by going scale than 0.5, and it will scale down 1/2 of what it currently is to rotate and object. You can hit the R key, and it will rotate to wherever you are looking. So right now I'm looking at this angle and it's gonna rotate at the angle, which I'm looking at. If I was to go into front view by pressing one on the number pad and rotating it this way, you can see it's rotating straight now rather than at an angle to move an object. You can hit the G key on your keyboard, and you can move it to wherever you like. You can also hit the different axes. So let's say I wanted to move it along the y axes, which is the green line right here. If I had G and then why, it'll walk it to that. Why access? So now if I try to move it over along the X, it's not working. It's stuck to that. Why, since I put in the UAE, if I change it to X, I could move it along the X, but that's the only way I can move it. The axe is the red line. And then, of course, the Z, which is the blue line, is up and down. If you accidentally move something by accident and you didn't want to move it, you can right click to cancel that movement, and it will snap back to wherever you are wherever it originally. Waas. So let's say accidentally clicked are to rotate my object. But I don't want to do that. I can go ahead and right click, and it will snap it back towards a original position. Now, I showed you how to go into front view, which is number pad one on his front view right here to go and do side view, which is on this side of the Cube. I can hit three on my number pad and we are now viewing it from this side to go into top view. I can hit seven on my never pad and now I'm facing the top of our cube right here. You can also hit control seven or command seven and it will go to the bottom view. The same thing works for a number pad one. So if I go into front view, if I hit control one, it will go into the back view. If you don't have a number pad, you can go up to edit, go down to preferences underneath input you can turn on emulate numb pat. What this will do is it will take the top row of your keyboard, which has the numbers, and use those for the views. So if I hit one, you can see it goes into front view. If I hit three, it will go into side of you, and then seven will go into top you. Since I have a number of head, though, I'm gonna turn this off. So go over to Preferences and then I'm going to turn off emulate Numb pat. Now let's talk about edit Edit mode is the mode that we use to model objects to change in the shape of, UM, toe add geometry and all that to get into edit mode. The shortcut you can do is tab, and that won't bring whatever you have selected into edit mode. Or you can come up to this menu here, click on object mode, and then there's an edit mode option here. The only modes that will be going through in this course is object mode, edit mode and wait paints all the other ones, such as Vertex Sculpt mo. Those are a little bit different sculpt mode is for creating characters and molding the mesh. We're not gonna be using that one. The only ones we're gonna be using his edit mode object mode and wait paint select edit mode. And we can see that this is what it looks like on are cute On every corner of our cube, there's going to be a Verdecia or Vertex. Vertex is just a point in three D space on we can see it right there. I can press a G and move the Vertex around and it will go with me and I can also right click to snap it back. There are three different modes to selecting things in edit mode. Verdecia, our Vertex select mode, which is the one that we're on. We can see it up top here. This is where text mode and I can select different bird. Vergis is right here, just like that edged looked mode will select only the edges. So if I right click on this edge, we can see it selected this edge I can select. And just like that, the last one is faced elect mode. So if I click on the face select mode, I can select the entire face of our cute. So I click on that. I constructed it. I construct this one all the way around. From here, we can do a couple things If I extrude this by pressing e, we can see it adds some more geometry. Now there are two, almost two cubes. We could see that there are faces up top here, and there's also faces down here. If you look on the bottom right, you can see how many verses you have selected and also how many edges and faces are in the scene. We can see I have four Vergis ease selected out of 12 we can see here. There's one versi right there, there and there. We can see that there are 20 edges on this cube and then 10 faces and we only have one selected. If I press a once or twice, we can see that now we have all of the verte sees all of the edges and all of the faces selected. You can press tab to go back out of any mode, and now we are in object mode. Now let's talk about the different views. So to change the view to, let's say, wire frame or rendered view, you can go over to the top right corner and click on which only want this one is wire frame . This one is solid view, which is the one we have selected. This one is material view. So let's say we added, in a texture to this material, you'll be able to see that in the material view. And then we also have rendered view, and this will display what will render once we actually produce an image. I'm gonna go back to solid view. Now, the shortcut to change between these is set to Z, So if I process the we can see a pie menu come up. In our view, now we have a couple of different options here. The top corner right is rendered view, so if I just move my mouse over there, it'll change it to the rendered view. If I want to go back to solid, I could go see and then move my cursor over to the solid view, it will change it. Z, I can go over to the left, which is wire frame. Look, Dev, in all that, you might be wondering what taco overlays does and toggle extra. A total overlays will toggle the grid. So if I go z talk or relation, we can see that the grid disappears. If I do it again, it re enables the grid. This has changed in Blender 2.8. If I go into rendered view, we can still see the grid in our seen even though we are in rendered view. So if I want to just look at our model without the grid, I can go see talk overlays and it will change it. I'm gonna go back into solid view and then I'm gonna go total or blaze to bring the great back toggle X ray will enable us to see through our model. So if I look on the corner and might be hard to see in the video, But I can see that corner right there and I can see through our model and it's a little bit transparent. This can be useful if you have a lot of vergis ease and you're trying to select them ones in the back without selecting the ones at the front, and you don't want to go into wire frame. This can be very useful. I'm gonna talk overlays again and get rid of that. To get into the properties panel, you can press the end key and you can see that there's a couple different tabs right here. The item tab shows the dimensions the location of your current selected object so we can see right here are dimensions over Cuba are two meters by two by two. If I change this along the X, it'll scale it up just like that same thing here on the scale. If I want to scale it up along the X, I can just scale it up just like that to add or delete objects. You can do that by hitting the X key to delete, and you can see that the option comes up to delete our cube so quick that the cube will now be deleted to undo something. You can press control Z and it will bring back our cube. You can also press the delete key on your keyboard and that will get rid of it as well. Toe add in an object you can press, shift a and then we can see that there's a lot of different options here, Tad and a mesh object. We can go mesh and then add in. Let's say a UV sphere and weaken crud sphere has now been added to our scene. I compress g X and move it along the X axes and then add in another object surprise shipped A Maybe I want to add in some text. We can see our text now appears in our scene. I'm gonna go ahead and delete both of these objects, so I'm gonna select him, press the X key and delete. Um you can also add different objects by going up to add and clicking on mesh and then adding them from here. And you can also do late objects by going over to object and then going down here and clicking on delete. So there you go, guys. That was a basic overview of blender 2.8. Thank you for watching. In the next video, we will start creating our modern house scene 3. Starting an Interior Scene: when starting in a tier of seeing, you want to create an imaginary person and give them a story. Ask yourself some questions, such as, What is this room for? Who's going to be using it? What should the lighting be and what furniture could help function the room. Speaking of furniture, you want to make sure the room is balanced. You don't wanna have a ton of furniture on one side and nothing on the other. Or it will feel like one side is a lot heavier than the other, and it will feel imbalance. Another thing about furniture is you want to think about the traffic, and what I mean by that is the people that are going to be walking into the room. You don't wanna have just random thing in the middle of the room that will get annoying toe walk around. You want to make sure that their space for people to move around the room. You also want to make it convenient for people living there. For example, let's say you have a chair. Maybe you'll want to put a lamp next to the chair so people can read with good lighting when creating furniture. You want to make sure that each piece of furniture matches. It doesn't have to be perfectly matched, but you don't want to have, like a rustic old broken chair next to a modern couch. Something like that. You want to make sure that almost everything in the room kind of matches the same style. Now let's talk about space. There's two different types of space. Negative and positive space. Negative space deals with the empty parts of the room, and positive space kneels with the parts that are filled up, such as like a couch next to the wall that is positive space. You wanna have a balance between these two types? Too much positive space will make you feel claustrophobic, and too much negative space will make you feel empty and boring. So you want to make sure that there's a balance between these two. The next thing that will talk about is lighting their three different types of lighting. 1st 1 is tasked. The 2nd 1 is accent and mood lighting. The versatile will talk about his task, and this is like a bedside lamp or a table light. It has an intended purpose or job like a table. It's usedto light up where you're eating and then an accent. Light is used to highlight certain elements, such as like a piece of artwork or plans or anything like that, and then mood lighting. It's pretty self explanatory. It helps set the mood for the entire scene. Use these types of lighting as you wish. There's no set rules on how you should use them. Just feel free. Those were just the three different types. Now let's talk about color. There are so many different things about color, and I could go on and on. But we'll just keep this pretty simple. There's a bunch of different color schemes that we can talk about, such as complementary colors, and this is two colors on opposite sides of the color wheel. Monochromatic color scheme means similar colors but different shades. When using color in your scene, you want to make sure you don't have a ton of color, or it will kind of strain the eyes and look really saturated. But on the contrary, you don't wanna have to little color or it will look really dull. Grays and browns are awesome. They work almost every single time. So if you don't know what to call or something, or if you just don't have any ideas, stick with greys, browns, blacks, whites. They are awesome. Another thing about lighting is you want to think about the time of year of your scene. For example, if you have a summer scene and outside like looking really warm and everything, you want to make sure that the inside of the interior is nice and cool, so you will use blue colors, blue lighting, stuff like that. Blue furniture would help quite a bit, but in the winter you want to do the opposite. So if it looks cold outside, you want to use warm colors orange, red, yellow stuff like that. There are a lot of different books that you can read about interior design, and you could just go on and on and on. But I just want to give some a couple tips of how into your design works and what you want to think about when you're creating your scenes. 4. Setting the Dimensions: Hello, everyone. And welcome to the first video where we will actually start creating the modern interior. To get started, we first need to set up the dimensions of how big and long we want our modern interior to be. And also, if you ever get stuck watching this class, just go ahead and look at the bottom right corner. You will see the exact shortcut that I press. For example, if I press shift and a you will see down here, it's displaying shift eight Control a control e all those it will display in the bottom right corner. When we first start out creating a interior or a house or anything like that, you want to get your dimensions right toe. Actually see the dimensions of your object. You can select it then at press and to open up with the properties panel over on the right side, it will display the meters of how long your cube is. We can see if the two by two by two cube and to change the dimensions weaken set that here . So, for example, if I drag the X over a little bit, it'll stretch the cube along the X direction. I'm gonna go ahead and controls the that. And before we do any scaling, I want to make sure the origin point is at the bottom of the Cube. The reason for this is because it will center everything. The floor will be on the grid and it will make everything a lot easier when we're adding in the other objects. To do this, you could go into edit mode, then press G and this old movie queue. But it will not move the origin point. Then if you press Z, it will lock it to the sea access. And if you hold control, it will snap it to the bottom of the grid right there. Now, if we snap it there, go out of edit mode, we can see the origin point is now at the bottom of the cute. Perfect. Now we can scale this and it will scale from that origin point and it won't go down. Now let's set the height first before we do any of the dimensions. And if you were to look up average height of a ceiling, it would be about 2.74 meters. So that is what we're gonna put in the dimensions. We're gonna type in 2.74 and enter for the easy access and we can see here. It's a little bit taller now and now we can set up the X and the Y direction for the X direction, which is the red line. I want this to be about four meters long, so I'm gonna press four and just enter, and that will set it to be four meters. And for the why I want to bring this all the way up to seven meters, something on type in seven and enter. And now we have a long rectangle cube just like this. You want to avoid a squares because it is a little bit hard to fill in the interior with furniture and everything is so having a rectangle shape like this is very useful. Now that we've set up our dimensions. Let's go ahead and cut out a window in our cube. To do this, I'm going to go all the way to the other side and then go into edit mode toe add in a loop cut so we can cut it out. I'm gonna hit control and are or command are on a Mac. If we drag, the scroll will up to a value of two. We now have to loop cuts that are appearing. Now we can left click, and we can see we can move this along. I'm going to right click. So it snaps it to the center of our cube right here. Now we can scale this along the X direction to make the window a little bit bigger, suppress s and X and skilled along until the size that you want. I'm probably going to go about here or so So we have a little bit of space between the signs of the window. Now, I don't want the wall to be an entire window. I want to have a little bit of space from the ground. So we're gonna add in another loop. Cut, hit control are hover your mouse over the corner, left, click, and drive this down until you're happy with the height. So I'm gonna probably want this to be about two feet off the ground. So roughly about there is probably good, maybe a little bit higher. And now let's extrude this face to do that switch over to face elect mode. You can do that by clicking on this button here or heading three on your keyboard. From there, select the face and press E to extrude and drag it outwards. Probably around there will be pretty good, and now we can delete that face Press X, and make sure you click on faces and not foresees, because if you were to click on Vergis is, it will get rid of the entire thing we want only to delete the face, suppress X and click on faces. And there we go. We now have a hole in our cube where we can place a window that is looking pretty good so far, and in the next video we'll add in the window. 5. Adding the Window: in the last video, we created this cube, and we also cut out a hole in the back for a window. So now in this video, we're going to be adding that window it. Now you could go ahead and add in a cube start to model it, but you can also at use. But you can also use an add on to do this for you very easily to enable this at on. What we need to do is go over to edit down to preferences and then click on add ons. If it's not already selected and type in the word arc and you will see to Adam's right here are pack and Arc mesh. I'm going to select Arc Mesh, then come down here and select Save it user preferences. Now we can go ahead and exit out of that window, And what this out on allows you to do is if you press shift A, you will go down to mesh down to arc mesh, and you will see a bunch of different presets here. You can add in a room, a door, a railing window. All these options here are there for you. If you want them. The one that we want is panel window. Now, if we were do so like this right now, it would place this window right where the cursor is. We don't want it to place their We wanted to place exactly where the window is. So to do that, we need to move our cursor. If I hold shift and then right click, I can place my cursor right about there. But this is kind of finicky, and we don't really know the exact center of this window. I'm gonna go into edit mode and then switch over to avert ISI select mode by hitting one on the top of my keyboard, then selected this vortex and then hold shipped and select this one over here. Now we have to avert issues selected. I can press shift and s and click on cursor to select it. This will move my cursor to the exact center of this window. Now, if we use the add on, it'll place the window exactly in the correct spot. I'm gonna press shift a go over to mesh arc Ameche, and then click on panel window. And here we have a window already in place. And now we can go over to the properties panel. You can press end, open that up and click on the create tap. We have a lot of different options here to change the window. Here. We have a couple different presets that you can choose from. I'm just gonna leave it at the default preset. But I am going to change the size and some of the values down here. So for self, I want there to be three different windows. I want there to be a small one at the bottom, bigger one in the middle and a smaller one at the top. So here we have the vertical count. We're gonna drive this up to a value of three. The horizontal account. I'm gonna leave at three as well. So we have three different windows down here. This cell option controls if there is going to be a window sill or not. If I turn that off, you will see that window sill disappears. I'm just gonna leave it on because it adds in a little bit more detail. The height of the windows is controlled by these values. You can see if I drive this this way, it will expand the window going horizontally. These values will control the height. I'm going to set this bottom value to 45 and then I'm going to set this middle one because this is the one I want to expand upwards. I'm going to set that a little bit higher. We'll just drive this up and probably go about their I might want to change the height of these top and bottom one. So what I'm going to do is go 35 for the top one and 35 for the bottom one, and then we'll expand this middle one until it stretches the top. Right about there looks good, and then we also need to fix the sides. So we're gonna go into front view and presidency and go into a wire frame so we can actually see what we're doing. If I zoom in here, you will notice the height is correct. It's the exact height that we want, but the sides are incorrect. So for the sides, let's try a value of 45 and then 45 for the other one. That looks pretty good, but you can still see it's a little bit over. So let's try 42. For both of these, we can see here that is still not correct. So we're gonna go with 40 and there we go. That looks a little bit better, and now it's not fully over. It's just a little bit, which is good. Now we can play around with the values of top. This out of rhyme controls how big the out of frame is going to be. As you can see there, the risers are for the frames inside the window. So if I go back over to the side and go back into solid view by pressing Z going to solid view, if I change the risers, it will change to the frame. I'm gonna bring them down to a value of three, so we have a little bit of a smaller frame. The inter frame is where the black parts are. If I drive this up, we can see we have more. If I drag it lower, it's less. I'm going to go with a value of one. These checked boxes over here allow you to add in a little bit of extra detail to the window. So for example, if I turn this on, we can see here. There's an extra frame around this middle one. If I go inside, you can see it a little bit better. And what this allows you to do is you can open the windows to give everything a little bit more detail. For example, if I turn this a left one on, I can't go into edit mode president and going to wire frame, double tap a to de select everything. And then I'm going to select this window. So box a lot, Just a little bit of it right there. Then hit control. L This also like the entire thing. Now, if we go back into solid view, I can hit G and X and move this over. Now we have an open window. We can do the same thing this way, and this just gives you a little bit of extra detail, and I think it looks pretty cool. So what I'm gonna do is I'm gonna turn the middle ones on and the bottom corners on as well , and this will just give it a cool effect. And there we go. We've now created our window. And since we did a little bit of changes. You might need to adjust the height. So I'm gonna drive the height up to 1 15 And there we go. We've now created a window. 6. Creating the Blinds: and now that we have created our window, let's go ahead and work on the blinds. The blinds are pretty important parts of any interior, especially if you have a window in view, because this will add in a lot of detail before we create the blinds. So let's organize are seen a little bit we can see here are room is called cube, so to rename this weekend, double click on it and type in the word room. It's important to name your objects because if you're creating a very large scale seen with a lot of different objects, it's important to stay organized. You know what you have selected. Now that we've organized a room, let's create a new collection and work on the blinds over on the right side. I'm going to right click and click on a new collection, and then we're going to name this collection blinds to go to that collection. We can hit two on our keyboard, and now we are in this collection press shift. See to snap your cursor back to the center. If it's not already there, then press shift day and we're going to add in a cube now If we look at reference images of blinds, we will see a lot of different variations. If you find one that you like, you can go ahead and make it yourself. The one that we'll be creating is this one we can see here. It's not too complicated. We have a lot of different objects going up so we can use in a ray modifier. So now let's go back over to blunder and create this. The first thing that will do is scale this cube down. If we press end, we can see the dimensions of our Z is currently two meters. This is way too large. Let's try a value of 2.5 and to type in millimeters, you need to press m m than enter. And now we can see here we have a very thin cube just like this. That looks good. And now let's work on the Y direction. Currently it's too long. So I'm gonna press s and why? And scale is down to the size that I want right about there is good. And also if we take a look at the reference image one more time, you will see there are four different holes for strings to go through our cube. We can do this very easily by jumping back over to blender so liked in our cube and going into edit mode whenever you have an object that is symmetrical like our blinds, because we can see there's two holes on the side duels on this side. You should always add in the mere modifier, so you don't have to do the work twice. I'm gonna hit control, are adding a loop, cut down the middle, go into wire frame and then box selected this part. So I'm gonna press alter A to de select B for walks like and draw a box around those Vernon sees X and then delete the Vergis ease. Now we can add in the mere modifier to go over to the modifier town, which is this little wrench click on Add a modifier and mere right here. Now we can see here we have the mirror and it's working correctly. I'm also gonna press end to close off that panel to add in the holes for the strings to go through. We need to go back into edit mode and add in a couple different Luke cuts control our and adding to Luke cuts by drug in your scroll wheel up and then adding them in left. Click and then right click. You can press s and X and scale them down to the size that you want right about there is good And then we'll move this over to the side. We'll do the same thing over here. So hit control are at into loop cuts left, click and right click and then scale them down by hitting s and X and well skilled down to the size that we want right about there. Now, if we go into face So let's mode, we can select those faces and then merge them together Box select him by hitting B and selecting both of those faces. Do the same thing for these over here. Then if we hit, I, we can add in an inset will drive us in a little bit now. Currently the proportions are wrong. You will see that we have an edge here, but it's currently stretched out all along. This said so we don't have any space. I'm gonna press s And why and drivers in a little bit So we have an edge on all of the corners and it's a little bit more even now, what we can do is emerge them to do this. We need to do them individually, because if we were to do them together, it would not work. Press all today to de select and then box select one of them Control e. And then, if we click on Bridge Edgell Oops, this will grab both of those faces and merge them together to zoom it on this. I can hit the peered key on my number pad, and this will zoom in on it. And here we can see we have a whole and it's working correctly. Let's do the same thing on the other side and suppress all to a to de select box. Select both of those faces, control E and click on a bridge edge loops, and we can see here it is working just fine. Now that we've done that, we can add in an array modifier to duplicate this ago in upwards, click on add modifier and array. Currently it's going in the wrong direction. So set the X 20 and then set the Z direction, which is the bottom value, will drive this up to a value of about five. Now we can drive us up a little bit more and place it where we want. So roughly about their looks good and then we can bring up the count. Now, if we wanted to close the blinds, we could go into edit mode, select everything, hit R and X and move them over like this. And as you can see, though, it's moving the blinds upwards. This is not very good. So instead of using the relative offset, we're gonna be using a constant offset. So if we turn that on weaken, set the Z direction up a little bit, we'll drag it up to about. There are so and now. Once we rotate this, if we rotate this along the X direction, we will notice that the planes are not moving there in the exact same position and their rotating, and that is exactly what we want. So from here we can go into side view by pressing three and then positioning the Z direction where we want. So if you want them lower to strike this this way, if you want them higher dragged him up now to find the exact spot that you want. If we rotate this up a little bit, you're gonna want this. This cube appear the 2nd 1 to be a little bit lower than this one. You can see here this one little bit higher, and this one's a little bit lower, and that is exactly what we want. So this is a good height, about 37 meters. And now that we've added in the race, all we have to do is bring the count up. Let's bring this up a little bit. And now let's go back to our first collection and see how many planes we actually need to add. So I'm gonna go out of edit mode hit shift and one to go into front view so we can see what we're doing and press G and Z and dragged them up till the resting at the bottom of of the window. Right there. We'll go into side view as well and drive them over. So hit G, why drag them over until it reaches the window right there. Looks good. Now, if we go back into front view, we can see, we do need to go higher, so I'm gonna drag the count up until we get the appropriate amount. About 42 looks good. Now let's go back to collection to and will create the lines going through the window. I'm gonna press shift a and add in a cylinder and scale the cylinder down really small and then skillet along the Z direction, suppress s and Z and skill it up. Place it in the appropriate spot. So right about there and then go into top you and place it inside. So, breast g and why drag it back? And then we'll zoom it to make this smaller without changing the height we compress s and then shipped and Z and this will scale it down. But as you can see, it's not changing the height. It's only changing the X and the Y scale, which is perfect. We'll go back into top view s shift. Z will scale down even more and place it in the hole that we've set up. So there looks good. Then you compress all d and then move it over a little bit and this will duplicate it. And the good thing about using multi is if we go back into edit mode. If we do any changes to any of these, it will copy it. So if I select that, move it this way, you will notice it's copying that data from what we're doing right now. So that is the difference between alty and shifty. Shifty will duplicate it. And you can change it however you want and it won't change the other ones. All d will link both of the objects together. Once you have them both in the right place, you compress all d x and move them over. We'll do this two more times. Suppress all the X, move them over and then one more time all d and then X and move them over until they're in the last hole right there. And there we go. We now have the strings inside, and it looks like they are still a little bit too thick. So all we have to do is select one of them. Go into edit mode, select it s shift Z and you'll notice it's killing all of them down just by selecting one of them, which is perfect shift disease scaled down a little bit more. We'll go into side view and we'll also press snz and scale them down along the height so it matches the height of the rest of the scene. All right, there we go. That looks good to me. Now for the rest of the blinds, we're going to add in another cube and place it along the top Shift a lot in a cube dry, good upwards were pressing. G and Z will scale it down along busy access and place this in the spot that we want so right about their looks. Good skillet out just a little bit. Go into top view and we can see is currently in the wrong position So move it over G Y and Skela along the y access as well to see what we're doing A little bit better Go into wire frame and position it Basically what we want is for these blinds to be able to go inside this cube so we'll go into edit mode will select this bottom face hit I to inset will drag it in a little bit and you can see it's not in the right proportion. So we're gonna have to press s and why skeleton this way and then you to extrude and drag this upwards. So you can imagine if someone pulled the string on these blinds is that they would collapse on each other and they will be able to fit inside this cube, and that is what we want. And the last thing that we need to add is a knob for the blinds to be able to close. So we go into a front view we need to add in another cylinder. So going to object mode shift day, we'll add in another cylinder. And then, of course, we're gonna press s shift is easy to scale it down s ship Z until the size that you want about there and then just place it over here. We can also scale the entire thing down so the height goes down as well, and we'll drag it up and we'll place it where we want. What I want is for it to be inside this cubes. I'm gonna press g y, drag it over this way and just place it right inside here right about their looks. Good. Currently, it's still too thick, so I'm gonna press s shift. Z's one more time and right about there is good And there we go. I think we have completed the blinds and now all we have to do. If we want to close the blinds for a scene for a nighttime scene, for example, we can select our blinds, go into edit mode. Then we can select everything by hitting a R X, and now we can close the blinds and now we can open them very customizable and very easy to do. So what am I do actually is just rotate the blinds that just slightly so that they're at a little bit of an angle. And I think that will look pretty cool now with the bring back our entire scene by hitting shift and one will go inside and we can see here, this is looking at just fine. One thing that I just noticed, though, is that our window seal is currently in the exact same position as our window right here. So you can see here it's glitch ing a little bit on that side. So if we want to move the window, we have to select the empty If I go in a wire frame. We can see here is the empty Select it and just drag it up just slightly. So it is above this floor, and now it's not glitch ing. And now we have a little bit more detail in the windowsill. All right, we have created the basics of our room, and now in the next couple sections and videos, we will create the materials at an objects and fill out our scene. 7. Lighting the Scene: Hello, everyone, and welcome to a new section. This next section is going to be very fun because we get to add the materials and all the other objects to build out our interior. Now, to get started, we're going to place the camera inside and get the camera position right and the focal length. Correct. So what we can do is go inside just navigating inside. And then I'm going to position my view port right about here are so then to snap the camera toe where we're looking, we can hit control Alz and number bad zero. And now this camera is now snap to the position that we're looking. We can select it double tap, are rotated around a little bit, drag it back in, just positioned exactly where we want. I'm going to drag it down a little bit by hitting G and Z and then to change the focal length. So we have a wider lens. We can go over to the camera settings. This focal length is currently set to 50 and we can zoom out or zoom it. I'm going to set this to a value of 32. We'll see how that looks not too bad. That might be a little bit much. So I might go to 35 actually, and then I'll place it right about there. So now we have a wider lens and now we can see a lot more of the interior. Now, if we were to add in the material right now, we wouldn't be able to see much because there is no world lighting. Currently, the lighting inner scene is just the default lamp. This is not help at all, so we're just going to select it and get rid of it by deleting it. What we're going to do is add in an HDR to light up our scene, go over to the world settings. If it's not already selected, click on this button next to the color and select environment texture. This allows us to add in a 3 60 degree image, which is called an HDR. This allows us to add in an HDR and it will wrap around are seen. If you don't know HDR stands for high dynamic range, it will be a very high quality image which we can then plug into this environment texture, and it will light up are seen appropriately with the right colors and strength, I'm going to click on open. And if you want to download this as well, there is a link to it. In the resource is, once you have downloaded the HDR, you can go ahead and select it. I'm gonna be using this one right here the three k dot hdr and click on open image. If we go into camera view, we compress Z and go into rendered view. Now, currently, we're using E V as the render engine. There is a section of this course where we do use E V to render out the interior. For now, though, since we're working on creating a very realistic interior, we're gonna want to switch this over two cycles. So go over to the scene settings and switch the render engine over two cycles. Now, this is currently rendering. There's currently though a lot of noise in our scene, and the light is still not strong enough. I'm also going to switch this over to GPU so it renders just a little bit faster. And with the introduction of Blender 2.83 there is a new feature called the view Port de Noisy. Now, currently, I think this Onley works with R TX card. So if you have one, you can turn it on. And if I turn this on, you will see that after a couple of seconds, it gets rid of all of the noise in our scene. And now we just see this and it looks a lot better. Now, do not worry. If you don't have an r TX card, you are still able to follow along with this tutorial. I'm just using this because the bit rate of the video will go down if there is a lot of noise. So this is saving the quality. So don't worry about it. If you don't have it, you can still follow along just fine and you're render will still look very good. You can also turn on adaptive sampling and what this allows you to do. This will automatically calculate where some parts of your image are very noisy and it will add in more samples to that part, and it will also take away samples that don't need it. This will speed up rendering quite a bit now that we've set up our samples correctly. Let's go over to the world settings. The strength of the world is currently set to one. We're gonna want to set this a lot higher. Let's try a value of 50. Once we do this, you will see the HDR is a lot brighter. But now it's filling out our entire scene and we can see everywhere now and it looks so much better. We can also turn on ambient occlusion and this will add in some shadows to the corners. As you can see here and up top, there is a lot more shadows and this is starting to look a really good. Now in the next video, we will start creating the wood material. 8. Wood Floor Material: Now that the lighting is done, we can work on of the materials. The first material that we will create is the wood material for the floor. Before we get into that, though, there are two things that we need to do. First off, we're going to go over to edit down to preferences and then underneath key map. We're gonna turn on extra shading pie menus. What this allows us to do if I check that box saved my user settings. What this allows me to do is that that press Z you can see there are a couple more taps, material preview talk overlays and X ray material. Preview will allow us to see the material in real time, and we can change it and tweak it exactly how we want and we can see it while we're working on it, which is very useful taco overlays. If I go up and tell you that you will see the orange outline disappears. If I enable that you can see it comes back, and this allows you to see your entire scene without having those orange outlines or the grid below. The other thing that we need to do is enable the node Wrangler at on. This will allow us to use the note editor a lot more efficiently to enable this go over to the add ons and then in the search bar type in the word note. You should see the node Wrangler at on. Check that box, go down to the user settings and save user preferences. Now with those two things were ready to work on the material. To make this a little bit easier for ourselves. I'm going to separate the floor from the rest of the room. To do this, select your room and then go into edit mode underneath. Make sure you're on the face elect and select all of the bottom faces. If you hold shift, you can select a multiple ones, then click on P and click on selection. Now we have two different objects. We have the floor object, and we have the the room right here with the walls. The reason why we're separating these into two different objects because it's easier to UV unwrap now. What we can do is go into edit mode, select everything by pressing a click on you and quick on unwrap and As you can see here you have an air that pops up at the bottom. Says object has known uniforms scale. The reason this is happening is if I press end, you can see the scale right here. The skill is not even. We want all of these numbers to be at one. To see why this is important. I'm going to split the view by clicking in the top right corner, dragging out and switching this over to the UV editor. If we go into edit mode, we can see this is Are you be map? It is a square, but this mesh over here is a rectangle. So this is not gonna look good in the texture. The texture will be stretched and warped, and it won't look as good. So we need to fix that to fix it. Go out of edit Mosier, An object mode hit control A and click on scale. Now you will notice the scale is now set to one. Now, if we UV unwrap this again by going into edit mode, click you and unwrap now or object is correctly displayed on the grid. Right here it is a rectangle. And now the texture will be displayed on this UV map a lot better. Now let's go out of edit mode and press enter. Close off that panel and switch this menu over to the Shader editor, and now we can create the material. The first thing I'll do is I'll press end to close off that tab, and then we will duplicate this material by clicking that to button at the top to name this Click in this menu and we're gonna call this wood floor. It's very important to name your materials because if you have a very large scene, there's gonna be quite a lot of them and it's gonna be hard to navigate. So make sure you type in wood floor right there and then we're ready to go. The first note that I'll add is the texture for the wood. I'm gonna press shift a and go underneath texture and image texture right here. If I click open, I can navigate where my images are, and if you want these images yourself, the link is in. The resource is so you can go grab them. Once you have found out your texture folder, go ahead and select this one right here. The would find 00 86 open image. Take the color and plug that into the base color of the principal Shader. To see this, we're gonna go back into camera view by pressing zero on our number pad. And there we can see the texture is already applied and it's looking pretty good. The next note that will add is a hue saturation. To change the color of this would I'm gonna press shift a go underneath color and then hue saturation in place that here, this allows us to change the color of the texture. So if I was to drag the saturation down a little bit, you will notice it's less saturated and it's more of a great looking would. And if I bring the value down this old dark in the wood, I'm gonna bring this all the way down 2.2. So we have a nice, dark looking would next we're gonna add in the rest of the Mets. The first map that will add is a roughness map, and this will control the glossy amount. So I'm going to select my image texture, node, shifty it and move it down. Select the folder button here and navigate. So the roughness map which is this one? This light gray one. Then click open image. Now, if we take the color and plugged that into the roughness of the principal Shader. Now we get this effect. You can see some parts of the texture are glossy and some parts aren't. And this is gonna look really good. And finally, the last texture that we will add is a displacement texture, so we can actually see bumps on the wood. To do this, I'm going to ship D this texture note and place it down here and click on the folder button . This is the one that we're gonna be using its this displacement maps, as you can see here, open up that image and to actually have this connect, we need to take the color and plug this into the displacement of the material output. Once we do this, you will see this is working correctly and we're getting a lot of displacement in our mesh . Currently, though, the texture is actually inverted. So we need to invert this. So I'm gonna press shift a go underneath color invert in place. That here now, with the note Ringler out on what this allows you to do, is check the different textures by holding control shift and then left. Click And we can see Here is what's happening. This is what this texture looks like. If I hold control shift left, click on this texture. This is the roughness. This is the color, and we can see exactly what they're doing with this displacement map. Currently, it's way too strong, so I'm gonna press shift A and add in a converter math node in place that here, if we set this over to multiply, we can control how much displacement will be in our mesh. If I drag the value down all the way to zero, you can see there's no displacement. Drag it up a little bit. We have some. I'm going to go with a value of 00.4 and we can see here that's still a little bit strong, so let's go a little bit lower. Let's try 0.2 and then also, these bones are a little bit big, so to make them a little bit smaller, I'm gonna press ship day at in a color ramp Converter color ran will place that there. Now, if we dragged the black over, weaken close in on those gaps. So if I go a little bit, you can see it totally disappears. So we're just gonna want to go in at just a tiny bit To make those to make those bumps a little bit less right about there is probably good. You can zoom in to check it. And if this is a little bit hard, you can change the position value here by holding shift. You can see here I can control it just a little bit better. So right about there looks pretty good. And there we go. There is our texture. Let's see how this looks in the rendered view. I'm gonna privacy and go into rendered view and we can see here this is looking pretty good . Now, if you want your planks of wood to be a little bit bigger what you can dio I'm going to go back into material view. Aiken, switch this over to the UV image editor, go into edit mode and scale up the texture. So if I pressed a to select it skillet up you could see it becomes smaller or becomes bigger if I scale it down. So depending on what you want, you can change it here. I might skill it up just a little bit, and I think that looks pretty good. 9. Wall & Other Details: in the last video we created this would material and this is looking pretty good. But now let's create the materials for the rest of the scene. The first material that will do is the walls, some going to select the walls, switch this over to the Shader editor and then with this basic material, we can see it's already applied. Since this was the Default Cube, the only thing that we're gonna changes the base color and other roughness, the base color. I just wanted to be a slightly yellow color. So I'm gonna just click right about there just very, very slightly over to the left, the roughness I'm gonna bring down to a value of about 0.2. And this will give us a nice, glossy look. If we press Z and go into rendered view, we'll be able to see what this looks like. And as you can see, the walls do have a very slight tint of yellow, which is good. And now the next thing we'll do is we'll add a little bit of detail to the window. What I'm gonna do is I'm gonna select the walls, go into edit mode, and basically What I want is for this face to be extruded outwards. Select it and press period to zoom it. To do this, I'm gonna press shifty to duplicate this face. Now we're going to do the exact same thing that we did for the floor. I'm going to right click so it snaps it back. Then I'll press P and click on selection. So now we have two different objects. We have this object here and we have the walls right here. So, like this object. And if we scale it up, though, you'll notice the origin point is down over here, we want to move it. So it's at the center. So to do that, right click set origin and origin to geometry. Now, once we scale it, it'll scale from that point skillet up just slightly and then go into edit mode and press a to select everything and extruded upwards by hitting, he we're gonna extruded up just slightly. So we have this bit of trim, drag it down and right about there looks pretty good now for this material. I wanted to have the same material as the floor. So to do that come over to the node editor and switch this over to the wood floor. This one right here. Now, if we brought Z and go into material view, we can see this is what it looks like. Currently, though the UV map is totally messed up, you can see the wood is way too big and it doesn't look good. So what we need to do is UV unwrap. This again refers going to apply the scale Because if we press and you will notice, the scale is totally off press control. A applied the scale and this will fix the scale. So, no, everything is set to one go into edit mode and to UV unwrap a cube. What we can do is select everything. Click on you smart UV project and then hit. Okay, Once we do that, this is what it looks like. We now have a UV unwrap cube. If we zoom in, though, you'll notice the grains of wood are going in this direction, which doesn't look too great. We want them to go in this direction. So we'll switch this over to the UV image editor, select everything and then press are to rotate it once we do this, we can rotate it like that. So the grains are going this direction and then we'll scale this down. Told they match the same size as the wood floor. So roughly about there is probably good weaken. See that the grains of wood here match this size, and that is what we want. And if it's too big skillet up. So it becomes smaller orbits to small, scale it down and they will become bigger. But I think right about there matches the size. All right, there we go. That looks pretty good. Now, the final thing that we will add in this video is a little bit of trim going around the room. Whenever you're creating an interior or a large scale seen like this, you are gonna want to add as much detail as possible. This will really sell the scene and make it look so much better. So to do this, we're going to go ahead and close off this tab so we have a little bit more room. I'm gonna press shift a an ad in a cube, drag this cube over to the right by hitting G and X, and we're going to Belleville this and scale it down a little bit. So I'm gonna go into front view by pressing one and period to zoom in on this cube. Skilled us along the x two. We get something like this or so. So pretty thin que. Now, one of the reasons why we apply the scale before we do any UV and wrapping or any modifiers or anything like that is because of this. If I go into edit mode and we'll go into a wire frames, we can see what we're doing. I'm gonna press Ault a to de select B for Bak Select Channel Dropbox around those Vergis ease. If I hit control, be to Bevel. You will see that this is what happens. This side it down here, the one on the bottom is going a lot further than the one on top. That is because of the scale, because blender is thinking that this edge is the same as this edge. So this edges going a lot slower than this one. If I go into object mode and press end, you will see this is the scale. Once we apply the scale by hitting control a clicking on scale. Now, if we go back into edit mode control be you'll notice that these vortices are going at the same length, which is what we want. So what I'm gonna do is drag this down a little bit right about there. And if we open up this bevel tab, we can change some of the presets and have it look a lot better. The statements control how round it is. If I go up to like a segment of six or so, you'll notice the bevel looks like this, which is a lot more smooth. We can also enable a custom preset. So if I turn that on, I can change how this looks by moving these points around so you can create some really interesting results. If I drag something like this, maybe drag this side down a little bit, doing something like this and then if I turned the segment's up even more, we have a really cool trim and this is very easy. It's very customizable. So if I just want to do something crazy like that, I can and it just does it automatically. I'm going to actually drive that back. So what? I'm going to do is go back into object mode, scale this down, Going to top uber pricing seven and dragon this over to our room. We'll zoom in, scale it down even more and place it right up against the wall. Right about there. We'll go into front view by pressing one and place it right about there are so then to make it go all the way across, we could go into edit mode, bolt a to de select, be for box, select and draw a box around those vortices. Then all we have to do is press G and why drag it all the way over? We'll go into top view and then pressed Period to zoom in on at this point now to get this so that it extrude out this way instead of extruding and like, rotating and doing something weird like that. What we can do is use the sheer tulle over in the toolbar. So the sheer tool is this one right here. It kind of looks like an eraser. If I click it now, this pops up now to get this toe actually rotate. What we need to do is click on this one right here and drag it down. If you look over on the top left, you will see numbers. And if I hold control, it will snap to certain numbers. We want to go to a value of negative one. Now, this is at a 45 degree angle. Now, if we extrude this along the X access So if I had e an X now we have this and this looks much, much better. I'm gonna go back into top. You go into a wire frame and fix this so I'm gonna presby for box select, draw a box around all of that and drag it over. So it's sitting. So it's sitting right next to the floor and now to fix this part. So it's flat. I'm going to box, select it press s X and zero and then enter. And now this is flat. So all we have to do is drive this all the way across. So it's on the other side of the room. We'll zoom in on this part and then just do the same thing. So with this year, tool selected all drag of this down. Not that way. We actually have to drag this way and make sure it's set to negative one. If you hold control, then press you extrude why and drag you down. Same thing here, we're going to flatten it. So I'm gonna press s why zero and enter then We need to flush this up against the wall, so I'll box select everything g eight and ex drag it over and then finally select this bottom bit and drag it all the way down. Now, you probably won't need to do the other side because the camera won't be able to see it. But if you are creating, like an animation or something, you are probably gonna want to finish out the rest of the trip. But now, if I go into camera view will go into solid view. This looks pretty good. We'll drag it down a little bit. So it's sitting right there and there we go. Not too bad. We now have some trim going around our room, and that gives a little bit of extra detail to the whole thing. The material for this trim, we're going to select it, go over to the material tab and give it a new material we'll call this one white trim. So we have everything organized and the only thing will change is the roughness. So I'm going to drive this down to a value of 0.2. So it has a nice, glossy look and then finally will press Z and go into rendered view. And we'll see how everything is looking. There we go. Not too bad. Our trim is looking good. Our walls were looking good as well. This might be a little bit too yellow, so select the walls for the base color. I'm just going to drag the saturation a little bit lower. Let's go 0.4 0.4 and then I also might drag this all the way up. So it's a bright white color, and there we go. Not too bad. 10. Modeling the Couch: hell over one, and welcome to a new section in this section. We're going to be filling out our interior scene with some different models, and furniture will be creating at the couch model together. And I will show you how to model it at textures and save it correctly so you can import it into other scenes. And then from there, we're gonna be importing in the rest of the furniture. Now, if you want to, you can create all these furniture pieces yourself. There is a section of this course that has all of the tutorials. But to save time, we're just gonna be importing them in right now. And now let's get onto the modeling of the couch. First off, I'm going to save my project. So it saves this interior, and then we're going to create a new file and then create the couch in that new blend file . To do this, you can press control, end or go up to file down to new and then general. And now we can create the interior. And now we can create the couch. I'm gonna press end and turn on my screen. CASS keys. You can see what I'm doing and it's you start off, we're gonna be using this default cube, and this is going to be the seat cushion. So what I'm gonna do is this press s and Z and scale it down, scaled down like this s disease scaled down a little bit more, and we're gonna model it first, and then we're going to set the scale correctly. So I'm gonna press tab to go into edit mode and move this over to the side so the origin point is still at the center. From there, we can go over to the modifier tab, click, add modifier and mere so whatever we do on this side will be applied to this site as well. Next, we can go back into edit mode and close the distance between the two seat cushions. I might skillet along the X as well, just a little bit and drag it over next up. We want to make this look comfortable, because right now it's just a very hard looking surface. So to do that, we're gonna add in a subdivision surface, click add modifier, subdivision surface, and said both the view and the render to three now this is what it looks like. Currently, though, it's not very good, and we want to make it a little bit sharper. So to do that, we can go back into edit mode, shift and E, and this will add in a crease. If we drag it all the way out, it's gonna be very sharp if we drag it a little bit, though, something like this. And now we have an object that looks pretty soft. We can also right click and go shade smooth, and this will smooth that out as well. Let's bring the render and view up to four, actually, and I think that will look a little bit better. And if you want it to be less sharp, just go back into edit mode, shift in E, drag it down a little bit and play around with it until you're happy. With the result. Something like that will look pretty good. And there we go. We've now created the seat, cushion and net. Let's create the arm rest. This is gonna be very easy. All we need to do is going to edit mode, press 80 select everything, and then we'll go into front view. I'm gonna press shift nd and duplicate this and place it over on this side and then are to rotate and all rotated upwards. Now, currently, it's way too tall. So I'm gonna press s and C and scale this down and then place it right next to the cube, right About their looks. Good. And we can see now we have some arm rest. Perfect. The next thing is the support for the couch. What we're going to do this time is brush if day and adding a new cube. We'll go back into front view and then press s and Z and skill it down. We'll scale it down until it's the size of the arm rests, all right, about they're scaled down even more and drag it upwards. Something like this will look pretty good. Then we will go into side view and we can see here. This is way too long. So I'm gonna press s and why in scale it inwards something like this and we wanna line it up a little bit behind the seat cushion. So I'm gonna press G and why, and drag it back just a little bit. So there's a little bit of a gap between the edge of the seat and this part. We'll go back and do side view by pressing three scaled down even more. And from here, what we want to do is extruded outwards and then extrude it up. So I'm going to go back into edit mode and then make sure you're in face select mode by clicking the face like mode up top and select this face on the side. We'll go back into side view pressure Gee and why, and drag it backwards and then we'll press you too extreme. From here we can select that top face. We'll go back into side view and then extruded upwards. So I'll hit you to extrude drag it up about the height of the armrest. So right about there and then to give it an angle. All we have to do is press G and why, and drag it backwards. Just like that. We can also take this bottom corner by switching over to over to see select mode, go into wire frame box, select this part and drag this over a little bit, so we have more of a rounded corner and I think that will look a little bit better. And to give this a little bit more structure, we can select the arm rest, go into edit mode. I'll select this top part right here, and just drive this over until it lines up with the back support right here. Now, if we go back into solid you, that is what it looks like. Not too bad. I might scale this along the X just slightly. There we go. And now for the back cushions, What I'm gonna do is adding a new cube and we're gonna do the same thing. I'll go into edit mode, scale it down, move it over the side and make sure the origin point is still at the center. Then we can go at modifier and mere this will mirror it on that side. And then we can scale this along the Y access like that. Select that face by going to face select mode or hitting three so like that face and drag it over until lines up right there. I also like that face as well. Drag it over this way and then position it in the back so we'll go into side view go into a wire frame so we can see what we're doing, and then I'll just place it over here. It is a little bit too thick, so I'm gonna press s and why, and skill it down and then rotate it until it's in the spot that I want. So right about there, then also like that's hot face, going to Enomoto like that top face and just drag it up a little bit. So you have a bigger couch kitchen, something like that that looks pretty good. Maybe a little bit more. And another thing that we could do is go back into wire frame, select this Verdecia corner at the bottom so well, diesel at that by hitting all today, go into Verdecia select mode. So, like that bit and drag it down. Drag this up So it's more of a flat surface like that. And there we go. Now we'll add in the subdivision service modifier So click add modifier Subdivision surface said both the render and the View to four Go back into edit mode, select everything And then, of course, we're gonna add in the edge crease once again sell press shift and e dragon outwards until this until it's as sharp as I want. So probably around there is good. And then to smooth it out, right, click and click on shade Smooth now to get the little in dense for the buttons on of his back cushion. What we need to do is add in some loop cuts for this back. So I'm going to select it, go into edit mode and we're gonna add in a couple of Luke cuts. So hit control are and we're gonna add in, I think five Luke cuts. So bring it up to five and then left. Click and then right click next head control are and we're gonna add in some horizontal loop cuts. I think I'm going to go with three left, click and then right click. Then all we have to do is move some of these Verdecia back. So I'm gonna go into Vertex Select mode, select this vortex, and then this one right here, and then move them backwards. So I'm gonna press G and why drag them back a little bit until we get an in debt just like that, then all we have to do is add in a UV sphere on that spot. So I'm gonna press shift a at in a UV sphere. We'll go into a side view by hitting three, rotate this around 90 degrees and then scale it down and then place it in that spot. So I go into a wire frame, do you to move and place it right here, rotated up a little bit as well, something like this. And it's kind of hard to see where we're supposed to place it in solid view, like we don't really know the exact spot. So an easy way to figure that out is to go into front view by pressing one, then go into wire frame and then lined this up with the with the wire frame of this object So we can see here. That is the spot where we want to line it up. So I will select this, move it over until it lines up with that spot G y, and drive it backwards, and they're ago. Now it is in the exact spot that we want next. What I'm gonna do is press alty and this old lengthy objects. So any changes that we do to this object will also apply to the other ones. So I'm gonna press all d X and drag it over. And then, of course, we need to go back into wire frame and line it up. We can see I went too far, so I need to drag it backwards. There we go. Now it's lined up and then also like both of them, this one and then this one, he select the couch, Then I'll press all day again and drag it over to this side. We also need to line it up here, so go back into wire frame and then line it up. So it's in the exact same position and there we go. We now have buttons on our couch. The last thing that we need to add to our couch model is a couple of stands at the bottom, because right now it's currently floating, and we need to add some supports at the bottom. So what I'm gonna do is going to front view by pressing one shift A and we will add in a cube, go into edit mode and then scale this cube down and we want to make sure the origin point is still at the center and then I'll move this to one corner. We'll scale it down even more venal press s and Z and skill this up a little bit and drag it up will place it in the corner, then to give this a little bit more detail. All press all eight to de select B for Bak Select and will select this top half. And then I'll move it over a little bit until it's at an angle like this. You can also select the bottom half and scale it down a little bit. So it's more of a point, and I think that will look pretty good from there. Select everything, move it over and then place it in the corner. So I'm gonna go into top view by pressing seven, and we can see it's currently in the middle and we want to move this over to the side suppressed due to move, drag it over and then rotate it. Something like that will look good. Then all we have to do is add in the mere modifier again. So I'm going to click add modifier Mir and we can see here it moved it over to that side. And then if we select the why as well, it'll move it towards the back. If your object is too far into the right, what you can do is select everything, press G and why, and move it over and the animals spread out the stands. Then you can go back into object mode and move the entire thing over. So I might do that, actually, all drag it this way. But then we can see here. There is a small gap right there. So to fix that, all we have to do is drag it up. So I'm gonna press G and Z and drive this up until it's inside and they're ago. We've now created our couch for the final details of this we're going to add in some bevel and displacement. First off, I'm going to select the support right here. Click Add modifier and bevel. The scale is currently off, so we need to apply the scale. So I'm gonna hit control a click on scale and we can see here that fixed the issue and for the offset. This controls how much bevel there is. I'm going to set this to four millimeters, then we'll turn up the segments to three. We'll do the same thing for these right here. The legs hit control A apply the scale, Adam, modifier and bevel. We'll set the offset to a value of four millimeters once again for MM. And then the segments of this bevel. We will turn up to three for the couch cushions. Currently, it's a perfect cute. There is no displacement, and it looks brand new. We want this interior toe look lived in. So we're gonna add in some displacement to give this some randomness and make it look like it's used. So what I'm gonna do is select the couch click, add modifier and displacement right here. This also deals with scales who we need to apply the scale here. I'm gonna hit control a click on scale and we can see here. It totally messed it up. We'll give it a new texture and then go over to the texture panel, which is this panel right here. This is what it currently looks like. It's using an image or a movie for the texture. We don't want to use that. We want to use this on clouds, so select the type and set it over to clouds. The size right here controls how big the bumps are on our couch. I'm gonna bring this up to a value of 0.45 So we have bigger bumps now. Currently, this does not look good. This would be a pretty uncomfortable couch. We need to go over to the modifier tab and turned down the strength. Let's try a value of 0.1 and we can see here. There is a little bit of displacement and if you want more and you could turn up the strength. But you want to be careful with this because the higher you go, the more crazy Well, look, I think a value of 0.1 is perfectly fine and we'll do the same thing for the back cushions as well. So hit control, a apply the scale, add modifier, displacement and then we don't have to create a new texture. We can just select texture from the drop down many that we just created the strength of this. We will also set down 2.1 enter and there we go. It is a very subtle change, but I think it helps it and makes it look not perfect. 11. Simulating the Blanket: next up is the blanket that's going to be resting over the arm. Rest right here, Toe. Add this in. We're gonna be using the claw simulation. We first need to add on a plane to be the blanket. So I'm gonna press shift eight and add on a plane. Then we'll go into top view and skill this down. I'm gonna press s to scale down this way in little price s. And why Skillet down this way until we get a rectangle shape from here, we can place this how we want. When working with the cloth simulation, you are gonna want to add in some geometry to the plane because right now, with only four vergis, ease along the edges. This is not going to work. We need some geometry in the middle for it to deform. So to add this in, we can press a this select everything and subdivide this. But you will also notice that once we do this, it will create rectangle faces. That's not what we want either. Whenever you work with the class simulation, you are gonna want to use square faces instead of rectangle faces we can control. See that subdivision and then hit control are and add in a loop cut down the middle will do to loop cuts. Then we'll add in one loop, cut down the middle, going horizontally. Control are adding one loop cut, right click and now we have square faces. From here we can select everything right, click and subdivide. We'll do this a couple more times, right? Click subdivide until we get the appropriate amount of geometry. Probably will control Z that probably that much geometry right there. Now we can position this and make it fall down. So to do this, I'm going to go into front view and then to rotate it, we can double tap our and this will give us a widget tool where we can rotate the plane around and I'm probably gonna rotate it. Something like this rotated upwards until we get one of the corners that's going to crash down on the couch, something like this will look pretty good. You can double tap are once again. Then we'll go into side view. We'll drag it back a little bit. Double tap are in place. It something like that. I think that will give us a nice looking blanket when it crashes down. Now we can enable the clause simulation before we enable the Claussen volition. We're going to UV unwrap this plane because we're going to be adding in a texture later. And if we were to apply the Claussen volition, it would be all deformed and it'll be a lot harder to UV unwrap. So with this plane, we're gonna press control a apply this scale, so it you be unwraps correctly. Then we'll go into edit mode you and unwrapped. Now that we've unwrapped it, we can apply a texture to it later, and it will work perfectly fine. Now, to apply the clause simulation, go over to the physics tab and enable cloth, and that's basically all we really need to do. If we scroll down here, we're going to turn on a self collision. So it actually collides with itself and the distance is a little bit too high. We're going to drive this down to a value of 0.1 and then enter. If we play this right now, you will notice the blanket goes right through the couch. The reason for that is because we need to enable the collision to be applied, selected the couch and turn on collision will select the back rest collision and then the frame as well. Collision just like that for the arm rest and the couch cushions. We're going to turn up the friction because right now, if we play this, you can see it's kind of sliding around and it's just pulling off. We own it to stay in its position. So for the friction amount, we're gonna bring in all the way up to 20 now. Once we play this, we can see here. The blanket stays where it's at a little bit. It's still sliding, but it's not as much. Maybe we'll try 25. And now, once we play this, this is what it looks like. As you can see, the blanket is not falling off. It's actually staying where it is, and that is looking pretty good. I think I want the blanket to go over the arm, rest a little bit more. So what we can do is select it and press edgy and just drag it over along the X access a little bit more. So the sites hanging over. We'll play this one more time, and then we'll pause it right about there that is looking pretty good now. As you can see, it looks a little bit blocky and low Polly. So to fix that, we can add a subdivision service modifier. So jumping over to the modifier tab, click, add modifier and subdivision surface. We'll set both of you and the render up to two. Then we'll right click and go shade smooth. And there we go that is looking pretty good. Well researched the animation and play it one more time. I think that is looking pretty good. So once you are happy with how the blanket is positioned, if you want to, you can move a rotated skillet around, do whatever you want, might skill it down just a little bit. Something like that. Play it one more time, and I think I am happy with how this looks. So once you are happy with it, we're going to apply the claw stimulation. I'm going to click apply. And once we do this now, if we go into edit mode, all of these points have Vergis is and they're stuck in place. We can't research the animation, so make sure you are happy with the position of the cloth Before you do that, if we go into front view, you will see there is a big gap between or the couches And where the blanket iss. We need to close this. So I'm gonna press G NZ and drag it down until we get the position that we want right there . You can see it starts to peak there, so I'm gonna drag a pack up right there is where we want it. Another thing that you might notice is the blanket is completely flat. You can see here it's totally flat. We want to add a little bit of thickness to it. So to do this, we can add in the solidify modifier right here and for the thickness. We're gonna bring it down to a value of five millimeters. That might be a little too thick. So let's try three millimeters, and I think that will look a little bit better. Next up is the material for the blanket. I'm going to go over to the material tab and give it a new material and we'll call this material blanket so we have everything organized, then we'll split the view. I'm going to switch this over to the Shader editor and then press enter. Close off that panel. What we need to do now is adding the texture that we want. The texture that we're gonna be using is in other resource is so make sure you go grab those will go image, texture and then click on open. This is the texture that we're gonna be using. We can see here it's fabric patterns. 003 Open that image, then take the color and plug it into the base color of the principal Shader. Let's see how this looks in the material view. So I'm gonna press Izzy and go into material view, and we can see here is looking pretty good. The evening map is a little bit big, though, So what we can do is switch this over to the U B image editor, go into edit mode, press A to select everything, and here is our UV map. I'm gonna press a over in this window and skill it up, so the texture is smaller over here right about there, I think, is a good size. And as you can see here it looks good on the blanket, then Weaken. Switch this back over to the Shader editor for the roughness. I'm going to bring that all the way up to a value of 0.8 and for the sheen. I'm also gonna drag this up. This will give us a look of fabric. If we want a little bit of displacement, we can take the color and plug that into the displacement of the material output. And it will give us this look and to control how much displacement there is. We can press shift a at an a converter, and then math note. We'll place that in between the texture and of the material output, and then switch this over to multiply. Now, this bottom value controls how much displacement there there is going to be. I'm gonna bring this down to a value of 0.1 and we can see here. It closed up on that displacement. And there is our material not too bad 12. Couch Fabric Material: The next material that we're going to do is the couch fabric material. Select the couch cushions and the arm rest, and then go into edit mode. We need to first to UV unwrap this. So to do that, we're gonna press a to select everything you and then smart you be project and then hit. Okay, Now, once we apply the texture, it will UV unwrap correctly over in of the material. We're gonna press, shift and add in a texture. And then an image texture will place that here and then take the color and plug that into the base. Principal Chatur, if we look open, we can navigate toward the texture is And this is also in the resource is to make sure you go grab that underneath the textures. This is the one that we're gonna be using. It is called the Fabric plane 00 59 open image. And here we can see it on our couch. It's looking pretty good, but currently it's way too big. We need to scale down the texture. We could open up the UV image editor and scale up the UV map, but we would have to do that for every single object. So instead we're gonna select the texture hit control T. And make sure you have the node Ringler at on enabled in this Aladdin a texture cornet and a mapping note. From here we can set the scale and this will apply to every single object that this material has. Let's try a value of seven for the scale and we'll zoom in and I think that looks pretty good. And now, once we apply this material to other objects, it will have that same scale, and it will match perfectly next up. I want to change the color of this texture. So I'm gonna press shift a at in a color hue. Saturation will place that here for the saturation. I'm gonna bring that down 2.9 and then the value I'm going to bring down all the way to a value of 0.4 in this whole just darken up the texture. And then also, I'm going to add a normal map. I'm gonna press shift A. I didn't. Another emits texture note will place that here, then open image underneath the texture folder. You will see the normal map make sure you still like that one And open image. If we were to take the color and plugged that straight into the normal, it's not gonna work. We need to actually run this through a normal map Note. I'm gonna press shift day at an a vector, and then a normal map will place that here, then take the color and plug it into the normal map than the normal into the normal of the principal shader. And now we have a little bit of displacement. We also need to take the vector of the mapping node and plug it into the vector of the normal. And now it shares the same scale. Whenever you work with textures that are aren't plugged into the color, you always want to make sure the color space is set to non color, so it won't take into account of the color, and it won't change it. It will just use the data for the normal. This strength value controls how much displacement there is gonna be. If I drag this really high, you can see it's higher. I'm just gonna leave it at the default value of one. And finally, the last thing that we need to do is bring up the roughness to a value of about 0.7 and the sheen as well to a value of about 0.7. And this will give us a nice fabric look. Next up is the back rest, so I'm going to select it, go into edit mode. You smart, you be project and okay over in the materials have weaken. Select that fabric material that we just created. Let's also give this a name so we know what it's called. I'm going to call it couch fabric, and that's all we have to do. If we zoom in, you can see the texture is applied really nicely. Another problem that we have, though, is the buttons. Let's go into edit mode on one of these, and instead of you be unwrapping it. We're just gonna project it from view, because this is the only way we're going to see it. So go into the front view right about here, click on you and project from view, then over in the material dubbed, we're going to select the couch fabric material, and if we zoom in, its applied really nicely for the frame this is also going to share that same material as the couch. So we're gonna go into edit mode, select everything, click on you and smart you be project OK over in the material tab. Select the couch fabric. And as you can see, it applied really nicely all the way up to the top. The next material that we're going to do is the couch of legs right here. And what I want is to use that same material that we use for the wood floor. What we can do is actually import that material into this blend file. So we don't have to recreate everything by scratch to do this, go over to file down, to upend and then navigates where your blend file is. This was mine right here. I'm going to go over to material and then scroll down all the way to the bottom until we see the wood floor material. Select it and a pen from library. Now, once we select the legs, we can go over to the material to have and select that material right here, and we can see that this material is applied to the legs and it does look pretty good, but the UV map is a little bit too big. So we're gonna go ahead and re UV Unwrap this. Sometimes if we go into edit mode and you smart, you be projects. Sometimes this doesn't work. If I do this right now and click OK, you will see the texture is looking a little bit weird. If I switch to this over to the UV image editor, this is what it currently looks like. It's kind of all over the place to fix this. We're gonna add in some seems and UV unwrap this ourselves. I'm going to go into a wire frame so we can see what we're doing than all day to de select B for Bak Select. And I'll draw a box around the top right there and then hit control E and click on Mark. Seem right here. This will add in a seem right there. And basically, how this seems work is it will add in a virtual cut into the mesh and then display that on a flat plane right here. So whenever your UV on wrapping something and you're adding some seems you want to think about how you would unwrap that object on a flat surface. Another scene that we need to add is in the back. So I'm going to select those two. Vergis is in the back, hit control E mark seem. And then we're gonna diesel it that box, select the bottom right here, control a mark seem. And now, once we go into and now, once we press a weekend, you unwrap this and you can see here it looks a little bit better. These air now all connected. And if we go into material view, this is what it looks like. Not too bad. I'm going to select everything and skilled is it down? So we have a bigger texture on our model right there. And that looks pretty good. I'm going to switch this back over to the shader editor and change a couple settings here. First off, the value is too dark. I'm going to bring that up 2.4 and the saturation. I'm gonna bring that back up to a value of one. I also think that the displacement is a little bit too strong. So what I'm going to do is actually just get rid of all of these notes. right here and just have the speculator and the color right here without any displacement. We can also name this. We're going to call this couch would legs. So we know what that material is. And there we go. We have now created at the couch model. 13. Setting the Scale Correct: all right. Our couch model is done. Everything is looking pretty good so far. The next thing that we need to do is a little bit of organization and an easy way to move this around over in the collection tap. I'm gonna double click on this collection and call it couch model. So now, once we append this in, we will know exactly what collection this isn't. Next up. We're going to go ahead and delete the lamp and delete the camera from our scene. We're not gonna need them. And then we'll add in an empty object. I'm gonna press shift day and added in empty and then plane axes. And this will be what we selected to move the couch around. We'll go into front view and then press G and Z and drive this all the way to the bottom and make sure it's right underneath the wood stands right here, right there. Looks good. And then I will also skill it down a little bit. Next up, we want to parent all of these objects to the empty, so I'm gonna press it, be for box, select and draw a box around everything and make sure the empty is the active object, which is the lighter orange color. Then I will hit control and P and then click on object right here. So now once we select the empty, we compress G, and it will move all of the objects around. It looks like the origin point of our blanket is still up here, and that's not what we want. We want it to be a little bit lower, so I'm going to right click set origin, an origin to geometry. So now the origin is right there. If we select the empty and pressure Gee, you might notice that it's not very smooth when moving around at the couch. So to fix that, we can turn off the subdivision service modifier on some of these objects. I'm going to select the couch over here, jump over to the modifier tab and then open up the subdivision service and bring the view port down to two. I will also do the same thing for this couch back here. Open up this and turn the View port down to two. And and now once we move this, you can see it's a lot smoother. We can also turn off the bevel on the support right here. And this will help even more. Don't worry, though This will all show up in the render because the Brender is still at four. It will look. It will still look good once we do the final render. This is just for the view port. So now once we move the couch, you can see it's really smooth without any lag. I'm gonna breast all G and so it snaps it to the center and we can see here it's sitting on the ground floor and the last thing that we need to do is set the scale. This because we modeled this freehand. We don't really know the size and how it will look in our room. So what we can do to figure out the scale is jump over to a website like Overstock right here and check out some of their couches and figure out the size of it. We can see here that there is a height of almost 30 inches and a length of about 56 inches . And if you're not from the US, 56 inches is about 143 centimeters. So with this knowledge in mind, we can jump back over to blender and set the scale of this correctly. I'm gonna go into front view, and then I'm going to select the measure tool over on the left side. If we click and drag, it will display the length of a certain object we can see here. This is about 190 centimeters. I'm getting control, Z that so what I'm going to do is just click. So what I'm gonna do is scale this down a little bit. Measure it one more time, click and drag, and we can see here. This is about 162 and I think I want it to be a little bit bigger than what I saw in Overstock. So right about there, we'll measure this one more time and we can see here. This is about 156 centimeters, and I think that is about the length that I want. So once you are happy with the measurement, you can select it and then press the delete key. So, like this one and delete and that will get rid of it in the view port. One more thing you're gonna want to keep in mind is, if you ever decide to move the textures that we use for this model, the textures in this blend file will disappear, and you will have to reimport them whenever you import this model in To fix that, we need to actually store the data up the textures in this blend file. To do this, we could go over to file down to external data and then automatically pack into blend file . Once we do this, we can see down here it packed six files and those air, all of the textures. Now we can move those textures freely, and this model will still be the same. You can now upload this model to a model website and it will store all of the texture data in that blend file and you won't have any issues. Now that we've done that, we're going to go ahead and save our project. I'm going to go ahead and call it couch model and save as blend file. Now, we can switch over to our interior scene and import this model in. I'm going to go over to file down to open recent and then modern interior tutorial right here. And here is our scene. Now we can import the scent. I'm gonna go ahead and close off both of these collections and then create a new collection . I'm going to right click creating new collection. And we're going to call this models. All of the models that we added to our interior is going to be in this folder, so make sure it is selected, then go over to file down to upend and then navigate toward that couch file that you just saved. Once you have found it, go ahead and select it. Open up the collections and select the couch model collection and a pen from Library. Once we do this, it is now in our scene and we console like the empty and move it around. We can see here it is the right scale. It's looking pretty good. Let's go into top view crazy and go into a wire frame and then rotate this holding control all snap it to 90 degrees, then G to move and would place it up against the wall right about there. Then we can press egy and why drag it down a little bit. Maybe skillet up just lightly. And there it is. Now, if we go into rendered view, we can see exactly how this looks. Not too bad. Our couch model is looking really good. We can see the blanket just fine, and I'm liking how it looks. 14. Coffee Table & Rug: here is what our into your scene looks like. So far, it is coming along just fine. And now the next step is to start filling out the rest of our seat. In this video, we're gonna be adding in the rug and the coffee table. So what we're gonna do is go ahead and close off that couch model and then make sure you have this model collection selected. So it adds it to this collection. Then I will go to file down to upend, and you can find all of these models into the resource is. And again, if you want to create all these models yourself, there is a tutorial at the end of this section. We're just adding them in right now to save some time because it would take a very long time to create every single model. So once you have found the folder with all of the models, you will see them all right here. What we're gonna do is select the rug dot blend, click append collection and upended the rug collection right here. Once we do this, it will just take a second to load in. I'm gonna go in through solid view, so it loads in a little bit faster and we can see here over in the models. It created a new collection called The Rug. Then all we have to do is select the the Empty right here to move it around. I'm going to go into top view so we can see what we're doing and then go into a wire frame by pressing Z. I'll position this in front of the couch right about there. Then we'll go into front view and make sure it's above the floor. So if we zoom in here, we can see it is a little bit about the floor. I'm gonna drag it down to its resting right there. Now if we go back into camera view but pressing zero, I'm also gonna turn on my screen. Koskie's We can see here. This is what it looks like, and it looks like it's actually in the floor a little bit. So let's drive that up right about there is when it starts to go in. Not too bad, and all of these models should be the appropriate scale, so you won't need to worry about Skilling and Down or Skilling them up. They should already be the exact size that you need. The next one is the coffee table, so I'm going to go over to file down, to upend and navigate to where all of the blend files is. Once again, we can see them all right here and of the one that we will be adding is the coffee table, which is this one. Select it. Go over to collection, select the glass coffee table collection and upend from library. We can see here. It's right in our scene. You can select it and position it how you want. Let's go back into top view so we can see what we're doing then Z for wire frame. Then we'll rotate it so it's vertical and then place it in the middle of this scene right there. If we go back into solid view, we can look at it. You'll also notice that there is a water glass right here. If I zoom in on it, if I select it and hit period to zoom in on it, we can move this where everyone, by selecting the empty right here and moving it around, or we can add in multiple. So what I might do is select both of the water and of the empty and all that press Alti Di and just move it over along the Y. We'll drag it up a little bit along the X, so it's in a different position. And now, if we go back in camera view, we now have two glasses just like that. You might need to scale down some of the objects, but most of them should be already set to scale. I think this coffee table is a little bit large, so I might skillet down just slightly and then make sure it's in the middle of the rug, which it is, looks pretty good. Now let's go back into camera view, presidency and go into rendered so we can see exactly how are into. Your scene is coming along and there we go. We can see the rug is in place, and if the rug is causing too much like you're seen, you can select it, go over to the particle system tab and then turn it off in the view port. So none of the particles will be in the report, which I might do so it speeds up the view port. But once we do the final render, it will still show up. As you can see here, the camera icon is still enabled. 15. Modeling the Bookshelf: I decided to do a quick render to see how our interior is looking. And here is the result. I'm liking it so far. The reason why there is a lot of grain is because I did a low sample number. Once we do the final render, I will bump it up a lot higher and we will use the D noise note. The next step is to add in the bookshelf over on the left. We're gonna be modeling this together and then importing in the books. First off, let's go over to the outline. Er right, click and create a new collection will double tap on the name and we'll call this bookshelf . And then we'll go to that collection by hitting four on our keyboard and that will hide all the other collections except for this one. From here, we can added it. I'm gonna press shift a and add in a mesh and then a cube. And then we'll go into your front view press S and Z and scaled this down until it's pretty small. Something like this will look good Then, from there we can go into side view by pressing three and s and why, and skill it down this way till about the length of a bookshelf. From there, we'll go back into front view and we'll add in a couple of Luke cuts. I'm going to go into edit mode, and we're gonna add in one. Luke cut control are left, click and then drag it over to the left until it's about the same width as the board. So probably around there is good. Then we will add in two loop cuts. This time, control are to Luke. Cuts left, click and then right click to snap it to the center scale these down along the X access so they become really small, and I will also go into wire frames. You can see what I'm doing right about there is good and then we'll drag it over. We want to leave a little bit of space between this loop cut and the end, so probably around there. Next, we're going to go into face select mode by hitting three. Select this face holding shipped. I will select this face and extrude them upwards about the height of a bookshelf. So probably I'm guessing around. There is good. We can always change it later if we want. And then before we do anything else, we're going to UV unwrap just this section because we are going to be adding in a wood texture. We don't wanna have to UV unwrap several times. So with just this section, we're going to go control a, apply the scale, then go into edit mode, press A to select everything you and then smart you be projects and then hit. Okay, Next up, we're gonna go over to the material tab in the drop down menu. We're gonna type in wood, and we're going to select the wood floor material before we do anything else. We are going to duplicate this material so we can change it without affecting the floor. So click on that three bun and that will duplicate it. And then for this, we're just going to call it bookshelf. Now we'll split the view and go over to the UV image editor to see how our texture is looking like on our model. So we'll jump over to the UV image editor, dental president and go into material view. Here is what it currently looks like. It's looking okay, but a lot of the boards air going in the wrong direction. So what we're gonna do is go into edit mode also like this, and then underneath will select this one, and this one over on this side will select that one, and then we're gonna rotate thes around. So over in the UV image editor, I'll press A to select everything than to rotate. All you have to do is hit our. If you hold control, you can snap it to 90 degrees. And now the wood grains are going in the correct direction. Well, look around the rest of the model and it looks like everything else is good. This one is also messed up. So all selected press a and then are to rotate Elmo rotated 90 degrees. There we go. And this one right here as well. Rotate that 90 degrees. And so the wood the wood is going in this direction. There we go. We've now fixed thievy map. Now we can mess with the material and change it how we want. So first off, I'm going to go over to the Shader editor. And then what I want to do is create a dark wood color. So for the hue saturation note, I'm gonna bring the saturation all the way down to zero and the value we're gonna bring down 2.5 and this will create a nice, dark looking would. And another thing I want to change is the glossy amount, because currently I think it's way too glossy, So what we can do to fix that is press shift A and add in a converter and math note will place that here if we switch this over to multiply. Now this bottom value controls how glossy this is going to be. So if I drag this up a little bit, you can see it becomes the less glossy. Let's try a value of about two, and I think that is probably a good amount. And another thing I want to change is the bump Matt, because currently this is way too strong, so we're going to go with a value of 0.1 Once we do that, the bump is now a lot less, and I think this is looking pretty good. We can go ahead and close up this window. We're not going to need it anymore, and Now let's finish out working on this bookshelf so I'm going to go into front view, and what we can do is actually duplicate this going upwards. So what I'll do is I'll go into edit mode, press A to select everything shifty and drag it up. Then we can rotate this around so I'm gonna press R Z than 1 80 then enter. Place this over a little bit until it's in line with the other side of the bookshelf. Then we can select everything by pressing a and then shifty and drag it up along the Z access. We need to repeat this process one more time, and an easy way to do that is to press shift and our this will duplicate your last movement and just do it exactly for you. And as you can see, it duplicated it for us perfectly. Then all we have to do is scroll up to the top, will go into a wire frame so we can see what we're doing. Also, like this face holding shift also like this face you to extrude, and then we need to join these two together. Solace elected this face right here this one and an easy way to connect These is if you right click, click on bridge faces. This will automatically connect him. And that looks pretty good. You will have to UV unwrap this, though. So let's go ahead and open up the UV image Editor one more time. I'll switch it over here if we look over on the right. This is what the current UV map looks like. So it's basically making one pixel of the wood. If we go into material view, you can see it's completely stretched out. So what we're gonna do is press you smart, You'd be project OK, and now this is displayed correctly. We also need to rotate it, though, so I'm gonna press a are to rotate and rotated 90 degrees until the wood grains are going in this direction. And there we go. We've now created the bookshelf, and what I might do is I might skillet up along the Z just a little bit. Something like that will look pretty good. The next step is to add in the books 16. Adding the Books: to add in the books to our shelves. We need to go over to file down, to upend and then navigate where the book model is. Once you have found all of your models, click on books dot blend, go over to collection and then append this collection it. Once we do that, we can see it depended in. And now this will give us a rough estimate of how big our bookshelf should be. Currently, it's way too big. So I'm going to scale this down until the appropriate size. And if we place it in the middle, it's still a little bit too big. All scale it down some more. And I think that is a good height. So now all we have to do is start placing the books all around our bookshelf. Now, this is a little bit tedious. What you have to do is just select one of them g to move it and place it over here. I'll zoom in rotated like this, and then you can select another book, do you to move it. And once you've used all of the books down here, you can duplicate that, so I might select both of these shifty. Move them over here also like this one rotated this way and make sure you are using material view so you can see what the book texture looks like. And also, another thing to keep in mind is the camera will be over here. So you're not gonna want to of these books on the shelves like this. That will just look a little bit strange. So you're gonna want to make some variation. So maybe we'll have the blue in here, and then we'll have, like, the orange one up here, something like that. So you don't have to of the same books facing the camera. So I'm gonna go ahead and fast forward this part, filling out the rest of the bookshelves. All right? I'm happy with the amount of books and my shelves. And now what we're gonna do is place this in our interior scene. So I'm going crazy and go into a wire frame B for Bak Select, and I'll select all of these objects. Then you can hold shift and bring back all of the other collection. So one, two, and three and then will place this in the left corner So I'm going to go into top you, gee to move, and then we'll place it over on this side. Hold control so it snaps it to 90 degrees, plays it right about there, and then we'll go into camera view to see how it looks. Might skill it up just a little bit and drag it upwards right about there. So it's sitting on the floor and there we go. We've now added our bookshelf in the left corner. Let's president and go into rendered view to see how this all looks. And there we go. I'm happy with how that looks. There's no books that are duplicated on the edges, and I think that looks pretty good. 17. Appending in the Pillows: next up is a couple of different fellows that we're going to place around, are seen. One of them is going to be on the couch, and two of them are going to be on the window sill. First up, though, let's do a little bit of organization in our collection system appear. I'm going to close off the bookshelf and click and drag and place this in the model collection. So now we have all of the different models in this collection, and this will help organize us a little bit more. And now let's create a new collection for the pillows. So I'm going to right Click New Collection, and we'll call this collection pillows and then we'll click and drag and place it in the models. Make sure it's selected before you add them in, and then go over to file down, to upend and then and navigate to where the blend file is. It's this one right here. Pillows dot blend, click on it collection pillows and a pen from library. Let's go ahead and drag these up a little bit and then I'll press period to zoom it. This is what it currently looks like And if you think that it looks a little bit weird, that is because over in the modifier, the multi resolution the preview amount is set to to this will help smooth out your view port. Normally, this is up to five and this is what the render is, but this will slow it down, and there's a lot more geometry to work with. So if your computer can handle it, you can turn this up to five. If you want to smooth out the view port, just turn this down. Don't worry, though. The render will still be at five. I'm gonna go ahead and turn this up because my computer can handle it. And now we can place these around. If we go into material view, we can see this one is a light blue color and this one is white. I want the light blue one to be over here, so I'm gonna press shift E X and drag it over. And then I'll drag it down along the Z access and just place it over here by the couch. I'll press R and X and drag it upwards and place it right about there are so are an ex drug it this way down and just place it on there, maybe scale it down a little bit as well. Let's go in a camera view to see what that looks like. Yep, that looks pretty good. It's just a pillow right on the seat. And now for the ones in the back. I'm going to select both of these and dragged them back. G. Why all the way back to the window sill oppress period to zoom in on them, then also like the white one and move it over to this side. So I'm gonna press G and X, move it over here and then rotate it along the Y axis so it's up. Drug it up, maybe scale it down just a tad and just place it on the window sill. You can also rotate it as well, and this will give it a cool effect. But make sure it's not clipping into the wall, so make sure it's not like this. It's resting up against it, but it's not clipping it. I'm gonna drag it down as well, so it's not floating. Then we'll select this one over here, scale it down a little bit and drag it over to the side press are and why it to rotate it to see what you're doing. A little bit better, you can go into front view by pressing one Z for wire frame and let's actually hide the cameras. Also, like the camera press aides to hide it, and now we can see this a little bit better. I'll place it up against the wall and it looks like, Yep, that is the window sill, so I'll make sure that the pillow is not clipping through, but it's above right there. Let's go back into camera view to see what that looks like. We're going to sell a view and look at that. Not too bad. I might rotate it up just a tiny bit like that. So it's standing up a little bit more. Once you're happy with the placement of the pellets, you can go back into camera view and crazy and go into rendered view to see what it looks like. And there we go. Not too bad 18. The Final Models: next up is the TV stand toe. Add this in, go over to file down to upend and then navigate to where the blend file is. Mine is right here, TV stand collection and then imported it. If you select the empty object, you can move this around. I'm going to go into top view by pressing seven Z for wire frame and then rotate it so it's facing the couch like this in place in it. Over here. We're going to place the TV stand right here, and I want this to be in the line with the couch. So this part is going to stick out this way just a little bit. There we go, and it looks like we accidentally place this in our pillows. So we're gonna open up this, select our TV stand collection and place it in the models. There we go, and that keeps us organized. And then also just make sure it's not clipping into the floor. So we'll zoom in here and it looks like it's in line perfectly, and that is what we want. I'm also gonna drag this back so it's flush up against the wall. Next up is the actual TV. So to do this. So like to your models. So it actually goes into the model collection file append. We'll go back a couple times until we get back to our models here tv dot blend collection and then a pendant. The collection it We'll go into a wire frame and then make sure you have the empty selected its this one right here. And then we'll go into top view, rotated and place it on top of the TV stand going to front view and then dragged this up. So it's sitting right on top. There we go. That looks good. And it is in line with the couch right here, and that is what we want. Next up is a chair for the corner. So what I'm gonna do is select at the models file, upend. We'll go back a couple of times, and it's going to be this circle chair right here. Select it. Go over to collection circle chair and a pen from library, and basically that's all you really need to do for the rest of the models. We'll go into top. You place this over on this side, rotated so it's facing the middle of the room and just place it in the corner, go into solid views so you can see the scale of it. And I think the scale is pretty good. That's about the size that we want. Next up is the lamp. Make sure you have the models selected file upend. We'll go back a couple times and find the lamp, which is this one right here. Glossy lamp collection, glossy lamp and upend into library. And there we go. We can see it in our scene. So, like the empty and place it wherever you want. Now, you don't have to copy me. Exactly. You can place the models anywhere that you want in your scene. If you want the couch to be over here and you want the camera face in this direction, it's totally up to you designed at the room How you want to design it. You don't have to copy exactly what I'm doing for this lamp. I'm gonna place it in the corner next to the circle chair is down just a little bit. And I can imagine someone sitting here wanting to read a book. So they are gonna want to have some light, and I think that looks pretty good. Maybe back just a little bit and next up will still like the models collection again. And we can also close all of these. So everything is a little bit more organized. Go over to file append, navigate back until we get back to our models. And it looks like we only have a couple more models left this autumn and model all selected collection ottoman and a pen that in. And for this model, I'm gonna place it next to the window to make sure you have the empty selected go into top View G and just place it next to the window. So maybe someone wants to sit here looking outside. I think that will look pretty good. We'll go with a camera view, then breast see and go into solid view and just make sure everything looks good. If something looks a little bit too big, maybe skillet down. Or if something looks a little bit too small, scale it up. You want to be careful with scale because a lot of the time some models might be too big or some models might be too small, and it really throws off the scene. For example, I think this Ottoman Aiken skill it up just a tiny bit. And maybe this circle chair will scale it down. And it looks like our TV stand is a little bit large. So what I might do is also like that. Skela down just a tiny bit and dragged this down until it's sitting right there. And this will just help the scale of the whole scene. And there we go. I think that looks a little bit better. Finally, the last couple models that we need to add also like the model collection file append we'll go back. I think there's two more This would stick plant will select it collection. Select that collection and a pen from library. So, like the empty and then placed this wherever you want. In the scene for me, we have an empty spot in the corner, so that is where I'm gonna place it right about there. Looks good, and it should already be in line with the floor, which it is yet, so we don't need to move it. You can rotate it around if you want to. I'm just gonna leave it as it is. And we are almost done that there's one more model that we need to add. And that is the random object that will put on the bookshelf. Select the motor collection file Upend. We'll go back a couple times, and the last one is this one right here. The modern sculpture, Select it collection and then modern sculpture and upend from library. I'm gonna drive this up and then place it over into the bookshelf. We'll go into Top View Z for wire frame and Gina move it and replace it over here. I'll rotate it So it's at this sort of angle and then drag it up. I left an open spot in the bookshelves just for this exact thing. So we'll move it up there, scale it down. So it actually fits. And there we go. We have just a random sculpture in the middle of our bookshelf. This just gives everything a little bit more interest 19. The Mirror & Door: we are almost ready to start rendering our interior scene. There is a couple more things that we need to do. First off, we need to add in a mere over on the side because I think this will looks a little bit plane. And then maybe we'll add a canvas over on this side and a door behind. So first off, we're gonna press one to only have this first collection so all of the models are now hidden. And let's also collapse all of these models that we have more room and then I'll close that off. I'm gonna press shift and then right click and this will snap my cursor to that exact spot . Then I can press shift a and add in a cube. We'll zoom in on this cube by pressing period and the skill it down. This is currently way too thick, so I'm gonna press s And why scale it down this way? It's s and Z and skill it up. So we have more of a rectangle and just place it about the height of a mere probably probably around there, I think will be good. And also we're going to give this some bevel because currently it's a very sharp angle. I'm gonna click Add modifier bevel. Now, since we did a little bit of scaling, we also need to apply the scale. So click control a then for the offset, Let's try a value of five millimeters. That looks pretty good. And then, for the segments, this is the resolution of the bevel. We'll bring that up to three. Not too bad. Next up for the material. This is gonna be a very easy material. We're gonna go over to the material tab, click on New and change it from the principal shader over to the glossy shader. The roughness controls how much glossy and there will be if it's all the way up to one is just gonna be a diffuse. If it's all the way at zero, it's going to be a mere so that is what we want. Set it to zero and set the color all the way up to white. And there we go. We now have a mirror, and while we're at it, let's select our room as well. You can see right here This angle is very, very sharp. And this is not a realistic corner. Nothing in the real world has this much sharpness. There's always a little bit of bevel to it. With the room selected, I'm going to click, add modifier and devil hit Control A and applied the scale so everything scales correctly. And then for the offset, let's try four millimeters that looks pretty good. And then we'll turn up the segments to three. And if we go into camera view, it's very subtle. But it really helps with the realism of the scene. Let's bring back the rest of the models. So I'm gonna press shift and two and then shift and three to bring back everything. If we go back into camera view, we can see that the mayor is in a good position. The scale is correct, and now the next step is to add a door for the mere to actually reflect. We're going to place the door behind the camera right about here. So to do that, I'm gonna hold shift and then right click to snap my cursor to that position. Then I'll press shift a and add in a mess and make sure you have the our commission at on enabled and adding a door right here. If we press and and open up the create tab right here, here is all of the settings for our door. We can change the thickness, this way, the heights and all of that with the settings. We also have the model and of a handle type the model right here there is a bunch that you can choose from. Let's say, Let's go with four. I think that looks the best cause it has a couple of in dense and then from the handle, we can choose from the handles right here. We could have this sort of handle. Or if you want a knob, you can go with, like Model Three, something like that. I think I like Model one. So that is what I'm going to stick with. Select the empty and drag it down so it's right next to the floor. Now let's go back into camera view and go into rendered view to see if we can actually see the door. Now I don't need to render the rest of the scene. I only need to render this part of the image, so to do that, you can hit control and be and draw a box around of the mirror. Now we brozi and going to re interview. The only rendered spot will be in the box that we just drew. And as you can see, we can see the door right there. But it's a little bit, but it's a little bit high, and that is because the angle of the camera. So if you want to, I think we need toe on hide the camera. Yep, let's press old age to bring back the camera, select it and then go back into camera view by pressing zero. And if you want to maybe drag this up a little bit now, if we brought easy and going to render view, we can see the door a little bit more in the mirror. So if you want to, you can drive the camera up even more and Seymour of the door. I think I'm going to drag it down just a little bit. Something like that. And I think I'm going to go with this angle for my final render. To get rid of this red box, you compress control, be and draw box outside the camera, and that will get rid of it. And now, if we brought Z and going to render view, it will display the entire render just like this. 20. Creating the Canvas: we are almost ready to start rendering out our interior scene. There is one more model that we need to add. And it is a canvas over on this left side. We have a big blank wall right here. So let's go ahead and fill that in. I'm gonna impress Z and go back into solid view. And then I'm going to place my cursor over on the side by holding shift and then right click from here, we can add in our canvas to make this easier on ourselves. We're gonna enable an add on called images as planes. To do this, go over to edit down to preferences underneath add ons. Type in the word image and you should see this, Adam Right here. Import images as planes, make sure that is turned on and then go ahead and exit out of that. How this works is if I press shift A I can go underneath image images as planes and then once we add an image and it will be the exact size that we need, this is the image that I will be using And I definitely recommend you use your own image if you want to use the same one as me. It is in the resource is. But if you have an old render or something like that, I definitely recommend using that instead. Once you have it selected, go ahead and click on import images as planes. Once we do this, you can see this pops in. I'm going to scale this down and then rotate this along the Z axis by 90 degrees. So it's flat up against the wall. From there, we could go into edit mode, and then I'm gonna press period to zoom in on this canvas. What I want for this canvases. I want two different pieces to do this very easily. You can hit control are at in one, Luke. Cut down the middle and then right click. So it snaps it. Next. If we switch over to face select mode Weaken, select one of the faces and hit. Why on our keyboard, this will rip it from the current mesh. So now we have two different bases. We have this face and we have this face right here. Next, I'm gonna move them just a little bit. Next, I'm going to press G and why and move them across from each other, so there's a little bit of a gap and maybe also like this one and drag it down. Let's drag these forward. Let's drive lease along the X so it's not clipping into the wall in that's crazy and go into material view doing the images as planes, you can see it automatically added a texture for us, and it is looking pretty good so far. Next up, we're going to give this some thickness. So I'm gonna go into edit mode and then press Ito extrude and drag this out. One issue that we have, though, is you can see the texture on the sides are really stretched. So to fix that, we're going to fix the UV map. I'm going to go open up the UV image editor, So come split the view. Switch this over to the UV image editor and we can see our UBI map is right here. We first need to add in a couple of seems to make this easier on ourselves. I'm going to delete the faces in the back, since we're not going to need them, so we'll go into wire frames. We can see what we're doing. Also liked this back face. Then I will select this face right there. Press X and delete them. If you remember how UV map works, you want to cut up your mess so it lays down flat in the UV image editor To do this, we need to add in a couple of different Seems I'm going to switch over to the ed select mode in select all of the corners. So this one right there holding shift, I will select all of the corners. I'll go on to the other one as well. So, like all of the corners on this side and then we're going to add in a hold on diesel it that select that one in the back, and then we're going to add in a cut. So I'm gonna press control E and click on mark seem Now if we press a you and unwrap we can see here is our texture. So now all we have to do is just position this correctly. I'm gonna president and go into material view, and we can see this is totally off. So I'm going to box select this one on the side, right here and then hit control plus l and that will select the entire thing. We can rotate this and place it. How we want Looks like we need to rotate it this way, G to move it and I'll place it over on this side right about there. Looks good. Then we will select one versi on this one, Control L. And then we'll place it over on this side skillet up just like this Or so I'll drag it over so it's connected. And then once you've positioned it correctly, you can go out of edit mode and take a look at it. You will also notice that the UV map is going on the edges, and that is what we want. Pretty cool. And for some reason that there is a little bit of weirdo shading like you can kind of see through this, and I'm not exactly sure why that happens. But once we go into rendered view, you will see it's automatically fixed. You can see it doesn't show up in the render, so that is perfectly fine. And then, of course, we need to flush this up against the walls. I'm gonna press G and X drag it back a little bit right about there, and then we will add in a bevel modifier. So go over to the modifier tab. Click at Modifier Devil. Since we did a little bit of scaling, we also need to apply the scale so that control a cook on a scale. And then for the offset Let's go with five millimeters, the segments I'll bring up to a value of three. And there we go. We now have a canvas, and it looks pretty good. If we go back into camera view now, we're ready to start rendering. I'm going to go ahead and close that off and then set up the camera settings. 21. Camera Settings & Rendering: our interior scene is now done. We've added all of the models, all of the textures and materials. Everything is good to go. So now we can set up the camera settings. Right now, everything in our camera view is in focus. This is fine for a landscape render or something that shows a big wide angle. But for something like an interior, we're probably gonna want to focus on one object. And you can select an object by selecting it, and we can see what the name is and then focus in on that object or you can add in your own . So what I'm gonna do is hold shift and then right click to placement cursor right on that coffee table. Then I'm gonna press shift A and added an empty plane axes. This is the object that we're gonna focus in on next. I'm going to go over to the outline, er and it named this object so it's easy to find so you can double click on it and I'm gonna call it focus. So now what we need to do to actually focus in on this object is we need to select the camera and then go over to the camera settings, and I selected the camera by just clicking on the outline we can see here. There is a depth of field option. If I turn this on, I can then focus on an object. If I type in the word focus because that is the name of the object that we just created, I can focus in on this object. Once we do this, you will see just a little bit of an effect you can see like down here, it's a little bit more blurry. The outside window is a little bit more blurry as well, but the focus is on to this spot with that coffee table, and that is what I want. The F stop controls how much blurriness there's going to be if you said it really low, like a value of 0.1, you can see everything is really blurry, except for that spot right there. I'm going to leave it at a value of 2.8 because I think that is a pretty good number. That's just the default value. If you want it to be more sharp, you can turn it up. But I think this is pretty good for now. Next up, we can go over to the render settings over here. Make sure your render engine is set to cycles and if you have a GPU, you can select it right here in a later section. We will be switching over to TV and I'll show you exactly how to render glass and reflections and all of that. For now, we're going to stick with cycles. The sampling right here controls how much samples there is going to be in a render that helps with the grain. So if you want less grainy, would turn it up. If you want more, you would turn it down. We're going to go with a value of 7 50 Now, this number is probably still not enough. But what we're gonna do is enable the D noise note in the composite er Steven from the future here. Actually, for my final scene, I said the sample number 2 1500 instead of 7 57 50 left some weird splotchy nous on of a coffee table and 1500 did not leave anything and it was a clean render. So I suggest also setting into 1500 as well. Another thing that can help with the noise note is if we enable the information from the normals and the diffuse colors to influence the D noise. If we go over to the layer panel which is this one right here, we cannot turn on d noisy and data once we enable this Now we will have a couple more options into the render toe. Help us Denoix Zehr image more clearly. So make sure that is turned on. And with that done, I think we're ready to do a final render. If we go over to the output section, we can set the dimensions of how big our render is going to be. I'm gonna leave it at 1920 by 10. 80. I'm going to save my project, then go over to render include gone render image. Once this is done rendering we will go into the composite er and finish out are seen 22. Compositing the Render: our render has now finished. And here is the result. It took about 24 minutes to render. There is still a lot of noise in the scene. And that is why we're going to use the dean. Always note. So to get over to the composite er to actually enable this, what we need to do is exit out of this window and switch over to the compositing tab, which is this right here. Make sure you turn on use knows, and this should appear in your scene to give ourselves a little bit of or a room. I'm gonna press ended to close off that panel and then drag this down so we have this whole screen to work with from here. What we can do to actually view the image is if I hold control shift left, click on this. It will bring in a viewer note just like this. And here we can see her image. If you want to zoom in, you can press all TV to zoom in or V to zoom out. You can also hold the all turkey or the option key on a Mac middle mouse button and move the image around. I'm going to zoom in one more time. So we have a little bit more of a bigger view and then I'm going to click and drag this viewer note over to the side. Next up, we have here a couple of options. The noisy image, the dino is normal and the d noise albedo to actually use these. We need to press shift a go underneath filter and d noise and will place that right here. Then what we need to do is take the noisy image plug that into the image of the D noise. Take the normal plug that into the normal and the albedo. Plug that into the albedo of the denies note. Now, if we hold control shift left, click on the D noise node, we should be able to see what this looks like. And as you can see, all of the noise is now gone and it looks really nice. I'm also going to take the image and plug that into the composite as well. Next up, we're going to add in some glare over to the window to do this. I'm gonna press shift a at and a filter and then a glare node. We'll place that here. We'll take the image. Plug that into the composite and here is the result, and this is way too strong. So we're going to switch this over to fog glow into control. How much glare is in our scene? We can do that with the threshold. If we drive this up higher, let's try a value of eight. It'll clamp down on the glare, and as you can see, that looks a little bit better. It's not a strong. You can also set the mixed value all the way up to one toe, actually see what this glare note is doing. So here is what it's doing is taking of the blues and just add in a little bit of glow to them. To bring back our image. We need to set this back to zero. Next up, we're going to change a little bit of the colors. I'm gonna press shift a at in a color color balance note will place that right here. Then we'll take the image. Plug that into the composite and then with this note or here we have three different color wheels, this one on the left controls the shadows. This one in the middle controls the mid tones, and the one on the right is the highlights. I'm going to darken up the shadows just a little bit, so dry that down just a little bit and then we'll bring it over to the blue. So we get some nice blues in our shadows that is a little bit too strong. So I'm going to control, See that and just drag it up just slightly like that. Very subtle, but I think it will look good. I'm also going to brighten the highlights. Drive that up just a little bit and we're going to give it an orange color. Something like that. We'll see how that looks once it renders, and we can see that looks pretty good. Next up, let's sharpen the image. I'm gonna press shift a at an a filter and then a filter node right here. We'll take the image plug back into the composite and then switch this over to sharp it. Now, with a factor of one. This is way too strong, as you can see here, so let's bring this down to a value of about 10.1 and We'll see how that looks. And there we go. So we have a little bit of sharpness in our render. Another thing I'm gonna do is I'm going to add in some noise back into the scene because currently, I think this image is actually to clean. There's no noise anywhere. And I want to add in just a little bit to do this. We're going to go back over to the start. We'll move this over to the side and then I'm gonna add in a mixed note suppress shift A at in a color mixed node will place that here, and we'll take the original image and plug that into the bottom input of the mixed note with its set to 100%. It's just the raw image. We're gonna bring this down to a value of about 1000.15 Once we do this, it will bring back the original image and just add a little bit of noise here and there. And I think this will just give it a more realistic look. And finally, the last thing that we will add is a vignette for the corners. This will just darken up the edges so the focus is more in the center of the render. To add this in, it's very easy. All we need is a filter, and then a blur node will place that here. Then we'll press shift a at in a distort lens distortion. Take the image and plug it into the blur. Note in the image socket right there, and set the distort value to one over in the blur. We're going to switch this over too fast, Gogean Relative and underneath the why we're going to set a percentage. This is the amount of percentage that will blur the corners. I think a value of about 15% looks pretty good. And to actually add this in, we need to press shift A at in a color mixed node will place that here, take the image, plugged that into the composite and then the image into the bottom input and then switch this over to multiply so it actually gets rid of the white but leaves the black. Once we do this, here is our results. I think this is a little bit too strong, though, so let's drag this down to a value of about 0.6 and that will lighten up the corners. So it's just a subtle effect. So now let's check a before and after I'm going to go all the way back. Control shift left, click on the runner layers. This is the before and then control shift left, click on the multiple. I note this is the after, and as you can see, this looks much better. It's a much cleaner. Render the colors stand out a little bit more. You can even change the mid tones if you want to. So if you want more of an orange look, you can switch that there. We'll see what that looks like. Or if you want more of a colder look, you can switch this over to the blue and you will get this sort of effect. So what? Everyone, go ahead and play around with the colors. I think I'm actually going to stick with the lighter orange color, something like that. And there we go. So there is our final results to save this as an image, we can press F 11 to bring back our original render, and I suggest saving this as well so you can always look at a before and after to save an image, go over to image, Click on Save as or you can see the shortcut is shift, old s And then I'm gonna save it to this folder right here. I'm going to call it Raw render and then save as image And then to get our composite image , click on the drop down menu and type in the word viewer. Select the viewer note and here is our other image shift all to s to save this. And I'm going to call this final render. And there we go. Congrats on making it all the way to the end of this course. There is still a lot left, though. If you want to learn how to create an E v render, I have a section for that and I also have a nighttime version of this scene. So go ahead and check out both of those. If you created your own image, I would love to see it. So make sure to send into me over in the messages or in the Q and A thanks again for enrolling in this class and I will see you in the next section 23. Rendering a Clay Version: hell over one, and in this video I'll be showing you how to render the interior scene as a clay version of the Render. A clay version is a version of the render with no materials. It's just a plain white version. It only shows the models sometimes. This is good to include in the project files if you're giving it to a client so they can see exactly what everything looks like without any materials to do this in blender, it is very, very easy. First off, though, we need to change a couple of things. If we were, does that everything into a white color, we wouldn't be able to see anything. And that is because the window will also be a white color. So instead we're actually going to remove the windows. We can actually see the lighting Chinese in it. Now I still want the frame of the window. I just want the glass to be gone. To do this, we're going to actually select it, go into edit mode and an easy way to select just the glasses. If we go over to the material tab, we select the glass material and then we have three buttons here, a sign, select and de select. If we click on select, it will only select the parts of the mess that have this glass material. Make sure you press all today to de select everything before you do this, because let's say I have, like this face selected. If I select the glass, it will also keep that selection right there. So make sure you press all today to de select everything. Then make sure you have the glass selected. Select that button there and we're going to move this up by three grim units. You want to make sure you have an even number, so you can always go back. If I press G Z and three and enter, let's go into wire frame so we can see what we're doing. You will see it's up there. We know it's by three, so all we have to do to bring it back is press G Z negative three in there. It's back in place. I'm going to right click to cancel that, though, because I wanted to be outside and now that the windows were done, we can render this as a clay version. We also need to create a new material to assign to everything. I'm gonna press, shift a and add in a cube, and then I'll go out of the camera view and press G and X and move it over to the side. This is just gonna be a cube so we can create a new material. I'll click on New and all call this material click for this material. We're just gonna leave it as a white base color and the roughness of the principal shader. We will leave at 2.5 if you want a little bit of glossy nous may bring it down a little bit , but 2.5 works pretty well from here. We can go back into camera view now to assign everything to one material. We need to go over to this panel. This is the View layer panel here. You can add in some passes like a miss pass a render time, pass all of these different things, but we don't need to worry about that. If we scroll down to override this panel, here is a material override. This will override every single material with the one that you select. So you probably already guessed what we're gonna do. We're going to select this type in the word clay and we can see that claim material. Select it. Now, if we press Z and go into rendered view, it'll just take a second to calculate you will notice that everything is this white color and there we go. Everything is now white, and now we can run to this and save it as an image. I'm gonna press Z and go back into solid view and then go over to the render settings once it refreshes. And we don't need this many number of samples. There's only one material and it's not really glossy. So we don't really need this many samples. Let's go with a value of 500 and then before we render, I'm gonna press control s to save my project. And then to render this, all we have to do is go over to render and then click on render image or you can shoot. The shortcut is F 12. So if I press f 12 it will start to render. And here is our result. And we don't really need to change the compositing. You can if you want to, but I think this looks pretty good to save this image. We need to go over to image down, to save, as and then you can call it whatever you want. I'm just gonna call it Clay Render. And there we go. Now, if we want to get back to our original scene with all of the materials we need to exit out of this window, go over to the View Layer panel and then click on that little X to get rid of the clay override. And then, of course, we need to select the window up here, go into edit mode, then press G Z negative three and then enter. Then if we go back into camera view by pressing zero, you will notice it's in the exact position. Now if we press dizzy and go into rendered view and all of the materials are now back. So there you go. That is how you create a clear render of your interior scene. 24. Night Time Scene: Hello, everyone. And in this video, I'll be showing you how to switch your seen over from this image Over to this image will be converting our interior from a day seen over to a nighttime version of it. To get started, we need to save a new blender file so we don't affect the old safe To do this, I'm gonna press control shift and s to save a new blender file. And I'm going to call it a night modern interior tutorial and then save as blender file. So now any changes that we do in this blunder file will not affect the original scene. If we press Izzy and go into rendered view, we can see what our current into your looks like. As you can see, the HDR is shining very bright into our scene, and it's making it look like a daytime scene and it does look pretty good, but we're going to convert this over to a nighttime version to get started. We need to go over to the world settings. You can see the strength of the HDR is set to 50 which is very high, and this is making it look like a daytime scene. If we switch the strength over to a value of 0.1 and then enter, you will see it looks more like a nighttime version. Now the sky is a lot darker, and it is looking pretty good. One other issue that I have found is if we go out of the camera view and then go outside the house, you'll notice the house is very bright and the walls are extremely white. And as you can see, the HDR is dark, but it's not really affecting the outside walls, and it took me a while to figure out why this is happening. But it's the Ambien inclusion. For some reason, if this is turned on its making the lighting really weird. So we're gonna go ahead and turn the Ambien inclusion off, and as you can see, the walls are now accurately displaying the lighting. Now, if we go back into camera view by pressing zero on our number pad, this is what our currency looks like. If you want it to be darker, you can set the strength of this to a lower number we can go with, like a value of 0.5 and then enter and it's even darker on the outside. And I think that is what we're gonna do next up. We need to add some lights inside our interior because right now it's very dark and you can't release you the models over here. The only light source that we have is the lamp, and we're actually going to get rid of this lamp. I'm gonna press it Z and going to wire frame and then zoom in on this lamp right here. Select the point lamp, which is this right here, Press X and delete it. I don't want this to light up our scene. I want to add in some other lights. If you want to, you can keep it. But what I'm gonna do is delete it and adds in some other lights. So next up, we're going to add some candles that are going to be on our coffee table. If we go over to the scene collection, I'm going to right click and create a new collection, and we'll call this collection candles. And this is the collection that will have all of those other models next that we're going to add these in. So make sure you go to the article previous to this video or in the resource is and grab the model of the candle. Once you have it downloaded, you can go over to file down, to upend and then navigates where that is. Once you have found it, you can see the candle model right here. Select it. Go over to collection, select the candle collection and a pen from library. And here we can see it in our scene. Next up, select the empty that is attached to it right here. And then we'll drag it up and place it on the coffee table. I'm going to go into a solid via by pressing Z going over to solid view so we can see exactly what we're doing. All prices G and Z and drag it down. So it's sitting right on the table. I might scale it down just slightly rotated around and then we'll go into top. You pressing seven. Well, press Z for wire frame one more time and then we'll position this where we want. I'm gonna want to candles, probably one like right here and then another one over here. So we can box like that, the entire thing and make sure you don't select the carpet or any of the other objects. So you ca ndy select by hitting be middle mouse button to de select, and I'm going to press all d and this will lengthy object and then I'll rotate it around like this and just place it over here. So we have two candles on our coffee table just like that At the moment, the only light that is being emitted from this candle are these planes right here. If we go over to the material tab, you can see it has a candle texture and every brozi weaken go into material view as well. We can see them right there, and this is pretty good, but it's not emitting enough light. So we're gonna add in another lamp to kind of fake how bright the candle is looking. So what we can do is hold shift and then right click to place my cursor right on that spot in the no price shift A and add in a new lamp, go over to light and then add in a point lamp right here will drag this up just slightly. And then we'll set the size of this because currently it's way too big. We're going to set it down to a value of 0.1 and then enter and you can see it's a lot smaller now and then the power of this, we're going to set to to the color. We're also going to change over to a orange color something like this, and to see how this is looking. We compress Z and go into rendered view, and you can give it a second to render. And it is going a lot slower because the there's a lot more samples that it needs to calculate, and that is looking pretty good. It might be a little bit too orange, so I'm going to drive this up to about this color, and I think that looks pretty good. From there. We can president and go back into solid view, and then we'll duplicate this lamp and place it over here. I'm gonna hold shift and then right click to place my cursor on that side, and then what we can do is press all D in this will link this these two lines together so any changes we do through this lamp will also affect this other lap and then right click to snap it to that location to move it over to where the cursor is. We can press shift and s and well, and you will see a lot of different options here. We need to click on selection to cursor. And so now you can see it moved it over to that spot. And if I looks like it's actually in the wrong position, So I'm gonna go ahead and fix that. Ah, hold shift, right. Click there and make sure that Yep, that is in the correct spot. This time shift s selection to cursor and there we go. The limp is now in that spot and weaken. Drag it up. And now if we go back into camera view by pressing zero, we confront Z and go into rendered view. We can see exactly what these lamps are, what these candles look like. And there we go that is looking pretty good So far, the next thing that we need to add is a couple of a modern lamps over on this side to add in some mawr lighting because currently, it's still a little bit too dark to do this. We're going to close the candles collection and select the model collection and added to and added to this collection go over to file down, to upend and then navigate where it is. It's also in the resource is once you have found the blend file, select the modern lamp, go over to collection modern lamp and upend into library. And there we go. We can see it in our scene. Next up, go into wire frame so we can select the empty Also like this one here. Yet that is the correct one will go into top view and place this over in the corner. What I want for this lamp is to be next to the couch. So I'm gonna press it g and move it over to this side. And then I also want this to be duplicated over on this other side. So what I'm gonna do is present B for Bak, Select and Dropbox around every single object in our lamb. And then I'll press all day so it links it and then I'll place it over on this side. There we go. Now Let's see what this looks like in camera view. So I'm gonna go back into camera view and press Z and going to render view, and there we go. As you can see, this loads of much better. There is a lot more lighting in our scene and we can actually see the models in our interior. We're not down yet. There is a couple more things that we need to do. First off, I'm going to add in a light shining into the window and this will act like a moon like a moonlight shining it. To do this, I'm gonna press shift a at in a light and then an area light right here. We'll go into side view, pressing three and then place this over on this side so it shines in in this window all precedent to move, place it over on this side, rotated in words, and then we'll go into top view and then rotate it. So it's facing this sort of angle. There we go. We'll go into camera view to see what that looks like. And I wanted to be a little bit more of an angle, so all press R and Z and drag it this way, and then we'll drag it over along the X access. So something like event now, currently, with a strength of 10 it's not gonna affect too much. So we're going to drive this up to a value of 300 and the size of this will also set to to , So it's a bigger size shining into the window. Now, if we press Z and go into rendered view, we should be able to see the light shining in. And there you go. You can see it a little bit on the ground. If you want it to be a little bit more, you can drag the power up even higher. Let's try a value of 500 and I think that looks pretty good. All right, there we go. This is what our current interior looks like. I'm liking it. So far, we have a nice reflection on the wood from the outside lamp and of the lamps inside are looking pretty good. The last thing that we need to add is some volume two are seen now. Rendering volume in cycles does take a long time, and it's very CPU and GPU intensive. So if you have a slower computer, you can skip this step because it does boost up the render time quite a bit. But if your computer can handle it, I do recommend trying it out. It is a subtle effect, but it really helps it look really cool. So first off, we're gonna press shift a at an a mesh and a cube, and this is going to be our volume. I'm going to go into wire frame so we can see everything a lot better. We need to scale this up to be the size of our interior. I'm going to go into front view by pressing one, and then we'll scale this up and place it right there. So it's a little bit outside our interior, all press s and X and drag it along the X direction. So it's outside the walls as well. We'll go into side view by pressing three and then we'll skillet along the y. So it fits all of this. I'm gonna press s And why skillet out this way and then we'll move it towards the back. There we go. And now we need to add the volume of material. I'm gonna click new on this material for the surface. We're actually going to remove this principle that be SDF and underneath the volume tab, we're gonna click from none over to the principled volume Shader right here. Now if we go into camera view and press Z and going to render view, this is currently way too strong. We can't see anything are in our interior. The density controls, how dense the volume it's we're going to set this to a very low number of 0.4 and then enter and then we'll give it a second to render. And this is the effect that we're getting. It's very subtle, but what we can do, toe give it a stronger effect is to turn up this value. The Anisotropy. If we set this up to a value of 0.8, we should get a little bit of a stronger sort of Ah, beams of volume shining into our interior. We can also select the color and drive this up to be almost white. Something like this, I think, will look a little bit better. As you can see, it is a very subtle effect. But once we do a final render at a very high resolution, you'll be able to see the difference quite a bit. And now that we've done that, we're ready to render. So I'm gonna press dizzy and go into solid view, and then we'll set up a couple of the render settings. Also, if we go into camera view, we can't see our interior. And that is because of the Cube that we add it to actually make this so it's easier to navigate our scene. We can go over to the object data panel right here underneath the view port display weaken . Set it from display as texture over to display as a wire. And there we go. You can see the cube are Volume Cube is now a wire frame and there we go. We can see the rest of our interior just fine. Next up. If we go over to the render settings, we can go underneath the color management and set the look from a nun over to medium contrast. This will give our whole scene a little bit more contrast and for the sample number 1500 is a little bit too much. So I'm going to set this down to a value of we'll go with 800. And now that we've done that, we can go ahead and save our project just in case this crashes and I think we're ready to render, then go over to render and then click on Render image. And as you can see here it is starting to render. And I'm going to go ahead and pause the video until this is done. All right, here is our render. This is the final results. And as you can see, it looks really nice. And the compositing notes that we made before in the day version actually worked pretty good for this nighttime scene. It added some darken edges and everything is looking pretty good. So there you go, guys. That is how you create a nighttime version of the interior scene. If you created your own image out of this video, I would love to see it to make sure to post it in the questions or the assignment. After this video, thanks again for watching. If you want to learn how to create this scene in e V, go check out the next section 25. Eevee Rendering P1 Materials: Hello, everybody. And welcome to a new section in this section. We're going to be rendering out our interior scene using the real time render engine. Evie, Evie allows you to move around your scene in real time and see the lighting materials and all that. And in this section, I'll be showing you exactly how it works, how to change the glass material to have transparency, the lighting, all that we will cover in this section to start out. Since we are gonna be doing a lot of changes to our scene, I want to save this as a new blender file. I don't wanna have this old save messed up, so we're gonna go ahead and press control shift as to save a new blender file, and I'm gonna call this e v render tutorial and save as blond file. So now any changes that we do in this blunt file will not affect the old save. Starting out. We need to go ahead and switch over to the E V. Render engine over in this scene panel, switch the render engine from cycles over to E V. Let's see how this looks. If we press Izzy and go into rendered to you. You will see everything is extremely bright. That is because the HDR is set to a very high strength and it's bleeding through the walls . So we're going to go over to the world settings right here and change the strength from 50 all the way down to one. Once we do this, you will see everything looks a lot better. Next up, let's go over to the TV settings. There is a lot of stuff that we need to change in these settings over here. First off, we're going to turn on ambient occlusion. You will notice the corners are now a little bit darker and they have some shadows in them , and that that looks a lot better. We're also going to turn on a bloom and will mess around with the intensity in just a second screen space. Reflections is another one we're gonna turn on, and this will give us some reflections from the wood floor and the window and the TV and all that, and then underneath the settings, we are going to turn on refraction. This allows us to use transparent materials in the glass, so make sure that is turned on and then also underneath the shadows, We're going to turn on high bit rate shadows, and this will give us better quality with the shadows. Next up, let's go ahead and add in our own lighting because currently, this doesn't look too great. There's no direct lighting coming from the window. So we're gonna add that in ourselves. I'm gonna press shift a and instead of using a sun lamp right here, we're gonna be using an area lamp cause this works a lot better. If we select that, we can see it right here in our scene and we compressed g to move it and place it wherever we want. We're going to place it outside the window, shining it. I'm gonna press a three to go into side view, and then I'm going to press G and move it all the way to this side. We'll move it up to where the sun would be in them going to rotate it and shine it in to our interior. We'll also go into top view and rotate it. So it's facing this sort of angle. And now if we go back into camera view, we can see exactly where it shining. I'll rotate it a little bit more, so it's facing right about here, and then we'll go over to the lamp settings. The strength of it is currently way too small, so we're gonna drag this all the way up to 8000. Another thing we're going to do is open up with the shadows and turn it contact shadows on this will give us some better contact in the shadows, and it will look overall better. And then also we can turn up the distance because right now you can see a little bit of light bleed in the ceiling right there. If we drag this up just slightly, it will get rid of that. And there we go. That's not fixed. Another issue that we're having, though, is it's not really shining through our window. The reason for that is because we need to change the material for our window. Let's go ahead and select it and go over to the material tab and select the glass material over in the settings. We need to turn on a screen, the space refraction, and this will allow us to actually see through the glass and another thing we're gonna do is change the shadow mode from opaque over to none. I don't want the glass to be casting a shadow. I want the light to just pass right through it, so make sure that is set to none. And this is the effect that we're getting. If we go back over to the lamp settings, if we select it, we can change the sides of how big it will be. Our house small. It will be if I set the size to a value of about three meters. We get a bigger spot for the light to shine through, and I think that looks pretty good. Next up, let's fix the materials for the other objects we can see here. These leaves are not the correct material you can see there's some blackness along the edges of the leaves, and that is because of the transparency in the image in the settings in the material. We need to change the blend mode from opaque over to Alfa blend, and now it will actually use the transparency we need to do the same thing for the glass coffee table so selected underneath this material here We're going to set the blend mode to Alfa Blend, and now we'll be able to see through this once we turn on screen space refraction And there we go. We can now see through our glass. Let's go back into camera view and take a look at our seen. This is what it currently looks like. It's not too bad we had Do have another issue, though, and that is this a mere object over here, it's actually reflecting the HDR and not the interior. To fix this, we need to add in a reflection plane to do this all hold shift and then right click to place my cursor right on that spot. And we will also select it and zoom in by hitting the period key toe. Add in a reflection plane. We need to press shift a underneath light probe, Select reflection plane. Once we do this, we can rotate this by 90 degrees, so hit our X 90 and then enter and then over in the settings we need to turn up the distance so it actually reflects over by the door over here. So with the distance, we're going to drive that up and then we're also going to move it forward just slightly. So I'm gonna press it, g. And why drag forward until it's in front just like that? And now we can see the rest of our interior. Currently, the size is a little bit big. So we'll go into front view, president and go into a wire frame and scale this to be the size of the mirror. I'm gonna press s and ex, scale it down this way, then s NZ and skill it down this way until the size of the mirror. Just like this, we'll drag it up so it's in the center and there we go. Now it is the correct size and we can see it reflecting just fine. 26. Eevee Rendering P2 Baking the Lighting: the scene is coming along just fine. There is a couple more issues that would that we could fix to make this look even better. First off, if we zoom in over on this mirror, you will notice some light bleed in the corners right here. This means that the HDR or the limp is actually bleeding through the Cube. And to fix this, we can add in a solidify modifier to this cute let's select it. Go over to the modifier tab right here, this little wrench click, add modifier and solidify. If we turn up the thickness right now, it's actually going to go inside. And that's not what we want. We're going to set the offset to one, so it's actually expanding on the outside and not the inside. And now, once we turn up the thickness, we can see here. It clamps down on that light bleed, and there we go. It's now fixed. We'll drag it up to about 0.4 meters. I think that will look pretty good. And finally, for the lamp. We're going to select it, go over to the lamp settings and change it from a white color over to a oranges color something like this. So we get a nice lighting color on the floor. One thing, though, is that the lighting is not really affecting the rest of the room. There's no bounce lighting. And with TV, there is a couple things that you need to do to actually get that bounce lighting. What we need to add is a a radiance volume cube to surround our interior. We're gonna press shift a underneath light probe, select the Iranians volume right here. This is what pops in. It's a cube with a bunch of dots in the middle from here. We need to scale it up and have it expand all the way on the outside of our interior. I'm gonna go into front view presidency and go into a wire frame so we can see what we're doing. And then all we need to do is press s to scale. And you want to have the inside Cuba be the outside of our interior. I'm gonna press s and ex scale it along this way until it fits all the way on the outside. Well, press three to go into side view and will skillet up along the y as well s and why? Well, skillet out this way and then we'll move it towards the centre s y. Scale it down a little bit more until it fits just like that. These dots inside allow the lighting to be calculated and bounced around. And now if we go back into camera view, weaken, bake this in over in the scene panel, we can open up the indirect lighting tap and bake this in. I'm going to save my project just in case this crashes. And then I'm going to click on a bake indirect lighting We can see down here. There is a progress bar and it's going up pretty fast. Once it's finished, we compress Z and go into rendered view, and now we have a lot more bounce lighting. The lighting on the floor is acting at natural, and it's bouncing up on the walls and giving us a really cool effect. We can turn up the number of bounces right here, and we're gonna drag this up to a value of five. With that done, we're going to delete the lighting cash and bake this in one more time. And there we go. This is looking much, much better 27. Eevee Rendering P3 Adding Volume: here is our seen so far. Everything is looking a pretty good, but there's a couple more things that we can do to make this look even better. First off, if we look over on the top left, you will notice that there's some weird shadows in the corners of our room, and this is because the Iranian smoothing is really low. If we turn this up, it will smooth out that section. Let's go ahead and delete of lighting cash and bring the radiance moving up to a value of about 0.45 in this will help make it look much better. And also you might notice that it's kind of glitch ing on the floor. And that's just the way Evi works when there's a lot of stuff going on and it to fix that glitch Penis. We can just bring the view port samples all the way to zero. And there we go. You will see it Smoothes it out next up before we bake the in director lighting in Once again, we're going to add in some volumetric to our room here. This will make the scene. It looks really cool. Toe. Add this in we need to go over to the world settings underneath the volume tab. We're going to select the volume from none over to the principle that volume shader. Once we add this in that this is the effect the density controls, how much volume there is. Let's try a value of about 0.1. Once we do that, this is what we're getting to make this effect even better. Let's turn up theano stroppy right here. Let's try a value of about 0.85 and once we do that, you will see it's more focused where the light is, and we can also change the color of the void. So if we selected the color here, we can bring it more to a yellowish color, which I might dio. And if the effect is too strong, all you have to do is drag the color darker. So if I go all the way to black, you can see it's completely gone. If we go a little bit more of a great color, though, we get this sort of effect, and this is starting to look really cool if we drop back over to the E V settings over in the Volumetrics tab, we can set the tile size from eight pixels down to two pixels. This will give us a lot more detail in the volume. We can also turn on a volumetric shadows. And once you do this, you might need to go back over to the world settings and brighten this up a little bit. Something like this. And there we go. We've added in the volume. Now it's bacon. The indirect lighting will jump back over to the E V settings and underneath the indirect lighting, let's click on Bake Indirect lighting with the higher smoothing right here. And there we go. It's now finished baking NHRC and looks a little bit too dark like minus. What you can do is go underneath the color management down at the bottom and turn up the exposure. I'm also going to set the look to medium high contrast, and this will give us some more contrast in our scene. Now, if I bring the exposure up a little bit, it'll brighten out the room. But now it's writing out this window way too much, so let's go over to the settings over here in the volume and bring the color even lower. Something like this that looks a little bit better. I think the exposure might be a little bit too high. Let's go with a value of two. And I think that looks pretty cool. If we scroll back up to the bloom settings and open up this panel, we can control how much bloom there is in the scene. If I turn it off, you can see this is the effect. It's subtle, but it actually adds a little bit of glow to the window. If you want more, you can turn it up. If you want less, you could turn it down. I'm just gonna leave it at the default value because I think it looks pretty good right now and then. Also, another thing that we're gonna change is the thickness over in the screen. Space reflections. We're getting a weird, glossy look over here underneath the couch and to fix that, we can turn up the distance. Let's try a value of about 2.5, and we can see here that fix that weird issue underneath the couch and now are seen is looking pretty cool. Let's go ahead and give this a quick render. I'm going to scroll up to the render samples amount and set this to a value of 300. I'm gonna press control us to save my project and then go over to render and click on render image. All right, The rider has just finished and if you don't see anything right here, that is because in the composite er, we need to change a couple of notes to actually get the render we can see here. The time is set to 20 seconds. So it only took 20 seconds with this whole scene to render versus the 23 minutes it took in cycles. So that is a huge improvement in the time it's actually get our render to show up. We need to exit out of this window and go over to the compositing tab. And since we're not dealing with cycles, we don't really need the d noise node. So let's just get rid of that. Take the image and plug it into the glare right here and now Our image is now back and this is what it looks like. It looks pretty good, but there is one or two things I want to change in of the compositing. So first off, the sharpen amount is a little bit strong. Let's bring it down to a value of 20.5 and there we go. And next up we're going to change a little bit of the colors. Right now, it's very yellow and there's a lot of yellow and orange is in our image, and I think it's just a little bit too strong, so we can actually tweak those colors with a Hugh correct note. I'm gonna press shift a at in a color hue, correct, and we'll place it right here next to the gamma node. And with this you correct. We can see. Here is the Hewa saturation and a value Select the saturation and bring down the orange is just a slightly and this will make it so that the oranges aren't as strong. And if you go all the way down to the bottom, you can see it just makes the whole image black and white. So we're just going to drag it down just a little bit. Something like that. And there we go. Another thing I'm going to do is bring up the multiply on this. A vignette over here. So if I set this to, like 0.7, it'll dark enough the corners even more. And this is the effect that we're getting. So let's check a before and after I'm going to control shift left, Click on the render layer. This is the before, and this is the after. And I think this looks much better. If we press f 11 we can switch this over to the viewer note by typing and viewer and selecting to the viewer note right there. And here is our results. So there you go, guys. That is how you render our interior scene that using the render engine. Evy, Thank you for watching. If you enjoyed this section or rendered out your own image, please send it to me. I would love to see it to actually save this image. We could go over to image down to save as and then you can save it to where every want and give it a name Down here. I'm gonna call my Navy, render tutorial final and save as image 28. Creating the Rug P1 Particle System: Hello, everybody. And welcome to a new section. This section is all about creating and the models that we used in our interior scene. In these first couple videos, we will be creating the rug with the particle system. We will learn how to model it at in the particles, create the fancy material, and then we'll be able to append it into our scene to get started. We're going to go ahead and delete the default cube, and we also don't need the lamp or the camera. So go ahead and delete those as well. And then we're going to add in a plane. I'm gonna press shift a at in a mesh and a plane and then press end to open up the dimensions underneath the item tap. Here is what the dimensions are on our current plane, and we can go ahead and select it for the dimensions that we used in our into your seen. The X direction was set to a value of 1.8. So that is what we're going to sit there, and the Y value was set to 1.4. So here is our rectangle plane right here and this is what we're gonna use for our rug. Next up, we're gonna add in some thickness. I'm gonna press and a close up that panels and we're not going to need it anymore. And then we'll go into edit mode, press e to extrude and drag it up just slightly. Something like that. And then we're going to scale this in. So we have more of an angle. Something like this will be perfectly fine. And make sure you go into top view by pressing seven z for wire frame and then make sure that both of these angles are the same length you will see this one is slightly longer than this one. So I'm gonna press s and why skillet down just like this. And so we have the same length right here as right here. Maybe a little bit more. There we go. And now it's at in a subdivision service to this plane. I'm gonna also press control a and apply this scale just in case that comes up later and then go over to the modifier tab, click add modifier subdivision surface and will set both the view and the render to three. You will notice that this changed our plane to look like this, and that's not very good. So we're going to go into edit mode and add in some loop cuts to make the edges sharp. I'm gonna press control, are at a loop, cut down the middle and drag it all the way over till it's pretty close to the edge. I'm going to do the same thing on the other side. Control are added. One. Live cut and drag it over one more time on both of these edges. Control are left. Click. Drag it over this way. Control are left. Click and drag it over this way, and there we go. We now have a nice smooth curve for our rug, and we also compress right click and shades muth Next up. Before we add in the particle system, we need to tell blender where we want the particles to be. We can do this with a Vertex group if we jump over to the Object data panel, which is this right here. It's a triangle looking icon. We can add in a ver texture. Let's click the plus sign right there, and we can name this group if you want to by double clicking on it, since there's only gonna be one group that we don't really need to do that. And now we get to a sign of where we want the particles to be. To do this, you could go into edit mode and select a part of the mesh. I'm gonna press three and select all of these top faces. So holding shift also like all the ones on the side. That face right there, this one and finally the corner one right there. And it looks like accidentally selected of the wrong face. I'll fix that. And then over in at the Vertex Group, we can click a sign with a weight of one to actually see what this is doing. Weaken, switch over to wait paint mode right here and where the red is. That is where particles will be and where the blue is like underneath there will be no particles. And now that we've created the Vertex group, we can create the particles of stuff. I'm gonna jump over to the particle system tab and give it a new particle system just like this. You can name it if you want to, But you don't really need to, because there's only one and we're going to switch it over to hair. This is what it currently looks like and it's crazy. So we're gonna go ahead and fix that. First off, let's select the Vertex crew, but we just created jumping over to the Vertex Group panel right here. We can select underneath the density that group right there. And once we do that, all of the particles are on that exact spot and that is looking pretty good. And you can see there's nothing on the bottom. Next up, the length is way too much. So we're going to go ahead and set the length of this to a value of 0.1 and then enter. And there we go. You can see they've become a really small. The number of particles is determined right here. If you set this higher, there's gonna be more and we're going to set this all the way up to 250,000 So 250 000 and enter. Once we do this, it might take blunder a second to calculate. And here is a result. You also might notice a weird thing with some weird patches of particles. You can see there's a big patch right here and another one here. But there's not that much on the side. The reason this is happening is because of the modifiers. So we need to open up the modifier source right here and click on use modifier stack once we still like that. Now the particles are evenly distributed all around the mess. Next up, we're going to go underneath the render tab. Here is where we can say if we want to render as a path, which is the hair particles or an object. We're gonna leave it on path because that is what we want. We're also going to turn on a beast blind, and this will smooth out the particles, making it the strands a little bit more high quality will set the beast lined up to a value of four. You're also gonna want to scroll up and turn on advance right here in the particle system, and this will give us a lot more options. Once we turn on advance, you will see there's a lot more panels and the one of those panels is the physics panel. If we open this up, we can change the brownie and effect. This allows randomness in the hair. So, for example, if I said the brownie into 0.5 and enter and you can see this looks a lot more organic, there's not that many straight perfect particles anymore. It's a lot more random, and it looks a lot more realistic. So with a value of 0.5 that is a pretty good number. If you set this higher, it's going to go even crazier. Like, for example, if I said this 2.1, you can see it does this sort of effect, which is way too strong. So 0.5 is a pretty good number. Next up, we're going to go over to the render settings and switch this over two cycles so we can actually see the so we can actually see the thickness of the hair. If we press Izzy and go into rendered view and we'll zoom in here to see what we're doing, we can see the thickness of the hair is really, really big. So we're gonna go ahead and change that and If we switch over to evey, we can see that it's gone now and there's no more thickness in the hair. So that is why we're using cycles to actually see this a little bit better. We can go ahead and add in a lamp and then a point lamp will drive this up just so we can see what we're doing. And then we'll select the plane and go back over to the particle system to have an open up the hair shape. This is where you can determine that the thickness of the hair. And if it becomes a point, as you can see here, these are really, really spiking the diameter root right here controls the thickness of the particles. Right now they are really thick, and they're also really spiky. So we're gonna go ahead and fix that the root right here. We're going to set down to a value of 0.1 and we'll see how that looks. We'll have enter right there, and then we'll wait for it to update. And you can see that looks pretty good if we zoom out here. This is what it looks like. That might actually be a little bit too small. So what I might do is actually set this a slightly higher Let's go with a value of 0.15 and then for the tip. If I zoom in here, you'll be able to see it a little bit better. And if we zoom in close enough, though, you'll see that our view gets clipped like this. The reason for that is it You press end and go underneath the view the clips start is set to a pretty high number. If we set this really low, it's going to make the clipping a lot. Uh, it'll be a lot shorter, so now we can actually see what we're doing. This value right here, the tip controls how big the tip is, and we're gonna set this to a value of 0.1. Once you do that, it won't be a spike anymore. It will actually be a flat surface like that. You can also turn off closed tip right there, and that will help as well. And it will make it look more like carpet. And once we do that, we can see Here is what it looks like since we changed some of these settings, the thickness actually might be a little bit too strong. So let's bring this down to a value of 0.8 And I think that will be a pretty good number. And then we'll wait for it to update. And there we go. I think that is pretty good. One less thing in this video. If your view port is a lagging too much, you can open up the view port display and turn the amount down right here. If I turn this all the way down to zero, it will display zero particles. If you want some of the particles to show up, you can set it to like 10%. And it will only show 10% of the particles. Don't worry, though. This is only for the view port. The render will still show 100% of the particles, as you can see now I can move around my view port just fine without it lagging at all 29. Creating the Rug P2 Materials: next up is the material for the rug. I'm going to go over to the materials have and give it a new material and we're gonna call this rug and then we're going to create a new material by hitting the plus sign right there . Clicking on new And this material is going to be the particles. So we're gonna type in hair because of the hair particles. Let's first select at the rug material and for the base color. I'm just going to give it a nice tan color. Something like this. I might drag it down. It doesn't have to be perfect, just something like this color. And you can do your own color if you want to. If you want to create like a crazy, blue looking rug, you can go ahead and do that. Something like this will look pretty good. And then once you're happy with that color, you can turn up the roughness to a value of about 0.7 and then we'll select the hair. This is gonna be a little bit more complicated material. So let's go ahead and split this view and switch this over to the node editor or the Shader editor right here. Now we can mess around with this material in the note, and it will be a lot better to actually see what we're doing. We can open up the preview and switch this over to the strands right here. This is what our current hair looks like. It's just white. We're gonna go ahead and fix that. We're gonna add in a couple different notes. First off, I'm gonna press shift a at in an input and then hair info note right here. This gives us a couple different options. Like the intercept, the thickness, or we can choose random. The one that we're gonna want is intercept. This allows us to add different colors for the different heights of the hair. I'm gonna press shift a at an eight converter and then a color ramp. Then we'll take the intercept value, plugged that into the factor, and then the color into the base color of the principal shader. If you look over in the preview now, you can see it starts out black, gets gray and then becomes white at the top. Now we can determine the color. I'm gonna add in a new node right here and drive this over to the left and I'm going to switch this over to the tan color, something like this, and we'll drive this down. Do we get a nice, dark brown color, something like this? Then we'll click the plus sign to add in a new handle will drag this over to the right and Switzerland over to a lighter color, something like this. So now we have a great aunt effect where it starts out really dark, and then it becomes a lighter in the middle and then almost white at the top, and that is what I want. Another thing we're gonna add is a little bit of translucent carpet usually is a little bit translucent, and light does pass through it just slightly. So we're gonna add that it I'm gonna press shift a at an a shader and then a mix shader and will place that right here and then shift a at in a shader and a translucent Chatur right here. If we then take the b sdf and plug it into the bottom inputs. Now we have a little bit of control of how much light passes through. We can also take the intercept value and plug that into the color of the trans loose It. This will just give us some better results. And now this factor controls how much light will pass through. If it's all the way up a lot of light, will Pastor. If it's all the way down, it will have no effect. Let's go with a value of about 0.3 or so and I think that will look pretty good. It's going to be very subtle, but I think it will help with the realism. And that is basically all we really need to do. From there. We can go ahead and close off this panel. All right, there we go. We have created both the materials. Now we need to assign the particles to this hair material that we just create it to do this , go over to the particle system tab and scroll down underneath the render panel right here. You can see the material is currently on rug and we need to switch this over to the hair material. So So like this menu and click on hair. Now, if we press Z and go into rendered view, we'll be able to see the hair material that we just created. And there you go. You can see it's working that just fine, and that is looking pretty good. Keep in mind, this is only 10% of the particles. There will be 100% in the render. I'm going crazy and go back into solid view. And now let's set this scene up so we can upend it into another scene. Later, I'm gonna delete the lamp from our scene and press shift a at an a empty and then playing axes. This will allow us to select the empty and move the plane around, so I'm going to scale it down. Holding shift also liked this object. Then I'll hold shift and select the empty back. So it's the active object that will hit control P and click on parent to object. So now if we still like the empty we can price Agena move and it will move the rug around just like that. Not too bad, and we can also name this collection so we know what collection we need to upend in. So if I double click on this weaken, type in the word rug And now, once we append at this in, it will have that collection and everything will be a little bit more organized. There we go. So now we can save our project. I'll just save it to this folder right here in Oakland. Rug tutorial. If you want to, you can add in a plane and make a little seen around your rug and render it out. So there you go, guys. That is how you create a rug in blender using the particle system and a cool material from here. You can add this into what ever seen that you want. It's very easy. All you have to do is go up to file down, to upend and then navigate to the folder upend in that collection. And there it is, in your scene. Thanks for watching this tutorial, and I will see you in the next one. 30. Creating the Tree Plant P1 Sapling Addon: Hello, everyone. And in this video, we're gonna create the plant that you see in the interior in the left corner. To do this, we're gonna be using an add on called the sampling. Add on to enable this go over to edit down to preferences and then underneath the add ons to type in the word sap. And you should see the sapling tree, Gen Add on right there, make sure it is enabled and then exit out of the user preferences. Except we need to delete the default cube. So I'm gonna press X and deleted and then press shift a and underneath the curve, you will see this sapling tree, Jen right there. If we select this, this is what pops up. Now, before you do anything else, we need to set up some of the settings. If we open up this panel down here, here is all of our settings for this tree. And if you do anything like if I select it, that option will disappear. So make sure you change the settings before you do anything else. I'm gonna go ahead and delete that and re add it so I could get those settings back over in a little upside. We have a lot of different options. This bevel resolution controls how good it will look. Let's set that up to two underneath the load. Preset options. We have a bunch of different trees that we can select from. I'm going to select small pine right here, and this is just the default setting. And we're gonna do a lot of changes to make this how we want the rings distribution. If I bring this up, you can see there's more rings in our there's more branch rings that are in our tree. Let's write this up a little bit, too. Let's go with 25. If you don't like how the branches look, you can change the random seed and you can see it does something like this. And I think actually, that looks pretty good. Let's go with a random seed of one, the scale I'm also going to drag down so it's just a little bit smaller, and then that next up we can change the settings from geometry over to branch radius. This panel determines how thick the branches are. If I drag this up, you can see it becomes really thick. I think the default value is fine. If you want to change the radius, you can. And I might drag it up just slightly. The radius scale you can drag up if you want to. These are all very customizable, and you can create any sort of tree that you want. I don't really need to worry about the branch rate is, but the thing we do want to change is the branch. Splitting here is the levels, and this controls how Maney branches are going to be in your treat. If I set this up to two, you can see there's three different levels. The base level, which is this middle one. The second level is the bigger branches right here, and the third level is all of the little branches that sprout out for a bigger tree. You are probably gonna want to set it to level three, but for a smaller tree, level two works perfectly fine. If you bring the base splits up to a value of one, you can see the base splits like this. We don't really need to worry about that, though. The trunk height determines where the branches are on the trunk. You can see the higher I set this to their more the higher they go up and we're gonna drag this up just a little bit. Something like that is perfectly fine. Next up is the branches, these air, all for the different levels of the tree. So the second level is this one right here. If we drive this up, we can get more branches in our tree, and that is what we want. Let's go with a value of 55 next up underneath the segment split. If I drive this up a little bit, we can get more splits in those branches, and I think that will look pretty good. Let's go with a value of 0.4. If you want to change the angle of the branches, you can do that with this value. You can see if I drive him this way, it creates this sort of effect. Or if you want to change the rotation angle, you can do that with this value here. I think I'm happy with this result. And so the next step is the growth. So switch the settings over to branch of growth, and here is where you can set the length of the branches and the angle. You can see. If I drag this out, they expand out really far. I think the default value is fine. The thing I will want to change is the down angle. I want to rotate the branches up a little bit, so they're facing upwards like this, and I think that will look a little bit better. The length might be a little bit too long, so let's drive it down to 0.25 the curvature. You can do that right here. If you want to drive them up or down. It's totally up to you. I'm just gonna leave it onto Negative 40. I'm pretty happy with how this looks. I will change the height of it, though, so let's go back to the geometry and for the scale. Let's bring that back down to two, and here we go. It's a lot smaller, and now we can enable the leaves underneath the settings. If we select the leaves option, we can click on a show leaves. This is what props up, and currently it's using pine needles instead of actual leave. So we're gonna fix that the leaves I'm gonna bring down to a value of 50 underneath the scale. I'm gonna bring this up to one, then underneath the leaf scale, This is the main scale of the entire leaf. I'm gonna bring that down 2.1. That still might be a little bit big. So let's hold shift and drive this down until the size that we want. So right about there. And I think 50 is still too many leaves toe. Let's try 25. There we go. That's starting to look a little bit better. Let's go with a value of 20. And if your tree becomes black like it did right there, Just change one of the settings and it will go back to the solid view like that. All right, that is looking pretty good so far. If you want to change the scale of them, you can with this value here, the X and all that. I think this is good. Also, make sure the shape is set to rectangle and this will enable us to UV unwrap this really nicely. And now that we've done that, we are ready to start working on the materials 31. Creating the Tree Plant P2 Unwrapping & Materials: And now that we've created our tree, we're ready to start working on the materials. First off, let's create the bark material. Now make sure you have downloaded the leaf texture and the bark texture in the resource is you can go down those for free and once you have them will be ready to go. First off, we need to select our tree brands. And if we go into edit mode, this is actually a curve. It's not a mesh. So we need to convert this over to a mesh and then UV unwrap it. I'm gonna go out of edit mode and then press F three and we're gonna type in the word convert and then select convert to weaken, see three different options here, mesh from curve medicine. Text is the one that we want. This will convert it over to a mess. Once we do this, we can go into edit mode, and now we have Vergis is to work with. The next step is to UV unwrap the street. To do this, we need to go into edit mode and make sure we press A to select everything and click on you and smart you be project and then hit. Okay. To actually see what this UV map looks like. We can split this view. Switch this over to the UV image editor, and here is what this looks like. This is looking pretty good, and this will wrap onto a texture just fine. Let's go ahead and select our leaves and then go into edit mode and see what this looks like. Here is our UV map. This is what we want is just a bunch of squares right on top of each other. That is perfectly fine, because the leaf will be in this exact spot and it will work. The next step is to create the material. So I'm going to go out of ETA mode, go over to the materials ab great, a new material. And since we have the leaves selected, will call this material leaves then will come up to this menu and click on a shader editor . And here is what our material looks like. I'm gonna press and to close off that panel and to add in the texture, we need to press shift a underneath texture, click on image texture and will place that here if we take the color, plug it into the base color and then click open. We can navigate where the texture is. Make sure you have these downloaded. The links are in. The resource is. Once you have found the texture, go ahead and select this one. It's leaves 0050 and open image. If I zoom in and presidency and go into material of you, we'll be able to see what our render looks like. Now, at the moment, if we zoom in here, you'll notice that the leaves are kind of in a weird position. The edge of the leave is connected to the branch. That's not what we want. To fix this, we need to rotate and scale the UV map. Let's switch this back over to the UV image editor, go into edit mode, will come over to this side and press a to select everything. And yet we need to rotate it this way. So hold control and I'll snap it to 90 degrees and then we just need to skillet into place . I'm gonna press s And why skillet down this way and then s and X and skilled along the X till it fits the grid just like this. And now if we go out of ed emote, the leave is in the correct position. Now let's go back over to the Shader editor because there is a couple more things that we need to do. First off, we need to enable transparency in this material. To do this, we need to add in a mixed notice. I'm gonna press shift a at in a shader and then a mix trader right here. We'll place that here. Then we need to add in a transparent shader solo press shift a underneath shader. Add in a transparent shader right here, take the GSDF and plug it into the top input and then take the Alfa from the image texture and plug that into the factor. Once we do this, you can't really see it at the moment. But if we press Izzy and go into rendered view, we also need to come over to the render engine and switch this over two cycles. There you can see it. All of the leaves are now transparent along the edges, just like that, and that is what we want now. Currently, the leaves are just using the principle that be SDF as the color and leaves have a little bit of transparency. So what we're gonna do is add in a translucent shader. I'm going to select this mix shader, shifty it in, place it over on this side. Then I'll press shift a at in a shader and then a translucent shader right here. This allows light to pass through the leaves. If we take the BSD f and plug it into the bottom, input this value right here. The factor controls how much of light will pass through. Currently, this is way too much. Let's try a value of 0.1. Once we do this, this is the effect and I think it looks pretty good. You also might have an issue where the transparent is actually coming back in. And I think the reason for that is because the translucent is coming after the transparency . So what we can do is press all d to disconnect both of those. We'll move these forward. I'll drive the mix shader and place that here and then the translucent will place right there and there you can see now it is fixed. And now there's no weird edges in the transparency. If you want to, you can go back over to the principle that be SDF and play around with the roughness. If you want a glossy look for the leaves, you can do that. I think a value of 0.5 is perfectly fine. And there we go. We've created the material for our leaves, and next up is the bark material will select the branch in them, create a new material and we'll call this tree bark and then we'll add in the texture. Oprah Shift a at in a texture and an image texture. We'll click open and navigates where the texture is. It's this one right here and make sure you have it downloaded and then click on open image . We'll take the color plug that into the base color of the principal Shader. And here is our results. This is looking pretty good so far, we're going to go ahead and bring the roughness all the way up to a value of 0.8 and then we're gonna add in some bump. I'm gonna press shift a out of a vector and then a bump node right here. If we take the color from the texture and plug it into the height and then the normal into the normal of the principle be STF. Here is the result. And now we have some bump in our scene. This strength value controls how strong the bump is. I'm gonna bring it down to a value of about 0.9. And there we go if you want to. If you think the texture looks a little bit too big on your model, you can switch this back over to the UV image editor, go into edit mode, press a to select everything and scale this up. And I think that looks much better. Might scale it up just a little bit more like that. And there we go. We have now created the tree. 32. Creating the Tree Plant P3 Modeling the Pot: our tree is coming along just fine. The next step is to create the pot that the tree will actually be it. To do this, we're gonna press shift a at in a cylinder right here. Then we'll go back into wire frame so we can see what we're doing. I'll go into front view, scale this cylinder down until it's the size that I want right about there. Then I'll press S and Z and skillet upwards for this pot. I wanted to be at an angle like this, But if we go into edit mode, oppress all today to de select B for Bak Select and I'll draw a box around this. If we were to rotate it, you can see it kind of distorts it. It's not a perfect rotation. What we want is to use the sheer tool down here. It kind of looks like an eraser. If I select it, we can then click on this green arrow and drag this down and we get an angle like this. And as you can see, the proportions are still correct. It's still the same length on both sides, and that is what we want. So about a 45 degree angle I think will be pretty good. Maybe a little bit less than that. Now what we can do is go out of this mode by clicking up top, hold Ault in, select the bottom ring of urgencies and scale them inwards. There we go. That's looking good so far. Then we'll add in a subdivision service to smooth this out. I'm gonna press control, too, and this will add in a subdivision service automatically for us. And you can see here both the render and the view are set to two, and then we'll go into edit mode. I'm gonna hit control are and add in a couple loop cuts to make this a little bit sharper, so control are in the middle. Drag this up, and instead of adding a loop cut at the bottom of what we can do is hold all to select that bottom ring and hold shift and e and dry this out to we get Amy increase. What this will do is it will crease that edge, and now we have a sharp edge just like that. Next we'll go into edit mode. I'll go into face elect mode by clicking up top, select this face and hit I to inset and then will press you to extrude and lock it to the Z access and drag the stamp, scale it inwards a little bit as well. And then what we can do here is hold shift e increase that There we go. If we right click, weaken, go shade smooth. And that will smooth everything out. If you get a weird artifact down here at the bottom, what we can do is go into edit mode, select that face and hit I to inset and drag it in just slightly. And there you go. You can see that is now fixed. Same thing on the inside as well. We'll select that face right there. Hit I to inset drag it in And there you go. You can see it's now fixed Pretty cool. There is our pot and for the material. For this, I'll drag it up a little bit more like this for the material. For this, we're going to go over to the material tab, give it a new one, and we're going to select. And for the roughness. I'm going to drive this down to a value of 0.1. We'll call this material white glossy so we know exactly what it is. And now let's group everything together. I'm going to select the lamp and the camera and press X to delete them. And then we'll add in an empty so we can actually move all these objects at once. I'm gonna press shift a at in an empty plane axes. We'll go into front view and drive this down until it's right at the bottom of the of the pot. Right here. Right about there will scale it down as well. And enterprises B for bak Select draw a box around all of the objects hit control P and parent to the empty. So now, once we select the empty price G, we can move everything all at once. I'm gonna press alter G to snap it to that location right in the center of our grid and then over in the outline. Er, we need to move all these objects to a collection also like the leaves. And then I'll hold shift and select of the tree and then I'll click and drag and drive them into this collection will name this collection a tree plant and all the objects are in this tree plant collection and everything is organized. And if you can remember, if we move this to a different location or remove the textures around, we will lose that texture data. So we need to pack everything into this blend file. To do this, go over to file, then down to external data and automatically pack into dot Blend down here. You can see it packed two files, and now those textures are all in this blend file. And there you go. That is how you create a tree plant in blender. 33. Modeling the TV Stand: Hello, everyone. And welcome to a new section in this section. We're going to be creating the TV stand that we used in this corpse over the coming up weeks. I'm going to be adding mawr to this course. I'm gonna be adding tutorials on the different model, such as the Ottoman, the books and the fellows and different things like that. Today, though, we're going to be creating the TV stand so we'll start out with the base of the TV stand and then after that, will actually create the TV itself. So first off, let's go over to the properties right here and change the length from none to metric so you can actually deal with real world dimensions. Next, I'm gonna press and and we're going to set the dimensions up here. So first off the length of this, I want to set it to 2.3. Actually, let's go 2.4. So it's 2.4 meters. Next, the why right here were gonna be setting this to 38 centimeters over a C m and then enter and then finally, the Z, we're going to be setting that to seven centimeters and enter There we go. So we have our base right here. I want to go along the Y just a tiny bit more so dry that up just a little bit. Perfect. Okay, so we have our base. Next, let's create the drawers. So I'm gonna shift D on this base right here and press Z and drive it up. Then I'm gonna press s X and scale it in words you know, in the front view by pressing one on your number pad and then five to go north, a graphic view, and then I'll just drag this over to the right till it's lined up with this edge. Then you compress s Z and scale it up a little bit. Probably around that height or so doesn't really matter and then dragged down. There we go. The next object that will be adding is the base underneath the drawers. So press shifty on this door and then g z and drag it down a little bit. Then scale it down and then scale s z scaled down just a little bit and dragged down. I'm gonna look at the side, make sure it looks good. Not too bad. Let's skillet along the y as well. Suppress s why and skillet in There we go. OK, so next let's focus on the drawers and create the different shelves. So going to edit mode on this cube, then hit control are and add a loop cut right in the middle. Then right click next, Come down here and click on the face. Select mode. Right. Click on this face shift, right Click on this face, then hit the I key twice and that will end. Set the individual faces and just drag it down a little bit. Until you get something like this. Jack it up a little bit more, then press s Z skill down a little bit until it's even on both of these signs of Make sure this side is the same length as a side. Maybe skeletal in the X. Actually, a little bit more along busy right there. Next press eater extrude and drag it out a little bit. Then come down here and click on individual origins. Now, this will enable us to scale the two shelves equally. So if I press s, you can see they're both scaling individually and they're not together like if we were Come over here and go medium point in skillet. Dale's they're scaling up together. But if I come down here and go individual origins, it will scale up separately. So if I scale that up right about there, looks pretty good. Not too bad. Okay, so now that we've done that, let's move on to this left side of this TV stand. I'm going to, right Click on our base right here, shifty Z, and drag it up a little bit. Then press s x and skillet and really small and then drug it over again as X skeleton. There we go, then. Just scale the entire thing just a little bit. Perfect. Okay, so next press s dizzy and scale it up along the Z. So it matches the height of this drawer right here. I'm gonna go in front of you and make sure it's the same height. Just a little bit more and drag it up. There we go. That's about the same height. Next. Shifty this cube right here, then for us s disease skillet inwards, and then s ex scale it outwards till it reaches all the way across. Both of these and make sure it's right in the middle and then up. I'm also going to use press s why and skillet in just a little bit. So it's inside this part. Her vet. Okay, so now that we've done that, let's create this small little shelf that's across here to do that. I'm going to shift D on this shelf that we just created, then Z and drag it down a little bit. Then we're going to skeleton suppress S X and skillet in right about there. We want to make sure that there is a little bit of space right in between this part and the wall right here. Let's go in front of you and make sure it's even. Let's go a little bit more along the X and then just make sure it's right in the middle right there. Looks good. Next, I'm going to around the edges of this shelf to do that, Going to edit mode, going to edge select mode, right? Click on all four of the corners. So this one this one and this one over there we go. Do you select that? Then breast control be in. Drag it out. You can add more geometry to make it rounder if you just use the score wheel. So I'm going to drag it up. Probably around there, maybe six segments or so and then left. Click. Now we can see we have rounded corners and it looks really nice. Next press shift date will go to mesh and then cylinder going to front view and then rotate this so I'm gonna press are and holding down control. I'm gonna snap it to 90 degrees and then I'm going to skeleton. This is going to be a little, like screw or a little thing that's holding up this shelf. So I'm gonna place it right here and make sure it's really small. So it's got down a little bit a little less than that. Probably run there, then press s X and skillet to Joel. It's inside this shelf and it's inside this part right here. Make sure it's on all of the corner, so drag it this way, then impress all d. Why drag it over here, then also like both of them holding down the shift key, right? Click on this oldie and then move it over here. So all d x and then just drag it all the way until the other side. There we go. We have our shelf. Now, one more thing that we need to do to make sure it looks good is to add bevel to everything . So I'm going to right, click on our drawers right here. Go over to the modifier tab and modifier and bevel. Now make sure everything is set to scale as well. So hit control a and go scale, and that will tell blender the dimensions and everything so it can apply the bevel correctly, and we're gonna be setting the level amount to one centimeter along. That didn't seem to do anything. Let's go even lower than that. There we go. So we have to hold the shift key and drag it so we're probably gonna go. Let's go with a little less than that to millimeters. There goes to two millimeters and will set the segment's up to three. There we go. Let's do that. Same thing for the rest of them. Soldiers, right. Click on this, control a scale right click here control a scale control a scale. Lastly, this one control a scale and then select everything actually. Hold on. Let's just do it manually. This one, this this this and then last Select the drawers that have the bubble modifier, then hit control l and go modifiers. There we go. So if we zoom in here, we can see it has bevel. This one has level. I'm not going to add the bubble to this shelf right here, because it has rounded corners, and sometimes it just doesn't work. Apply this scale. Actually, it seems to be working perfectly. Okay. Yeah. So we'll apply. The bubble here will set this to two millimeters and then turn up the segments to three. Okay, Never mind. That actually did work. Sometimes when you add the bevel modifier two different rounded corners, it sometimes messes up. But in this case, it seemed to work perfectly fine. Okay, so there we go. In the next video, we will create the TV 34. Modeling the Screen: In the last video, we created this TV stand, and in this video we're going to be creating the TV itself. So let's first start out by going to a new layer. So come down here and click on layer to then brought shift. See it? It's not my cursor to the center. Then I'm going to brush it day and go to mess and then cute. Now with this cube, I'm going to scale down pretty small and then zoom in a little bit, not too much. Probably run their looks Good. Then click add modifier and go mere right here, going to edit mode and then move this to the right just a little bit. Make sure clipping is turned on and make sure it snaps just right there. There we go. Next presses E and delete that face that is touching the mere modifier. Suppress X in, delete that face. There we go next, going to top view by pressing seven and then right click on this face. We're going to be creating a small curve for the TV to actually stand on is gonna be the base. So I'll drive this out a little bit. A rotated. Then on Price Ito extrude probably around their rotated just a little bit either. Extrude again rotated a little bit and I think that's probably good right there. We'll do one more, actually. Either extrude probably around there. Perfect. Next control are an absolute cut right in the middle. Not there right in the middle of this base. So left, click, then right click, and it will snap it right in the middle. Next right, click ultra right Click on this edge shift ultra click on the other edge and then drag it down along the sea. Access Then go out of that amount. It is a little bit big right now, so I'm gonna press s Z and scale it down. There we go. Next, I'm going to smooth it out. To do this, I'm gonna click at modifier and subdivision surface. Now, once we do this, this will kind of mess up our corners. Now, to fix this, all we have to do is select all the all the edges in the ad Amy increase. So I'll go into edge select mode Ault, Right. Click on that bottom edge. Go to the other side all to shift right click on that edge. Then select this right here, then press shift e and just draw. Drag that out till it's nice and sharp. There we go. Also do the same thing for this top edge, so press shift e and drag that out. And now we have a nice, smooth looking, um, Kirk, I'll set the view to two and then I'll click. Smooth shading. Actually, no, I'll leave that on flat. I think that would look a little bit better. There we go. Not too bad. Okay, So the next thing that we need to do is add a little base right here for the TV to actually connect to this. To do that, I'm gonna press shift eight and add in a mesh and then cube. Now, with this cube, I'm going to scale it down pretty small right about here or so and then I'm going to skillet along the X access so it's a little bit longer, suppress s X and skill it out, then going to side view by pressing three. Make sure it's lined up right with this and then drag it up and then skillet alone. The wife suppressed asks why and skilled a little bit. Then go into edit mode. Make sure your inverted C select mode press A to de select everything B for bak select in Dropbox around these two top overseas and then drag him up, then pressed a to de select. And then we're gonna drag this side down a little bit. So box elected and then drag it down along the sea. Access. There we go. Not too bad. Now, same thing. We need to add a bevel modifier to this. So come over to the modifier tab and click on bevel Press control A and apply the scale and then set the width to two millimeters and then we'll set it up to two segments. There we go. Let's actually go with three millimeters. I think they'll be a little bit better. There we go. Not too bad. Now let's actually create the screen. So to do this, this is pretty easy. Let's brush if day and add in a cute and you can make the screen as big as you want. I'm just probably gonna make it the size of the stand. So price s X and skill out that impressed S Z and scale it up. So probably around that size, then we'll drag it up and place it right where this line is, then press s why and make it pretty thin. Probably around there, since this is going to be a flat screen and then g y and drag it forward a little bit, probably around there. And now we need to make sure that this bases inside it. So going to side view again by pressing three. Right click on this, going to edit mode, gonna impress a to de select everything and draw a box around these top Percy's and just moving for just a little bit. And then I'll drag this back. G. Why drag her back right into the TV? There we go looking pretty good so far. Next, I'm going to right click on this and go into edit mode. We need to make sure that the screen is indented. Some going to going to face elect mode and right click on this front face. You could in said it by pressing I and just drag it in a little bit, probably around there, and make sure that these two edges are the same length it looks like we need to scale it down along busy. So I'm gonna press s Z and scale it down. Probably around there. So make sure that's even on both of the sides and then just extruded back once you're happy with it, you can go out of edit mode and it looks like I want to scale this down just a little bit more Suppressed s why I'm gonna make it just a little bit thinner, right about their looks. Good. Next I'm going to add modifier. Bevel press control A. Apply the scale. And for this, we're going to go with four millimeters regale. Let's turn up the segments to a value of two. And there it is. There's our TV and not too bad. Looking pretty good. Let's bring back our first layer Surprise shift one and bring it back And the TV is very big. So we'll right click on all of the objects holding down shift and then scale it. Hold on, make sure this is on medium point and then scale it down. I'm gonna place it on the right side of this. I'll drag it over to the right. Go down a little bit more and put it right in the middle of the self and then make sure it's a resting on top. There we go. Looking good. All right, so that's gonna do it for this video. In the next video, we will start creating the materials. 35. Texturing and Materials: in this video. We're going to be creating the materials for our TV stand before do that, though. I've been looking at this, and I think this stand right here needs to be scaled down. I think it's a little too big, so I'm just going to scale it down. Probably around that size, I think is perfectly fine. I think that would be good. Make sure it's still inside right there. Maybe skill this thing down a little bit. So s why scaled it down. Drive that forward. There we go. Okay, that's a little bit better. All right, So the first material that will be doing is the wood material. So let's right click on the drawers right here, and we need to you be unwrapped this. So I'm going to split the view and then come down here and click on the UV image editor, then go into edit mode on our on our drawers. I'm also gonna press t to close off that to a bar, so we have a little bit more space. Okay to UV. Unwrap this. Make sure you select everything by pressing a Then go you smart TV project. Then hit. Okay, and we'll see our UV map right here. That looks pretty good. Next, let's go to the note. Editor and import are texture, so come down here. Click on note editor. Then click on use notes. You're gonna press end to close off that panel now. We're not going to need this. Too few shader is You can delete it by pressing X, then press ship date. Go to shader and then principal changer. Take the output of the principal changer and plug it into the surface. Then pressure if they go to texture and then image texture. Now, if you watch the course, you'll have this texture already. All you have to do is take the color, plug it into the base color, then click open navigate to where your resource is. Our from this course. Once you've navigated to where the textures are, we're gonna be using this one right here. It's textures column. Underscore would find 00 or one and then open image. If we pressure busy, we can see what our texture is looking like, and the texture is a little messed up. We can see it's not rotated the right way. Now an easy way to fix this is to go into edit mode. I'm going to switch on texture of you so we can actually see the texture. Then come down here and click on UV Image Editor. Now, all you have to do is just right. Click on the faces that are messed up. So be this one. Looks like we need to alter right Click on this ring. All three cook on this ring, then come over here to wear UV map is press A to select it, then are to rotate it. I'm gonna hold control to snap it to 90 degrees. There we go. And we can see everything is fixed. It looks like actually, though everything is wrote in the wrong way. So I'm gonna control Z that select everything. Come over here, select everything by pressing a, then rotate the entire thing and I think that will fix it. So if we come all the way around, make sure everything is good. Yes, it is. The wood grain is going in the right direction. I'm also going to scale this up just a little bit, probably around there, so we get a little bit more texture coming in perfect. Let's go back to the node editor because I want to do a little bit more right now, I'm not liking the color of this is kind of an orange looking texture, so I'm going to change it to a darker, less saturated one. So I'm going to brush Chef today, go to color and then Hue saturation plays that in between the image texture and the principal shader and I'm going to bring down the saturation. 2.9, I'm gonna bring down the value to a value of 0.5. So now if we go over to the material and open up the preview, we can see what our texture is looking like. Next, I'm going to brush, shipped eight and go to converter and then math. Note. Place that underneath the principal changer, then take the input of the color of the texture and plug it into the top value of the math known and set this to multiply. Then take the math note and plug it into the output displacement. Now we can see we have some displacement in our texture. Currently, those this is too much. So I'm going to set the value 2.1. The higher you set this value to the more displacement it will be, as you can see in the preview and the lower you said it to the less displacement. So 0.1, I think is a good value, and we can see there's just a little bit of displacement, which is perfect. Next, let's select the base right here, and we're gonna be doing that same thing. So go into edit mode, you smart UV project. Then cook. Okay. And it looks like our texture is rotated the wrong way again. So we have to go back to the UV image editor press eight a. Select Everything are to rotate and just rotated 90 degrees. Perfect. Next, select this block right here. Going to edit mode. You smart, You'd be project. OK, then, if we come over here, we can see that it looks okay. I think actually, that's fine. We'll leave it at that angle Now. What I want to do is make this block right here a darker material. So all I'm going to do is click on this six button and this will create a new material, but it will have the same nodes and everything. And I'm just gonna call this one dark. Then go to the note editor, select your hue saturation value note and set the value 2.2 in. This will just darken up that texture. Now, if we pressure Z, we can see that there's a dark texture here, but the rest of it is still the same. The next mature that we're gonna be doing is the shelves right here. So select, um, get rid of the wood material, then click new. We can name this material black, then deleted a few shater, then per shift a go to shader and then principal changer, Plug it into the material up it and set the color to a dark grey. Probably around here, you don't want to go full black, So just a little bit above right about here, I think is good. The roughness weaken, dragged down to a value appointed three in this regular weaken drag down to a value of 30.3 as well. Let's rush of Z and see what it looks like. Not too bad looking pretty good. We're gonna set that same material for this shelf underneath, so click this drop down menu in the material tab and click on black. There we go. Next. These little screws are these little knobs that are holding the shelf in place. This one is pretty easy. Select new. And we're gonna call this one glossy, deleted a few shader and then just add in a glossy shader. So shift a shader glossy and then just plug it in the color I'm going to drag down and then the roughness, I'm gonna set 2.5 So it's a nice silver material and then make sure this has that's a mature, which it does. Since we all did it. It linked those two meshes. So these ones over here should also have that same glossy material. Just to be sure, I'm going to select the back one. There we go. And glossy Perfect. The last material for the TV stand is this base under here. So select it. Get rid of this material for the wood and click on new deleted. If you shader then pressure. If they go to shader principle, we can leave the basic settings in the principal Chatur, I just need a white color. So now if I part ship is a ship Z. I mean, we can see a white color underneath. There we go. Okay, So for the TV stand, this is pretty simple as well. We'll select the main TV screen and click on. We're gonna name this material TV Black deleted a few shader than Pressure Day. Go to shader principle. Place that here and then dragged the material of the principled into the surface and set the color to a dark gray color. Again, we're going to drive the clear coat up 2.1 and the roughness down. Two point. Let's go. Let's go 0.3. There we go. And make sure that same material is for the stand right here as well. So cook on this and go TV black. Then it's like the base right there and TV black. One more material that we need to do is the screen. This was pretty easy as well. Hit that plus sign and click on new. We'll just call this one screen right click on this diffuse Shater and delete it and pressure day at in the principal changer in place that right here, then go into edit mode and make sure your screen is selected and click assigned. So this material is now assigned to this face. Then go out of it. A moat for the speculator. We're gonna drag that up. 2.8 The roughness. We're gonna drag that down 2.2 and the metallic. I'll drive it up just a little bit to give it a nice, glossy look. And then the color will set this to a dark grey or black color will process busy and we can see what it's looking like. Not too bad. You can't really see it too much because there's no reflections in the scene. But if you had a full scene like a room like in the course, you would see a nice reflection. There we go. And then we can also bring the clear coat up. And this will just give it a nice, clear looking coat, as you can see There. All right, I'm going to close this off now. The last thing I'll show you in this section is how to group everything together and then export it 36. Grouping: in this video, I'm going to be showing you how to group everything together, how to set parent objects, then how to add it into another scene. So let's first start out by grouping the TV together. So I'm gonna press shift a and add in a empty plane axes. I'm going to scale this plane down a little bit and place it right underneath the base of the TV. So I'm gonna press one, then g and move it right here. I'm going to zoom in and make sure it's right underneath. So zoom in and place it right there and then drag it back, then select everything. So select your base right here, the screen. And then that that holder right there. Then select the empty last. Make sure that this is the active object. Then press control P and go parent. Now, before you do anything, press control Jeep in this whole group. All of these together. Now if we open up the tool by progress in t Weaken, name this group, I'm going to call this TV screen. There we go then t to close that off Now if we right click on our empty, we can move this around and it will move all the objects all at once. Now we can move this to the right, the left, wherever we want in our scene. Let's do the same thing for our TV stand right here, this base. So I'm gonna go in front of you busy for wire frame and then a de select that empty B for bak. Select and draw a box around everything, then press B and draw a box with the middle mouse button to de select this empty. Actually, before we do that, we need to add the empty and verso press shift day at an empty plane. Axes. There we go. And let's drag this down till it's right underneath. So right there, There we go. Now select. Everything's going in front of you see, for wire frame and B for box of life to Dropbox be again Middle mouse button to de select press control P and go object. Then before you de select everything, press control G. And that will add it to a group. And we're gonna name this group TV stand. There we go. And just to be sure, hold on. Yes. So this has the TV screen, and then this one has the TV stand. Sometimes it gets confusing if you add it to the same group to make sure that these objects down here have the TV stand group. And this object up here has the TV stand screen group. There we go. We're gonna add one more final empty into the scene. I'm gonna press ship, take a plane, axes and scale this up. This is going to be the main empty for the entire model. So I'm gonna select everything box locked, everything. Control P and parent. So now this has, um, the entire TV standing. We can move all the objects all at once. Then I'm gonna box locked everything again. Control g t. And I'm gonna name this one screen and stand. So now all of these objects have two groups. This one has the TV stand and this screen and stand, which includes everything. So now let's save our project by pressing. Control s in. Click on save. Now, let's open up a new seat. So press control and once you've saved it and open up a new C, I'm going to delete the Cube. Then if we got to file and a pen we can upend that model that we just made. So when we find it real quick TV stand selection. If we cook on this blunt file, go to group. We can see all three groups right here. If we want to just do this TV stand, we can import that. If we just want the screen, we can import that. Or if we want both, we can click on screen and stand a pen from library. And there it ISS. And if we pressure busy, we can see the materials are in place. So that's gonna be it for this section. Thank you for watching, and I'll see you guys in the next one. 37. Creating the Ottoman: Hello, everyone. And welcome to a new section in this section. We're going to be creating the different models that we used in our scene. So in this video, we're going to be making the Ottoman that is underneath the window in the interior scene. So this is pretty easy to make. All we have to do is just a little bit of modeling will add in a texture at some modifiers to get some displacement, then add a fabric material and then we'll render out an image. So first off, I'm going to delete this cube, since we're not going to need it, then pressure, they will add in a mess and then plane going to edit mode on this plane, then hit the I key. And what inset this? As you can see in the bottom quarter, I'm gonna go probably around 0.33 Then left Click after you doing that press e X key and delete the faces. All right, then go into edit mode. Press aided. Select everything going to side view by pressing three, then five to go, Arthur Graphic view, then hit the R key and will rotate this 90 degrees. I'm gonna hold control and it will snap it to 90 degrees, then go into top view or rotate this again 90 degrees. Then we'll move it along the X access till it's about right here to under units across. All right. Next, go over to the modifier tab, click and modifier and Mir. Now, since we did this in edit mode, the origin point stayed at the center, and it mirrors it perfectly. Then press E to extrude, and we'll extra this out to give it some thickness. After you've done that, press a once or twice, then hit control end, and that will fix the shading. And as you can see, it looks a lot better. Okay, Next, I'm going to go into edit mode Z for wire frame, eight of you Select, then be for blocks select and will draw a box around the bottom right there and then just drag it up just a little bit. There we go. Maybe we'll select everything. Drag it out just a tiny bit more. Okay, next, let's add a border across here or a little support. So I'm gonna press shift eight, go to mesh and then cube, then go into front of you press s Z skillet down. So it's about the same width as the's stands right here. That looks pretty good. And we'll drag it up till it's the same height. Then press s X and drag it along till it goes inside. There we go. Maybe make it a little bit smaller, actually. Didn't track up Perfect. Then going to talk to you and then press s y and make it a little bit dinner. So there's a small gap in between. All right, there we go. Not too bad. Next, let's add in the modifiers to these objects. So first off the stand right here, I'm gonna go and modifier, then bevel, and this will bevel the edges and make it look around, which is good. Next press control a. Apply this scale to make sure it's set to scale. Then for the with this is basically up to you. You can do whatever you want, but I think for mine I used a value of 0.4 long 0.4 maybe a little more than that. So probably 0.14 I think is a good value. And then the segments weaken. Turn up to two. Let's right. Click on our stand right here. Go at a modifier. Bevel, then hit control. A applied the scale, and there we go. As you can see, it's even thickness throughout. Then the width will just drive this down. 2.14 So the same value as we did over here. Then turn up the segment to to perfect looking good so far. Next, let's add the cushion on top. So to do this, I'll just right click on our stand. Schiff D it z will drag it up. We'll get rid of the bubble modifier, then go into front view S X and dragon outwards. Make it go a little bit past, then SZ make it a little bit bigger as well. Drink it up, then we'll go s why in drag it out a little bit as well. There we go. Maybe a little taller. Something like that looks pretty good. Next, we'll right click on this. Go to add modifier and then subdivision surface. And as you can see, it changes it quite a bit. So let's set the view to two. Then we'll add some Luke cuts. So going to edit mode will hit control are at a loop cut here, Drag it over to the right. Not all the way. Leave a small gap, then control our drivers over to the left. Same thing here. They just a small gap. Then control are will drag it up then control are one more time and will drag this down. We need to do it two more times, actually. So hit control are at a look Cut here. We'll drag it across this way control are and then drag it across. This way. There we go. Not to Ben. Okay, so next I want to add a small seem in between these two burgesses, So add a loop cut control are left Click then right Click. Then all you have to do is press s Z skillet down than s why. And skillet inwards. And that will just create a small scene. And as you can see from a distance, it looks pretty good. We'll do the same thing on the side. Go into edit mode and a loop Cut left, click, right Click then press s Z skill it down just a tiny bit then asked why skill in just a little bit as well. All rights looking good next, going to edit mode and we'll just add in a couple more Luke cuts, and we're gonna be adding in a displacement modifier, so we need a little bit more geometry to work with. Control are all add in probably around four. Luke Cuts left leg, then right click. Then we'll add in a couple more. Luke, What's on the side? Control are. We'll add in to Luke cuts this time. Left, click, then right, click. All right. And when you're working with displacement modifiers, you want to make sure the faces are square and not rectangle, because it will look a lot better. So now that these Air Square faces will go to the ad modifier, and then where is it? At Displacement. Right here we'll click and new on that texture. Then go over to the texture panel. Change the type from image or movie to clouds, and then the size will set 2.3, and it just makes the bumps off a little bit bigger. Then, underneath the modifier stack will add in a strength of 0.1 just a very slight displacement I think we'll look nice. Then we'll also hit smooth shading on that. All right, there we go. Now we're ready to set up the materials. So the first material that we will do is the stand right here. So right. Click on it, go into edit mode, then hit you smart. You be project and okay. Next, let's come over here and open up a me window. Click on note editor than end to close it off, cook new on that material and will name this material would stand now for this material I'm going to right click on the Depew Shader and delete it. Then press shift. They will add in a shader and then principled shader Take the output and plug it into the material output right here. Then press if they will add any texture, image, texture take the color, plug it into the base color of the principal Chatur then hit open now for this texture. If you've already downloaded the files and everything that you need, you already have this. And mine is right here. This is the texture that will be using. So you can see the name is would find 0086 Open image. Next, let's my ship day Go to color hue, saturation place that right here I want to change the color up just a little bit. So if we opened up the preview, we can see what it looks like. The hue. I want to give it a little bit more of a red color. So I'm gonna go point for eight. There we go, the saturation. I'll drag up 2.3 and then the value will drag this down 2.3 as well. I made a point for Let's go. I think 0.4 is actually fine. All right. And let's press shift dizzy and we can see what our texture is looking like. You know what? Let's go with 0.3. Actually, I think that will look just a little bit better now the texture is rotated the wrong way. So if we go into texture to be here, we can see the texture is going sideways and this one is going up. I want all these be going up and down. So to fix this, all we have to do is go to the UV image editor going to edit mode over here going to face select mode and a shortcut to switch between these different modes is control tab. And then we can click on whichever one you want. Let's go face. Then we'll right click on this face and we'll leave that one going sideways. We'll right click on this face and there we go, then underneath Here we will Ault. Actually, we'll right click on this one and then we'll right click on this one. Okay, then over on the UV image Editor, press A to select it. Then our will hold control and snap it to 90 degrees. There we go. Look at that. Now we have it rotated the correct way. Now, if you want, you can select everything. Come over here. So, like everything and skill up the texture But I think it looks perfectly fine as it iss. Next let's do the base right here. So going to edit mode? You smart? Will you be project hit? Okay, then we'll apply that material. So in the material tab, click the drop down menu and select would stand. All right, then over here will go into edit mode Press are to rotate and will rotate this 90 degrees. There you go. And as you can see, the Dexter is going in the right direction, all right. The next material that will be doing is the cushion, so right click on it. Click the drop down menu and we'll just select this material right here. Then click. Use notes. Next, let's open up the note editor. So come down to this menu. Click on Note editor and delete that if you shader press shift a hat in the principal right here, then pressure. If they will add in the mix. Shader pressure. If they will add in a glossy shader, then one more shift they will add in an input for Anel. Note. Take the principal trader output. Plug it into the top. Take the glossy shader, plug it into the bottom. Take the mix. Traitor. Plug it into the surface and the final note. Plug it into the factor. The roughness for the glossy weaken set 2.28 are 25 I mean, there we go, and the roughness for the principal changer will drag 2.8 and the speculator will drag that down 2.4. And that will just make it look a little bit better. So basically, what this material is doing is it's taking the edges of our mesh and giving them just a slight, glossy look. And this will help make it look more like fabric. All right. Everything else, I think is good to go. You could if you wanted Teoh for them. Would material give this a clear coat? And that will, just as you can see here, gives it a nice clear coat. But I think for now we'll just leave it. Actually, you know, we'll drag it up just a little bit. All right? Let's close this off and add all of our objects to a group. So first off, I'm gonna buy shipped a go to empty plane axes. And you know what? This is really big, so I'm gonna select everything these, select the empty and then scale this down. Maybe not that much. Probably around their looks good. And then we'll drag it up. Then we'll right. Click on our empty control P ingo object. Make sure the empty is your active object and to figure out what your active active object is. It has an orange border and the other ones have a dark orange border. So now if we right click on our empty, we can move all of the objects at once. Next, select everything by box, selecting it, then hit control G or command G on a Mac Presti and Weaken. Name this group Ottoman. So we'll just typing ottoman right there and then press t to close off the toolbar. All right, so let's do a render real quick. I'm gonna press shift a and in a mesh and then plain and scale this point up then for the material for this plane, I'll just go new. Set this to principal right here. Then over in the world settings will just drive the color of the world up to a nice white color. Now, if we brush of Z, we can see what it looks like. Not too bad to position the camera. I'm just gonna set my view port probably around here. Then hit control Alz or command option zero on your number, pet. And that will snap the camera to wherever you are looking. Then we'll right click on it G to move it around G middle mouse button to get back right about there then, for the render settings. I'll just leave this at 50%. The sampling will set this to 50. And underneath the Render Layers panel, I'm gonna turn all in d noisy Before we render this. Though, I am going to say my project. So I'm gonna price control s save it to my desktop and always call it Ottoman tutorial. There we go. Then hit Brender. And there we go. There is our ottoman, so you can add this to your own scenes, if you like. Change it up a little bit, make them material different. Whatever you want to do, go play around with it. But that's gonna do it for this video. In the next video, we will create another model. 38. Creating a Book in Photoshop and Blender: Hello, everyone. And in this video I'll be showing you how to create the books for our bookshelf in the interior scene. Now what we need to do is jump into photo shop and actually create to the image for the cover and add the text and whatnot, and then we'll import it back into blender. Now, if you're looking for an image that you want to use for your book and you don't have a lot of renders, you can go on a website called Picks Obey and just type in image that you want, and they have tons of high quality images. So let's say you want a book about landscapes or mountains, so if we just type in the word landscape, we can see a bunch of different images pop up, and we can just choose from any of these to create our book. So find yourself an image, use your own render or an image on here, and then we'll jump into photo shop. So here we are in a photo shop, and I just imported in the clock tower image, and we're going to be creating ah cover for this. So the first thing I want to do is convert the background to a regular layer. So I'm just gonna click on this and that converts it to a very good layer. Now, if you don't have Photoshopped, you can use AH program called gimp, that is a free, free program that you can go ahead and download. It's very similar to photo Shop is just a little bit different. Let's lay this out so we know where the back is, where the back cover is, where the spine is and the front. So to do that, let's grab our tool right here. The rectangle tool and let's draw a spine. And you can make this as Bigas you want. So let's say if you want to really fix Bonnie would draw this out if you want. Lower are smaller. One. You draw this in. I'm just gonna go probably around here and don't worry about the color will be deleting this later. We just need it for reference. Next, press control A and that will select your entire image and make sure you have the move tool selected. Then align this so quick on this align button at the top and then align it to the center as well, then to de select just price control. D. All right, next, let's add in some guides now toe adding guides. We need to have the ruler enabled. And to do that, you can press control, are. And if I do this a couple times, you'll notice the ruler comes up, so make sure that is on control. Are then just come over here with your mouse. Click and drag out a ruler. Our guide do the same thing for the other side, and it will snap to that edge. Now that we have the spine, we can actually delete this rectangle that we created. So just hit the delete key and that will get rid of that layer. All right, so now that we have this, let's press V for the move tool. India's drag our cover over to the right, so position the image where you want your front cover to be, so if you want just a little bit of it, you can have it here or, if you want it, Teoh involve the whole front cover. We can do that, so position it where you want it, and then let's add in some text suppressed T for the text tool, Then just click and then type in the name of your book. So for this one, let's just go. Realistic cycles, actually, realistic materials in cycles. There we go. Then I'm gonna hit the check box, and that will make it permanent. Then press control tea and we can drag this up. You can hold the shift key to make it uniform, moving around, skill it up, and then position it where you want. Then hit the check box. There we go. So we have our name of the book. Now it's a little hard to see, so what you can do is come over here and click on the rectangle tool that we did before. Come up to the fill color and change it to black, then draw a box around the text so we'll just draw small little box right here and then over in the layers panel dragon. Underneath the realistic cycles text layer. There we go. Click V for your move tool and then the opacity over on the right side. Just drag that down just a little bit. Let's go with, like, 60. Um, let's go with 50%. And there you go. You can see it gives the text. It's easier to read now since we have that black background. Not too bad. All right, you can. Also, with the text tool. Just click on this, control a. Then click on this align center button and that will move. The side goes to the middle quick on that check box, click on the move to a book by pressing V and then just drag this to the center. You can do this right, or, if you like it to be aligned to the left. It doesn't really matter. I'm gonna leave it as it is them. All right, Let's add in the author. So we'll click down here with the text tool will type in the word by and then we'll just go blender made easy. There we go and then hit that check box, Then click V and then position is where you want. I'll just go in the right corner, and there we go so the front cover is done. Now let's move on to the spine. So what we need to do is click T for the textile and then type in realistic cycles materials again. We'll just type that in realistic materials in cycles. And this time I'm gonna leave it all as one line. Then hit that check box next to rotate it, we need to hit control T, Then click on that corner. We can hold shift and it will snap it to 90 degrees. Then hit the check box. Vida move will place it right in the middle control t again and will scale it up. Ah, hold shift to make sure it's uniform. There we go. Hit the check box V and then we'll move it right to the center. There we go. Next, let's click on our by blender, made easy layer in the right side and will hit control Jake. And that will duplicate that layer. Next head V for the move tool. And then we'll move it over to the left Control tea and we'll just rotate this in 90 degrees. Ah, hold shift again. Then we'll skillet down, Then hit the check box V again and then we'll move it right into place. There we go. So now we have the spine and the front cover for the back. We can do whatever we want. We can just duplicate this bottom layer that we have and move it. So we'll do that real quick. Control J will duplicate it, V for the move tool. And then we'll just move this over to the left. All right? Right about there is probably probably good. Next, I'm going to make sure this layer is selected, and I'm gonna add a layer mask to this layer. Just click on that bottom button right there. Then I'm going to mask out of this edge that we don't want So presby for the brush tool. And then make sure you have the black enabled, and then just click, hold the shift key and drag down and dragged back up and do this a couple times till that edge is nice and clean. Then click on this side. Drive that down so it gets rid of that straight. All right, there we go. We have our back cover, and we can leave it as it is. Or if you want to add some text, or maybe Buller the background. Also, you had to do that real quick. So first off, I'm going to right click on my layer and convert this to a smart object. This will enable us to add filters to this layer and it won't be permanent. Will be able to edit those filters later on. So make sure you click right click on it. Converted to a smart object. Next I'm gonna go up to filter and then underneath Blur, I'm going to go Gaussian Blur. Then with this slider, you can determine how much blur you want. I'll just go with a little bit, probably around eight, then hit. Okay, Next for the text. I'm gonna press t and I'm gonna draw a box. This will drop paragraph. Next. I'm going to go up to type. Then go paste Lauren Epsom. And this is just some blank texts and it will fill it up there. Then we'll hit the check box and there we go. Now the text is a little bit hard to see, so we'll do the exact same thing that we did for the realistic cycles materials. We'll click on this rectangle tool over on the right side. Control J will duplicate it V for the move tool, and then we'll drag it over to the left will place it in that corner, then press control T will drag this side out. Then we'll drive this side all the way to the bottom, then hit the enter key. Now we need to drag this underneath our paragraph. So click on this layer. Then I'll drag it underneath our text. All right, so there we go. That is how you create a book in photo shop. And now what we need to do is save this project. So I'm gonna hit control us and save my project. Then I'm gonna hit control shift s change the type to a J peg and then save this image. We'll sit well. Hit OK on that. And now we have an image in our folder. Then we can import it into blender. Now, we've only done one book and you can use the same principle for all the other books you can just add in an image and some text in and what not and then save it out. So now let's jump over to blender and will create the book. All right, so here we are in blender, and I'm going to delete this cube. Since we're not going to need it, Then I'm going to enable an add on to go up to file user preferences, go to add ons and then underneath the search bar, we're going to type in image and you should see image as planes add on right here. Click that check box saviors or settings and then exit. Once you've done that, you confront shift a go to mesh and then images and planes. And then we can find our image that we just made. Mine is right here, and you can see the dot psd, which is the Photoshopped file. And then the J peg we have right here. So click on the JPEG and go import images as planes. All right, there we go. So if we brought ship dizzy, we can see our material just like this. Okay, so next what we need to do is come down here, click on textures. We can actually see our image. Now we need to add in some loop cuts, so go into edit mode will go into a front view. Actually, it looks like we need to go into side view by pricing three, then five for Ortho graphic view. Then hit kay for the knife tool. Click on where that spine is. Then hold the Seiki and that will make it straight up and down. And then click down here, then hit. Enter. And that will create a Luca. Do the same thing for the other sign. So hit Kay will place a knife right here. See toe, lock it and then drag it down Quick on that edge, then hit! Enter! All right, there we go. We have to. Seems next I'm going to right click on this vert asi Holden shift. Right Click on that Verdecia. Then press shift us cursor to select it. Next, I'm going to come down here and click on three D cursor to be my pivot point, then press are Z holding control actually held on? We need to make sure this is this Whole face is selected. So right. Click on that face. R Z holding control will snap it to 90 degrees. There we go. Look at that. We have placed our image in the right spot. Let's do the same thing for the other side. So going toe ed, Select mode. Right Click on this edge Shift s cursor to selected. Going to face elect mode, right click on this space. R Z holding control will snap it to 90 degrees. All right, there we go. We have our back, We have our spine and the front cover. Next, we need to add in the pages. So this is pretty easy. Let's go back into edit mode. We'll go into versus Bird ISI Select mode and we'll right click on these four F to fill in the face. We'll right click on these four F to fill in the face. Then down here, right click on these four F to fill in the face next, going to face elect mode. We'll right click on these three faces, then hit the I key Will in said I'm just a little bit Then press the S key and will scale it down. All right. Next, let's go over to the material and hit the plus sign, then hit new. We'll call this material paper now Let's open up the note editor. So drag this out will open up a new window and oppressed t on both of these. Then come down here and click on note Editor for this material, it's pretty easy. All we need to do is add in a noise texture, so proud. Shift a go to texture, noise, texture. Place that here, then take the color and plug it into the diffuse shader. We also need to hit a sign on that material so it actually assigns that part. There we go. Let's come down here to the view port and we'll go materials. We can actually see what it's looking like. So right now the noise sexual er is giving the material a pink and purple color going to fix that. So let's brought shift a go to converter Qala ramp in place that right here next, we'll set the scale of this to 75. So we get some nice bumps right there. Next meaning to scale this up. So it actually looks like pages of paper. So let's brush. If they it will go to input and then texture, coordinate, then pressure. If they will go to Vector and then mapping, take the generated output and plug it into the vector, then the vector into the rector. Okay, so for this mapping note, we need to set the scale of the noise texture to actually look like pieces of paper. So, first off. We're going to set the X 20 the Y 20 in the Z 2.6. There go. And for some reason it's not working. Let's try applying the rotation. So hit control A will click on rotation. There we go that seem to fix it. Control a will click on scale. Um, okay, so it looks like I need to set the Y 21 and the X and the Z 20 and that seemed to work. And there we go. We can see it's going in the right direction now to change the color of the paper. We can just drag this black value up and drive the white closer to the black, and that will give it some more contrast, as you can see there. And if we press ship Z, we can see it looks pretty good. We could also take the color of the noise texture and plug it into the displacement. And that will really give it some depth. And I think it will look really nice. Not too bad. Another thing you might notice is the UV map is messing up on this edge that we extruded and add faces to. So to fix that, we can just add a new material, click on new and set the color, too, just like a black color or something. Then go into edit mode. Ault, right. Click on that edge, and it was like the entire loop. And just a sign that black material and shift see. And as you can see, it's now fixed. All right, so that is how you create a book in Blender. This isn't exactly how I did it with the models that you've downloaded, but I think this is a better way, and it gives more detail to books. So thanks for watching. If you create your own book with your own image, I'd love to see it to make sure to post it in the assignment. After this video, Thanks again for watching and I'll see you guys in the next video. 39. Creating Pillows in Blender: Hello, Rohan. And welcome back to another video. In this video, we're going to be sculpting and modeling some pillows in blender. So this is pretty easy. All we need to do is just a little bit of modeling on our cube, and then we're gonna be doing some sculpted. So first off, let's scale this cube down to the size that we want to. Now, normally, pillows are not square like this there more flat. So what I'm gonna do is press s Z and just shrink this down till about the size that I think Capello might be something like this. You can even scale this along the X if you want, like, a bedfellow or something. But I think I'm just gonna leave it around this and so we can have a square. Ah, flat one like this. Okay, so the next thing I'm going to do is go into edit mode, apply one luke, cut down the middle by hitting control are left, click and right. Click. Come over to this side control are left. Click then. Right. Click. Next, I'm going to select all of these edges, so select all the corners right here. All the way around and then just press s and scale him out just a little bit, so we kind of get this shape. All right? It's going to top view. Hold on. Why? Well, it looks like I forgot. Teoh, grab that one, birdie. See someone just like that one, then Just press s and well, skilled is out right about there. Looks good. Then press s busy and will shrink these down just a little bit. All right, so now that we've done that, let's add a bunch of modifiers to our fellow. So for herself will go to the modifier section, click add modifier and go multi resolution. This will enable us to sculpt our mesh without affecting what it what the base mesh is. So with this modifier, uh, enabled. Right here we can hit subdivide, and this will subdivide it a couple times. There we go. We go, we'll go. Four, maybe five. Let's actually go five. So subdivide it five times and we get a nice, smooth looking mesh next going to edit mode. What we'll do is we'll describe all of these edges and shrink them down just a little bit. There we go. press s to scale will just drag him in just a tiny bit to get a nice curb right here. Next to make this even more defined, I'm going to me increase these edges. So right, click on all of these edges right here. Look like ones in back. All these corners next with them Selected press shift e and will drag this out till gets a nice creeks. And you can see it's, ah, purple or pink. Ah, color now. So if we go out of edit mode, we can see what it's looking like and is looking a lot more like the pillow shape. All right, Next, what we're going to do is start sculpting. So to do this, we could come down to object and go Scott, And you might get this thing up here that says it's a non uniforms scale that just basically means we need to set our object the scale. So Blender knows the exact size. So to do that, going to object mode control a in click on scale. Then if we go back into sculpt mode, we can now paint and draw some creases and wrinkles and stuff to make it look a lot more realistic. So if we opened up the cemetery lock, we can enable the X and the Y in this whole mirror What we have sculpted. So, for example, if I paint right here, you'll notice on the side it has that same mark, which can be very useful. And it will save you some time. But I recommend you leave this on for a little bit while you do your sculpting, then turn it off and add some additional wrinkles. Do you even make it look more realistic and less symmetrical? So with the X and the Y enabled, all we have to do is just start drawing right here. Over in the toolbar. We have our strength of our brush and we have different brushes right here. So right now I'm using this sculpture draw brush and I'll drive the strength down just a little bit. Let's go 0.3 or so, and we'll just start Drawings increases. Now it's drying outwards, and if you want it to draw in words, you can hold the control or the command key and draw, and it will actually shrink. So just doing something like this getting the corners toe Look, something around here or so maybe even subdivide this even higher. We can get some more detail in here. Something around here and see that one. Didn't look that good, cause you can see it right there. So what I might do is turn off the X and then just hold on. That didn't seem to work. Turn off the Why, There we go. So if I turn off the why, we can now draw on it won't married. And we could come under here and some more to make your brush bigger or smaller. You compress the F key and draw in or out. So make mine a little bit smaller and draw some other small creases, something like this Control and then left, click control and just do it randomly throughout here. Doesn't have to be perfect. Just something similar like that. There we go. Now, if you if it's too much, you can press the shift key and actually smooth it out. This will enable the smooth brush right here. Or you can just click on this menu and select this move brush. And I'm actually gonna leave it right there because I kind of like it. I might go Just draw a little bit, kind of smooth that out, something like that. Then once you're happy to go back to the draw brush and continue to sculpt around All right , there we go. I'm pretty happy with that. You don't have to worry about the top right here will be adding in displacement modifier, and that will help. But for now, I think everything else is good. So what I'm going to do is go back to object mode and hit smooth shading on that to give the whole mesh a smooth look. And there we go looks pretty cool. So the next modifier that will be adding is the displacement modifier. So click and modifier and go displacement, and it will completely change your mess. But don't worry. We will fix this hit new on that texture and go over to the texture panel, change the type from image or movie two clowns and then the size down here. We can just drag this up or down. I think, actually, where it's at right now, 0.25 is perfect, so we'll leave it right there that we'll go back to the modifier section and turn the strength way, way down. So something like 0.5 all right, that might even be too much. Let's actually go back to the texture may be dry. Get up. So we get nice big bumps. This actually looks a lot better. So size of points 55 I think is good then, for the strength will keep. Bring this down. Let's go 0.3 There we go. That looks a lot better, all right, so I think that's good to go. We can start applying the material. So let's Presti to close off our toolbar, and then we'll open up a new window. So dragged this window out, come down here and select note editor, then end to close it off. Check the boxes as he used notes, and then we'll just name this material fellow. The first shader that will be adding is a glossy shader. So friendship deko to shader and then mix shader. Place that right here, Then shift day at an angle. Aussie shader here take the output of the glossy Shader and plug it into the bottom input of the mix Shader then for a shift, A and go to input and for now, take the factor and plug it into the factor of the mix. Shader. And now if we go over to the material tab, open up the preview. We can kind of see what this is doing. So it's taking the glossy shader and applying that to the edges of our mess right here. So if we're looking here, it'll apply the glass in this to the rim and for looking of the top, it'll apply it to all of the sides. Next, let's brush it day, go to Victor and then But place that right here. What I'm gonna do now is and some bump to our fabric right here so actually looks and gives it some texture. The next thing that I'll be doing is adding some bump to our mesh. This will help make it look more like fabric and give it some texture. So the first thing that will be adding is a vector and then bump place that right here, then brush if they go to texture and then annoys texture right here, take the color output, plug it into the height and then the normal into both the diffuse and the glossy shade er's the strength of this. I'm gonna turn way down. Let's go point to. And then the scale, which is how big the bumps are were gonna be setting this to let's go. If 500 then we'll zoom in and Pressure Z, those bombs actually look too big. So I'm gonna go even higher. Let's try 1000 and I think that's a little bit better. All right. The detail and the distortion weaken leave at the default settings and everything else is good to go. So if you want to change your palate to a different color, all you have to do is select the color and move it around. So if you want a orange pinkish pillow, you can see it right there, and it actually looks like the glass in this might be a little strong, so let's drag that up. 2.4. There we go. I think that looks a little bit better. All right. I'm gonna actually said this to a nice blue color. So we get a nice looking fellow right there and then I'm going to close off that window. So there you go, as that is how you create a pillow in blender. Thank you for watching. If you enjoyed our learned something new, I love to see it. So make sure to post it in the questions. Thanks again for watching. And I'll see you guys in the next video.