Create furniture in blender. | David Jaasma | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (2h 18m)
    • 1. Create furniture in blender

      1:35
    • 2. Class Introduction + Reference images

      3:46
    • 3. Outlining the Reference images

      7:56
    • 4. Scene Setup

      4:21
    • 5. 3D Blockout

      9:20
    • 6. Create Cushens with the Cloth Modifier

      11:26
    • 7. Fabric Seams

      4:12
    • 8. 3D Model - Backrest

      4:57
    • 9. 3D Model - Wooden Legs

      6:41
    • 10. 3D Model - Wooden Armrests

      15:29
    • 11. 3D Model - Frames

      11:27
    • 12. UV Unwrap - Fabric

      10:41
    • 13. Materials - Fabric

      11:10
    • 14. Materials - Wood

      16:13
    • 15. Rendering Final Image

      18:38
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About This Class

In this class, you will learn how to Create furniture in blender.
Create a photorealistic chair with blenders main 3D modeling tools, but we will also use tools like the cloth modifier. With a basic knowledge of blender you can start creating amazing-looking 3D models.



You will learn how to:

  • Search for the right reference images.
  • Compile these images together and use them inside blender.
  • Block out the main shapes.
  • Create pillows and cushions using cloth physics.
  • Create more intricate 3D models and shapes.
  • UV Unwrap your 3D models correctly.
  • Create realistic materials.
  • Render and composite your final images.
     

Is this class for you?

  • Do you want to become better at 3D modeling?
  • Do you want to create an entire 3D model from just a few reference images?
  • Do you want to understand the 3D modeling workflow
  • Do you want to create architectural renders?
  • Do you want to create realistic furniture in blender?

If your answer is yes to any of these questions then I highly suggest you download the files needed for this class and jump right into the first lesson!


To start this class you will need:

  • All the files that are downloadable for this course
  • A laptop or computer with blender installed - (In this class I use blender 3.0)
  • A basic understanding of blender. (don't worry, this class is not hard to follow, but some basic knowledge will help you along the way)

optional:

  • A photo editing software like photoshop or gimp. (this is optional and not needed to complete this class)

Meet Your Teacher

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David Jaasma

3D enthousiast and ofcourse teacher.

Teacher

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Transcripts

1. Create furniture in blender: Welcome everyone. As many of you know, a great way to get better at 3D modeling is creating more treaty models. And we all know it is hard to start a 3D model from scratch. But in this class, I will teach you how to get started and create a realistic model from just a few images. Not only will you learn how to model, but we will go over the whole 3D modelling workflow. So you go from an image to a treaty textured model, ready to be replaced in a scene or even sold for a little bit of extra cash. This class has more than 14 videos for you to explore. In this videos, we will go over the main workflow, which starts with finding the right images to recreate the chair. Once we have all these images, you will start to build the 3D model inside Blender. While building this model, you will learn various techniques, which includes creating realistic pillows, cushions, using blenders, Croft Physics incentives. But you will also learn how to break down and create more difficult shapes. In the last videos, we got over UV unwrapping at adding textures and materials. This is all needed to create a realistic 3D model from scratch. Last, I would love if you guys can send me the final render. This way, I could see how you guys progress during my lessons. And our Eve be able to give you some feedback. Thanks for taking a quick look at this glass and I will see you guys in the next video. 2. Class Introduction + Reference images: Welcome to this video, and this is kind of an introduction video. And I want to talk a little bit about the workflow. And maybe already the first step of the first step will be looking for reference. Second step will be outlined, which is essentially outlining your model inside Photoshop or any other program where you can just draw on top of a picture. Then we have our breakout, which is number 34, will be modelling our 3D model. Five will be texturing and creating some realistic looking materials. And with six, we can start to talk a little bit more about the lighting camera position. That will of course be the render section. Our videos are also gonna be in this order, but there might be a few more steps needed for maybe the modeling. Because if you want to create a realistic looking model, then I want to also separate it in certain parts so it's a bit more understandable for you guys. The first step here is going to be our reference. And what do I mean with reference? Once you look for a model that you want to create, you often need reference images, even if you wanted to make something stylized. In this case, it is a real product that you can just buy somewhere. So the cool thing about that is that you can, of course find loads of pictures from it. If you look good, if you're gonna go at correct list or whatever, you will not find enough references to actually recreate the model. In this case, I found a chair. The chair itself is called Lars for some reason. I will leave the link down below as well. But one of the important things that you need to look for is that you'd have an image with maybe a name because this chair is sold on multiple websites. And the cool thing about this is that this chair has loads of references. And that is really, really important. So for instance, here's the front that we can see from our chair. But if we go down, we can see yeah, also a little bit of a close-up on the materials that we might need to recreate. Also quite important, but also the Beck. And we've good reference also comes something like this. You can see the measurements. It is very hard, especially if you're beginning with this, to make it up yourself. So don't really try to do that. Just find a reference which also includes something with a blueprint like this. This one even has a 360 model already ready, I guess. Here we can see around our model, Awesome. You can literally see how they kind of made it in 3D. And this is also the way that we are going to create this. Very, very cool. And there's even a video here of this is for sure enough for our reference. And what we want to do if this in our next part, we wanted to put some of these images inside a folder and you just rename it to reference. So maybe let's save this one here. Chair, you just create a new folder called a reference or references, and then you save your image in there. Do this for this image, maybe the back image, if we have one here, this one. And I would highly suggest you also get this image. So we just finished the first part of our workflow. The reference is found and then the next part we will go to our outline. I see you guys there. 3. Outlining the Reference images: Let's talk about the second part of our workflow, which is the outline. It is a bit of weird neighbor, I gave it, but we're essentially just going to draw on top of our images and look how we have to treat the model later. Let's just first go into our reference folder. And these images we will drag inside of Photoshop, so you just drag them in minus one, the other screen. So you can see this for right now, but they're gonna be dragged. Bam, and I'll just click on enter. They all got imported. And often I like to have all these images just ready kinase. So I will just make sure that they all fit inside of this singular image. Here. This one I wanted to keep big because that is our main view. So I will put it up here. And then we can always cut away some of this background. Restaurants, this rasterize, ma'am. Okay. And then we have what does this again? This one. This is not really that important. We will put it in our scene anyways, but just here it's a little bit for extra reference. So it's not very important. But we can use it to look at the side, I guess. So here I can lead This restaurants. So why do we need all of these images compiled together? Well, I like to use it for two ways. The first way is just to save this as a whole image. And I can see here I have saved it and I like to just keep this open on one screen. I personally worked with two screens. One screen I have blender on and that the other screen I keep my references. This is very, very handy for if you just want to see all your references at once, instead of having to click through images to come to the back few or the side view or the front view or whatever. All right, so this is very handy and I would highly suggest you guys also doing this. Just compile them altogether and have one single reference. And there are certain programs which actually do this better, but I'm already inside Photoshop anyway, so why not just do it like this? Now the next thing is going to Photoshop and actually outlining some of my models. I do this for multiple reasons. And the big reason is just to see different parts of my model, right? So if I look here, I can essentially see the backboard better than here. And I can also draw on here, see what shapes are made out of. I also like to look at topology flow. We will not go be going over too much in this particular class, but I was planning on creating a whole course about it. And if there is a very much interested about that, then our full course just keep continuing that. Essentially those two things are quite important to me. And I think there will be very handy for you as well. Just having these fuse here is how we can kind of break down our model. So if we look here, we can see that this is a model, big deal, but we can break it down in a backrest, a seat, arm rests, and we have four legs. This is already a huge part. You can just break down in multiple models. Now. These legs are connected somehow in the bottom. Even somehow here as well. These are some of the connections which these legs are made out of. Now we also have this backplane here in the bottom as well. Something just having the separated makes it already so much simpler for your mind. We don't look at this whole intricate model anymore. We actually see small little parts. And one funded other thing that I like to do in some cases, especially when a look at topology flow is breaking these down in very rudimentary shapes. If we look inside Blender, we can see that certain shapes, if you click on Shift a, are just made out of these very primitive shapes, right? So we have a cube, we have a sphere, we have a cylinder, a cone. You will see that most shapes of models that you are going to create will be created out of these rudimentary shapes. Let's just draw here. If we look at this seat, if we break this down to its very rudimentary form and shape, you can see that it is literally just a cube. It might not be a perfect cube. But if we go to Blender at a cube and just scale this down to set axis. You can see that the main shape we already have, then the backseat is kinda the same very rudimentary shape, which again is just a cubical shape. I can surprise you right now. Loads of the shapes that we're going to create right now will be those. But if we look at our legs, for instance, we have something different. It is more of a cylindrical shape. We have a cylinder right here. I guess the most hard one to recreate will be these arm rests. If we're gonna look at this shape here. In my opinion, I'll be like, Oh, where I'm gonna start, how am I going to create this? And it is fine if you guys think you know how to create this all you just do a line here, here and then you extrude it there. But if you just take a little bit of time of looking into this, it will be very easy to recreate. The one thing that I recommend is drawing this outline first. So first all the way around here, it back here, like this, and then go over the sharp edges that are essentially inside the model itself. So here will be, and it goes down. And here's kind of a circular shape, seems like here as well. Now that we have broken this down, we can start to put some extra edge loops in here and see how we're going to create this. This is a circular shape. Personally, I think I will just create a edge loop here and one here. And then if we want to make this escorts will probably be an extra vertices or vertex. Here as well. You can see as we now get a nice round shape and we just need to continue our geometry. Extra edge loops. We can also create this more rounded shape we have here. With some extra geometry. You can see that creating such a model might not be as hard as it first looked. We of course still have to add some extra geometry, blah, blah, blah. But in general, this is way easier to recreate then what you're after you can see here. So in a few seconds or minutes what you saw, we can create from a very difficult shape to a very rudimentary, easy shape to recreate. This is workflow part to the outline. Now, in the next video we will start with the blackout, which will be part three of our workflow. And I'll see you guys there. 4. Scene Setup: Welcome to step three of our workflow. So right now we're working on the block out. And what I want you to see is that a blueprint is very, very important for your block out. So we need some measurements here. Now, while we're gonna do is we will put this image or whatever image you have into Blender. And I highly suggest you first go to your front view or whatever view you can see on your image. Otherwise, it also gets put in quite weird. Let me actually show you if I put it in here, you can see that it also gets pulled in crooked. So if I go to the front view, it just looks weird. So first go to the few that's your image also has. And then just edit. And we can look at these sizes here. So it is 74 centimeters by 70 centimeters. So 74 will be the z axis of course, and then 70 will be the x-axis. If you click on your cube, which is going to hold all of these measurements, then go to item and then we want to change this dimension. Right now it's two meter by two meter by two meter. We can just put 74 centimeters, cm and an Enter. Then that's the z-axis, of course, then the x-axis, which is this red line, as you can see here as well. X will be 70 centimeters centimeter. Then the y, which is this green line, will be 80 centimeters, so 80. Now we also have one autumn measurement, which is kind of for the seed, which is 42. So you could just duplicate this then make this 142 centimeters, and then make sure you move to the bottom here just so it matches up. Those have to be perfect. Kinda. Yeah, here. And then personally, I like to put it a bit outwards just so I have there's a difference between them. That's literally it. And this is how high the seats should be. Now, what we can do here is we can move now this image, which is our reference image in place. So I'm going to scale this down. Go into wireframe mode, which is just holding z, and then go to wireframe and then move this into place. So once it kind of fits, it doesn't have to fit perfectly. And that is more because this image is taken from a camera and a camera has a certain focal length, so it is a little bit deformed and it will not perfectly show where it is. But I think if we put it around here, we should be fine. Now, we're going to duplicate this and rotate it around the z-axis for 90 degrees. If you click on three, you can go through your side view. In this case, even in my wireframe, I cannot really see my cube. You can do this multiple ways. You can do an X-ray or whatever. But I am just going to move my side view plane to the other side, so just around the x-axis and then go to three again. And here we can see our cube. We can move this around. So one thing that you can also see is that the front view, which is this one here, has this little notch further, which is our seat. Then the side view is kind of turned the wrong way round as you can see, right, this should be the front. So I'm actually going to rotate it around the z axis for 180 degrees, just so the front of this chair is actually facing the front. Now, you don't want to scale it up or down and you don't really want to move around the z axis as well. Just around the y-axis. You want to fit it in this cube. So GY and then just move it a bit around. It kind of fits. It doesn't have to be perfect, but put it somewhere in the middle so it kind of fits. Awesome. Now our reference images that we've downloaded in our previous parts are set up in a right way for us. We have a very great start for our blackouts. And I personally think this is the best way to end this video as well. It's a nice short video, but it shows you kind of how I start these models. 5. 3D Blockout: Welcome to this part, and we are of course going to block out every single part here. But before we do that, I highly suggest you also save your files. Okay? You don't want to be at half of this class or course, and then you're stuffed crashes, so you need to redo everything again. It just sucks. It's especially when you're learning it just sucks dollar because then it's like how gonna listen to him again. Make sure you save your file often. Now, what we're going to do is we are just going to duplicate this cube here. Duplicate it. And we're going to change the scale. So skillset, and I actually am gone through a height. These first two cubes, we can always get back to them. But right now I just wanted to focus on these small little parts. So this is going to be the seed. So we can rename this as well, and we can even put it in a new collection. If you right-click and click on new collection, we can rename this to maybe lock-out, lock-out chair and put this seed inside here. The nice thing about having collections is that if you don't want to see them, you can hide everything at once. For instance, maybe for the reference images. You can just put these bad boys in here and even these cubes if you want to, because those are also kind of just showing us the size of the model. And then we can just hide it all at once. So we can just focus on 1 and that's it. Now, what do we want to do here is we want to make sure that the size of this pillow actually fits. So I'm going to make it a bit smaller. The z-axis as well. Here, the front view seems to fit very nicely. But if we go to the side view, you can see that this is totally wrong. First of all, we need to rotate it. One thing what happens when you're rotating your model is that if I now scaled around the z axis, it kind of skills it globally. And it doesn't scale it around its own kind of origin or normals. But if you do skill Z, Z, you can see that the z axis changes. Once that happens, it actually does a skilled or round its own. I guess normal is in this case, but you can also choose here to do local or normal. And the same happens. That is up to you how you want to do that. But that is quite important. Just move this in place and well, for sure this part here doesn't fit. So I'm gonna select this face here and then move it. By the way, with moving, it also works. So if I now want to move around, I guess it's the y-axis from this face. Then click Y and not a time. And then it takes the local or the normal transformation orientation and then just moved into place. Now from the front view, it still fits perfectly. And from the side view it also fits quite decently right? Now. This is our seat. So we can just duplicate the seed and use the same model for this backrest. So just rename this Beck breasts. And then we can just move it here. Scaled around the y-axis as well. That seems to fit quite decently. Front view. The front view, I kind of needs to move this part back a second. See it here. And it seems weird, right? It seems way too big. But you got to keep in mind, this image, as I already said before, is taken with a camera which has a focal length, so it gets deformed a little bit. The BEQ seem smaller and from seems bigger. But that is not really the way it works. So we could still maybe grab both of them a scale them a bit down. But I think from the side view we can kind of see what do we need to get at. And this should be our main focus. So it is good right now. It can be a bit bigger, That's totally fine. Now, what we want to do is we want to create this hair in the back. These are kind of, I guess, to give it extra stability, I'm not sure what they would like, what they will be called, but I think there was more food in here and this is just nice and soft the setup on the seats and backrest, but this will be more to stability. What we can do here is kind of the same. We can just duplicate this backrest, whether we have then rename this to maybe back frame, skilled around the z-axis. So it's for sure, but smaller, thinner, I would say, then needs to be a little bit longer. So we can see here from the front view it's should be the same size as we can see here in the bottom as well. So that should be fine. Then for this part, we're going to duplicate it as well and just call this seat frame. And we can scale this a bit down, of course. But as you can see, they will not match up perfectly because we need to, of course, do some extra work in here, but that's just totally fine just for the Blackout. Then we have these lags which we can already create from a cylinder. If we would like to the cylinder, I'm going to use a few less vertices than 32, So maybe 16. And then kept fill, I'm gonna do nothing. I don't want it to be filled. Then we can just scale it down here, the size of sky now, we can already see what it is. So it just moves into place, scale around the z-axis. Then we can find the front view. We should go around here. We can see that this size doesn't really match up totally. It seems to be smaller at the top and rebuild broader at the bottom. We will do that in a later part. But right now we're just going to duplicate this and put it over here. Then as this top rest are these arm rests, I guess because these are the legs which we can also rename actually. So lag. And then leg back, leg back. Both of them can go inside of the breakout, share little collection. And then for the arm rest, I'm just going to use another cube. Just move this cube here. Then front view. That's a bit weird of course, because this one seems to go inwards. Again, that's not really the truth. So just make sure these legs kind of fit in and then scale it a bit up. I think that should be fine. So that is going to be the arm rests. Then here in the bottom we also have two things. We just are going to use again, some cubes here, cube scaled down, go to the front view. And I'm going to put it here. Then they'll probably go somewhere like this, right? So it kind of fits in here, in these legs. You can see that it doesn't really fit with what we can see here on screen. I might need to put it a little bit more to the bottom so I can actually see it. Or we need to move this up above, we can do that later. And then this one is gonna be duplicated and also will be here. This is the block out that we have. What we could do is recruit mirror some stuff over. So these lags should actually be mirrored, right? So just select the leg, go through the mirror modifier and let's mirror it around this seed for right now. We can do the same for these two as well. So I'm just going to select them then this one is last, which already has the modifier, click on Control L, and then copy modifiers. So now they have the same modifier. Awesome. So this is our little block out. And in the next part we're just going to rearrange everything just so it fits a bit better. And then we can start to actually model some parts. I see you guys in the next part. 6. Create Cushens with the Cloth Modifier: Welcome everyone to step four of our workflow. So step four will be modelling. This will probably be multiple videos, but all of them will cover modelling. So when we look at a model right here, we will start with this seat. It is cloth, so we need to make it look like cloth, needs to look soft. And this is not only done with textures later on, it actually is also done with modelling. We need to make sure that our model also loose, nice and soft and squishy. If we look at different kinds of cloth, you will also see that different kinds of cloth will act differently. But if we just start with our base modelling knowledge, then we can create all of these. So if we look here, you can see that we have more wrinkles, for instance. And that is because the material itself has a certain thickness. It is a certain kind of material. And of course it's also stuffing inside here. If we look at here, you can see that there are way more smaller wrinkles. Depending on what you're gonna create, you really need to look at your reference. And in our case, our reference looks like this. We barely have any wrinkles. That means that probably the cloth itself doesn't wrinkle that March. Plus on the inside, There's a lot of stuffing. So there's probably a lot of cotton or whatever is inside to expand it so much that the fabric itself cannot even Ringo anymore. You could create this just with normal modelling that you probably already know. But I do want to teach you a way to create this result. But also if you ever want to create a more wrinkled version, you can also do that. And that is what you're gonna learn in this part. Here inside Blender, we're gonna hide our reference for right now and just look at our block out chair. We're gonna use these models here to create the result of a just saw, to create our end result. I'm going to duplicate this whole block out share parts, then renamed local chair zeros 012. Final model. We're going to just focus on this part right here. Let's click on Shift H to hide everything else. And here we have our seed. For this technique, we're going to use the cloth modifier makes sense, right? A few things that you have to keep in mind though, when you're using the cloth modifier, you want to keep all of the geometry uniform. What does that mean? Well, I'm going to show you the wrong way right now, so don't follow me and later on I'll tell you when we restart it. Right now, we have this and we are going to use a cloth modifier. And the cloth modifier is shown in physic properties here, physics and also as a modifier. But if you add it as a modifier, you're still need to go through the physics step. So just going into physics and turn it on here. And here we have a lot of options. I'm not going over all of them, it's not needed. But there are also presets here. If you want a more denim or robbery kind of cloth, you can do that here. And this will change some of these settings. But right now we're just going to keep at what it is. I'm going to scroll down and I'm actually going to show you what this does. If I play my timeline, you can see that our seed is just falling down. That is because when you use physics, there's also automatically a gravity assigned to it. In field which you can see the graph D is at 11 means that it's fully working and it works just like the real-world graph here on Earth. The thing is, normally when you use physics, you don't really want to just delete gravity, because gravity is a huge part in which we live with all day. But in this case, I do highly recommend you put it to 0 because it's just way too fairly to work with the graph. The OEM will just turn it off if we play now you can see that our model stays in the same place but nothing happens. This is because our model is just straight in place. There is no gravity, but we also didn't do anything to it. We are not letting something following it or letting itself fall on something. And that is why nothing is happening if we actually put pressure inside of this. So let's put the pressure to five. We can see that now it will start to deform. It forms quiet weirdly you might think. And that is true. This is mostly because there is no geometry to work with. When you want to add more geometry, he just Greek, right-click and sub-divide. Here comes in the uniformity of your geometry. If we look at our phases, you can see that these top ones are nice and square, but these are very elongated. They are rectangles. So if I'm gonna play this now, you will see that we do get a certain amount of pressure inside and a cloth is working. But the way that the cloth is working here is way different than here. And that is why we always want to afford with any physics or even a sculpting that we have weird geometry. We want squares and it needs to be as uniform as possible. Let's start over. I want you guys now to grab also your seats. So the first thing you want to do is you want to look at the smallest phase for that you have. In this case, this one is the biggest one, and these two are squished. It doesn't really matter which one they are, but they are at least small on this z-axis. In this case, with Control R, you can add extra edge loops. So come for r and then scroll up or down to create more or less. And now we can see that if I do a count of three, these phases here are quite square. We're going to do the same in this side. Also here. There are nice and square because we did both sides. The top is automatically squared as well. This is nice and uniform. If you select all of this, if a right-click and then stop the fight, you can see that now to stop the visions are also nice and square. So we created a nice uniform model. I'm going to simplify it one more time. And with this geometry we can start to work. Go into your physics properties, cloth. And of course it will fall down. So go back to the field weights and put the graph t to 0. And once you use the timeline, you can see that now it's just in place again. As before, we want to apply the pressure, so pressure and put a pressure number here. Let's start with five. Play again. And here you can see that now it bumps up nicely. You can see that because we do not have a lot of geometry, we actually get just big wrinkles in here. The thing is, if you put more subdivisions, which you can just do with a subdivision modifier, makes sure you put the South efficient modifier before the cloth. Play it again. Now you can see that we get a little bit more detail. You can put more or less geometry with the levels viewports. The render is not gonna work. The levels is actually where it's at. So we put one higher and replay this again. You can see that now also the animation is going to take longer or to simulation, but we get more and more wrinkles. Keep in mind though it is not necessarily to just put it super high because that is not necessarily very realistic. For some reason when you put it very high, it actually changes the real-world scale a little bit. So if you put it very high, it essentially sees this pillow as the size of a house or whatever. That is wrong, right? So don't put it too high. It also has to do with the amount of wrinkles that you actually wants. In our case, we actually want a very low amount. But now I hope you guys can see that if you use this technique, you can get multiple different results. And this can end up in different looking questions or pillows or whatever. You can use this for all the other ones that you're gonna make in the future as well, this technique. But one thing you have to keep in mind once you want to work with physics properties, your model already should look a lot like the model that you're gonna create. If you look at this model right here, you can see at, at any parts of this animation, these corners are actually quite sticking out. And that is because we are starting with this base model. If we look at our end result or what were our reference images, you can see that the sides are actually already a bit more smooth. If we edit our main model, we can get this smooth sides as N3 salt as well. Let's go back to our seat. We're going to select all of these edges here. All the way around. Then we should scale it down. Scale a bit around the z-axis as well. And here we can see that now we have a way more of a smooth shape and this resembles our model way better. If we now are going to apply a cloth modifier. Now the cloth will be resembled a little bit more like the basic or original model. So this is a better result because the main shape is now more resemblance of the reference images. It actually will look better with the cloth modifier attached to it as well. If we play this, you can see that it actually is quite extreme. Our pressure. Go back into your golf modifier here and your physics properties and then we can play around with the pressure. The pressure does a lot. If we have less pressure like one, you will see that it will not be pumped up this much. If I just put a little bit less pressure, you can see this already is better. So the pressure is one way to actually play a round the width your final results. Pressure is not the only thing you could play around with the blending options in stiffness and damping. Those also will change the width, but overall the other settings don't do debt much. In all honesty, I would highly suggest you just play around for the pressure and maybe a little bit of bending. Now, let's put the spreadsheet even lower, 0.5. Let's put this bending too. This doesn't seem too bad. Now are just going to add another soft efficient after our normal modal. Right-click, Shade Smooth, and here is our final result. So I'm not sure about that yet. But what you can do now is you can choose a certain frame. And you can just go around your timeline and choose a frame that you think is interesting. In my case, I think around 1415 looks interesting. Then you can go here and actually apply this clop simulator. First applied a self-sufficient, then the cloth. So this is our seed model. We're not all the way down yet. So these are the basics on creating pillows or cushions inside Blender. I hope you guys learned from this and in the next part where actually you go expand on this and make this a little bit more hyperpolarized. It's still looks a little bit. But I just wanted to do guys to have a separate video for the basics. You guys in the next video. 7. Fabric Seams: We are almost done with this pillow. We do, however, still needs to create some seams. As we can see in this reference image, we have multiple seams here. The real-life application of seems is to ts2. Two or more pieces of fabric together are multiple kinds of seams, as you can see here. And inside Blender, there are also different kinds of ways to create seams. What is the kind of scene that we want to create? Right now? We're gonna keep in mind that these models that we're gonna look at will not be close-up shots. We're going to look from a further perspective so we don't have to go into too much detail. In my opinion, just grading extra geometry to create the seams could be perfect for this case. In future classes, I will also explain different kinds of seams if you want to go more up-close to the model. But I think this technique is very suited for beginners. The first thing that we need to know is our topology. So if you see these edges, they connect very nicely here in the middle. Now, this could be a perfect way to half fabrics come together. This also happens around the whole model. We can essentially select all of these edges on the top and on the bottom. Once you have them all selected, you can click on Control V to bevel these and scroll onetime up. If we don't screw up, you can see that we create a triangle in the middle. And triangles are not really handy to work with, especially if you want to use a soft efficient surface. With Control B. And scroll onetime up, you can see that this triangle becomes quotes, right? So we have three quotes instead of triangles. So every phase still has four vertices. Now, don't make it too big, nice, small. Then once you have accepted this, you can click on Control minus. Now you can see that only this middle edge loop all the way around is selected, come from minus is essentially shrinking your selection. Then our highly suggest you go into the Object Data Properties, click on velocity in a vertex groups, rename this to seems, then assign this selection. Now whatever we have selected is assigned as this vertex group. If I now by accident, click on here. You can see that I do not really need to re-select all of this. I can just select the CME Group and an every SIM will be selected. Again. This seems to have multiple purposes. First of all, when we just scale them down, you can see that we create some Seems perfect, right? And that is what we want. Second of all, we can also click on Control E and do mark scheme. You can see that they become red now and they have become seems. So what do these UV seams do? Well, if you go to the UV editor, you can see that normal selection will look like this. But because we create our UV seams, we now essentially have all of these parts separated. So if you click on you and then to unwrap, we unwrap these UV seams and every single little fabric part essentially has its own UV island. Now if you add textures to this, we get a different texture on every single piece of fabric, which also is just very realistic. Plus the textures will also have no stretching in them, which is also good. As you can see, we have acquired simple scheme. It might look perfectly like the image that we have, but this is a great way for beginners to actually start getting into this. And it looks great. It doesn't look at all. These are great techniques to create a cloth like appearance. 8. 3D Model - Backrest: Let's create this backrest. It is essentially the same as this seat. And you can do this in two ways. You can just recreate it all the way from the beginning like we did. And if you want to do that, I highly advise you go back the video and didn't just re-watch it, but do it for the backseat. Or we can just do the kind of simple way and we're going to duplicate the seats. So just duplicate the seat. And let's get these automotives back just so I can see where I need to place it, then rotate the seed rounds and just move it into place. You don't really want to scale it like this because the x-axis is the right size. But the z-axis seems to be a bit long, right? If you want to scale this down, you would think like skillset would work perfectly. In this case, it kinda works. The problem is, it could scale a little bit weird because the set axis here is not in line with this models z-axis, the local excess of this model, the local axis, we cannot really see them right now. But if you do scale zed, zed, it takes the local z-axis. We want to find this axis here and it's quite hard to find. It depends how you rotate it. This model all the way around in the scene. In my case, it is scale EY, as you can see. It's gonna be one of the three axis. Then you just move them down. Scale. Why, why? I moved in position? It is of course, way too thick. So skills that set I'm also going to do to just to make it a bit thinner here. So it looks a bit better. We can delete this backrest, this little place holder and look at our model. Perfect. This is quite a handy way to reuse your models. But I would like to say that if you do this, of course, our geometry is not going to be square anymore. And we have sculpting depth goods become a problem. In this case, we're just going to keep this because we're not going to sculpt them here anymore. But you could opt for deleting these edge loops. That good work. You're also lower in your geometry, which is very handy and these are way more cloud-like. And you can also just remake the model or decimated. But in this case we're going to keep it at this and then we are still going to sculpt. I know normally you don't really want to sculpt because you skill that there are no quotes anymore. It might act a bit differently, but it acts different. It doesn't mean that it doesn't work anymore. So you have to keep in mind, Okay, it's going to act a bit different. But the smooth brush or grab brush still would work decently. So let's say I don't want these folds to be this noticeable. You can just smooth it out with this smooth brush. As you can see, I will just select my smooth brush, play a bit around with the strength and then smoothing out the parts that I want to be more smooth. That is one of the ways that you can edit your model. I know it's not perfect, but sometimes you just want to save some time. Let's also use this grab brush here. And we can grab certain amount of geometry and just pull it up. What you want to keep in mind here is you don't want to Grab smallpox and then just keep moving it around. We actually wants to grab a bigger piece and then pull everything up. Because if we look here at our reference image, you can see that this backrest is laying on top of this normal seed. If we can copy that instead of it going through each other, that will be more realistic. So in wireframe mode, you can kind of see where they are intervening with each other. Then you can move this up. So make sure you make it big enough. Then drag it slowly up. It's okay if you go a little bit over to the right than the left, but just don't make too many sporadic movements. It's just doesn't look right. This already looks way better. And we can also smooth and these edges out. So if I want to just drag them a little bit inwards, they're not as pointy. That would also look great. So awesome. That is essentially Africa that they wanted to say about the backrest. So you can remake from beginning or kind of edit your normal seat model. And in the next video, we'll finish these wooden pieces. I see you guys there. 9. 3D Model - Wooden Legs: In this video, we are going to create all of these Boolean pieces. So let's look at these first. And I want you to look at these images as well because the bottom looks quite different than from the top. So you need to take a look at the front image and the side image, because here they look quite the same size-wise. But here this is way thinner. Also, it is placed on the inner side of the arm rest. We also have to keep that in mind. And here on the bottom we can see some extra rubber or something so it doesn't damage the floor. Let's jump into Blender. And we can start to create these. We know that they have to be placed on the inner side of these arm rests and they kind of are already so that's good. Now, we need to scale them down. And we talked about the fact that it needs to be scaled down. But from the side there should be no size difference. Only from the front. We will probably scale it around the x-axis, scale x. Now you can see that this, It's now smaller opposed to this one. But if we look at the side, they have the same size. Now, if we also look here, we can see that they are nice and flat wherever the floor is on either sides. And if we look at our planet fire right now, we can see that there is an obvious little curve here. We also need to fix that. Let's grab a cube. And this cube is going to be our floor. So just move it a bit down. And this is going to be our floor. Now that we have the floor, we can reposition this. So make sure you go into wireframe mode. Then select all the vertices. Make sure you select this last vertex as last. And now this vertex becomes white, which is the active element. Then we go into the transform pivot points. I will change it from the medium point to the active element. Now if we rotate this, it will rotate around the active elements. You can rotate it around here, bam, and then do skills at 0 to make sure it's all the way flat. If I'm going to just overdo it a bids, if I just do skills at 0, you can see that the skill messes it up all the way. So that is why we first rotate it. It looks kind of flat and then skills at 0, we're gonna do the exactly the same for these legs here. Select all of these. This one is last, rotate around and then scales at 0. If you want them to be exactly the same height, you could select both of them. Then just select all of these vertices. Select 1 here as last scales at 0, and now they have the same height as well. Perfect. This one is scaled inverse already. And we also need to scale this one inwards. You could have done on both at the same time. But in this case we're doing the separate from each other. The nice thing about the wireframe though, is that you can see the unwound as well, so you can scale them together. Make sure you go back into the medium point though. So here it seems to be quite the same size, perfect. Now, of course we want them to be shaded smooth, so check them both, right-click and do Shade Smooth. Now we're missing 1 and that is all the way in the bottom right. So are these, it needs to be nice and rounded off. So we need to add more geometry. And then we have a little extra bit here which protects the floor. So let's select these. And we can hide this floor for right now. Then click on Extrude, select all of these with Alt, and then selection, extrude scale inwards. So something around here. We don't have to close it all the way. But now what you could do is select this outer loop again and I click on Control B to create a nice bevel. You can see though that this beveled works quite weird. So if you want your buffer to work normally, you need to select this model Control a, and then apply the scale. We have probably scaled it up or down. While we were modelling this model, messed around with the scale. If we are now going to bevel this, you can see that it works way better. Let's do segments of three so you can scroll up or down for more segments. Three seems to be okay for it now, and this seems to be nice. We can do the same for this one. We're just going to extrude it inwards. Then of course this one properly also is going to act their friends. So Control a to apply the scale. Go back to this edge loop control B. And here we have the same effect. Perfect. Now as last, we need to create the little rubber underneath. We can just select this middle edge loop. Click on Shift D to duplicate it. Right-click, it snaps back into place, but it is still selected. Click on P and then do separate by selection. Now, this little part is separated. We can scale a bit up and extrude it around the z axis. Make sure it is shaded smooth, and that is essentially everything that we need for this little rubber. We can do the same, afford this part here. Check this one, shift the right-click P selection, then scale this up, extrude, right-click, Shade Smooth. Let's get our floor back in here. And we can see that these have small little Roberts on an IV. So this might be a bit too small here, so you can just always scale them up if you want to scale. We do not need to create a very detailed model here for these robbers because first of all, there on the leaf and the only way that you can see them is in certain camera angles. Just a little model with a kind of a black material will be fine enough. Make sure you rename them otherwise we cannot find them back. These instead of legs, front will be Robert Frantz. And these will be Robert back. Any English guy can laugh at these names, but yeah, that's it. So in the next video we are going to start and create these wooden pieces here. See you guys there. 10. 3D Model - Wooden Armrests: In this video, we're going to create these arm rests. And the shape of these arm rest is not the easiest shape ever, as we talked about before. If you want to get to know a shape, we of course are going to go all the way around the outlines and we are starting to see what the shape is made out of. Creating these simple lines really helps with simplifying the shape overall. My opinion, this looks way easier to recreate than this. What do we have to do to really create this? We have to think about a few things. I personally like to work with quiet geometry. That means that every phase has four vertices. And an area like this could be very problematic with creating quotes because it is a pole. And you could create this. And then you can see that this vertex has five or more edges attached to it. And that just doesn't really work well with the shading later on. Or also if you want to stop the fight it, we probably want to just create an edge loop like this. And if you have an actual there, then we can see that we have nice quiet geometry. Now, also we have to take care of these smooth and rounded parts we have in here and also here. What does this mean? This means that we need to create more geometry to get this rounded shape. So if we have one vertex and another vertex, you can see that this, we can never make a nice curved shape out of this box. If we have a vertex and another one here, and a third one in the middle, we can combine them with edges. And this, we could make nice smooth and curves because if you stop the fight it, you get a nice curved shape. So we probably do need to create more edge loops here to create these curved shapes. That is what you need to keep in mind. Also, how do we ever start this model? That might also be a question. What about we just look at the top for right now, the tuple will look something like this, very simplified. If we extrude this downwards, you get this kind of shape. You can see that the shape actually follows what we need. If we just add more geometry after we've created this basic shape, we can actually create this model. Let's jump into Blender. Here we have our arm rests. I'm going to create a whole new model for this arm rest because this is already rotated and sometimes it's just a bit harder if you work with yeah, pre rotated objects. So Shift C to make sure you're treated cursors in the middle and then add a plane. Let's go to the top view, which is seven. Scale it down until it reaches kind of the same size as these pre-made little arm rests around here. And of course, scalers around the y-axis. It also fits here. Perfect. Now, when you click on Shift H, keep in mind, by the way, this is the front and this is the back. If you click on Shift H, we hide everything else except this plane. Now, we will start with the front. What we're going to do is we'll make sure that we have extra geometry. So I'm going to click on counter are and make sure I have three edge loops here. Then select this middle vertex, go to seven, which is the top view, and select the proportional editing tool. Then let's go down here and change this falloff from smooth to sphere. If you move this now around, you can see that all these vertices move around. Now, let me use my scroll wheel so I actually can see the fall of circle. And I'm just going to move around this vertex, around the y-axis. You can see that these other ones also follow because we have this fall off. Something around here will be fine. Now, we have this nice and smooth shape and later on we of course use a soft efficient surface which makes it even more smooth, but we will go over that later. Let's look at the back because the back is a bit different. We need to create this kind of shape. How do we do this? Well, the thing is, we need to first look at our reference. And if we are gonna hide these two here, look at our side view. You can see that our edge loop should be somewhere around here. If you click on Control R, It's a bit hard to see because it is a floodplain. But somewhere around here, we need to create this edge loop. Also. If you create an edge loop, but one side of your model is curved like this, you can see that your edge loop actually tries to also get rid of it of that curve. If you don't want this and scale them around the y-axis for 0. And now they are nice and flat. This is the cutoff point that we need. Now, we can select all of these, make sure you select this one last. Then change the transform pivot points to active elements. We can turn this proportional editing off. And if I scale this up or down, it will be scaled around this active elements. Let's scale this down. If I want this falloff to be more smooth, like circle like, I just need to create more edge loops and do exactly the same. Scale. This a bit down. Scale this a bit down. We can select all of this, click on a and extrude it downwards. We can always go back and look at our reference images to see how thick it should be. We can also do this later, by the way, but I think it's handy if you keep looking at your reference images for right now. Because you can see that this bar here is a little bit thinner than this big part here. So if we're going to look here, you can see that it's probably something like this. And here we can de-select these, move these a bit up. So now it goes from thick to thin, like awesome. So how do we make this a bit more appealing to the eyes? We of course know that bevel modifier and a soft efficient surface are often used. When we use modifiers like this, we often first need to apply our skills. So Control a and apply the scale of your current model. This is because we changed a lot of this model's size inside edit mode. You need to apply that outside of it as well. Otherwise these modifiers don't know what to do. If I get more segments in here on my bevel modifier, you can see that we of course are getting some nice shapes. They also put this amount a bit lower, but we're also getting bevels at, for instance, we might not want it. As you can see here on these edges. How do we change this? Well, right now our limit method is set at angle. If we're gonna change this to wait, we can put a weight on certain vertices or edges, and only those edges will be beveled. Go into edit mode. Select edges where you want the bevel. So I'm gonna go all the way around here, all the way around. Like this. And this is last. I am not going to bevel these edge loops here and also not these ones here. If you now go to item, go underneath edges data and put mean bevel weight all the way to one. Now we can see that a nice buffer gets graded around here. We do still get some weird section here. That is because our SAP deficient is not high enough. Also we can right-click and do Shade Smooth. These shapes are starting to look at the shapes that we want it to have. Bots, they're not all the way there yet. That is because in some areas like here, we need to add more geometry to actually make sure the shape will be formed. Because here you can see that this is a weird shape. If add an extra edge loop, you can see that the shape now gets more sandwiches with what we actually want. That is already way better. Also here, we can see that this is a very sharp edge. But if we go back at our image, you can actually see that this is not necessarily sharp. It might even have a little bit of a curve to it as well. So we can create also three edge loops here. Select, let me hide this for right now. All of these vertices, I'm gonna make sure my proportional editing tool is on again and move these around the y-axis. I'm going to turn on a ship deficient surface. And here we can see we have a way better shape. We can also move these a little bit inwards if you would like to write so GY and change the shape like that can also be done here. Maybe we do want it a bid, their friends. Just going to select all of these, then g, y. So these are some techniques to actually create a model like this. Let's get our original model back again. All of these here. Let's look how this part fits on top of here. We can delete these kind of placeholders, these arm rests, and move this one into place. I always like to get my reference image and back again just so I can see how to place them. In this case, we're going to rotate them again. Here. We can still change the size of this if we want. We are not kind of ties to what F we just created. So I'm just going to move this in place. And you can see that this part seems to be a bit too far. So I can just select them and then move them a bit backwards. Perfect. I do however think this model is a little bit too wide around the x-axis. So we could select all of it, then select just this face as last here. Make sure your pivot point is set at the active element and turn this one off, scale it around the x-axis to make it a bit smaller. This looks already way, way better. Awesome. So you can keep playing around with this. You guys already know how to do it, but you can see that this is kind of the way that I work. How do we finalize this? Well, we're missing three wooden pieces. First of all is this little button here. Then we have this bottom two as well. You can also see here on top that this leg actually goes through and this is the way that it is stabilized a gas, it goes all the way through this arm rest. I personally don't like it, so we're not gonna do that. So we're just going to focus on his bottom. And these two parts for these two parts here, let me unhide everything and then hide the reference image and just select them. They are these cubes. And these cubes are actually quite simple and easy to re-create to the shape that we need. The only thing we have to do is click on Shift H. Makes sure we delete this outer two phases, EX, Delete, face and create a bevel modifier. We can put few more segments in here, maybe three, and put the amount a bit higher. Also, this one, we probably needs to apply the scale. You can see that that does a lot. Let me put this back somewhere around here, right-click Shade Smooth. Now for other cube, we can just select it. Make sure we apply the scale. Then delete these our two phases as well. Phases. Then select it, select the one with the modifiers already applied to it, then click on Control L and copy modifiers. And now the modifiers are copied on here. Also do Shade smooth, perfect, less. We want this little button here. And what we can do is just select this little edge loop or this little vertex here and that we have. Then click on Shift S curves to select it. Or treated cursor jumps to this vertex. And now if we add a UV sphere, you can see that it will be added exactly there in the middle. When you add a UV sphere, you actually want to make a few less segments. We can just do instead of 3216 and instead of 16 rings, we can do eight drinks. Now, scale it down, rotate it around the y-axis for 90 degrees, and let's scale it even more down. Then we can select this vertex here at the end, click on counter plus to expand the selection and delete these vertices. Now we just have this left. Let me show you this little button. And that is essentially it. Right-click Shade Smooth. And we can also make the bit flatter instead of this bulbous, let's say so scale x and then just make it a bit more flat. And if you go to the top view, you can also rotate it a little bit if you want to. That is that little bottom. Now, for this arm rest, which is now called plane, we can rename this to arm rest. We're going to add one more modifier and that is the mirror modifier. Makes sure it's all the way on top of the modifier stack. And use this seat as the mirror objects. And now it's nicely mirrors. We're gonna do the same for this button as well. Just use a mirror modifier. Select the seat as the mirror objects, and here it is nicely mirrors. This bottom is still called sphere, so we can rename it to wooden bottom. I'm not sure how to name this, but bottom will be fine for right now. It's probably like a screw that screws it into this back frame by chap. In the next part, we just need to create one of these frames. We can copy it over to the other one, and then we can start with our materials. I see you guys there. 11. 3D Model - Frames: Right now, we just need to create two more models and we're just going to copy one over. So it's not that hard to create these two. Also, we do not need to create any cloth simulations or any of that. Because these two models, the frames with the fabric around it, do not seem to have a lot of wrinkles inside them. Also, there is just a minor little difference between them. In the back you can see we have a nice rounded corner on the top and a bottom as well a little bit. And in the bottom we can see that also. This bottom part is a little bit smaller. You can see that it goes a little bit inwards. Let's go and create these inside blend there. Here we have these two models. The first thing I want you to notice is that these models need to fit width of these other models. So you can see that this vote, for instance, is wound little part in-between kind of goes through this frame and that is not really what you want. Also, I think in my case, this seats a bit too thick. I could scale it a little bit around the z axis. Now, because I scaled around the z axis, I could also move a bit more up, which makes us frame also able to go a bit more up. And I could scale down this route. If you go to the side view, go inside the wireframe and edit mode, you can just drag this a bit down. We can do the same for this one. It does, of course, change the way it looks. And you have to be careful and just keep looking back and forth in these reference images, but you can always change them. Okay, So nothing is set in stone yet. But let's say that is kind of how everything is going to fit. Now we can start and create this back frame. We're just going to select this model. And I think the background should be a little bit thinner. So I'm gonna move it. Let's go inside. I'm out here in my frame, select these, then g, z, z moved a bit inwards. And here we have this control a to apply to scale and we can click on Shift H to hide everything else. What do we need to do here? First of all, if you want to sculpt them here, make sure you also create quotes again. But we still need more subdivisions because if I just add a subdivision surface right now you can see that it gets just very rounded off. It just doesn't make any sense. So let's create some extra edge loops here. And I'm just going to do around how many do we have here? Maybe around ten. That's also look at the top. Maybe 99 or eight actually creates clouds, so we can also do that. So let's do eight in this case. I'll do the same here and let's look at credit quotes. My case seven Seems to work on this side. If I do eight comes a bit too small, so seven seems to be fine. And you can see that now's these corners are quite nice and rounded off. And yeah, it looks quite different. If we create an extra edge loop here, we actually get more of the shape that the AI person like. And also, which also resembles this image a bit better. The top here it seems quite flat. Bots, if you look at the side view, It's quite nice and smooth steel. There are still some fabric there. It's not just one sharp corner. So that is what I'm trying to recreate here. You could do it with one edge loop, but you can also bevel it comes from B. So select the edge loop control V and then bevel it to extend this a little bit so it's more flattened the top, but it's still has this nice and smooth shape towards here in front. Now right-click Shade Smooth, and here we have our final model. I would like to first apply the level one sufficient surface. And now we have this geometry which looks decent. And then I'd like to add another stop deficient surface to just create more detail, more geometry. In this case, if we just select these two edge loops, click on Control V, scroll one time up and make them nice and SUV, these could become our seams. Around here. Control minus. I like to go here again to the object data properties create a nice seem, groups, seems, assign these edge loops and then we can scale them down. So scale this case, I actually need to put my transform pivot points back to medium points. Scale these nice down, and here we have this shape. Perfect. Also don't forget to click or Control E and do mark seam. So we also have some of these and seems in here this up, yeah, it looks quite decent rights. You can scale. This seems as much down she wants. If you scale them a bit more down, you can of course, see that these edges get more prominence. Just don't overdo it. I don't think it's necessary. But in this case, this seems to work. Great, awesome. For this bottom part, we're just going to duplicate this one here. So go to the side, few duplicates. Let's rotate it around here. Get everything else back with Alt H. And then I like to move this in place. So you can see that this bottom part is way longer. Scale around the y-axis. Good work. The problem is if I scale around the y-axis, scale YY, these edges get kinda weird. They also elongate. If I overdo it, you can kind of see what's happening as you get these weird. Yeah, it's nice and smooth edges just gets very stretched. We don't want that. So I highly suggest you just select a certain part of this model inside edit mode and then move that around. What I mean if this is, let's go back, select this model, move it back until here. It's nice and hidden behind this volt, somewhere around here. Then go into edit mode and select With see these edge loops. Then click on G and then click two times y. You can move it forward. In this case, this nice rounded shape that we had will not be deformed because we actually grabbing those edge loops. But of course, we do not have these nice quotes anymore. With Control R, you can just create extra edge loops and get these quotes back. And now we can still sculpt on them if necessary. Is one thing that you got to be wary of. Scaling is not always nice, especially if you have already some shapes in there that you have worked for. So Alt H, we can delete this block out frame that we're not working on anymore. And the only thing that I would like to change here is if we look at this image, you can see that this shape here, and also from the front, the sides goes a bit inwards. If you select this model, I'm in this case it's gonna delete the middle edge loop, select the bottom all the way, and just scale it a little bit down. Right now you can see that it scales down. And then we have this edge loop is kind of stops this nice fall off and then it goes back again. So I like to delete this loop and then just create an edge loop again to just create more geometry. Let's say this looks way more like the model that we have. And I'm actually enjoying what we're seeing here. The only thing that you want to do now is just finish this up to finalize this model, I want you to take a quick look at this image. Because these foods is interacting with the seats and all of these fabrics, you can see that they got quite dented where the Buddha touches them. This makes it look more soft plus more realistic. So how can we do this inside our model here? Well, we can go to sculpt mode. Before we're going to do that, you should take a quick look if they even touch it. So if let's say this one was a bit too short around the x-axis and it doesn't touch it. You can fix it two ways. You can maybe move your vote a little bit inwards, or you can just move this a tiny bit outwards, right? So those are the two ways that you can edit this if you wanted that extra effect. Now, go to sculpting. And it's quite handy if you turn off your soft efficient surface just so you can see kind of what geometry you're working with. Then I personally like to work if the Grab Brush here inside the active tool, you can see the Grab Brush. And in the middle circle, we can see our brush. And the outer circle is essentially the fall off before we're going to push this inwards, I highly suggest you also turn on the symmetry x. Here. You can see that it now works on both ways. So I only need to add 1 here. So maybe push this bit inwards. And it also happens on other sides. Could do the same here. This here, it can be pushed a little bit inwards. You don't have to overdo it, by the way. Still has to look a little bit natural. Here. If you want to work on another model, go to layout, select it, and go back into sculpting, and now we're on that model. So here, again, when you select an unimodel, the symmetry is turned off again like normal. Turn it on again because the symmetry essentially works PR model. All of these options work for model. So for this one just pushed a bit inwards. Here. Keep in mind it's fine if it's not perfectly okay, we're learning and that's our, that is about make sure you're efficient. Surfaces are on again, just so we can see what we created. And it's actually looks beautiful. So this is a bit too March. I will just add it that in my own time. But that is essentially how we create this model. And in the next part we can start to create some materials. I see you guys. There. 12. UV Unwrap - Fabric: Before we are going to create a materials, we can get rid of all of this other stuff here. So the breakout chairs not really needed anymore and I always save multiple files. So probably we are at, Let's look file nine already block out share nine, which should now actually be finished. Final model chair. And then Barth ten, just so I have parts. But yeah, I can always jump back into my files. And if I did something wrong or if I see something too late and grab those models back, or even go, just go back a few files and start again from there. Now, to clean the scene a little bit up, we do not really need this floor anymore. We do not really need this block out that chair anymore so we can delete all of these. Breakout share collection can also be deleted. Then we have another collection here which is the camera and lights. That's fine. We're gonna keep that for right now. And then we have our reference. The references, I don't really need these cubes anymore. They are quite a well established already. And the last thing that I want to do here is I do want to keep these reference images just so we can compare our materials a little bit later on. So what do we want to do now? Well, we want to start with our materials and how do we start a farm materials? Well, we need to first UV unwrap every single part to UV unwrap them. I would also like to change these names just so everything is a little bit more yeah, overseas, let's say because we of course duplicated and lots of these models and they now have weird names. So if we have this Beck frame, now this Beck frame 0 is 01. Well, this is just the back frame. For this in the bottom we have the I'm not really remember what we call it this, but maybe bottom frame. Then we have our arm rests, that is fine. And we have a cubed zeros 02, which is this wooden piece in between here from something like that. Just so you remember it. Woods. Back. Then we have our lag Back there is fine, doesn't really need 001 lakh front also fine. Then we have rubber back, rubber front. Those are these two little black rubber thing is underneath. Then we have our seat, which is z 001. It can just be seeds. And we have C12, which is just our back rest. That seems to be everything. It's just handy if you have all of these names, especially if you want to reuse this model or you're even sell this model, people want to see what it is made out of because they can make edits. Maybe it's quite handy to rename these. Let's get into the materials before we can create materials, we need to UV unwrap our model. If we look at a model, we can see that there are three different types of material. We have our cloth here, we have our volts and these little Roberts underneath. I'm not going to create a special texture map for these Roberts on the leaf. It's just going to be as very simple material. But for the votes and for the fabric, we could create some materials. These materials could be in one texture map, or we can do them in multiple texture maps. Just for sake of making this a little bit easier and simpler for us beginners. We're going to do this in two separate texture maps. We need uv maps, go to UV Editing. And you have probably already seen that we already created some UV maps, especially for our fabric parts. If we select all of them, which is this backrest, this seat, and these two frames, click on top to select them all. Now we are in edit mode in all of these ones, click on a and click on you, then on rep. Now, there is a little bit problem. We first consider the object has a non-uniform scale. This means that we have scaled it but never applied the scale. Go into top again to go into object mode, click of cones for a and apply the scale. Now if we do the same, we will not get this error. Ends. These UVs actually look decent, but is it all so good? We need to check them. There are multiple ways to actually check your UVs. But if you go up here and scroll, we can go into the overlays and we can look at display stretch. This place stretch shows stretching in your UVs. And if we go here, we can see that these parts, which are not just totally blew, our stretching. If something is just a normal dark blue, there is no stretch which essentially means it is good. But if it gets towards the green or even rather than some cases, then there is some stretching. Stretching is not always that bad, but we often want to avoid it. In these places. I think this is a bit too much. So when you don't know anything about stretching and how it will actually look in your textures. There is also an other way to actually showcase this. Let's go into shading. And we already have a material assigned to this. If you don't have a material yet, just create one, then we are going to have course use nodes and use an image texture. Let's put this into the base color and we're gonna create a new image texture. We can put this generator type blank to UV grid and click on, Okay. Here we can see, we get this UV grid. You can see in this UV grid is some nice squares. If there's any stretching, which happens here a lot, you will see that these squares are not squared anymore and they just look very off putting. This happens also through your textures. This is just a texture. If we have a nice fabric texture, but then it starts to warp all here. It is just not what we want. It just doesn't look good, it doesn't look realistic, and we want to avoid it. Overall. We have maybe a little bit of stretching here, which we also could see in our UV Editing. There's a little bit there and these corners, but it is not an extreme amount. So these corners, we might be able to just say like there's maybe a little bit of stretching bother, there's not as much that we need to change anything. Here. We have a little bit those we could avoid. But this one I just cannot afford at all. Let's go to our UV Editing and let's see what is wrong. Well, what is wrong here is that this is a whole piece of fabric, but it is all combined. So blender is trying to kind of push and pull everything together. So it's still fits here on this UV map. If we just create a seam, Let's do it here in the back where we cannot really see anything. So I'm going to click on, I'm just going to select this here, shift H, and create a seam here. I don't really need the seam to go all the way up here or here. And I want the seam to go from the existing rat scene that we see. The other one here. I can deselect this, click on Control a and mark scheme. Now if I click a, you unwrap, you can see that this texture right now is all elongated and there might be a little bit of stretching. But if we're now gonna look back at our shading, you can see that this stretching is way better than it used to be. That is essentially what was wrong with our UV map. And that's the only thing we need to change. Also for the other one, we probably didn't do it. You can see we have a huge stretching air. Go into the bottom. Select this edge loop. We're going to deselect these ones. These ones as well, contour a mark scheme a. And I actually want to see here with the viewport shading, you unwrap a, you can see that it is fixed. Perfect. Go to UV Editing again. Alt H, select all of these fabric parts. Let's try this again. On wrap them all. And here are you. Fees look a little bit different, but there is almost no stretching anymore. Of course there's a little bit of stretching, but that is fine. Normally when you create these UVC teams, you want to also optimize the space that everything takes inside of this UV map. Everything here could essentially be scaled a little bit up. The more space you give this inside your texture map, the more pixels essentially you have for your texture map to be shown upon here. So the higher detail you get, you can play around with this as much as you want. You can move these around. You can scale certain parts of which are more visible to the eye. So maybe this part of the Christian or pillow will not be shown. You could even delete it. It sounds weird, but it's just geometry that we will never see. Also, this geometry be smaller inside the UV map because we are not going to see that. But this is essentially a decent texture map. And we can go into the shading and start to create some materials for this fabric. 13. Materials - Fabric: How do we create a believable material? In this case, we're going to create a fabric material. We can just rename this with zeros of fabric. If one of these models does not have this fabric applied to it, just click on this little browse material and use the same material here, right? So what do we want to do here? We want to create the material. But to create a material, you often also need good lighting to actually showcases material ends. I personally like to go inside the render engine, cycles. It is a bit harder on a computer and I could take away you don't want to render what are the gifts? Way more photo-realistic results. That's put the device at GPU. Now, if you go into the rendered viewport shading, and this is essentially what you will see when you start rendering. Then we can see this. What we're going to create now for our lighting does not necessarily have to be the lighting that we're going to use in our final render. Bought some good lining is always appreciated because then we can see our textures better. Object go into world. And in this case we just have a plain background with one light source. If we delete a slide source, you can see that it gets quite dark over here. The only light being emitted now is from the background, which is just a strength of one in this kind of grayish color. If I put this to 0, you can see that it is totally dark. Let's use an HDRI texture. Click on shift a to create an environment texture and put the color into the color of the background. And here we can grab an HGRI. You can download this as well. I just put it down like a zip file, I think. Now choose the studio. What we can see here is we have a whole image, 360 image around here. And this all a myths light on our scene. It might be a bit too strong hair, but yeah, you can just put the strength down to, let's say 0.7. And we can see everything now in a better light. Ha, let's go into object. Once we select this model, we have our principled shader here. Right now we still have this image texture applied to it. If we delete this, you can see that we have a normal principal shader. Here we have a base color which is now white for subsurface and all of this good stuff. Well, what do we want to add here? We want to add an image texture. We're going to put this color into the base color, and we can click on open. These files are also available for download. The first texture that we will need is our base color. Here we have our base color. Diffuses kind of the same. Okay, so let's just use our base color because we also have a base color here in a principled shader. Now, you can see we have this nice fabric texture, but it is not the right scale. All right. How do we change the scale? Well, we need a texture coordinates. With this nodes you can essentially assign on which coordinates you want your texture to show. We created UVs. We want it to show on our UVs. Then we need a mapping nodes. So the UVs goes into the factor of the mapper nodes, and this factor can be put into the factor of any image file. Nothing changed. That's totally fine. Because now we can play around with the mapping node here and scale for instance. And this will change the scale of the image texture. So let's say we do times seven around the x, y, and z axis. Here we get a way more smaller and detailed image. Very, very cool. Now, there are way more of these images necessary. You can just duplicate this. So Shift C, Shift V, then open our next one, which is going to be metallic. It is not a 100% necessary because we can just keep the metallic at 0. But not every program is like Blender. Sometimes we need to show with a image texture that the metallic is black or essentially not working in this case. Also, when you use a gray scale map, which is the metallic map in this case, we want to have to call a space at non-color. It has no color Senate, it is just grayscale data. Then we are going to specular. Here. It's also going to be non-color data. And here we have specular, specular. We'll be here. Lamb specular will probably also be 0.5. Just wanted this right now. But that is essentially what we do with our textures. Let me make this a bit bigger. Then we have our roughness. So here we have our roughness. By the way, sometimes blend that just pops the color space back to ours, sRGB. Just put this to non-color data. If your file is non-color data, which in this case, this is, this one goes to roughness and then this one goes all the way in here. Yes. And now we have some roughness. This is not all that shiny anymore. It's more like the material that we would expect it to be. Rif, the roughness. However, sometimes it could be that it is flipped, especially when you export or import it from another program. What you could do in that case, you could use an invert node and just invert this. But in this case you can see that it looks weird. So in this case we do not do this, right? So we're just going to click on Control Z. But yeah, that could be the case. Now we're going to use a normal map. Just open the normal map. Also, the normal map will be a non-color data. I noticed purple, but it is a non-color data. We put this into the normal. The problem is you can see that the color little dot here is yellow. The normal adult is purple. Often this shows like, hey, something is wrong here. This is not really the way that it should work. Let's add a normal map and put it in between here. Now you can see that the color from this image texture goes into the normal map. And from yellow it goes to purple, and purple normal goes into normal. Awesome. And here we have normal data. You can choose the amount of strength. If you think one is a bit too strong, you can, of course put it to maybe 0.3 to make it a bit lower. That is all possible. And if you want, we can even put a displacement map. I do think maybe the displacement is a bit overkill. And that's why we're not going to use it right now. But if you have a bit of a bigger details, you could always use a displacement map. I do think we also have it here. Let's see. That would probably be the height map. I think it's a bit overkill. We don't have to do this in this case. But that's up to you guys. I think this looks already quite decent. However, it doesn't look that soft jet. We have some nice textures on here, but it doesn't look that soft. How do we do this? Well, there is a nice option in this principled shader which is called Xin. Xin essentially kind of fix this nice little reflection around your model. So if we think about a pillow, there is a very soft material which has a lot of smaller or hairs. Those hairs will still catch some light and it creates this nice smooth, soft looking lighting. And that is essentially what the xin does. I like to put this nice and high and this creates this nice, soft looking material. Awesome. And that is essentially everything that we need to do to create this fabric material. There is also a very handy add-on. It is for free. It's inside brand itself, so you don't need to download anything external. But if you go to Preferences, go into Add-ons and use the Node Wrangler, as you can see, minus already ticked on. Then what you can do is you can essentially select the principled shader, then click on Control, Shift and t. Now if you go to your fabric material, you can select it all. Click on principled shader texture setup. Now, everything is set at once. The mapping we have here is from the UVs, we can still change our scale here, 77. I'm, of course the sheen will be probably set at 0, so you need to change that. But all of these texture maps are added instantly. Which shapes a lot of time, especially if you want to do more models. I first wanted to show you how this works, but also that there are ways to make this easier, simpler, and quicker. The displacement map also has been added right now if you go to their material property, then go down into the surface. You can see that the displacement is set at Bump only. You need to put displacement and bump if you want the displacement to also work. It only creates problems because the displacement is so small. It's just tiny little fibers. It essentially just creates more problems. Even if we just put the scale way down. It doesn't make sense in this particular material. In this case, for this material I will just do Bump only and we could even delete the displacement and this image texture applied to it. But this is the fabric. I hope you guys learned from this and see that this is actually simpler than many of you might've thought. And in the next part, we can go on and UV unwrap. But'm parts. I see you guys there. 14. Materials - Wood: Welcome. In this video, we're going to UV unwrap and texture these wooden parts. In this video, you will actually also learn a lot of problems which you might encounter while UV unwrapping. First of all, we need to UV unwrap these parts. With UV unwrapping. We have to always keep in mind where to put our UVs. In the case of these pillows, we actually knew where to put them. These are pieces of cloth. And we put these pieces of cloth together. So you can see the seams actually make sense. Also, the seams are kinda hidden, right? So they are a hidden inside of here. This is also handy because then you have no discontinuation in your cloth where it doesn't make any sense. You cannot always do this. For this wouldn't be, for instance, the seams might show for models like these lags or even this piece underneath, we want to hide our seams. So let's start with that now we're just going to start with this. And the first thing that I want you to notice is that a lot of this model, or a part of this model, I should say, is inside of this leg. And it's not necessarily bad. But you could imagine if this happens for two of these and then on both sides, that we do not really have any more geometry. Bought. This geometry that we have here, we'll take more space into our UV map. It will essentially take more pixels away from our texture map. And we don't want that. You are properly wanted to scale this a bit down around the x-axis, scale x. And then here, in this case, nothing really changed from whatever we can see. Bots, we on both sides have less space taken up in our texture maps. Awesome. We've talked about hiding our seams. If we just put a seam just straight in the middle here, we might be able to see it. Like if we rendered here, you can just see a cut-through doesn't make any sense. So this point here in the back, it's probably the best hiding spot. Now, we can also see that they have a bevel modifier. Do not always have to apply the buffer modifier. But in this case, I do think it is handy because it creates such a big shape inside of our scene. If we just click on hide and unhide, you can see that it really creates a huge shape. In this case, I would like to apply it. Then just select this edge here, Control E mark scheme you and unwrap. You can see that the unwrap object has non-uniform scale, is a little bit of a problem. We can also go into the UV edit to see this problem. In most cases you will be like, I don't really see any problem, but let's go into object mode. If top contour, apply the scale, go back into edit mode. You unwrap. And here you can see that it's slightly moved. Because we only scale it a little bit down. It didn't make huge differences, but it could make big differences with auto models or if you scaled it in any position. So that error, non-uniform scale just means that you have to apply the skill. We're gonna do exactly the same, afford this piece. And also here I do think up here might be a good tiny spot for our seams. So apply the bevel. Then select this edge going through a mark scheme. You unwrap also for this one, object has non-uniform scale. Apply the skill and unwrap it again. Awesome. So let's go back here and I want to talk about these legs. The legs, I only have a mirror modifier and the mirror modifier essentially mirrors it over. What do we want to do here? Well, normally I would like to first UV unwrap it and then apply the mirror if needed. And if needed. I'll explain later what that means. So let's first select an edge. And in this case also we want to hide this seam. And what we want to think about here is, I'm always going to look at the front of this model. Then you might want to put the seam in the back. But if you want to have a 360 view, in this case, I think the best spot to put this seam would be here. And if you ask why, let me explain. This seam goes all the way from the top to bottom, but there is a huge part which is hidden. So there's actually less visible from the seam, right? So you could do it here, but you will see the seam all the way. Here. There's a hill whole bought that it's just hidden by these other models. So UV Editing, Let's create a seam here. Going through a mark scheme, a U, and unwrap. And here we can see that, hey, this looks okay, but what is happening here? Sometimes we don't even know where the spot might exist in our 3D view. You might be like, is this a here and a bottom somewhere else on the top. You could go and look around your model. Or you can put on the UV sinks selection. Then select the part where you're not sure about. And because of the UV sinks selection, oh, by the way, make sure you do Vertex selection here. Otherwise it just selects everything. Vertex selection, then select it. You can see that because of the UV sinks selection, now we only select this part here. The problem must be here. It's syncs the selection. As you can see, it makes total sense, right? So in this case, I'll put an extra seam here to seem off this little bottom cap a, you unwrap. And now everything is nice and blue. And we have a little bit of stretching maybe here. I told you guys about this already. This little setting UP stretching S handy. But I personally like to go to Shading, create a new texture. Make sure we do this for this Buddha material. Renamed is two volts. Create a new image texture. We drop this color into the base color and create a new generated type UV grids. Okay, go to the material preview, and here we can see these nice little squares, right? Awesome. So there's not really a lot of stretching. This is because the seam is here. That's what we talked about the whole time. Maybe in a bottom there is a little bit of stretching, but I think it's totally fine for right now. It's not really that feasible. The same we can do for these models. We can just select them all, then select this one as less as the material applied to it. Click on Control L and link the materials. So we can see that these look decent. But the ones that we have not created any uv maps for still look horrible. For this one, I will do exactly the same. I will probably select this edge. Selection, country mark scheme a, you unwrap. We do know however, that we probably have the similar problem here. So I'll also select this edge loop. Then unwrap this and let's go back to the material preview and this looks decent. We also have this little button, actually, I totally forgot. So let's go here. Grades material. But this button doesn't have anything special. So a you unwrap and I will probably do it. It does, however, has a non-uniform scale, so control a applied to scale and then unwrap it again. Now, we have this piece as last. And I wanted to talk to you guys about this piece because we're just going to follow the kind of basics of UV unwrapping. And I will show you what these modifiers could do to it. Because right now, if we just follow these nice sharp edges around here, all the way around here on the bottom. Click OK. control, a mark scheme, then a U and unwrap, we do not have any error. We can go into UV editing to see our textures, anything like this, loose goods. Nothing is wrong, there is no stretching. Everything is nice and blue. This properly must be goods. However, if we go and look at our material preview, you can see that there is definitely something wrong. This is all because we have the sub deficient surface. If I turn this on or off, you can see a huge difference. Soft efficient surface when it's set to cut more Clark, it smooths our geometry out. If I put this too simple, you can see that also it jumps instantly into a nice normal uniform square texture. But we actually want this nice and smooth form because it makes your model look better and it also generates more geometry which makes your model will look better essentially. So how can we avoid this? The are multiple ways to fix this. The first one is just looking for a sufficient level or making this model final. So applying the bevel modifier, applying yourself deficient level and then UV unwrap it again and then create new UV seams. So let's say I'm going to apply this one, applied this one. And then you can see at this UV seams are a bit messed up so you need to clear them and create new ones. That could totally be an option. But what if you want to keep the soft efficient surface intact? Then it is a little bit difference. If we wanted to keep this up deficient surface as an option that people still gonna go lower or higher and subdivision levels. Then I will just highly advise you to just add more geometry. You can see what happens when I add more geometry. The shapes, or essentially this sub deficient surface is not trying to pull all of the shapes together. While this essentially smoothing out. Adding more geometry really helps here, you can just look at the geometry, see where it is moving. Here I might add one extra one. Here we're at one or two. Here. It's still fine. Here on the back. Here. It could seem weird, but you can see that the totally works. And a nice thing about this, if I use a level of Viewport one or 0, it works just as good as if I put it higher so we can keep the SAP deficient Surface Modifier intact. That is all I wanted because if I wanted to put my chair may be very far away. I can put all of the self deficient surfaces off or even at a very low level. But if I want to zoom in a bit more, I can always put this higher. If you sell this model or if you want to reuse it later on, you can still do that. Those are my little tips and now we can start to create the materials. In the last video, you actually saw how we created this fabric material. You just go to Shading, select or delete first this image, then select a principal shader, use control shift T, and then select all of these textures. Principle texture setup. In this case, there is going to be something different with using our uv maps though. So if we go to UV Editing, you can see that this texture is not square, but the program that I use to create this texture does make it in this kind of shape. And it is still see MBL. It has no seams. If I just copy it over and over and over, I don't really want to mess around with the shape at this point. We can go here into the material preview and see what the world looks like. To be honest, this looks very bad. So we can always on rapid again, also doesn't change anything. And that is because our UVs are now set up in a way that all of these, I guess growth rings here are kind of pointing in a way that doesn't really look that interesting. If we rotate this 90 degrees, you can see that this looks way, way better. I can also scale this up here. Just put it nice in place. The nice thing about having these seamless textures is that if I scaled even higher, it will still work because it seems over and over. But scaling it up and up, you will see that it starts to create kind of a pattern. And you want to avoid patterns because then of course it doesn't really look like a nice receivable texture. So we're just going to keep it at something like this. And we're gonna do this for every single model here. Rapid again, rotates. Then the good even overlap by the way, they don't have to be non-overlapping. All the models that we have can overlap wrote it, this one as well. Let's talk about the mirror modifiers. That is the last thing and then we're essentially done. The mirror modifiers, as you can see, mirror everything perfectly. Also the seams and uv since we have created. If you want to detect you to look a little bit different on the left and on the right, you need to apply the mirror modifier. Now, if you just select one of these, so I'm going to select off this. I can move it around. And now it will have a different texture map, or essentially the textures look a little bit different than the other one. So this is very handy to create more randomness and more randomness just mixed off, look more realistic. Do it for all of them. Let's look back here. All of them have a different texture applied to them. If you want, you can still play a bit with the scale, right? So if I wanted to maybe make everything a little bit smaller, you can do that here. 1.5 might be better than two, so 1.5, and here we have this nice texture. Let's look in the rendered viewport shading. And it actually starts to look quite good, bad guys. So we can still play around with this dexterous inside the next video. If you think something is totally wrong, like we don't really need this displacement. The displacement we can, for instance, delete already. We can play around with the roughness. Maybe we want a very shiny finish, or maybe we want an even more rough finish. We can still change that. But in this case we have graded, our textures are UVs, are materials. And in the next part we can finish this off and also render. I see you guys there. 15. Rendering Final Image: And this is the last video of this class. I want to thank you all for actually going through this all. And what I would really like if you guys could send this last render to me and I can give some feedback to show you maybe what you could improve in next renders. Or just give a nice like and give a nice comments to your amazing render. So what we're gonna do now is we're gonna give a less material to the 0 Roberts parts on the Neith. So just create a new material, rubber. It doesn't have to be too specific just to make it dark, gray. Roughness goes a bit up to like point a to 0.7. And that is essentially it. Same material for these backlit are robbers. And that's it. Quite easy. Now, we need to start rendering, and we've rendering. There are a few things that are quite important. First, I would like to create a studio. So let's go to modelling. Click on Shift C to make sure our 3D cursor is in the middle. Then let's create a plane. Scale this up maybe times five or four. Then move this down around the z-axis. We don't really know where to place it. So let's click on three to go to the side view. We can move this down around here. Now, if you go to edit mode, you can select this last edge here, extrude it and click on z to move around the z axis. We want to apply the skills or Control a and scale. And we're going to add a bevel modifier. If we just ran this without a bevel modifier. So let's say I'm going to go here. You can see a very distinctive edge which kind of separates the floor plane from the backplane. This could be a choice of yours, but in this case I want it nice and smooth. So I'm going to use a few more segments inside my bevel modifier. Let me show you here and put the amount up. I make a very nice and smooth transition here. If you're happy with your transition, right-click Shade Smooth, and let's look back. And now you can see we don't have this edge anymore, but it is nice and smooth. We do however, have a huge shadow and that is of course because of our HDRI. I'm not hating on the HGRI, but I would like to add another edge there. I in the end EGN keep this one off for right now. So go to shading into world and put a strength at 0. I do this often just so I can focus on the lights and I'm going to add right now. So let's first put a camera implication. Click on 0. Click here, go to few, camera, too few. I like a view like this. Let's zoom in a bit in something like this looks interesting to me. Take this off and we can start to put on lights in here. Rendered viewport shading. We have it all black right now because I literally just turn the background off all the wave. And we can start with Shift a to add a light. Let's add a point light. This is a point light. Often in beginners I just see that this happens. Shift the shift D. We all know about the three-point light setting bandwidth, just duplicate them over and over, and this will probably be it. But the lights that you add just don't make any sense. Why do you add them? Should be the first question. What do you want to achieve? First of all, we started with one light. This is our first slides, and we're gonna rename the slides instead of 0.2 key lights. This is the key light in our light setup. And often the key light is the brightest because the light that we want the most focus on is the key light. So what do we want the scale I to do? We want to line up our scene, as we can see here, to light up our model. And we want to look at how much lighter this creating if we under or overexposing. But also look at the shadows. We want soft shadows or do you want more sharp and harsh shadows? That is all what we can do with our main light. How do we do all of this? Well, first of all, I want to show you how we can change calf the shadow sharpness if you go inside the light options. So the object data properties of the light itself, then we see a radius. The bigger the light is, the smoother and software the shadows will be. This could be handy if you want to make something look smooth. A lot of times you render a phase, for instance, a female phase with nice smooth big lights. So all the lights at the US have a soft box. But if you want very small details, or maybe you want to see an apse of a bodybuilder or a bit better than they often use a bit of a harsher lights. And also the position of course matters. Because if you put a harsh light from the front, you will still not see any apps. The light needs to go from top. In this case, we want the same look or choose a position in which you think you want to light up your model. In this case, I think a light here, we'll do a lot good for our scene. We have some nice highlights here, here on the legs and of course on our model itself. Perfect. Let's say this is what I want. But how bright do I put my lights? Go into object. Use notes for the slides. And here we have this emission node. Instead of playing around with the power here, we can now put the strength up and down. A lot of times it's like, yeah, you cannot just guessing this is probably good. You know what I mean? Or maybe this is good. But you don't really know if you're under overexposing your model. Well, if you go into the random properties, scroll down and go to color management, we have a nice few transform filmic. Let's put this to false color. And we can see that, hey, these are all weird colors. What is happening here? This essentially shows you if you are over or under exposing your vendor or your model. Now, in this case, let me put my strength all the way up. You can see that we reach dark rat or even white. This will be overexposure. Let's go back to filmic and you can see that it is so bright, it looks white and we will lose a lot of color data. That is the problem that we have here. That is why you don't want to overexpose anything, you will just lose all the color data. We also don't see any depth anymore or normals are almost gone. You can literally just not see anything anymore. If we put the strength down, however, you can see that now it's underexposed. Also here, you will lose color data. It is to black to get any color data from here. And if you put it too low, it's just all the way black. You know that those things are wrong and it makes sense, right? But what is good? Let's go back to false color and put the strength up. What essentially as good as the middle points. And in this case it is gray. You can see here that did this grayish. Also. This is a little bit hard because if you now go to filmic, you can see that it looks decent. But it's a debt appealing, especially with some of these product renders. You might want to put them later on into Photoshop again and start to edit a dare or even inside Blender itself. But personally, I also like to do that. I will also bring my renders, of course, inside another program and edit them a little bit. But you can also go a little bit higher. In this case, we are reaching the green, almost yellow. But if you put a little bit higher, you can see we are regarding more towards the yellow and also this gray parts are essentially getting a bit more sharp. So I like to go around here. Let's go to film OK again. And here you can see that this is some nice lighting. That is essentially how you know how bright your lights can actually go. That is our key light. Next to the key lights on the opposite side, we often put a fill light. Let's put the strength all the way to 0. And I want you guys to notice what happens with the fill light. Why is it even called a fill light? Well, let me put strength up slowly and you'll slowly see that this fill light fills up the shadows from the key light. The shadows are here. We are slowly filling up. Also. Often the key lights, as I said, is the brightest. If we put the fill light just as bright, you can see that now we don't even have any shadows anymore. Yeah, we created a new shadow here. But all of these nice shadows that we had before are gone. And you have to keep in mind, shadows are just as important as light. Let's put this way lower. Here. We can see that we still have a nice shadow here, but it is just not too dark. It makes sense. And that is what you want to create with the fill light. In this case, I would also like to add a rim light here and we can frame this renamed to rim light. Rim light. If we hide these other ones, essentially creates this nice rim light as it is called. It can also be named background light, something like that. But it creates this nice rim on here. And especially I feel like in this fabric parts, it also really creates this nice sheen effect that we talked about before. Plus we get these very cool reflections or lighter areas on these arm rests right now. That is what we want to achieve if the rim light. You could see that I actually turned off these other lights. I often do that just to see what a certain light is doing. In this case, I do think maybe the key lights a bit too bright, so let's put it a bit down to like nine at the fill lights and the rim lights. And here we have a decent starts for our render. You can still play around with these slides. But you also want to look at your background. Because if we want to add the background all at once, we also need to look at that. Let's move this background a bit forward. And you can see that now starts to make all a little bit more sense. And his background has whalers shadows because we moved it closer. Now, this actually is starting to look quite decent. If we start to random is with f12, we create a render. In this class, I'm not going to talk about the rendering separate layers, even though this is quite handy, I first want you to understand kind of the basics of rendering. Let's say this is what we want. I would highly suggest you first save this. And then we can talk a little bit about the render options that we have here. In blended 3, the render options changed a little bit. We have now sampling, which is separated in viewport and render. Right now we're going to render, of course, in this random we have a noise threshold, we have a max samples, we have a denoise option. These are a lot of options and it is a little bit up through your computer and how much time you want to spend into rendering a certain piece. I cannot just say like, Oh, you should do this because if you have a very crappy computer but still wanted to just finish this, then I cannot say like, yeah, go wait four days for spenders. It doesn't make any sense. You could put a time limit, for instance, if you say like, Hey, I want a decent results I noticed is gonna be my final render, but I don't want to wait a day, maybe 15 minutes. So you need to do 15 times 60 then because it's counted in seconds, that could be your total render. Or if you have a very good computer, you could be like, maybe I will just do 60 seconds, which is one minute. And I, I do think you should use the denoise option is quite handy, works quite well. That is essentially it. We can of course, go into the light paths and bounces. But I don't think that is necessary for right now. So if we just ran at this with F 12, then when it's done, we end up with an image like this. You can always go into image and use save S to save your image. I personally do like file format, tiff, and then use a 16 color depth. Rgba is fine. And then Save As image. What to do with this image. Now, in this case, I do think it looks already very pretty. But if you want to edit this, you could do it in multiple programs. I proceed like Photoshop a lot, but I understand that not everyone has Photoshop. You can also do it inside Blender itself. So let's do that. For debt, I would highly suggest you open a new blender file. So make sure you just close this and save your other blend file. Then we can open a new one, just new general. What do we want to do is we want to jump to compositing. Here we're going to use notes. Right now. We're not going to use random layers because we're going to import an image. So just input image ear, we can open, open your last image. Right now, we have this image here so you can just drag it into composite, but we still cannot see it. If you hold Control and Shift and then left-click on your image, you get this viewer nodes. You can also add a few notes, and this only works if you have the Add-on installed. So we've talked about it before. Preferences add on is the Node Wrangler add-on. In this backdrop here, we can see our chair. Right now if I want to zoom out or move it around, you might try, but you can see that we are only using these nodes, were only zooming in and out with these notes. Go to View. And here you can actually see that the notes are kind of the main purpose. This is older scroll wheel in. Scroll wheel out is just using all these nodes. But the backdrop move the backdrop soup in the backdrop zoom out, have different short keys applied to it. If you want to zoom out, we click on V, and that zooms out our backdrop. So keep that in mind. You can always see them under view. So you will never really have to get confused. Here we have it. And how do we edit this? Well, what we can do is we can just start to add notes. And most notes that you want to use. Just very simple nodes. In this case, we just want to maybe change the hue and saturation a little bit. Then you have hue saturation and value. Here we can move a little bit around. You can see that instantly African changes. Maybe you want a little bit more saturation or even less saturation. That's totally possible. Maybe you want this image to have a little bit more contrast. So Shift a and you can go into color. Here's also brightness or contrast, color balance and all that good stuff. So let's do brightness and contrast. And you can put this contrast a little bit up. You can always see if you put it very high, what's really happening. So don't overload, of course, but you can kind of see what's happening. Often you want to do small values in here because we of course, are trying to get as close as possible with our render. And then just tweak it a little bit just to make it more pleasing to us. And that is essentially it. By the way, I personally like to use. Instead of the brightness or contrast or with the brightness and contrast some RGB Curves. If these curves, you can literally just drag this a little bit around and create like that. But that is how you really can finalize your image as you can see and make it even more beautiful and pretty than it already was. If you are happy with your result here, the only thing you have to do is connect your nth node to the composite nodes. Then let me just overdo it a little bit so you guys can see what's happening. We do this, then just click on F2. And here you have your composited image and you just have to save image just as normal, save S and then you can save it. That's literally it. I want to thank you all for participating in this class. I also really hope that you will send your rendered or your final image to me. So maybe I can give some feedback. If you want more furniture creating lessons, then please let me know. Also if you have maybe something else in mind like, Oh, I want to learn that or another model or a totally different topic. Then please let me know because if enough people want to learn a specific topic than I actually know what you guys want to learn and I can create a whole class or course around it. All right, So please let me know and thank you all and I will see your renders coming up. Bye-bye.