Transcripts
1. 1. Introduction: Hi, everyone. So
if I ask you that, what are the career
option for a TD artist? So the answer would be gaming, VFX, product rendering,
and much more. But what if I tell you? There is one more, very exciting and rapidly
growing sector. It's called as argument reality. If you are a TD artist, looking to level up your career or break into new opportunities, AR is the game changer. It's not just a trend. It's a huge, huge industry
with limitless potential. But surprisingly, there is a very few information
available in the Internet. So how can the three artist break into the
industry? Don't worry. My name is Devass and
I have worked for almost eight years in
Argument reality sector. I have worked for some of the most biggest
ecommerce website like Amazon, Paper fry, Gap, and so on, and also have worked for many big
freelancing projects, which is related to
argument reality. And I'm here to share
you all this knowledge which I have gained
from all these years. So in this master class, you will not only
explore the world of AR, but also create professional quality three D
models from scratch. So we are starting with blender. I will guide you
through shortcut keys, essential add ons for the cores and modeling a realistic hair. So step by step, we will move to UVN wrapping inside blender. Then we are going
to do the texturing in Adobe substance painter, where we are going to
create stitches, seams, and wrinkles for giving
a hyperrealistic finish. Finally, I will teach
you how to export your three D model to argument
reality ready GLV file. Oh, join me in unlocking this most exciting
world of argumentality. I'll be seeing you in the class.
2. 2. Learning Blender Shortcuts: Hello, Evan. So in this
part of the video, we are going to focus on some very useful shortcut
keys in the blender. Okay? I know that blender, by default, has many
shortcut keys which we use. So the shortcut key is
going to ease our life by saving tons of time in any of the process
that it'd be modeling, rendering, any
other thing, okay? So we are going to focus
on we are going to today focus on more of the shortcut keys that is going to help us
in this project. So before I start, I would like you to just refer to the PDF which
I have provided. There also, I have given
many shortcut keys, okay? You can follow that PDF also. You can have a pen and
a notebook with you. And write it down. If you are a fresher,
who is learning this, who is learning blender,
you can write it down. Also, there is a
section in the blender viewport right here where
I'm hoing my mouse. Here you can see all the shortcut keys which
I'm pressing. You can see it here visibly. Got it. So let's start. The first shortcut key and
the very famous shortcut key, I think most of the people
know this shortcut key. It is Shift A. So whenever you
press Shift plus A, there is a menu which
is going to pop up. Okay? So in this menu, we can call out for
primitives like plane, cube, circle, and cylinder,
all these things. Also there is curves. There is also images,
text, lights, camera. There are tons of things where we can bring
them, to the viewport. Usually we use for bringing primitives and cameras
and lights text. Okay, this is the
short root key. Again, the shortcut
key is shift plus A. So this is a shortcut key. Okay. So let us bring a cube. So this is how we
can bring a cue. Let's go for the
next shortcut key. So this shortcut key is also very useful while
modeling, okay? So the shortcut key is
your numpad number one. So what this does is it is going to directly go to your
front orthographic view. Okay? And if you
press now three, so this is going to go to
the right orthographic view. And if you press and hold your Control key and press
press in one or three, this is going to
change the direction. This is going to reverse it. So if it is right now, for example, this is
right orthographic, if you press Control
and press three, this is going to become left. Now if you hold
Control plus one, it is going to become back. Okay? And if you just
middle mouse drag this, you're going to come back
to the perspective view. Okay? So very useful. Very useful when we are adding reference
images for modeling. You will know this
in the later stage when we are in the
modeling stage, you will know the
importance on this. Now there are also
many other views, if you want to go, for example, if you press the Tilda
key on your keyboard, which is above the tab key. If you press that key, you'll get this Pi menu right here. We call this a Pi menu. And in here, we have
different types of views which we can click and
we can go to that view. Also, you can see
that numpad numbers. So you can see there
seven, eight, so nine. Again, if you hold Control
and press this number, this is going to go
to the reverse, okay? The next shortw key, again, very useful Sorto key, so it is to duplicate. Now, if you want to
duplicate your object, you can press Shift plus D, and that is going to
duplicate your object. Okay? So now, if we want to align this cube with
our cube right here, you can press X, Y, and Z. So right now if you press X, so this is going to go
to that X direction. Okay. So this will be only
moving in the X direction. This this is limited
to the X direction. Now if you press Y, now, this is going to be limited
to the Y direction, okay? And if you press Z, it is going to be limited
to the Z direction. So these are the
three shortcut keys, which is going to be
very useful for you while like in a
duplicating stage. Okay. So let's talk about
the next shortcut key. Now, his shortcut key
is also my favorite. So, let me show you that. Okay? So for example, I'm going to go to the
edit mode right here and I'm just going to add
a loop cut right here. Okay? Right now,
so just a minute. I think there is a cube. Okay, let me delete this. Little bit of the tab
mode again and let me add a Lou Okay. So if I need to suppose move
this vertex right here, without affecting the geometry. Okay. So without
affecting the geometry, if I need to move this vortex
right here or the edge, so we can do that by
holding double time GK. So if you hit two times the GK, you can move this like that. Okay? We can move
this like this. So I think the better
example would be if I bring spear, ok? So let me shift A and bring
sphere right here it is. Now, let me go to
the edit mode again. So let me hold down
any of these vertices. And here I'm going to again, double press on the
GK so G two times, and you can see that we can move the vertex without affecting
the geometry, okay? So you can see that we can move any direction like that. Okay. So suppose if you don't hit the GK two times and if you're trying to move this
with a single time GK, so you're going to affect
the ometer like this. Okay? So if you press GK again, you're going to move it very smoothly to any
direction you want. Okay. I hope you
got the sorted key. So let me do this peer for you. Now, the next sorted
key is on how to, like, make your
model transparent. So this is t plus Z. So this is how you can turn your model to transparent. Okay? So this is a very
useful key again to see your model in
the transparent view. Okay, let me delete this. So the next shortcut key, so there is not shortcut key, but there is a function
that I want to talk about. So whenever we do three D
modeling, me, especially, what I do is, I like to see the wireframe of the model whenever I am three D modeling. Okay. So blender also has a
way to see the wireframe. So if I press Shift A and if I go and bring a spear again, so let me press Alt Z. So if I bring a spear again, if I want to see the
wireframe of this spear, you can see it. So you need to go to the
tab right here, sorry, this tab right here and press
on the wireframe checkbox. So right now you can
see the wireframe. Okay. If you want to
turn off this wireframe, you need to again go
to this tab right here and click on this
button to turn it off. Now, some people
are okay with it, but some people like to
assign a shortcut key for this so that it is going to be very easier for
them while modeling. So I would like to suggest you guys to assign a shortcut key
to this operation. So how to assign it is. So just click on this
button right here, and just right click on
this check box right here, and here you can
assign a shortcut key. Okay, if you assign
a shortcut key, it is going to
work, for example, if you click on
this and I'm going to assign the shortcut
key numpad star. So let me assign that
shortcut key right here. Okay, already assigned. Now, if I hit the star
key in the numpad, you're going to see that I'm seeing a wireframe
of this model. And if I press the
star key again, the wireframe is
going to turn off. Very, very useful for me, especially because I
need to see my topology. I need to see my wireframe
whenever I'm modeling. Okay? So remember that. Okay. So the next topic what I want to talk about
is phase orientation. It is a very, very
important topic right here. So the phase
orientation means while modeling or while doing any operations like
symmetry or mirror, you're going to reverse
your phase normals. Okay? In that case,
there will be an issue. If you're exporting this
model for texturing, you'll mess up your texturing. There'll be tons of errors. So you need to fix
your model before you send for texturing.
How do you do that? Now, first of all,
how do you check your face orientation? You
need to understand that. So to check the
face orientation, you need to come to this
tab right here again, and there is a button. If you click on the face
orientation right here, you can see that we can
see our face orientation. Now, if this color, there are two colors, okay. So if the blue color is there, the face orientation is perfect. You no need to do anything. If there is a red color, you need to fix your
face orientation, okay? So how do you do
that? First of all, let's deliberately
turn this face, like flip the faces. Okay? So how I'm going to do is, I'm just going to,
like, first of all, I can turn off this while doing or even I
can turn on this, no issue. So let
me show you that. So I'm going to go to
the tab right here. I'm going to press three and
select some pass right here, and here I'm going to go to the so here I'm
going to go to mesh, and from mesh, I'm
going to go to normals, and from normals, I
can click on flip. So I'm doing it deliberately
to show you guys. So if I flip this,
you can see that. So we are getting this
color right here. So which means our faces
have been flipped Okay, and this is a issue
with the model. So only when you turn on this
option, you can see that. If you turn off
this, our model is looking completely fine, so
there is no issue in that. So if you turn on this again,
you are going to see that. Yes, there is an issue with the phase orientation.
How do you fix that? Now to fix that, just
select your object like this and go again to mesh, go again to normals, and you can see
there is an option called recalculate outside. So if you click on
this, there's a short key Shift M. You can also
click this button on, and it is going to fix it. So your face orientation
has been fixed. Okay, so let me turn off the pace orientation
again. Okay. So the next topic which I want to talk about
is about the origin. Okay? So in blender, so we can see that the gizmo is called as origin right here. Okay? And there is a small round circle
inside the origin. It is known as the cursor. So if I just move my
sphere right side, you can see that this
is called as cursor, and this is called
as your origin. Okay. So sometimes while we
are doing some modeling, for example, we are doing
some modeling right here. So let me just go
to the face mode and try to just extrude
this outside like this. So sometimes while we are
modeling, what happens is, our origin is going to
change its position, it might go to somewhere right here, somewhere
right here. So we need to bring it
again to the center. Okay? In that case, what we need to do is we
just need to right click and we need to press on
set origin and here, set origin to geometry. So this is what
we need to click. Okay? And if we want our origin to go to the
center of this grade, we can right click and
say origin, sorry. Yeah, the origin to crosser. So if you press the
origin to crosser, you are going to go to the
center of this grid like this. So again, right click now
we need to go to the model. So right click origin to Jametr. So it is going to go back
to the Jamere like this. So this is how you
can switch between this I hope you understood. Okay, so there is a key where we can
unlock our origin, okay? So, you know, in other
applications like Maya TDS Max, we used to unlock this
origin so that we can place our origin in any of these vertices
or edges we want. Okay. So how do we do that? How do we unlock our origin? So I will tell you
the shortcut key, but before that, you also need
to know the manual method. So if you come to top right
here in the option box, you see this, there is an
option called origins. And if you click on
this, you see that our origin has
been now unlocked, and I can move this
freely wherever I want. Okay. If I go back here, I can just click on this
again and I can lock it. You can see there is a
shortcut key showing there. It is Control plus
the full stop. If I press the Control
plus the full stop, you can see that the origin
has been again unlocked. Now I can place this origin
to any of this. What is this? I need to snap it. To snap, I need to turn on the snappings. Now, to turn on the snapping, I need to come up
right here and click this button on and open
this menu right here. So I need to snap to vortices. Okay? So I need to
snap to Vertex. So click on this and I can just move this to somewhere
wherever I want. So I can just move this to any of these vertex
I want like that. And whenever I'm done, I'm going to press Control
plus full stop again, and this is going to confirm it. Okay. I hope you
understood this. Again, we can press, we can press right
lick and we can press set origin set
origin to geometry, and this will go back to the middle of the model,
center of the model. Okay, I hope you got this thing. Okay, so let me talk about
the next tip for you guys. This is also a very
useful tip right here. So for this, I have brought
a cylinder right here. Okay? So if I go to
the edit mode by pressing Tab and if I'm on
the vertex selection mode, suppose by mistake,
you have pulled the vertices like this or pulled some of the
vertices like that. Okay? By mistake, you have
done this thing right here. And now what you want is you want to make them
straight like before. You want to align them
with this vertex. So how you can do that? So if I press odd Z to go
to my transparent mode, I can select every ices. And if I go to the scale
button right here, and if I scale
this, you see that, yes, it's fixing it,
but it's not perfect. Okay? So we need to know the perfect
method, how to do this. So first of all, remember, we need to press Sky. And right now, we need to know the direction from where
we are going to scale. In our case, it is the Z
direction because we are scaling from the top from
the top top to bottom. Press Z key, and the following
key is very important. It is the zero key. Okay? It is the zero key. Now, after pressing
the zero key, and you can see that
it has conformed. Now all the vertices
are aligning back. Okay. So let's go
to the next tip. Let me delete this
cylinder right here. Okay. This tip is very useful. So when I started
to learn blender, I used to get confused
about this thing, which I'm going to
explain to you right now. So when I'm going to
bring anything like a cylinder or a spear,
you will know about it. Shift A, and I'm going to
bring a cylinder right here. So you can see
that if we need to increase the polycunt of the cylinder or we need
to add a cap right here, we have a tab right here where we can
increase the vertices. So let me press the
star key to see our wireframe right here. So as soon as I
press the star key, what happened is we lost
that tab right here. Okay? So this is what I was getting really confused when I started to learn Blender. But in the learning process, I understood that there is a shortcut key
to call it back. So if we press F nine
in the keyboard, you can see that we can
call this operation back. So again, we can now
increase the vertices. Okay. And also, we can add the cap from gone
to triangle fill. Okay. So again, I'm pressing
F nine to call it back. And here I can write 64, press Enter, press down the
star key to see our WiFi. Okay, very, very useful. Like, I want everyone to know
this, how to call it back. So it is F nine. So wherever you press F
nine on the keyboard, you can bring that tab back. Yes, but there is a caveat. Until and unless you have done some operations
like it will work. You cannot go to the edit mode. Now, if you go to the Edit
mode and press F nine back, it will not work. So you need to
conform before it. You need to add the subdivisions or if you need to add
the ca whatever it is, you need to do this before
adding adding the edit mode. I hope you get this. Okay, guys, so this was it
for all the shortcut keys and the tips before I start
the modeling process. But there are going to be many other shortcut
keys which I'm going to use while the
process of modeling. So you will be seeing me
using all the shortcut keys. I'm going to give you
all the shortcut keys. I'm going to tell
you all the shortcut keys while I'm working. Also, please, please,
please refer to that PDF which I have sent. You are going to get access
to all those shortcut keys. Thank you, and I will see
you on the next video.
3. 3. Installing Necessary Add-ons: Hello, guys. Welcome back. So in this section of the video, we are going to learn to install some useful add ons for blender. Talking about add ons, I think you know
that Blender has some very good in built add ons. Also, we can also download some add ons which is
available outside the blender. Okay? The one more thing I
want to tell you guys is if you're using the older
version of the blender, the UI of the older version of the blender might be
slight different. I will show you in
just a minute why. So currently, I'm using
blender, 4.2 0.3, okay? And till this date, there is also a new
blender version available. I think it is 4.3. You can go ahead and install even that. I would highly
recommend that to use the latest build of blender because the blender
community always try to improve the blender
and its tools. So my suggestion would be always to install
the latest one. Okay, so let us go ahead and
install all those atoms. So for that, we can
go to the preference. So we just need to click on
Edit and go to preference. Also, we can hit the
shorted key that is Control plus comma to
open our preference tab. Okay? You can see that
in the latest blender, we have these add ons category into the
divide into two categories. One is get extensions. The one more is add ons, okay? The Get extension is
the one where you have all these in built addons available in the blender.
You can see that. If you scroll down and check, there are so many
addons to install, but are only going to install
only a few add ons on this. The next is add ons, where you can install pretty much any add
on which is available outside the blender by just clicking on this key and
install from the disk. We are also going
to look into this. But the first thing
what we are going to do is we are going to go to
the Get extension tab. From here, we are
going to search for loop tools because this is
going to be our first add on, so loop tools like that, and we can just see
that this add on is available to install and we just click on this Install
button right here. So once we have pressed
the install button, the loop tools add add
on is already installed. So let me minimize this, and I'm going to just show
you how loop tool works. So loop tools is
a very useful add on for when you are
doing any modeling. So especially it is very useful to create circlerize pass. So let me show you. Let me
create a cube right here. So let me create a cube, go to Edit mode and
add some loops. Let me select the phases. So I'm going to
insert this phase by clicking on I and
just drag like this. Okay. Then if I want to convert this phase from this
square type to circle, you can do that by going
to the loop tools add on. Let me first click the pace. Right click, go to loop tools, and you can see that we have
this tab loop tools and we can see that we have
different types of functions. But we are looking for
circle right here. This is a very useful function. So clicking on circle, it will convert your face
to a circularize phase. Okay, so from here, we can, like, extrude in or out. You can see that we are getting a really nice circle phase. It is going to be very useful, like in the modeling phase
when we want to convert something from any
shape to a circle. Okay, so let us go ahead and
install the next add on. Now, this add on is
called as F two add on, so let me go to the tab
mode and delete this. So to install this
add on, again, we need to go to
the preference tab. So let us go to the
preference tab right here, with it and preference. So from here, what I'm
going to do is I'm going to just cancel this and type F
two. So this is the add on. Let me just install
this. Okay, once the installation done, I'm
going to minimize this. Now, how do I know the
functionality of this add on. So for this, I'm going
to bring an example. I'm going to bring a spear. So let me go ahead
and bring a spear. From here, I'm
going to just zoom in a little bit and
go to the edit mode. From here, I'm going to delete
this entire loop phase. So I'm going to click
on a single phase, then hold Alt and Shift and click on the
corresponding phase. That is going to
select the loop phase. Then I'm going to delete it by pressing X on the keyboard, and from here, I'm
going to select the phase because we
are deleting the phase. Now, if I want to bridge
this, I can do that. But using F to add on, I can do it in a
bit different way. Let me show you I'm going
to go to the edge board and select this edge and
Shift click on this edge, and I'm going to press F. Then I'm going to select on
the side edge like that. And now if I press F, you can see that we are
filling these phases. If I go ahead and repeatedly
press the F button, you can see that I can close
all these phases like that. Okay, so again,
very useful add on, we will be using
this in the future. Okay, so let us go
for the next add on. From now, we are
going to install all the add ons that I have been provided for you on that
project add on section. So if you see there is a folder which I have
provided, and in that folder, I have provided you a list of add ons to install
for this project. Also, these add ons
are completely free. You can get these add ons from the website links which I have provided
in a notepad. So go ahead to those
website links, and you can download
them for free. Uh to save your time, I have just given those
add ons in a folder. So just follow this video and we will install
this one by one. So the first add
on is edge flow. So let us go in and
install that first. So Control plus comma to bring out the preference
tab right here, and I'm going to go to
the add on section. Okay? From here, we are going
to install those add ons. From there, we are
going to click on this Aramark button right here and click on
Install From disk. From here, I'm going to paste the project section
for the direction. So this is the page right
here, and from here, we are going to install
edge flow, this one, double click on that, and
this is going to install. How this edge flow work is, if you have your edge, if your edge is not following the path properly,
you can fix it. You can fix that flow. Okay? The name itself
says that edge flow. That means it is going to
fix the flow of your edge. Suppose by mistake, you have
selected this edge and you have made it like this or you have made it
went down like that. And now you want to, like, fix this edge to align
with these two edges. Okay? You can do that.
Select this edge right here. And now you are going to hit on the right and
you can see that there is a new tab which is called a set
flow has come up. Now if you hit on set flow, you can see that we are
going to fix that flow. Okay? Again, very,
very useful script. Okay, so let us go and
install the next add on, which is called as mesh merge. So let me just delete this per, and we are going
to create a cube, Okay, for this example. Next, I'm going to hit
Control plus comma to bring out the preference
tab and I'm going to just, like, click on this buttoned
here, install from desk. From here, I'm going
to paste the path, and this is mesh merge. So let me have a it's
already installed. I'll close this and I'll
show you how this works. Okay? So if you guys have used any other modeling software
like Maya or three days Max, there is a button, I think it is called welding
Tool, something like that. So it is a tool to weld
your vertices, okay? So for example, in blender, we can do that if you go to the Vertex mode and we want to, like, merge these vertices. Okay? We can do that
by pressing and we can merge it to center
or crosser, collapse. We can do everything.
For example, we are doing merge to center. This is going to
merge these vertices. Okay. But using this add on, we can do it a bit faster way, also, and this add on also has, like, different features.
Let me show you that. So first of all, if you
have installed that scrap, you are going to see a
small icon right here, which is called merge tool. Okay? This is a new
tool which has come up. Now if you click on
this tool right here, you can just drag this to this vertex and
it is going to merge. Okay? So you can also
change how it should merge. Right now, you can see that
it is written as last. If you click on this,
you can say first, and if you drag like this, it is going to merge
it to the first. Okay. And also, we
have the center. If you click and
drag it like that, it is going to be on center,
so we can well like that. Okay. So again, it's also
a very useful add on. Okay, so the next add on this
add on is for UV editing. Okay? We are just going to
install this add on right now, but the functions
we are going to learn when we are
in the UV category. Okay? So let us go and
install this add on first. So let me delete this
shape right here, and again, I'm going
to press Control plus comma to bring up the
preference tab right here. From here, I'm going
to click on this tab, install from desk, and I'm going to pace the
path again. Okay. And it is called as text tools. D click on that and it is
going to be installed. Again, I'm going
to teach you about this add onbnd in
the UV section. The next add on, I think this is the
most useful add on which we are going
to install right now, especially for those
artists who are working for argument
reality jobs. Okay? This add on is
very useful for them. Again, we can do it manually, but using this add on, I think it is going to
give a bit precision, at speed up for your workflow. This is called as the
bounding box add on. Okay? This is a personal add on. This is a personal
script which I made, and I'm going to share it
with you guys in this course. So let us install this add on. Okay. Then we will
see how it works. First, we are going to again, click on this,
install from disk, and we are going to
pace the path again, and we are going to install this add on called
bounding box script. Double click on that, and it
is going to be installed. Okay, where we can find where
we can find that add on. So by pressing the key, we can see that this add on
is available right here. Okay, the add on is
available right here. So how does this work? We need to know how
does this work? So simply this add on helps to create a bounding box
around our model. It is very useful
because we can know the dimensions of our model
when we are making it. Okay? Suppose there is a
dimensions in our model, we can hit those numbers and
we will get a dimension box. So for example, let me
just press N again, bring this bounding bass script. So there is a
dimensions, for example, we have 30 and we have
40, and we have 50. Like that, and we have
this meter centimeters, whichever in dimensions
we need to create. Suppose we are creating
in centimeters, so this is the numbers
for the centimeters. And if we click on this button, create bounding box, we can see that there is a
bounding box created. The best thing about
this add on is it is going to create the
bounding box exactly on the top of the
grid which we want because that's how the
argument reality works. We need this bounding box exactly at the
center of the grid, and this bounding
box has been locked, so we cannot select it. Okay, very, very useful add on, especially for argument
reality model. Okay, guys, so this is it for
all the add ons right here. I hope you liked those add ons. Also, we will be when we are
going to the modeling stage, we will be looking at more
into these add ons again. Till then, I will see you in
the next video. Thank you.
4. 4. Installing and Using PureRef: Hello, everyone. Welcome back. So in this section of the video, we are going to learn about a really nice software called PUF. So PURF is an application. It acts like a second
monitor in your screen. So if you are working for
making any three D model, and you have a lot of
images of that model, you can have a collage and keep it right
next to your screen, and you can start to three D model by having a look
at those reference images. So this is the PUR website. So you can see some
examples right here it is showing
here, so how it works. Okay? So it's a
dragon drop feature. You can just drag and drop
images into those tab and just keep it side by side while you're modeling.
It is simple as that. So again, this is a industry standard
software right here. So most of these
studios are using PUF. So let us go ahead and just
download this software. So it is very simple.
You just need to press on this
download key right here. So this will go to
the download section. So this is the
latest PUF, 2.0 0.3. We have some really nice
features currently in this PUF. I'll be showing
you. So let's come down and we can
download it right here. So just enter a custom amount, and you can download
this for free by pressing typing the $0, so you can get it for free. Just hit on the Dwload key and your Puref is going
to be downloaded. Okay, so once you
hit the PUF icon, you are going to get this tab. So this is the area where
we can drop images. So if you have a
collage of images which you are using for modeling or texturing or whatever it is, you can drop those images. Okay? So this is the
area right here. And also, you can just
come to the end of this line here and you can
increase this area like this. Okay? You can also make
it shorter like that. You can increase
the area of this, and also you can maximize it, and also you can minimize it. Okay. There are also you can
close this, minimize this. Also, we have a disable
always on the top feature, which I'm going to talk about. So let me go ahead and bring
some reference images, and I will just
drop it right here. So actually, we are going to use the reference images which we
are going to three D model. So let me go ahead to the
project file section, and we have reference
images right here. So you can see that
it's right here. So I'll just drag and drop
this folder inside PUF. So yes, we can drop
even the folders. So if you use your scroll wheel, you can zoom in and
zoom out of this view. Okay? If you double click
on any of these images, it is going to frame it
on the screen like that. A key. So it is going
to frame it like that. Also, you can select all
these images and make it smaller or bigger or you can select any single image and
make it bigger like that. Okay. Also, if you
hit right click, you are going to get some
more options right here. So for example, you can save this PUF file so that whenever you are
starting the project, you can open the PUF file again. You no need to drag and drop the folder or the
images all the time. Okay, you can open
that file right here. Also, we have option
to align these images, and also we select
all the images. So we have pretty
much so much control inside this PUF screen. There is also a really nice
function which I really like. So this is available in
the latest build of PUF. So if I double click
on this and let me maximize it and right
click and you can see, there is a draw mode right here. So if I hit on that, I can literally draw
on the screen like this and I can just plan out
my stuff like that. Okay? So you can draw on
your screen and you can plan out your stuff. Like that. Once we are done, so there's a small
tab right here. You can even erase
this if you want. Also, you can close this, draw this, change
the size of this. You can explore all this stuff. I'll be closing this.
So how we actually, let me hit Control Z to
clean all this stuff. So how we really use this in
the studio environment is, we just make this PUF screen a little bit smaller like that, and we just open
the application, for example, blender,
we'll open that. And in here, if we are
started out three D modeling, we just keep it this Puref side by side and we will start to, like, three D model this by just having it look at
all those details. Okay, so this is very helpful
while we are modeling. So there is one key right here, which is disable
always on the top. If you go ahead and click
that key, so what happens is, if you press outside
of this PUF screen, your PUF is going to go
behind this blender. So my solution is
always to click on this button right here
and press always on top. So that your PUF stays on
the screen all the time. Okay, so this is it, guys. So this is PUF. Definitely, I will tell you
to install this software, and we'll be needing this software when we
are doing our modeling. So thank you and I will be
seeing you in my next video.
5. 5. Setting Up the Bounding Box: Hi, Ryan. So welcome back. So in this section of the video, we are going to learn how
to create bounding box. So if you remember
that we have already installed a script to create
the bounding box for us. But in this section, we are going to also learn the manual method
of how to do that. It is very important to know
the manual method, too, so that if you don't
have the script, you can do it by manually. Now, why is bounding box
important right here? So we can do without the
bounding box, right? But why is the bounding
box important? So me when I was working in
the studios, at that time, we used to create
bounding box so that our actual model should
match the dimensions. If you don't create
the bounding box, your model might
look bigger when that model is under the
argument reality software. So if you are
using, for example, if you have tried the Amazon or any other platform
which allows you to live view your sofas or
chairs inside your house, you can see that those models exactly fit your environment
with the dimensions. If you don't create
the dimensions, your models are going
to look way bigger. Okay? So that's why bounding box is very
important to be created. So let us go ahead
and create one. For the manual method,
I'm going to press Shift A and I'm going
to bring a cube. Next, what I'm going
to do is I'm going to press tab right here
and I'm going to press Control Z. I'm going
to bring this cube top, bring the cube to top. Also, I want to snap
this cube to the grid. How we are going to do
that by holding control, I'm going to pull
this top like that. This is how we are
going to snap. So I'll press Control Z again to come back out of the
transparent mode, and I'm going to come
back from the edit mode. So our beautiful cube
has been created. Next, what I'm going
to do is I'm going to make this cube
a bounding box. How we are going to do
that is we are going to click on this button. This is object
properties right here. In here, if you come down, there is a property
called viewport display. Let me come down to show you. And in here, you can see that there is option
called display as. Now currently it is in texture. This is the texture view. You can change this to
bounds or wireframe, but we are going to use
bounds in this case, so let's click on bounds. And you can see that this is
turned into a bounding box. Now we can lock
this bonding box. Why we need to lock
this bounding box? Because whenever we are in a modeling phase, we are
modeling something, right? We are constantly moving
our mouse here and there. Sometimes by mistake,
we might touch this. Sometimes by mistake,
we might scale this. So it'll be a problematic
thing at that time. That's why we need to lock
the bounding box right here. So how we are going
to do that is we're going to press this
icon right here. We are going to bring this icon, and we're going to
disable the selection. So this is how we
are going to lock this bounding box. Okay, great. Now, the next thing, what we are going
to do is we are going to assign the dimensions. We have created
the bounding box, it is perfect,
everything is fine. Now we are going to assign the dimensions to
the bounding box. How we are going to
that is we are going to do that by watching the reference image
that I have given to you. Let us open PUF quickly.
This is the PUR ref tab. I'll keep it somewhere here and I'm going to open the
project find right here, go to project files and I'm going to drag and
drop the dimensions. There is a image here
which has the dimensions. This is the one. This has
the dimensions, you can see. Okay? So primarily, we are going to use only three
dimensions in this case. That is the width and the
depth and the height. So remember, these three
dimensions are going to be very, very useful to create the
overall bounding box. The rest dimensions
which is given, you can see there
is a pillow height, leg height, or the hand rest with all these small,
small dimensions. We are going to consider that, but not now because some studios might tell you to make those pillows to
the exact dimensions. Some companies might
tell you that. But other companies might just not take all those
dimensions into consideration you can just follow the three dimensions
which I told you, and that will be very perfect. Got it, right. So next, we are going to apply
those dimensions. So for that, I'm
going to press N, and the transform bar is going to open
from the right side. From here, we are going
to go to this section. This is the dimension section. From here, we are going
to assign the dimensions. The first one, the
X is the width, the Y is the depth and
the Z is the height. Okay? So this is
width, depth, height. Remember that. Now in our reference image,
which is width. So from here to here it is
width, which is height. So from here to here,
it is overall height. The depth is from here to
here. This is the depth. So let's first type the
width value, which is 30.3, and we are going to write inches because this model is in inches, so we are going to write inch and we're going to press Enter. So next, we are going
to write the depth. So depth is 29.9 inch. So 29.9 inch enter. The next, we are going
to write the height. So 34.3 inch. So this is the bounding box
that we got after we have, like, assigned those dimensions. I hope you got this. So this is a manual
method, okay? This is a manual
method. And also, we can create this using the
script which I provided. The manual method
might take some time, but it is well and good
to know this method also. Now, let us go and try
the script method. So I'm just going to hide this. Right here and I'm going
to just go to the script. So this is the script,
bounding box script. And here I'm going to just
like type those values again. So the width is 30.3 enter. This is the depth. So this is 29.9 enter, and there is the height. So 34.3, we are going to enter. Now, very important, we
need to convert this 2 ". Okay. And we are going to
just click on this button. It is create bounding box. So let us click on
that. So here it is. So we have created
the bounding box. Now, the good thing
about this is this is going to be exactly on
the center of the grid, like the top of the grid, and
this is going to be lumped. Okay, so we cannot move
this bounding box. That is the good
thing about this. Now, let me open
the original one which we create in
the manual method. So this is the manual method, and this is the
bounding box method. Both looks same because we have given the
same dimensions. So one is manual method, the one is, like we used script to create
this bounding box. So both are great. I hope you get this point
that bounding box is very, very important in argument
reality modeling. It might be also important in different types of modelings,
but in our case, also, we use most of the time
to create a bounding box, and then we create our modeling. In the next video, we
are going to place the reference image
behind our bounding box, which will be very
important again because we watch the
reference image, we trace the reference image
to create our three D model. So I will see you in
the next video till then keep practicing
guys by. Mic.
6. 6. Aligning the Bounding Box to References: Hello, everyone. So in
this section of the video, we are going to
learn how to align our reference images
to the bounding box. It's a very simple method, and I'm going to teach you this. So I hope you have
followed me till here and you have created
the bounding box. Let it be the manual method or the method using
script. Both are fine. But my suggestion
is use the script. It is going to be a lot more faster and a
bit of accurate. So from here, we
are going to start aligning the reference images
inside the bounding box. So before I do that, I need to show you the
reference image. So let me bring out my Pure from the second
screen right here. So the two images that we need to align to this bounding
box is the front view, that is this one and the
side view, that is this one. We are going to use
these two images to, like, create those
tracing points. So we are going to using
these two reference images. There is a little bit of issue with the images that you
are seeing right here is. These images are not perfectly like this is not perfectly
like the front view. Also, the side view is
also a little bit of you can see it is a little bit of rotated or a
little bit of tilt. Even this front view is, like, completely having some, like, tilting effect, you
can see that in here. If this was a front view,
this was really straight. So it was very easy
for us to trace. But right now this is a
little bit of like tilt. So it won't be that much
of issue for us because we will we have created the bounding box for that reason so that we can match
the bounding box, rather we go ahead and perfectly match those
reference images. So let me just a this
to my secondary screen. And from here, I'm
going to press one in the numpad and this will be
coming to the front view, so I'll press on add. So there's a button
add right here, Image, reference and from here, I'm going to bring
the front view. So you can see that the
front view is here. I'm going to scale this by
pressing S and I'm going to scale it down and I'm going to bring this
to top like that, and I'm going to scale this
down, bring this to the top. I'm going to scale a bit further and I'm going
to put in this. So as I told you that the
front image is a bit of tilt, so this pillow might go top. There is no issue in that, so it can go to the top. But once we have done
with our final model, we can scale it down
inside the bobbing box. For now, we can
keep it like this. There won't be any issues. Again, I'm saying you that the image image is a
little bit of tilt. Next, I'm going to go to the
side view or the right view. So I'll press three
on the num pad, and this is the right view. So again, I'm going to press Add Image and we are going to
bring the reference image. Again, we are going to
go for the side view. So let me scale down this again, bring this to the top
and scale it again, bring this to the top like that, and I'm going to
leave it right here. Okay, so if I go to
front view again and if I go to the
perspective view again, I can bring this to
the back like that, and I can bring this one
to this side like this. So this is how we
need to set this up. And then what I'm going to do is I'm going to select
both these images, or I can just come here and uncheck this icons right here, so everything is
going to be locked. We need the reference
images to be logged. Also, if you're going to create the boarding
box with a script, it is going to lock
it automatically. So everything has been
logged and everything is perfectly set up for
our three D modeling. Okay. So in the next video, we are going to start
the Three Modeling guys. I'm really excited. I hope you finish your reference
image setup till here, and I will see you in the
next video till then, keep practicing and B.
7. 7. Modeling the Handrest: Hi, guys. Welcome back. So in
this section of the video, we are going to start to create our three D model of
the single seater sofa. Before we go ahead and
start our modeling, we have to just analyze and
see how we are going to, like, deal with
this type of model. So that it'll be easy for us to understand the
requirement of this project. So let me bring down the PUF
collage images right here. So first of all, have
a look at the image. So this is a really nice
puffiness feel so far here. You can see everywhere we have the puffiness field
going on. You can see. We have the round
corners in here. We have the round
corners in here. We have sharp corners in here, so you can see that what
we are dealing with. Okay, so it's having a really
nice puffy feeling in this. One thing I need you to
understand is we are not going to exactly match to the
reference image, same to same. Okay? We are going to work on the pipeline
of creating GLV file. So we're going to learn
something above and beyond, then creating the same to same look alike
so far right here. This process is going to again, take a lot of time
if we are going to match the sofa look alike. But we are just
going to learn how to create or deal
with the challenge if we get something like this in the studio environment
and how we can start something and
how we can finish something and get the GLE
file to submit to the client. This is what we are going to
learn at the end of the day. So let's get started then. We are going to go to
the blender screen, and I'm here going
to bring a cube, so Shift A, and here I'm
going to bring a cube. Next, I'm going to go
to the front view, and here I'm going
to scale it down. So let me scale down this. And I'm going to go to tab mode, As and I'm going to press one. I'm going to scale this
down. Bring this here. Let me go to the right view. So we can see that we
are not matching here. So let us match
with the side view. So we need to match
to the side view. If we don't match to the
front view, that is fine, but we have to match
to the side view because side view
is the perfect one. The front view has some
tilting issues going on. So don't need to worry about
the front view not matching. We will do it after we have
finished with the shapes. So again, I'm going to
go to the right view. I'm going to come back to the perspective view right here. Okay, so next, I'm going to
show you the reference image. So you can see
that on the sides, we have this nice
bebel going on, so you can see we're having
this bebel going on. So let us create that effect. So let me go to the object mode, and I'm going to isolate
this piece right here. So to isolate, we need to
press the num lock slash key, so have a look at this space. So we are going to press this
slash key in the num lock, so we are going to
isolate our model. Now I'm going to
go tap key again, press two and select. Like before I'm doing that, before I'm doing that bevel, I will like to press Control
A and hit all transforms. Okay. Then I'm going
to press tab and select these two edges first. Then I'm going to bevel
because you can see that this bevel is having This is a little bit bigger big bevel when we are having
to look at this. So we will make a little bit more bigger curve in this area and a little bit
smaller curve on this area. So let me first bevel
the top ones like that. And then I'm going to
select this area right here and I'm going to bevel on this but make it
a little bit small. Okay. Let's now connect
all these things because we are left
with a very big end go. So I'll go for the knife
tool that is here. The shortcut key is K. So I'm going to connect this to this raise right click
to confirm that. I mean, like, the
connection is going to cut. So click on this and
you can click on this, click on this, click right here. Okay, once we have connected, we can press space bar to
confirm all those things. Okay. Next, we have to
add some edge loops because we need our edge
loops to be uniform. The reason why we need to add more edge loops
because you can see, as I told you, we have really nice puffiness
going around. So adding more edge loops is going to give
us that puffiness. As you can see that, if
I click on the image, let's go to the draw
mode and you can see how there is puffiness
feel right here. Also, you can see this
bump like this right here. So we have this here.
Also, this area, we can see some puffiness. So this is the reason we have this is we
have to create some. We have to add some edge loops. So let me go to the Lo cut, click on this and increase to something like four
and click on this, increase something to
like four, and that's it. The next, what I'm going to do is I'm going to create
the piping effect. So this is called the piping, so I'm going to create
this effect right here. So for that, I'm going
to select the edges. So it is all Shift
plus left click. And then I'm going
to bevel this. So beveling this area. I'll keep it a little
bit bigger. The piping. Okay, now, have a look
at the piping here. So the piping has, like, it starts from
here and came like this and it's ending right here. Okay? So just a cut over here. We are not having the
piping all over this area. It is only till this area. So what I'm going to do is I'm
going to select the phase. So press three, and I'm
going to select this phase, and then I'm going to
select this phase. Okay, so what's happening is we are selecting the
ring selection right here because we have to
select the phase here. If you're selecting the
face on the middle, we are going to sec
the ring select. So select Shift
select the phase, then t plus Shift select
this area right here. So click on this. So let me show you,
click on this. So again, shift select this and then you're going
to select here. This is how we are going
to get the ring selection. Okay. Now we have to, like, deselect this area. So let me press Z and deselect
this area. Again, Aussie. Next, I'm going to extrude. So currently, if
you extrude with the default extrude
to extrude region, this is not going to give us
a good result, you can see. Okay, we need to extrude using
the extrude along normal. Then if you extrude, we are going to get a nice result like. Okay, so this is what
we are going to get. Extrude this and next I'm going to come back to
the move tool right here, and I'm just going to, like, weld these areas. I have to merge
this, what is this. Already, we have installed
an Ie tool right here. So this is merge tool. I can click on this,
go to the Vertex mode and drag these areas
to merge this. Okay, so we have that. Now what I'm going
to do is I'm going to go back to press the tab
to go to the object mode. And here, what I'm going to
do is I'm going to again, have a look at the model.
Everything is fine. So let me hit Control plus one. So Control plus one
is going to add a single subdivision
to your model to see how the model is
initially looking. So this is how it is looking. Then I Control plus zero is going to remove
the subdivision. So you can see the
tab right here. Again, I'm going to
go to the tab key and here I'm going to go
to the loop cut tool. I'm going to add
some loops again. I need to add a loop right here and I'm going to add
a loop right here. Going to add a loop right here. Next, I'm going to go to the
edge mode by pressing one. I mean pressing two. Then I'm
going to select this loop. Then I'm going to select
this loop right here. And now I'm going to do what
I'm going to do is I'm going to hit right click and go to
edge flow and set edge flow. Okay, so if you hit
the edge floor, this is what it happens. Like this edge is going
to pop up like this. So now it is looking
like a pipe. So nowadays having giving
that round filling. You can play with
the tensions here. So if you play
with the tensions, you can increase this
height like that. So now if you go ahead and
press Control plus one or two, so I'm pressing
Control plus two. This is what we are
getting right now. So definitely hit this and press right link and
do the share smooth. So you will have a better look
of what you're looking at. So Controbus zero
will bring back you to the zero subdivision level. This is what we are looking at. Next, what I'm going
to do is I'm going to play with the puffiness, play with the puffiness,
give some puffiness. Also, I'm going to add some
l in the corneers so we can see so we can see the piping
a little bit of prominently. So what I'm going
to do right now is I'm going to select
this edge loop right here, so tab already I'm in the
edge loop selection mode, so I'm going to
select this edge loop all the way like that, even this one all
the way like that. Also, I'm going to
select this edge This one and also We can select this right here. We can do that, or I'll
show you one more thing. So let me go ahead
and select this edge and this edge and
give a Bel Control B. Let me see first.
Okay, so I haven't selected the edge so let
me do it again, guys. Selecting this edge Shift
plus Alt, this edge, again, selecting this edge
and shift plus Alt selecting this edge and
this one right here. And now I'm going to press
Control V to bevel this area. So add one subdivision
like that, so that we get this
tight loop right here. Next, for this area, what I'm going to
do is there is also another way we can
add insert to this. Even that will give
us a feel like bebl. So we can try that. Select the phases right here. So here I'm selecting
control and I'm selecting control like this
to fill these gaps. Okay. So this is what I'm
doing right now. So even I can add
insert right here, let me also select this area. Okay, let me first
give the insert here. So press I and you can
add an insert like that. Okay, so this is
also going to give you a loop cut like that. So even we can do it right here. So select this,
control select this. Then we can control select this area, this area, this one, and this right here, also we are going to select
this area right here, press I and add a small
insert like that. Okay. Now I'm going to go
back to the object mode, disable the wireframe and press Control plus two to add a subdivision and
check how it is looking. So the piping is looking like a piping
and it's looking nice. So let me go back to
the editing mode again. So now it's time to
add some puffiness, so you can see that we have some puffiness going on in here. So let us add that. So how we are going to do that. Simple. First, let us add
some puffiness right here. But before that, I need to
add more loops in the top. So let me add one here and
let me add one here. Okay. After that, there's a method, how we can inflate these
lines. Let me show you that. If you press Alt Shift on these lines and if
you press Alt plus S, now you can inflate
these lines like this. You can see that. Let me press Control zero because this
is under the subdivision, so I will press Control Zero. Now you can see if
I press R frame. I can see that. So for this area right here, what I'm going to do is I'm
going to select the pass, so press three, and I'm going to select some
faces like this. This is one of my
favorite method of selecting paces like this. So in this area, let me
deselect this phase. So in this area, I can
just pull this like that. Even this will add that
often is feeling like this. We can go to even the edge
mode and select these edges. Also, we can pull
the edges like that. That will give a sort of
puffiness around this area. So we can do the
same thing for here, so select these phases. And we can pull this like that. Don't do it too much in intense. You have to be very precise, a bit of like in a slow way. Okay. Let me deselect this. We are getting some
intensity here, so I'm just not
going to do that. We can add one more edge loop
if we need in this area. So it's not required, but it will help us to create
that flow. I can pull. So I'm doing it with
some variations, so the model looks nice. Let me go to the object mode. Let me turn of the wireframe and press Control two to
see how it is looking. So this is how it is
looking right now. So I can see something is going on right here,
so let me fix that. So I'm going to go to select
this loop right here, right link set flow, and I will press set
flow. So that fixed. So now you know, the set flow is really a useful
add on right here. This is looking
fine. As I told you, we are focusing on
the main shapes. We are creating the main shapes. Once we have done that, we can
go for some other details. Currently, if you
see the reference, the piping has some details, we can create that in substance. We can create that in texturing, of course, in substance painter. But also you can see
that the piping flow is it is not in a straight. Currently, ours is straight, but if I right click
and go to draw more, you can see that the piping
is going somewhat like this. Okay, even this is going
somewhat like this. So we can create this.
We can create this, definitely, but I will do it in the later
stage to show you guys. Right now, we can keep it
like this. There is no issue. Let me press the
slash key to come back to the perspective view. Okay? So the same hand rest, I'll be duplicating
to the other side. So I'll be duplicating
this to the other side. So we are going to get the
both hand wrest, like that. Also, while doing that, I will later on just
adjust those pipings. I will just create some random
variation in the pipings, some random variation
in the puffiness, so that it looks a little bit of different with this handist. So I want that. Okay, so let us go ahead
and just duplicate this. So it's very easy how you
can duplicate this to here. We can do the symmetry. So until unless the pivot
point is in the middle. So we can do the symmetry. So how we are going to do
that is we are going to come to the add modifier
and in Add modifier, we can go to the generate. From here, we have mirror. If you click on this, you
will get that mirror. Like that. So if you go
to the front view again, you can see we are having
the rock pressure. Okay, so this is
how we are going to achieve the basic
shapes, like the shapes. So in the next video, we are going to create
the other parts. For example, we'll
be creating this, the pillow right here. This is a supportive
supportive pillow. So this pillow supports the
main setting area pillow. So we are going to
create this one, okay. Following, we are
going to create all the other pillows
that you're looking at. Then we're going to
create the legs. So so till here it is done. So let me go ahead
and save this file. So file, save us. And here, you know, we have created the bounding box save. So this is going to
be the second save. So this is how I save, you can save in a
bit different way. So I'm going to
save it like this. So save us. Okay. Okay, guys, so this
is done till now. So I'll be seeing you
in the next video. So till then, keep
practicing. Bye bye.
8. 8. Modeling the Pillows: Hello, Eman, so welcome back. So in this session of the video, we are going to create the pillows that you're
seeing right here. So we are going to create
these two pillows. So both are looking
very identical. So we can create one and we can duplicate it to
the top like that. And also, like, we can
do some variations on this pillow so that it will look a little bit
different to this pillow. So that's what our goal is. Now, one thing that we need to do is we need
to save our project, but before saving it, now that we are going
to create the pillows, I just did a small
mistake right here. So the reference image which
I have created has to, like, this side view has to go to flip has
to flip like this. So we need to do that change before we create the pillows. So what I'm going
to do right now is come down to the object
section right here. Okay, then select the side
image that is this one. Make sure you unlock this. Then you can come to this
scale section right here and just hit minus and enter, and that will flip
and lock it again. So this is what you need to
do very, very important. We have done that, we
can save this right now. So control shift and S.
I've already saved it, so you also have to save this. Just give a number like
0304 and just save it. So that's what you need to do before we create the pillows. Next, let us go ahead and create the
pillows, actual pillows. Shift A, and we
can create a cube. And then I'm just going
to reduce the size, and I'm going to bring
this to the top like this, and I'm going to scale it down. To scale this like that. I'm going to bring
this down like this, bring to the front like that. Now I'm going to go
to the front view. And here I'm going to hide this. Now, let me scale this. Even I can scale without
using the buttons right here. S for scale and Z axis
to scale it like this. Okay, so we can move this. Now, press Tab key, all Z, and we can press one
vortex mode and we can send it like this. Okay. And from this side, we can increase this a
little bit like that. So let me now isolate this now now we have
to create the shapes. So the pillow is fairly you
can see that from this side, we have really nice
bevel going on. So we have real nice
bevel going on. And from the top,
there is really nice this type of bulginess
like puffiness going on. So we need to create this
type of shape, okay? So what we are going
to do is we are going to press Tab key, press two to go to the
edge selection mode, and we are going to
select these edges. And this edge is right here, and we are going to press
Control plus B to bevel. But I will suggest you to just press Control plus
A and do the transform. Then you just press tab
and then you can bevel. Okay, once the bevel
is done, next, we are going to close the engons right here, what you're
seeing right now. So we can do that right now. So before that, I would say to add another bevel
to the top and bottom. So go to three to
phase selection mode, add these two phases, and we can add a bevel to
both the section right links. Okay. Now let us go press K
and close all these engons. Click and right click. Click and right click, click and right click and
Space bar to conform it. Press K again. And then we are going to close all this verdices
space to conform. So this is done. Next, we are going to
create some puffiness. So I'm going to
click on this face right here and I can
pull this like that. And also, I can select this
and pull this like this. And also, I can add
some edge loops because you can see the
area is really empty. So Control plus R, also, we can click on this and
click it here and increase the loop three from here
and three from here. Next, I'm going to select
this loop right here. Or what I can do is I can go for three and select
this phase right here and press Control E, but I want the extrusion method to be extrude along normal. So click on this. I can
extrude a little bit like this so that we can get this
type of shape right here. Okay, next I'm going
to press Control R, and I'm going to add some
loops here. So three. Also, I can add some
smoothness like that. Next, I can select some
faces and I can pull them top to the top so you get some puffiness
feeling like this. So let us select some
faces right here. Pull them like that and
select them and pull them We can randomly also select some faces
and we can randomly pull them. With that. Now I'm going to object mode
and right shade smooth. And from here, I'm going
to press Control plus two. You can see this is
what we are getting. But before that, we need to add some bevel on these corners. So control plus object mode
again, Control plus zero. And I want to see the
wirefame star button. Now I'm going to add
some edge loops. Tab two spread these two edges. Select these two edges.
Control B, sorry. Yes, Control B to B like
that, Biwel is done. Control two, this is
what we get right now. Plus slash to come back to the perspective view where
we can see all our model, I will turn on this I right click set origin to geometry and bring
this to top like this. Come to front view, go to one, and here we can bring
this to top like this. We also press our
button to scale a bit here and from here, from here and from
here from this side to this side. This is how it looks. We can go to the right view like that and we can see how it
looks from the right view. Definitely, it's not like matching the distance are not matching
with the reference, but definitely we can
fix that later on. So let's press this, select
this and go a bit top like that. What we get. Okay. So this is done for here. Now, let me duplicate this
for this flow right here. Shift D to duplicate and Z axis, I'll move to top, bring
this to the side, and I'm going to rotate this. So press this root key and hold control while rotating so you can
rotate it like this. Let me bring this back and let me take this to
the top like that. Let me go a little
bit backside like this. I need to scale a bit. Et's select this one. Tab, and we will inquese
this a little bit, increase this side a little bit. Okay. We can see the reference. So we can add some more
puffiness from here and here. So we'll do that later. Then we need some space to create
the back support also. So we have to have
some space for that. So let me go to the right
view and check this for now. So we need some space like this. So what I can do is I can bring this to a
little front like Also, if you go and
see the back image, we need some space to
create this again. So I'll select this and
I'll just bring it back. Okay, so I'll keep it
like this for now. Okay, guys, I will call this done for this video right here. So in the next video, we're going to
learn how to create this back support
for the pillow. So we will create
this back support for the pillow in
the next video. So thank you and
keep practicing. I will see you in
the next video.
9. 9. Modeling the Backrest: Hello, everyone. So in
this section of the video, we are going to create
the back support. So this is the back
support for the pillow. So we are going to
create this one. So you can see we have
a nice bevel going on. There is a sharp
edges going on here. So we are going to
create this shape. So let me take you
to the second motor. I'm going to save the
progress right here, so I'm going to press
Control Shift S, and I'm going to save the
progress to the fourth. So you can write 04, and I have already saved it, so you can write 04
and you can save it. But you can save
whatever names you want. So let me save this. So let
us go ahead and create this. So first of all,
we need to create this shape inside this hand
wrist, as you can see. So we do that. First of all, I'm going to go to the right view like this. And from here, I'm
going to grass Shift A and bring a cube, and I'm going to skill
this cube like this. And from there, I'm going to
bring this cube right here, press tab, and what selection, I'm going to bring
this down like that. I'm going to go
inside like this. So let me go to the
perspective view to see this. So you're going to scale down. So you are going to
scale down like this. You are going to decrease
the width like that. Okay. So let me go ahead and check the
shape. This is the shape. So you can see from
the side also, this is the shape going on. So what I'm going to do
right now is I'm going to add a loop cut
over here somewhere, and I'm going to select the vertices and I'm going
to pull them back like this. Slip these vertices and
pull them back like that. Okay. So this is what
I'm going to do. Next, I'm going to select this
and isolate and from here, I'm going to add bevel. So let me keep the reference
here so I can show you. So we are going to
add some bevel rat. So before that, Control A plus, we'll do all transform
Now tab and press two, and here we are
going to add bevel. I will look at this, Control B, and a big bevel like that. Okay. So this is the
bevel right here. Also, we can insert it. But before inserting, let me add a supportive loop right here. And now we can add the insert. We can also do it manually. Let me show you that supress K, and we can add this like this. So we can do it manually. If you want So we need to bring this all
the way down like that. Also, we can go from this side. Press space, but to confirm
this, this is how it looks. We can also do the same
thing from this side. But we can also,
like I told you, we can also use the
insert key to do this. Press I and we can do
this by using insert key. But you can see that there
is a topology change, so press two and we can
just press delete and we can we can say edge
or what we can do is. We can just connect this press K and we can connect
this to here like this, and we can go to
the press space, select this X, and we can say dissolve H so that
g is going to go away. We can also dissolve this H
once we have connected k, bring this loop right
here, just look to here. Space all this X dissolve edge. We can select this edge, X, dissolve edge to fix that. Now I can select this
edge and move like this. A, we can press and fix the
gon that we have created. So let me go ahead
and select here. Let me go ahead and select
here, press space bar. Again, press K and close this here and here, space bar. Next, we can press
K and connect this to this and connect
this one to this one, spacebar to confirm again, and now I'm going to go to
the Vortex mode by pressing one right here or we can
come here, no issue. So we are going to press G
double time and we can fix. So overall, we can bring this
what is a bit more near. So I'm pressing G two
times to slide this. Okay. The next thing I want to
show you is from back, we have a seam going on, but from here, you can see we have some like
bebel going on here. So we can create that. So let
me isolate back like that. And here I'm going to select this edge loop or I can just select this edge
loop right here. I can select that
or what I can do is can come here and add
a loop right here. Okay. And also, I can press three. So I can press three and select all these
pass right here. And press I and insert
a face like that. So we get these three edges. That means we will get a
sharp look right there. So now if I go ahead and
press Control plus two, you will know that we'll
get a sharp edge in the back and a soft
feel from the front. Also like what we can do so
I'll press Control Zero. A what we can do is we
can add a Bwel even here. Control B, and we can
add a Bwel right here. So it feels soft in this area. So I'll just take
this little bit down. Let me bring this. So let me select all the model, and I will isolate now. So let me press one Z and can
pull this back like that. So here what we can
do is I'm going to isolate this piece right here and I'm going to
press Control zero. Let's start to see the
topology, the white frame, and I'm going to
press tab at three, and I'm going to
select this phase and this phase and this
phase right here. And what I'm going to do
is I'm going to extude these normals to
inside like that. Okay. Before that, I
can do one more thing. I can just add one
more loop right here. Now I can press three and select this phase
and this phase. Now I can go ahead and take
this inside like that. I'm just having a look
on how it is looking. Okay. So let me select this
phase, this phase. Control two and C. Throw of the waefame.
Okay. Looks good. Okay, so I'll press the slash key to hide
the isolate button, and I'm just going
to isolate again. I'm just having a
brief look at this. So my main, the main details, what I want to see
right now is there should not be any model
touching to each other. So right now you can
see that this mesh is penetrating to this mesh. So there will be an
issue with that. So we should avoid these issues. So we'll fix that on
the later stages. But for now, this is
what we should focus to. Like, for now, this
is it for this part. Okay, so let me go
ahead and save it. So Condo Shift S, and
I'm just going to save it to the fifth here, so save. Okay, guys, so this is it for this video, and in
the next video, we are going to create the
legs of this sofa chair. So see you in the next video
till then, keep practicing.
10. 10. Modeling the Legs: Hi, guys. In this
section of the video, we are going to create
the legs of this sofa. The legs are pretty
simple, as you see, and this is going to be
the last modeling chapter. So we have to create these legs, even though this is
very simple to create, but we have to look at
what we are creating. So if I zoom into the legs, you can see that the leg is having this taper
effect in the end. Also, I have checked
that if you zoom in, there is a small bush in
the bottom of the leg, which, of course, we
have to create it. Okay, so let us go
ahead and start. I'm just going to take this
to my secondary mortar, and here I'm going
to press Shift A, and here I'm going
to bring cylinder. Oh, this 32 words
is fine for me. And here I need to be
having this triangle fan. From NG, we need to
have triangle fan. Then we need to scale this down. So let me scale this
down like that. Better we should go
to front view so that it'll be easier
for us to align this. So let me come here and
align this like this. Also, I'm going to
take this to the top. I know the reference
is not matching, but don't worry we are just going to
eyeball this for now. So Alt and Z, press tab, and press one, go to tex mode, select this, pull it down, and we are going to make
this small like that. Okay. The next thing, what
I'm going to do here is, I'm going to add a
edge loop right here, and from here, I'm going to press S and scale this
a little bit like that. Also, I can press two, which will convert the
Vertex mode to edge mode. And from here, I'm going
to press Control plus B, and I can add a Bbel right here. Okay. So this will look this surface is going to
look a little bit of thick. Next, I'm going to come to the side view that
is a right view, and here I'm going to
come to the object mode, and I'm going to pull
this to the front. Let me go ahead and check. Okay. And I think this is it. We need to leave some
space for the bush. So let me hit tab one, and I'm going to pull it
a little bit like this. I think this is
enough. Coming to perspective view,
pressing all plus Z. And then what I'm going to do is I'm going to create the Bush. Okay. So before
creating the Bush, let us bevel this. So I'm going to isolate this, and then I'm going to
go to tab, press two, and select this edge
and select this edge, press Control plus
B to add a bevel. We can add two like that. Slash to come back.
Okay, let me bring this a bit more front
like that. Great. Now next, what I'm
going to do is I'm going to click this
and say Shade Smooth. So let us create the bush. I'm going to go to
tab mode again, from here and I'm going
to select these phases. So press three, hold
a single phase, and you can press Control, and that is going
to fill like this. You can click and fill. Then
I'm going to duplicate this. Shift D to duplicate, Okay, and plus Z to come
down like this. And also we can press P, and we can separate
this part like that. Next, what I'm going to do
is I'm going to press tab, and then again, I'm going
to select all the faces, press E, and we can
extrude this like that. Then I'm going to
bevel even this one, select this edge,
select this edge, rest Control B, and
we can bevel that. And then I'm going to
right click on this. Currently, we are not
seeing our pivot point, so we need to bring this.
I mean, the origin. So this is called
the origin blender. So this origin, we
need to bring it to our bush right here, so right click and you need to set the origin to the geometry
and that is like that. And here I'm going
to pull this up. Also, I'm going to scale this
like that. Pull this up. Also, if we can
make this a little bit taller like
this. I'll be fine. Okay, so we are
done with one leg, so we can duplicate this. So to duplicate this, we need to press Shift D
and the direction is Y, and we can go back like that. And we can select
both these legs now, press Shift D and then press X, and we can duplicate
that like that. Let me check again, looks fine. Okay, call this done right here. Okay, guys, let us
call the legs done for now and in the next video, we are going to create
all the final details. I'm going to fix many of the stuff that you
are going to see me doing. So I will see you
in the next video. Till then, keep
practicing and bye bye.
11. 11. Modeling the Final Details: Hi, Ewan. So in this
section of the video, we are going to adjust our sofa. So it looks fine when we
are going for the wing. Okay? So we are going to
finalize our model right here. So first thing,
what I'm going to do is I'm going to select the whole model right here
and I'm going to isolate it. Okay. From here, we are going to check our reference image, and we are going to try to
replicate or try to make some changes depending on
the reference what we see. So first thing, what I'm
going to do is right here, I'm just going to confirm all the subdivisions
that we have given. So if I come here, you can
see that we have given all the subdivision
modifiers and also there are some mirror modifiers
which we need to confirm. So here I'm going to
confirm everything. So before that,
I'm going to show you the wireframe like that, and I'm going to confirm
everything from here. So only after we confirm, we can make the
adjustments properly. So we have to do that. Okay. Now, before I do
something like that, so it's highly recommended
that we need to save our project right here. So let us go ahead and save it. Okay? So let me go
ahead and save this. So press Control Shift S, and we are going to save
it to the like the sixth. So already I have done
here. So let me save it. So this is the sixth. Okay, so let us start to apply all the
subdivision surface. So let me turn on the wireframe, and I'm going to
apply this. Okay. So here we can do it
everything at once, but I'm not doing that. I just want to see
what I'm doing. Okay, it looks fine. So let's click on
this and say apply. Let's click on this too, and we are going to say we apply and even the subdivision, we are
going to apply this. And this one, we're
going to apply on this. Okay. So the legs, we are not going to
give any subdivisions. So even we have
subdivisions on this, so we are going
to apply on that. Okay, this is what
we are going to get. So now, let us come back from the wireframe and let
us do the adjustments. So I'm going to keep
the reference image to this side while
I'm doing this. The first thing what
I'm noticing here is we have this unevenness
going in the piping, which we need to do,
which we need to create. So you can see that there
are the unevenness. Currently, our pipings
are very straight, so we need to create
some unevenness. Okay. So let us do that. So to do that, we can press
tab and go to Whatex mode. And serect the vortex. We can do that, but Blender
has sculpting advantage. So we can take the help
of sculpting right here to move those vertices, and it'll be really
precise to do it. And it looks really natural. So we can do that
by using sculpting. So here I'm going
to reduce the size like that of the brush, and I'm going to come under
this grab tool right here. And now I can slowly move
this pipings like that. So you can see how
the unawareness has been getting created. So remember, we need to add we need to confirm
this subdivision. We need to apply this
subdivision before we do this. It's very important
that we create this uneveness
because whenever you are giving your model to the
studios or the QC artist, they're going to
check your model, and they're going to, like, if you don't create
any unevenness in the model, they will reject your model. So I usually see this before I give. Okay. I can do one thing,
so I'll go to layout. So already it is,
isolate is there. But this turn of this
image is disturbing me. So turn of the bounding box. Yeah. So I can keep the
reference image to the side. So that's what the
PUF advantage is. So in the bottom, yeah, in the bottom, it's fine. C just pull out like
that something. So it looks some natural fabric
is coming out like that. Okay? This is fine. Next I'm going to
go to this side, and I'm going to make
some adjustment again. This will take a while because you need to make
some slow adjustment. Don't make it like this. Don't make it too harsh. Keep it subtle
while you're doing this, keep it very subtle. Then only it is
going to look nice. Sometimes also there
is some moments where you need to have a closer look to the reference image
what you're doing. Better keep the
reference image to the side while
you're doing this. That's the reason that have
multiple reference image so that you can have a
look while creating this. There is no hurrying here. We can do it really slow. Also, if you see
something like this, you can just fix that. Pull this like that. So here I'm not exactly doing
how the reference images. I'm just having I'm just looking at how it
might look even better. So that is how I'm doing this. Okay, so even there is this, you can see, there is some
puffiness going on in the top. So we can increase the radius. Let us increase the radius. Also, we can pull this.
We can like that. You can hold shift
to smooth that. Okay, you can see that we
have some intense here, so I'll hold shift
to smooth that area. So the hand rest is done. Let us go for the next parts. So we can go now
for the pillows. So I'll go back to the layout, and here I'm going to select the pillows or also I could
have selected from here, but it's better. I'll
select from here. Select this pillow
and we are going to go to the scouting. But before that, have
a look at the pillow, closely, if you need to
make some changes in the modeling right now,
so just have a look. We can pull this a little
bit front like that. Okay. So that's good. Okay, so in here, we can also make some
small adjustment, some small unevenness
to look to look nice. We can do that. So let us
go to the sculpting here and we can hold the grab brush. We can also reduce the size
in here and let me again, go to layout, select this,
go to sculpting brush. And yeah, now I can do
it. Let me reduce it. Later on, we can
add other details like the stitches and all
in substance painter. But for now, my main aim is to create a
good shape for this model. Okay, so we can
also try something like we can increase
the radius, like that. And we can also pull this
and see how it is looking. So we can get some more
puffiness right here. Holding shift, we
can smooth down, so we are getting that
puffiness right there. We can hold shift
to smooth it out, so we can take this
back like that. We can also adds that area. Okay, so we can adjust your time, take
your time and do this. So be precise while doing it. So let me go to the layout here and select this one
and go to sculpting. And then I can adjust this area. So blender is
pretty cool, right? So it gives you all
these sculpting tools to do all these adjustments. So it is really nice. So we can do all
these things. Okay. So next, we can go to
this pillow right here. So layout. I'm going
to hold this pillow, and I'm going to have a look at look from the side
view how it is looking. So you can see this is how the side view looking.
We can adjust that. Let us go to sculpting mode. So here I'm pressing the
slash key to isolate this. Now I'm going to reduce
the strength a little bit and I can pull this like that to get some
of those puffiness out. Increase the radius. We
can pull this again. Reduce the radius
and fix these lines. So there is nothing perfect
like this in the real world. So try to give it
unevenness again. Like that we can pull
something from here. We can also do it
from this side. Okay, this is what we get. Let us we can hit the slash
key to bring the model back. And here we can see what
we are dealing with. So let us go to the layout
and select this back piece, and I'm going to go to the
sculpting mode right here, and here I can
increase the radius, I can just fix this position, make sure it is not
going too much inside. You can see from the back view. Also we have this sort of
puffiness here going on. We can do that in
substance painter. So no need to do it here. But if you need, you can
just pull it like that. It looks nice. Also, we can pull some of the puffiness
from here like that. Very subtle I'm doing. So you can see the strength
is default strength. I haven't increased any
strength or value here. So okay, I forgot
to select this. Sorry. So let me select this and increase this
puffiness right here. M Oh, we did some mistakes
so it controls that quickly. Okay. We need to
be very careful. So sometimes we might
mess the model. So again, while you're pulling it with a bigger brush, that
is happening right there. So reduce the brush
size while doing this. So be cautious. Keep looking every time,
whatever you're doing. Yeah, no need to be perfect. Like, play with the brush,
play with the shapes. The more you get variations, the better the model looks. Okay, so let me go
to the layout here. So this is how it looks now. Okay. We have some variations
going on everywhere. So now you can
click on the here. There is an option
called cavity, so you can see how it
looks in a cavity. So this option also is going to show you how the
edges are looking, how it is, how the
unevenness is going on. So you can look a little
bit cleaner in this. Okay, so let me
turn off the cavit here. We don't need that. Okay, so once we have done the final
adjustment, I would say, if we have done all
these things, next, we have to look into the main thing that is called
the phase orientation. So click on this and have a look if your phase orientation
is having any issues. Currently, mine is not
having any issues here, so I'll just turn off like that. And the next thing, what I'm going to do is
very important. So let me bring out the
bounding box again. So let me bring out
the bounding box here. So press the slash key and
bring out the bounding box. Turn off the reference images because the reference
image work has been done. So currently the adjustment
which we made our model to go outside the bounding
box. Now we have to fix it. Now we have to fix it in such a way that it is
under the bounding box. Okay, some of the
stuffs can go outside the bounding box
like this pillow can go outside the bounding box, there is no issue, but overall the model has to be
inside the bounding box. So how we are going to do
that is, first of all, let us go to the front view. From here, we are going to
see how the model is looking. So select the whole model
like that. Press Tab key. Okay, so there is a way how we can align our model
inside the bounding box. So if you do it in
the manual method by pulling the tices
here and there, you might distort your
model or you might make your model look very bad. So we are going to do
this by using Lattice. So let us go to the
perspective view again. So Odd Z. Okay, so as I told, we need to create a lattice. So to create a lattice, first, what I'm going to do is
I'm going to turn off this Bauti box right here and I'm going to combine
all these objects. So let us click everything. And you can hit the shorted
key that is Control plus J, or you can right click and
you can click on this. Join I'll combine everything. So it'll join
everything. So click everything place Control plus J, and you can see that our model has become a single
model right now. And from this, I'm
going to add a lattice. So press Shift A and create a lattice like this
and bring it to the top. Make sure that your
lattice is covering all the whole area
of this chair, and your lattice is a little
bit bigger than the chair. So you can go to the front view and you can check whether your
lattice is covering. It is fine. Next, now
this is very important. You need to click your model, you need to click on your model, then click on the Ad
modifier and in search, you need to type lattice,
so already it is here. So click on the lattice, and now you need to click on
the eyedropper and you need to drop it to
this lattice box here. Okay. Now when I click the box Lattice box and press on tab here
and press on tab, you can see that I can move this chair using
the lattice point. Okay, very, very useful. So from here, I'm going
to go to the front view, and I'm going to turn
on the bounding box, and here I'm going to
set the lattice point, press tab, and I
can click on this and I can make it
shot like that. Okay. And also, I
can click on this and select those lattice tices and bring it to top like that, which will place it correctly
and select this and, like, bring it to here. Make sure you are inside the
bonding box. It is here. Okay. Now let us go
to the right view, and from here, we
are going to adjust. So select all these things, and you're going to, bring it back like this. So let me bring it
back like that. Also we can select this and we can bring it back like this. So as I told you, this
pillow can go out. There is no issue with that. Okay? That pillow can go out. There is no issue with
that, but we need to be careful with
the legs. Okay? So yeah, okay, we need to
bring it a little bit down. So let us bring this a
little down like that. Okay. Okay, that will be fine. So let me go to the top view now. Let me look at it in the
top view how it is looking. So this is how it is
looking at the top view. So your model is going
to be checked from all the views so you can see that there is some
portion coming out. Sometimes you can ignore this
or if you better want to, like, brick it inside the
bonding box, you can do it. Just pay with the lattice
points and you can do that. Okay, so I think it is done. So the purpose of
this lattice is like, it has given exactly
how we are looking. So I think this is done. We have fixed most of
the things right here. Also, like, we use
the lattice to, like, bring our model
inside the bounding box, which is very, very important. So let me hide the
lattice right here. Okay? The next very important, again, the next is the next
tip is very important. In the argument reality field, we send our models with the pivot point in the
center of the grid. So in this case, we know that our pivot point is in
the center of the grid, but if your pivot point is not
on the center of the grid, then it is going to be an issue. Okay, so Pivot point in sens, I'm talking about the
origin right here. So your origin has to be in the center of
the grid like this. Because whenever we are sending this model to the argument
reality platform, the model is going to be rotated from the
middle like this. So in that case, we need
to be very careful. Okay, guys, so I'll be
ending the video till here. So we have covered almost all the aspect for the modeling. In the next part, we are going to go for ing
this single sitter sofa model. So till then, keep practicing and I will see
you in the next video.
12. 12. UV Mapping Part 1 Basics and Workflow: Hi, guys. Welcome back. So in
this section of the video, we are going to do the
UVs of this model. But before we go ahead
and create the UVs, I need to address some
of the mistakes here. So the first thing
what I need to fix is the lattice which we have
created in the previous video, you can see that the lattice is already present here
if I turn on the eye, let me turn off
the bounding box. So the lattice here,
Lattice is here. And if I delete the lattice, you can see that all the
adjustment that we made is going to be reset again. So we are not going
to do that mistake. So what I'm going
to do is I'm going to come I'm going to
select the model, and I'm going to come
over the modifier tab right here and I'm
going to apply the lattice modifier so
that whatever adjustment we made in the last video
to match our bounding box, that is going to confirm.
So let me apply. So the lattice is confirmed. If now I go ahead and delete it, so you can see that there is
no changes going to happen. So then what I'm
going to do next is, I'm going to address another
issue which I have made. So doing while using
the sculpting brush, I by mistakenly, I just pulled some of this what is far ahead. So I need to fix that. So
let me go to the face mold, select this phase, press L, and I'm going to press
P and separate this. As you know, we have combined
all the model for Lattice, so we are going to
separate this back. Then I'm going to select this back and press
slash like that, and you can see how the shape
has been distorted here. So I can fix it. You know that this side is
having perfect shape, so I can mirror this
from this side. So press tab, press
Control plus Z and press three for
going to phase mode, select these phases, press X and say phase that is
going to delete that. Okay. And then I
can go press two, select this edge right here
and I'm going to press, then X, then zero
to scale that up. Okay? So as you can see that
we have made it perfect, but we need to pull this a bit farther so that the mirror
operation could work properly. So if I go to top view, you can see that we need
to pull a bit more. So let me pull this till here. Perfect. Now I'm going to select this piece right here and I'm going
to click on this, say generate and here
I'm going to say mirror. But before we apply
mirror, for example, if we apply mirror right
now, if I go to tab, if I press the wireframe, if I have a closer look at this, you can see that the
mirror operation is not working that great. So what we can do
in this case is I'm going to just remove this and I'm going to
what we are going to do now is we are going to add, we are going to move
our origin to any of these vertices here, right here. In the end, we can align our origin to any of these
vertices. So let us do that. For that, we're going
to click on this, press origin, and from here, I'm going to go to the move tool and I'm going to o, before that, I'm going to click
on the vertex and turn on this magnet
tool, so it is snapping. So I'm going to click
like that to SNAP. Then I'm going to
click here and sorry, I'm going to click here
and click on this origin. And now I'm going to
add a mirror modifier, so click on this
generate and mirror. So let me zoom and check. You can see that now the mirror
modifier is working fine. In this case, you can just increase this to
like two or three. So four is also fine. And then once that is done, just click on this and say
apply now let us go to the Edit mode and select one of the agency
if it is selecting. Let's select this. Yeah. So
the mirror is working fine. So let me press the slash key. Come back like this. So now
the model is fine for us. Okay? So this is done,
so we have fixed it. So next we are going
to go for the UVtab. To go to the UV tab,
now, it's very simple. We can also drag something
from here like this, a tab, and then we
can click on this, you click on this
and say UV Editor. You can even do that, but
let me close this again. I can pull this back and I
can close that like this. Also, we have a separate
UV tab right here. If you click this, you
can see that in one view, we can see our model
and in the next view, we can see our UV. Okay. So to create the UVs, first thing, what I'm
going to do is I'm going to separate
all the pieces. Right now, only this
object is separate, so I need to make
even the rest object also to, like, separate. So let me click on this
and press tab, press this. Go for three, press
a phase, press L, press P, and press selection. Do it now do it
for all the parts. Press L, press P, press L, press P. Then press L and P, press L, and then P.
So this is the area, press L, press P, next is this one right here. So this one. So it is already I think by
mistake, I clicked that pace. Let me control Z. Okay, I
want to click on this pace, press L on guys. So I think by mistake I
clicked down that face. Press this, press
L, and then press P selection that is done. Then press tab, press L, press P. Then again, this piece right here, so tab, press a face, press
L and P. So press L Press P. So we have separated
all the pieces right here. Okay? The leg, we can only do
it for this particular one. So press tab, select this, press L or select a phase, press L. You can also
select this one. Select this shift select this, press L, then select
P and selection. Can do that. Rush legs,
we can delete for now. Okay, so let us start
creating the UVs now. So what I'm going to do is I'm going to hide the
bounding box right here. So for creating the US, I'm going to take this
first piece right here. So let me press slash, and I'm going to tab right here. Currently you can see that our US is looking
somewhat weird. We have to cut the seams, before cutting the seams, make sure this button is
turned on right here. This is UV sync selection. If you turn on this,
you can see your UVs. If you turn on this, you cannot see your UVs,
that is simple as that. So let us cut the seams. So it's very simple
to understand this. We need to cut the seams in a very appropriate places
where we can hide our seams. We cannot go ahead and cut
seams anywhere we want. If you do that in the
texturing environment, you are going to see those seams visible wherever
you have cut them. So my suggestion
is always to cut the seams where
nobody can see them. Okay? And is it should be some appropriate places
where it naturally occurs. So let us go ahead
and cut these themes. First thing is, we are going to select some loops right here. So in my solution, we can cut a seam right here. So just select the
edge loop like that and press Control
E. That is a shortcut. And also you can press here
also in the UV environment, Control E and Martin. Okay? Same thing you are going
to do it from this side. So select this loop, press Control E, markin. And again, we can now select
everything and say ra Now, this is what result we get. Next, we are going to unwrap
this piece right here, this UV shell right here because this is not
looking correct. This has been unwrapped, you can see, but not this one. So let us have a seam
cut to this one. So how we are going
to do that is like, I need to cut the seam
somewhere down here. Okay, we can cut
it somewhere here. Also in my solution, we
can do it in the middle. Nobody's going to check that. So if you click on
edge light there, you can see where it is
pointing out and just like all ship click to select that Loop and Conte to
mark that scene. Now, select everything
again and press and so this is how we are going to unwrap and cut
our SMs in the US. Okay, so it's very simple. So let us press Slash
again and come back. So I'm going to do it
for this one similarly. So again, I'm going to
show you how I did. So let me press press tab. Okay, select the
edge loop like that. Also, I can come here and
select it even this one. And then I'm going to press
Control E and Mark SM. Next time I'm going to
select everything and unwrap And here I'm going to come
down like that and select an H and come here to that
area and select this loop, Control E, marki, and slit everything
again and say unwrap. So again, this is unwrapped. Okay, we have done
with both shapes. And next, I'm going to show you another shape. So
let us do this one. So press slash again,
press tab again, so you can see that we need to create the UVs for this.
This one is very simple. So either you can mark the same in the corners like this because
this will be hidden. So never go ahead and
mark something from here. So this will be visible. So don't do it from here.
Do it from this area. This will be hidden as the pillow is going
to stay like this, so it is going to be hidden. Also, the good thing about this is the way we created our model, so the edge loop is following all the way to here and it is
closing like that. So it is a good topology. So let's press Control E and mark C and select
everything and say. So this is done. Okay, so let us go ahead and go for the
pillows right here. So I'm going to create
this pillow right now, and you are going to you can follow the
same steps what I did, and you can go ahead and create this one and this one
and even the legs. So I'm not going
to create this US. So it is an assignment
type for you. So you should create this US. So let me just do
this one for you and press slash tab and I'm
going to select the SIMS. And I'm going to
control E and say maxim, select
everything, unwrap. And here I'm going to
come down and select an edge right here and I'm going to select
this edge loop, Control E, maxim, and then I'm going to
select everything. Sorry, select everything
and right click ra so we got that slash. Okay, so similarly,
go ahead, guys, and create the UVs for the back rest and this pillow
right here and for the leg. Okay, so create that. So
once you have created, we can go ahead. Okay. So here I have created the leg, you can see, let me press slash. So as you can see that, I have created a
seam right here. Then I have created
a seam right here, then I have cut a
seam right here. Then I have cut another
seam like that. So that's how I unwrap this. So again, let me show
the other pillow. So this is the other pillow. So this is how I got the UVs. So let me show the backrest. So this is the backrest. I have cut in the same
from inside like that. So it is really hidden.
No one can see that. Okay, so in my case, like all the UVs have been done, so you can again have a look
for every object like that. I'm pressing Tab to
check everything again. Okay, so all the UVs
have been done here. Okay? So now, what I'm going to do is you know that we have only a single
leg right here, so we can duplicate the legs now that we
have finished the UVs. So let me go to the
layout tab right now, and here I'm going to
just duplicate this. So first of all, I'm going to right leg and say set
origin to geometry, and I'm going to press Shift D and I'm going to
press Y to bring that here and select
both these legs, press Shift D and press X to
bring these legs right here. H. Okay, now it's really right time
to save our progress. So Control Shift S, and
we are going to save it. So I always like to
save in numbers, so let me save it to nine.
So I will save this. So we have saved our
progress right here. So in the next video, guys, we are going to learn
how to use text tools to efficiently align our UVs. Also, we can use text tools
for various other stuff. You are going to learn
with me. So till nine guys keep practicing and I will see you
in the next video.
13. 13. Straightening UVs for Clean Layouts: Hi, guys. Welcome back.
So in this section, we are going to have a look at the UVs we have created
in our previous class. So let us go ahead and
check each and every model. So if the UVs are
perfect or not, so I'm going to
start from the top. So I'm going to
click on this model, press tab and I'm going to have a look at the UVs in the
left side right here. So this is good. I'm
going to check this one. It's perfect. This
one is perfect. So I'm going to
check the back one. Yeah, it's looking good. Now I'm going to check this
pillow right here. So this is looking a
little bit of bend, we are going to fix
this just in a moment, but let us check
the other parts. So this is looking good. The legs are perfect. All these legs are going to be perfect because these
are all duplicates. Next, what I'm going
to do is here, I'm going to go ahead and teach you another really nice
add on for blender, which is useful for the UVs. This add on name is textols. Let us go ahead and install this, then I'll
explain about it. So to install the add on later, we have to go to our preference. So the shutter key
is Control plus comma for bringing the
preference menu here. So in here, we are going
to go for the add on section right here and
we are going to click on this button and say
install from disk. From here, we are going to
head to our project section. Okay, so I'm in the project
section folder right here. So we have the add
on right here. This is textual, so
double click on that, and it is going to be installed. So this add on is going to
be visible in our UV editor. Okay? So if you hit the N key, you can see that this textual is going to
pop up like that. Yeah. So this is
how you can bring the textuls by pressing N. Okay, so here it is in
the tool palette. Now let us go ahead and fix the issue which I was talking about about
this plow right here. So you can see that the UV shell right here is a
little bit of bend. So the main issue in this scenario is if this
is something like this, then there won't be a good
packing when we will do the packing of this UVs
altogether in zero to one space. The packing is not
going to good, and this is going to eat up
a lot of space in this area. So we can fix this. So before that, I'm going to select all the model right here. And I'm going to
press Control A, and I'm going to say all
transforms before I do that. Then next I'm going to
press this pillow again. Then I'm going to go to the phase mode and I'm
going to click a phase. Then I'm going to press L K. I'm going to
turn off this one. Again, I'm going
to press this one, press L. Now I'm going to press N to bring the text
tools right here. I'm going to make this
little bit of this side. In here, in text tools, there is a key where we can
make our UV shell straight. So again, this method
works for some of the UVs and this method doesn't work in some
of the scenarios. So in this in this scenario, we can try if it
is working or not. So we can select the
whole UV right here, the whole UV shell, and we can press this button, which is called rectify. So as soon as I
press that button, you can see that our UVSll
here becomes straight. This is what we want. We
bring this side again. I'm going to select all
the model in press tab here and I'm going
to press this key. This is how I can see the
whole model right here. While pressing this key,
I can see my whole, all the UVs of these models. Right now, everything is fine. We can go ahead
and pack the UVs. But before packing,
before packing, I need to show you something. So if we pack right now, suppose we are packing this, so I'll select everything, and I'm going to go to UV and there is a button
to pack the eyelad. So if I click on this, this option, we'll
get this option. And here we have some
of the settings. So we need to scale this.
Yeah, we need to scale this. If we need to rotate this,
yes, we need to rotate this. So these are the two buttons for if we need to rotate or not, and this is if we need to
scale or not, definitely, we'll do this let it be
the default tick here. Just we are going to
press the pack button and let's see what's happening. Okay, so we get something
like this result, okay? So here the issue is already the stuffs
have rotated like this, which we don't want
to be rotated. And the next thing is
the legs are really big, the pillows are really small, and we have mess going
around in this UV shell. So this is what we
don't need, right? We can fix this. Let me press
undo here. We can fix this. What we need to do is
we need to press UV and when we are going to
come here to pack island, we have to click on this button saying the average island scale, and this is what it is going
to do it is going to scale those UVs according
to the model. It is going to properly
scale them up. Which is going to be
really helpful for us. If now we are going
to click this and say UV and if you pack now, so let it be default. I'm just going to show you
what is going to happen. So if I pick pack, so you see that now
our UV packing, it's really nice,
as you can see. So we have really nice
packing going on right now. Okay. If you're thinking that, why don't we make this straight? I think if you go ahead
and straight them, it might cause some issues.
It also might work. So we can try them,
but already the not going to be a big deal
when we are doing the UVs, so it is not going to be
a big deal while Uving. So we can leave them default
without doing anything. If it is too much bendy, then we can go ahead and
straight them. Okay. So this is one tip
I want to say. But you can see that we have some free space
right here, okay? So always it is a good idea
to utilize those spaces. I would really
recommend if there is free space, always,
utilize them. So in this scenario, the legs are a bit of small right here. So what I can do here is
I can scale the legs a little bit more and
I can place them here so I can
utilize this space. So let me select all
the legs right here. Okay. Also, I can, um what I can do
is I can uncheck this and I can select
everything like that. So press A Z and select
everything like this. The next thing,
what I can do is I can come to this
option right here. It is UV selection mode. And right now, if I click, I can easily click all those legs and I'm going
to bring them up. So you can see that these
are those parts of the leg. The smaller ones are
those bushes and the bigger ones are like the
legs, these around areas. So we can also select them. We can select these bushes and we can bring
this right here, and here I can rotate them. Suppose I need to rotate them. I can just rotate them by using the rotation key
like that. Okay. And here I'm going to select
this, bring it right here, and here I can scale
them. Like that. Also, I can scale
them like this. And now I can go ahead
and place them here. You can also even scale a
little bit more if you need. We can use a scale
tool to do this. So you can also scale
them a little bit more. Why not use the
space that we have? Next, we can align them. So we can place them
somewhere like this. We can also take
them, place it here, take this place it here, and this one we can
place it right here. Okay. So now we are
getting a nice. We are filling those UV
space really nicely. So it's looking really nice now. You can see we have really
nice filling up here. Okay, let me go ahead and press Alt Z right here and
I'm going to come back and press this key so we can see our
UVs What's going on? Okay. So what we're going to
do right now is we are going to look how our texture is going to look before
we go for the texturing. So we can apply a
checker box to our UV, and that is how we can see that if the UVs are
having some issues, we have some stretching issues or there is some issues
going on or not, while we can have a look
in the view port itself. So the add on which
we installed earlier, which is called as
the text tools has a feature where we can
apply a check a map. Okay. But before that, what I want to do is
I want to combine my whole model, so I
need to combine it. So we don't need to keep it different to models right here. So it is not required while
we are going for texturing. So we can combine them. There is no issue
in that. So let's click Let's set all the model. Here I can press Control plus J, and that will combine
my model right here. So even I can rename this if I want to something
like share like that. Okay? So now, what I'm going to do is I'm
going to press tab again. Right here. And in here,
I'm going to, like, just click on a button, which is called as the um So here in the text
tools, we can hit a button. So we have a button right here. It's called the here it is. It's called as the checker map. So we can click this button, and we are going to see the checker map in
the whole model. So let us click on this
button right here, and you can see that there is a checker box which is
applied to our model. So let us go ahead and hide
the wireframe for that. I'm going to come to Object
mode first, and before that, I'm going to click before that, I'm going to select
the whole model right here. So like this. Okay, so I'm going to
select the whole model and I'm going to press
the object mode. Okay, so before we go
ahead with our next steps, so we need to have a
look at our UVs with applying a checker
box so that if there is some stretching
issues going on or not. So it is very, very important
that we apply a checker box and we see if the UVs are correct or not or it
has some stretchings. So by using the
text tools add on, we can apply a checker
box very easily. We can read in manual method, but the add on is going
to help us in this. So how we are going
to do that one is, we are going to press N to come to the text tools
option right here. So in this section, which is called as text tools, if we open this, we have a option to
apply Checker Man. So if you click on
this, you see that, we can see the checker box
which is applied here. So if I go ahead to the
object mode right now, you can see the checker
box a bit more clear. And we can also increase
the checker box tiling. So we, we can increase this number and the
tiling is going to increase. So just increase this
tiling and we can have a overall look if the checker
box is perfect or not. So here we are looking
at these boxes, and we are going to see if
this box is square or not. If it is square, then the
texture is going to be perfect. If it is rectangle
or any other shape, then the texturing is
going to look bad. But in our case,
in our scenario, the box is these are
really good squares. So I think we can
it is good with it. I think we can I think
it is good to Okay. So now that we have checked the model with using
the checker box, I think we can now
remove the checker box. So we have a button right here where we can remove
the checker box, and we can come back
to the V pot shading. So let us said our model, and we can now have a last check to our UV
and we have done it. So we have completed our
UVs successful here. Okay, great. So the next section of this video is going to
be about texturing. So in the next video,
we are going to learn about substance
painter and how we can import our model to
substance painter and we can start the texturing phase. So I'm really excited to go
into the texturing stage. So yeah, before that, go ahead and save your
progress still here. So you can do that by
like Control Shift S, and you can just, like, make it ten, and
you can save it. Okay. From next video, we are going to
start the texturing. So thank you and I will be seeing you in the
next video. Bye bye.
14. 14. Fixing Face Orientation: Hey, guys. Welcome
back. So before we go ahead to Substance
Painter for texturing, I just want to show you
that there is an issue with the model and we need to fix it before we can
go for texturing. So I missed this while
exporting the model, but I thought to create a video for
this and show you guys the issue so that you can be on the same page when we
are going forward. So the issue is about
the phase orientation. So if you click on this
and click right here, you can see that there is a phase orientation
issue going on. So to address this,
I'm going to press tab and I'm going to
select all the faces. So going for transparent
mode and selecting all the phases and going
back to the normal mode. And then I'm going
to go for mesh and normals and here I'm going
to regulate to outside. So this is how I can fix
my face orientation. So let me turn off the pace
orientation color here. Okay. So this is how you can turn off the
face orientation. And if you have any other
issues like normal issues facing some normal issues
or some shading issues, you can just right click and say Shade Smooth or
shaded auto smooth. So that will fix any of the shading issues if you're
getting some shading issues. So yeah, that's it. Now I'm going to
export this back. So export and export the FBX.
15. 15. Exporting UV Maps: Hi, guys. Welcome back.
So in this section, we are going to
export our model. Also, we are going
to export our UVs. Okay? So we need our
UVs in a later stage, so we have to export even that. So a copy of our UV Map. Also, we are going to export our model right here for
substance per texturing. So first, what I'm going to do is I'm going to select my model. I'm going to go File, Export. And I'm going to export
in FBX select FBX. So here I've already exported. You can also just
write something like hair or something you want
and just export this. Once you've done that, now
select your model press tab. Okay. And from here, you should see all your
UVs in this section, make sure this
button is clicked. And then what I'm going to
do is I'm going to just drag selet UV and I'm going to come
down to Export UV layout. So we are going to get this
type of interface right here. So I'm just going to go back to the FBX folder section and I'm going to export
my UV right here. So before exporting, make
sure you change it to four K, so 40 96 and 40 96. You can keep this at PNG, there will not be any issues
and just export your UE. Just wait for a while
and that is done. You can go ahead and check your UV map which
you have exported. It will be
successfully exported. Let me go to my project
section right here. So you can see that we have
our UV map right here. Okay, which we need
in the later stage. So let me close this
and close this p. Okay, guys, so let us go ahead, and now we are going to open substance painter
for our texturing. So in the next video, we are going to exactly do that. So till then, I'll see
you in the next video.
16. 16. Introduction to the Substance Painter UI: Hi, everyone. So in this
section of the video, we are going to learn about
substance painter basics. So currently, I'm using
substance painter version ten. So you could be using
the below versions also. But I would also recommend that if you have the latest
substance painter, it is really good because
substance painter as a texturing software is
most powerful and robust, and it always gives different
updates on texturing. So always there is some
new tools updated. So definitely use
the latest version of substance painter. That
is my recommendation. Currently, by default, this is how the substance
painter UI looks like. I personally like
to use a custom UI because that's how I feel
very easy to navigate around. So how I do that is my
UI preference, see, it is like the
preference of mine, so how I like it. So what I do is I just use this asset at the below
right here, okay? And this is substance
study asset. It's only available for online, so I'll just close
this not required. And I like my layer
tab to be here, because the layer tab is
the most complex part here. So if I have a bigger
space in the layer tab, I can go ahead and do more
of the layering stacks, and it is going
to be very easier for me to have a look
at all these layers. So this is basically how my substance
painter UI looks like. It's very simple, again, but also for me, it feels very easy
to navigate around. You can use this UI,
like mine, if you want. As you can keep your you can keep the default
UI as it is. Let's go quickly to Substance
Painter UI section, and I will be showing you, like, how the UI is set up. So first, we have the layer
right here where we are going to do all the layer
stacking and texturing. And next we have this
is the three DV port. This is the two DV port. Okay, this is so basically
here you can see your model, and here you can see your
textures. I mean, your UV. And here we have the
texture set list. This is the area where you
can see your file name. For example, how many
FBX files you have. And what is that FBX file or
what is that materials name? You can see that
here. Next, this is texture set settings. In this section,
basically, we can, like, add more channels or we can do breaking and
all those stuff. Let me go ahead and load my hair model so that we
can know even better. So I'll click on file.
I'll click on New. From here, I get this tab.
This is the new project tab. So I'll leave
everything default, but I'll be changing
this resolution to two K. And here I'm going
to select to select, and I'm going to select the FBX file in my
project save file. So I'll bring my
bx file and press. So you see that our chair has
been loaded up right here, and you can see successfully, we have our UVs also brought in, and this is how our
model is looking great. Next, what I'm going to
do right now is simply, I'm going to change
the environment. So I'm going to change the
environment light right here. So clicking on this
button right here, I get these display settings. And yeah, when I'm
talking about the tabs, you can dog them anywhere
you want, like this. So you can dock it
anywhere you want in this. But I would not prefer to do it. I'll just keep it here. And I'm just going
to click on this paranova I'm going to change the environment
because by default, we have environment which is
the light is not accurate. Seeing something yellow
is going on here. So we need a studio lighting so that our textures
will look perfect. So my favorite is this
studio right here, Studio wit soft.
This is what I use. You can also go for Tamaca
studio also even that is good. So even this is good.
So I will go with this. I'll be closing
this. So you can see that suddenly our model
lighting is looking far, far better than what
it was looking before. Okay, so this is looking
really nice now. So to navigate around
this TD viewport, the shortcut keys are like if you have
familiar with Maya, if you're familiar with Maya, so it is same like that. So all plus left bose
button to rotate, plus middlemose button to pan, and plus right moose
button to zoom in. And now let us talk
about the UV viewport. So your middle mouse button, zooming in and out will
zoom this in and out, and middlemose button
and Alt will pan this and plus right
mouse button Zoom. Okay, it's very simple. So here I'm not going
to cover a lot of thing about substance UI, so I'm just going
to go briefly here. So at the below here, you can see that
we have a library. If I pull this up, you can see that we have tons
of materials here. So this is materials. So which means
these materials has been created using softwares
like substance designer, and we can simply drag and drop this to our model and we can see some great fabrics or leathers or plastics,
whatever it is. Typing anything, it'll bring it to the
like you can get that. So you can type
anything. For example, you can type fabric,
and you'll get fabric. You can type wood.
You can get wood. So like that. So
this is materials. This is smart materials. Now, smart materials
is a little bit different and a bit
complex materials. So this smart materials
comes under groups. So it comes under a folder
and lots of tons and tons of materials combined together to create a smart material. Okay? Next, we have right here, it's a smart mask section. So here we have the smart mask. In here, we have
all the filters. So we can use them for blur, direction blur, buw we
have all these things. Here we have the
brushes. Okay. Next we have right here, all the alphas. So here also we have some
of these noises right here. So these are, again,
the environment. This is the latest
feature that is the text. You can add text to your model. So this is how the
library looks like. I'll just break it down. So now, as you can see that
our model is looking fine. I will always before texturing. So what I do is I always do a test before I
start my texturing. So the test is about how
my texture is going to look and also if my textures
are looking perfect or not. So this is what I start to test. For that, simply,
I just drag any of these smart materials
to my model right here. So for example, I can drag any of these smart
materials like that. I will just go I'll just
come here right here. I'll just come right
here with the tiling, I'm going to increase three. Next, what I'm going to
do is I'm going to have a thorough look at the textures, if it is fine or not. I can increase this
from two k to four k. So now I'll be
having a better look. So I'm going to have
a thorough look if the textures
are looking fine. In my case, the textures
are looking really perfect, so there is no issue. So Blender has done really
nice texture UVs right here. So we can see that the unwrapping in
blender is really good. Also, I can press C
to go to base color. Now this is how I change the
channels to check my color. So C for base color, again, I can press C for
height, C for roughness. Then I keep on pressing C and the channels are
going to change. So metallic normal this is normal height and
mesh. This is base color. So again, if you
keep on pressing C, you are going to keep on
changing the channels, and that's how we can see only the base color or
only the roughness. Okay? Again, to come
back to the material, you need to press M, and that is how you are going to
come back to the material. Very, very useful. I do this every time in the
texturing phase to, have a look at what my normal is looking like or what my base color
is looking like. Okay? So I'm going to stick with two K for now because
four k is going to eat up your resources like the
RAM and the graphic card. So it'll basically
take your VRAM. So I will stick with two K. Okay, so next, you know that. So I'm going to remove this
because I know it is fine. Whenever you create like you
create any of the model, you bring any other model
to substance painter, there is a default layer
which is going to be created. You can just remove a layer, so it is completely fine. Okay. Next, we are going to look at some of
these buttons right here. So here we have
like file in file. We can bring a new
project, open a new file, open recent files, all
the stuff right here, we can export the textures, which we are going to
do in the later stage. We can save our file very, very useful right here. So in edit mode, we can like the most important thing right here is project configuration. Again, this is the
most used thing which I do almost all the time. Like, if you have something issues in our model going on for suppose there is some issues going on with the leg that
your model has some issues. You need to re import the model, but you have already
textured your model and you are afraid that if
you reimport the model, you are going to lose that
texture. You can do that. You can go here at Edit and
Project configuration and you can bring that updated FBX right here and you
can open that, press Okay, and that
model is going to replace this model and your
textures are going to be on that same places. So it will replace
those textures until unless you
change this naming. So do not change this
texture set leash name. Okay? If you change this name, you are not going to able
to load your updated model. So that is what project
configuration is. In mode, you can see there are three mode, we have baking maps, we are painting, we have
also the ra rendering. In Windows, we have these
views where if you need any of these tabs to be like to
turn it on, you can do that. This is display settings and you can see shared
settings, all these things. But now, I'm not going
to touch those things. This viewport, again,
this is M and C, which we tauped earlier.
So this is what this is. And rest is like rest we
no need to talk about. Okay. So here we have channels. So usually, this is the channels we get when we load the
substance painter material. So we get base color,
we get height, we get roughness, we get
metallic, we get normal. We can click this plus
button right here and we can bring any of the
channels we want. Okay. Currently, we need a channel called ambient
occlusion, so we can press that. So we are going to get the
Abid occlusion right here, which we are going to
use in the atafase. Here, again, I was talking about the baking maps so we
can bake the maps. So here we can click on this button and we are
going to bake our maps. So we are going to
do that right now. So let us press on the Bake
Maps button right here. And if you're using the latest version of
substance painter, your baking maps tab
is going to look a little bit of different
in Version ten. So this is how the tab looks. This is like you can get a look at how our model is going to look
right here when you're baking. And here we are going to get the settings of baking and here. What are the maps
that we need to bake? Suppose we need
normal word space, normal ID ambient oclusion. What are the maps
we need to bake? We are going to get
those options here. Currently, if we have a
high polymsh right here, suppose we can bring that high polymsh right
here in this step, and we can bake all these maps. Okay? So this is how we bake it. Currently, we don't
have any high polymps, but even though we don't
have any high polymps, we need some ambient occlusion. We need some shadows
going on in our model. So that the model feels
and looks realistic. So that is the reason
we are going to turn on ambien
occlusion right here. So we are going to turn off everything and turn
on ambien occlusion. So if I click on this, it is going to, like, select this and turn off
everything else. In here, in this
ambient occlusion, the output size we
required is four K. So turn this to four
K before we bake in. Okay? Rest, everything is fine. We're just going to
bag this texture. We need to wait for a while, depending on your system. Yeah, it's already baked. So we are going to
return to painting mode, and you can see
that we have bagged some shadows right here. So you can see we have
some shadows going on back and front and side. You can see there are
shadows going on. The model is looking fine. The issue with this amine
occlusion is we are not able to reduce the
amide occlusion intensity. So in this method, we cannot reduce the ambient
occlusion intensity. So I'm going to teach
you a method where we can reduce the amine oclusion
intensity right here. So first of all, after baking after baking
ambien occlusion map, let us cancel this from here. Let us close this from here. So our amienoeclusion
is going to go away. Next, what we can
do right now is we can create a fill
layer right here, write this fill layer like
AO or ambien occlusion. Here I'm going to just go AO. Then I'm going to come to
the properties right here. Okay? So I'm going to come to
the properties right here. And here now we get
this AO channel. So we get this AO
channel only by, like, bringing this amid occlusion
channel right here. So which we did this earlier. Now we have the AO channel. So we need only the AO
channel right here. So click on the AO channel will only turn on
the AO channel. So right now, what I
want to do is I need to bring my AO map and drag
it to this AO channel. So let us go to our project
section, so I'll clear this. So I'm going to go to
the project section, and here is our AO Map. So I'm going to drag and
drop this right here. So that's how we can
see our AO map is back. Now what I'm going to do is
I'm going to come here to base color and change
this to Ambien occlusion. Okay? And from this slider, now I can decrease this number and slowly see that the amio
occlusion is fading away. So we can keep it somewhere around like 60 to 50
in that category. Here, I can keep around, like 60. So this is fine. Then I'll go back to
the base color again. So this is it for the basics of the
substance painter guys. So if you are Dental here, we can go ahead and save our progress, which
is very important. We can go to Save As, and we can come to the
substance painter, like project S file category and we have a
substance file here. We can come here and save
it like 01 and save. Okay. Then in the next video, I'm going to teach about
the texturing process. So in the next video, we are
going to do the texturing. So till then, keep
practicing and I'll be seeing you in
the next video. Bye bye.
17. 17. Creating Base Textures: Hi, everyone. Welcome
back. In this video, we are going to start to texture our main
model right here. In the previous video,
we have created the AO and we have
learned a few things about the UI right
here in this video, this is going to
be fully covering about how I'm going to
texture this asset. The first thing is, as you see in here in the
left hand side, I have the PUR F window
just right here to have a basic look at what colors we need to assign and how the
fabric is going to feel, so even how the wood
texture is going to feel. So we'll have a
basic look at this. So we can see the seams, we can see the stitches. So all these thing
we can have a look. So let's start with
the texturing them. So first thing is the fabric. So for the fabric, as you can see that this fabric is available inside the substance menta
materials, library itself. You can go ahead and also
download this fabric from any other
websites if you want. So there are multiple websites where you can get this
type of fabric textures. So you can go ahead and
download those textures. But right now, we can search that fabric texture in the substance library materials tab. So just type here fabric. In here, we have different
types of fabric. Okay. The one which we are
going to use is this one. So fabric cotton, Jos. So let's click and
drag this one. Okay? So this is how the
fabric is going to look. So I'm going to change the
resolution from two k to four K to have a better look
at what we are seeing here. So this is how the fabric
is going to look basically. So from here onwards, I'm going to change the color
of this fabric. So to change the
color, I'm going to come down here to
property field. And from pink, I'm just going to give this dark grayish
color right here. So I can click this
eyedropper and I can, like, drop this color. So you can see that the
color has been assigned. Now you can see we have this
fabric pattern going on. We can scale pattern, the tiling, we can scale it. To scale the tiling,
we can come here and in this tiling tab, we can just type a number
which matches the reference. Let's try number four and see
if it is enough looks good. We can also increase
it to five and. Even this looks fine right here. Okay. Right now, as
you can see that, in the channel here in
a material channel, there is height
applied to our fabric. So height will give
that fabric feel. Okay, it is going to
give the fabric feel, but the fabric fiel right now is too much, as you can see. So in this case, if we turn of the height
and turn on the normal, the normal is going to give
us certain look right here. You can see I'm just, like, rotating the
environment light here. So by holding Shift and
right mouse button, I'm just rotating it,
you can see that. The feel is very sertle. The fabric patterns are
very certle right here. So you can go with this
look, which I like. Or if you need the
height to be there, what you can do is you
can come down here to the height channel and you
can reduce the height. In my station, you
can reduce it to, like, two, three, like that. So two, three, or four, okay, to give that
fabric feel like this. So you can keep the
height and normal, both, and you can get both
effect right here going. Okay. But in my suggestion, I think there is the height
is not at all required here. We don't need to
give the height. We can just turn off
the height and we can just keep the normal and
it is going to be fine. Okay. So as you can
see that we are having a lot of shadows going
on here and going on here. So in this case, if you need to increase
the amid occlusion again, come to Amdoclusion
tab, and from 60, you can go to 80, and that's how you can get more
shadows going on here. So even if you need a lot
of shadows in this area, which I don't
recommend you to do the shows a lot of shadows
because most of the studios have the inbuilt configurator where they will generate
the shadows for your model, which I don't recommend
to increase here. So definitely you can
keep it around 70 to 80. So let's keep 70. Yeah, this is fine.
So the fabric, I'm having a nice feel of
the fabric right here. So here I'm going to
confirm this fabric. So to confirm this, to apply this fabric, I need to rightly
same white mask. Okay. After white mask, I can come down here
to polygon fill. And right now you can see that even the legs have the fabric. Okay? So I can add a white
mask and I can mask this out. So while adding a white
mask, what happens is, you only need to you only need the fabric to be visible and
you can hide those legs. Now if I come to this
mesh fill and drag it, you can see that I
can hide this leg. Okay, so this is our
fabric picture right Next, we can go with the legs. So the leg is having
wood texture right here. You can see. So here if you
search wood texture, you're going to get the
default wood texture, which substance printer is
providing, as you can see. Okay. So this one
is looking good. You can use this. But there is another website which I
like to mention here. This is the website
which I like, even in the production
work when I work, I almost go to that
website most of the time and I keep on
downloading textures from there. It's a pretty,
pretty cool website. So the website name
is Ambient CG. Okay, so this is the
website right here. So this is ambient CG. I'll be providing the link in the notepad for you
guys so you can use. So this website is having
a lot of textures, okay? So this website is having
a lot of textures. If you come to this website, you can see that we have HDRIs, materials, three D,
a lot of things. So if you click on Explore
all the assets right here, you'll be coming to
this tab right here, where you can see
mix of everything. So you can see the mix of textures and all
the other stuff. In here, I just need to
search for the wood texture. So you can search. So just
type wood and let's Enter. You can see that we are getting so many wood
textures right here. So you can see there are a lot of root textures
in this category. If I bring down the
reference image, this is the reference
image which we have, and if you want to find
a similar root texture, you can have a look at the
texture that you need. So if you come down, we need a texture, which
is this will be fine. We can use this texture. It is looking good. We can use this. If you need to change some colors to
masses, we can do that even. You can see that
even this is good, you can also use this one. Okay, this has more saturated. This has more contrast,
so we don't need that. Okay, so yeah, those textures
are fine for this project. So you can go ahead
and download them. So to download this, suppose
you want to download this, click on the texture, and
it will be in this tab. So in here, we
have two sections. One is the JPG
files if you need, and one is the PNG
file if you need. So the PNG file usually
gives you a good resolution, but it comes with a lot of size. But in the same, if you
download a four K GPG, the size is almost
like half of this. So if you ask me what
is my recommendation, I will say go with
JPG and four K. Okay, don't go for two
K, go for four k, which is going to give
you a nice resolution. So just click on this. And you will grade it with the download and you
can download here. Just now, I'm going to drag these textures to the
substance nor tab right here. Okay? So I need the base color. So let me bring
down the tab again. So here I need the base color, and I need the base color, and I need the normal GL, and I need the roughness. I need all these three images. So I need these three textures, so I can just dragon drop them. So once I drop them, I can select all this
and I can say texture, and I can import them. This is Wood 30. This is 30. Let me just
confirm. This is d 25. You can use even this or you
can just use the Wood 30. I think this is the ood
30. This is the wood 30. I'm using this one you can
use this, you can use this. So you can use anyone because I have already
downloaded this before, so that's why I'm using that. So you can also use this.
There is no issue with this. So it looks similar, so you
can use any one of those. So let's drag all
these textures, the color, the normal and
the roughness right here, and we can create a
fill layer and we can type texture like that. And here we can assign those textures to the
particular channel. So color goes to color. Have a look at the color,
how it is looking. So it's looking really nice. So let's drop the rush maps. So roughness goes to roughness,
and we have the normal. The normal goes to normal. Okay, so this is how the good
texture is going to look. So I'm going to
right click and say, add a black mask, and, you know, I'm going
to mask the legs, and I'm going to click on
the texture right here, and I need to rotate
the direction, so I'm going to type here, so 90, rotate it like that. Also, I need to increase
the tiling a little bit, so I can add like four
or something like that to match this tiling. Okay, so this is how
I will match it. So suppose you need to change the color of this where I
don't think we need to change, but suppose you need to change some colors on
this, you can change it. Just right click on this
and say, add levels. You can do it by levels also. So if adding a level, you can just slide this here and there, and you can see we are making
this darker or lighter, depending on the
reference image, what we need to create.
So you can do that. Okay, let us keep it like
this. It's looking fine. So here we are done with the fabric texture and the
wood texture right here. The next thing what
we are going to do is we are going to
do some details. For example, we need
to do the stitches. As you can see, there are
some stitches going on. We are going to do some seams. There are some seam
lines here and there. We are going to match
that. We are going to do the wrinkles to make our
sofa look really realistic. So we are going to do
those wrinkles, stitches, seams, and all those details we are going to do
in the next video. Till then, I'll be seeing you in the next video till
then, bye bye. A
18. 18. Adding Shadow Details: High eyes. So in this
section of the video, we are going to
create the details. So the details
like the stitches, the details like the
seams that you can see. So there are seams, there
are stitches going on. There are some details
going on like here. If you come down, you can see there are some
wrinkles going on. So there are tons of
details in this sofa model. We need to create all
those details so that our model is going to
look really realistic. Currently, I'm going to
focus on one by one detail. So currently, I'm going to have a look at this
detail right here. So this opening. So this opening could have been
created in blender itself when we were in
the modeling phase. But if you create
that in the model, the model is going to go, first
of all, a very high poly. And second of all, this is
going to be complicated. This is going to be
very complicated to create. We could have done that. But today, I'm going to show
you a unique method, okay, a very unique method
to create this shadow, which I am doing in my studio. So I'm doing this in my company to create this type of pockets. So I'm going to
teach you that right now. For that to work. You must have your US
you must know where your US is located to
create that details. So currently, this like this is the area where we need to
create that pocket detail. So here. So let us draw that. So let me go to your layer
and I'm going to draw that. So it is going from here
to up like upwards. So it is traveling to upwards. So this shadow is
traveling to upwards. So currently like this. Okay, so this is the UV
that is affecting. So now I understood that this is the UV that
is affecting this area. So this is the UV where I
need to create that detail. The one problem I can
see it is happening is, this is the problem like it happened when I was
doing the packing. So the UV is the UV direction. This one is correct.
This one is the correct. But this UV has to face
to this direction. So this is wrong this
is wrong direction. So I want this to
face like this. So this pace has to turn
and face it to like this. I want these two shells to, like, be in conjunction
with each other. So it has to face this side. Okay, so this is
what I need to do. So for that, what I'm
going to do right now is I'm going to go
to blender again. So my blender is already here. So here I'm going to
click on this UV. So this is a UV that I'm
going to click on this UE, press L, and I'm going to hold Control and I'm
going to rotate this. So let me hold Control,
and I'm going to rotate. Like that. Okay, so this is
how I rotated the model. I'm going to check whether the shells are touching
each other or not. So in my case, it is not
touching, so it is fine. So this is looking really fine. So this is how the
shells should be. The shells should
face each other. Okay? This has to face
each other like this. Then only the method
is going to work. So after we have done that, now we need to update the model which is
present in substance. Also, we need to take a
snapshot of this UV too. So first of all, let us go
ahead and export this model. So I'm going to press tab, I'm going to select the model, and I'm going to
say file, export, and I'm going to export to
Bx I'm going to go back, and I'm going to go to x file, and I'm going to replace that. So the bx has been replaced. Now it's time to export the UV, so I'm going to select the
UV, and I'm going to say UV. And here we have
export UV layout. From here, we are going to do four K And here, I'm
going to export this. So before exporting, I'm going to select the
particular location, the W click on that
and wait for a while. And yeah, it's exported. Okay, now I'm going to go to the substance better
again and I'm going to delete this and I'm
going to reimport my UVs. So I'm going to teach you that. So I go to edit, I go to project configuration here and I'm going
to select this. And here, I'm going to
select my updated UV. So I'm going to double
click on that and press. Okay. So we'll wait for a while and the
UVs is going to be updated and you can
see that the UVs are facing to each other right
now, so this is perfect. Now this is going to work.
Now we will go to Photoshop. So let us open Photoshop. Photoshop is already open here. I'm going to open the
folder and drag and drop the UI to this app. Then I'm going to
press on a new layer. And here, in this new layer, I'm going to fill it
with a black color. So you can do that by
going to paint bucket and go to black and fill it like this. You
can even do that. You can also press odd plus backspace to add that foreground
color to this, okay? And you can bring
this down like that. And right now, I
can see my UVsals, but if you want to see your
UVsels even more brighter, you can select your
UV and you can change this blending mode to
something that looks brighter. Cream is looking fine.
Even this is looking fine, so you can keep it
anyway you want. So you can keep it in
this color, so it's fine. Okay, the next part
is very crucial. In the next part,
we are going to create that shadow detail. So let me bring out the reference to show
you what's happening. So in here, if I show you, so this area is looking like there is a
shadow coming out. Okay? There is a shadow coming out and this area is
looking like a opening. So this is exactly what
we are going to create. Okay? We are going to
create a opening type field right here. So how we
are going to do that? So let me show
you. So right now, what I'm going to do is
I'm going to create, I'm going to go to the
Pentl and click on the Pentl right
here, and in here, I'll make sure my fill
and stroke is turned off, and then I'm going to draw this. Okay, I'm going to draw
this. Before drawing this, I'm going to go to
my substance painter again and to make sure
that I'm doing correct, to make sure I'm
doing this right. So I'm going to turn
on the cemetery right here and creating a layer, I'm just going to,
like, draw this here. Like that. Okay? So after this, I can take a snapshot of this, so I can take a
screenshot of this. So to take a screenshot, you can use your SnapetTols. Also, there is a
nice application for screenshot that is light shot, so you can even use
this light shot. I'll be giving you the
link in the description. I'll give you the
light shot website in Notepad. You
can go for there. Also, you can use your
snapping tools right here. So click on this and click on New and you can take
a snapshot of this. Okay. And you can file, save us, and you can save it
to your desktop right here. Okay, so from the desktop, what I'm going to
do is I'm going to go to the desktop
and I'm going to just drag and drop this to here. Okay, so that I can
visualize what I'm doing. Next, I'm going to go
back to Photoshop again, and I'm going to keep
this somewhere like that. And I'm going to create
these two lines in here. But I'll make sure
that I'm creating exactly like a
symmetry type pattern so that while creating this
shadow, it looks correct. So again, I'm going
to go to the Pen tool again as I told you,
and I'm going to, and I'm going to click on here, then you can see
how the line is. So I'm going to
click on there, or I can click it right here. Then I'm going to click here. Then I'm going to
click like this, and I'm going to
click like that, and I'm going to close this. Second, close this. So
you can touch this area. There is no issue. You can go
ahead and touch this area. I mean, you can
touch this shell. There is no issue in that. So this is how it should look. Okay? So this is how
it is going to look. So once you have done that,
you can double click on this and this layer style
is going to pop up. So once this is pop up, you can turn on the drop shadow. So you can turn on
the drop shadow. So right now you can see that
we have a shadow going on. So this is the shadow
which we are going to utilize in the model. So this is the shadow,
you'll utilize it. So let me show you the
settings for what I'm using. So in the drop shadow, you
can use opacity slider two, like something around 80 or
70 so that it is smooth. And also, you have to use
the white color for this, and you need to use
normal in angle, you need to give 30. Okay, we need this angle to follow so that the
shadow looks upwards, and the size you can use a
bigger size if you need, but I will stick with this
24, it's looking good. Spread is 13, distance is three. So this is what I'm using. Just play around and
have a feel like this. This is fine. So I'm going
to press Okay right here. So once that is done. So once this is done, I need to duplicate this to this side. So again, to duplicate that, first I'm going to
right click and say, I need to convert this
to a smart object. Then I'm going to say Control J, and I'm going to
press Control T, and I'm going to bring it
here and say horizontal, and I can duplicate
this like that. I'll make sure that I'm
aligning this perfectly. So if this is the
center line right here, and this is the center
line right here, so make sure that you're
aligning this properly. Okay. Once you're happy
with this alignment, press, press the right like
select both the layers, press Control plus
G to group this, and you can add a mask
like that, your group. And then I can go for the brush tool and I can
erase these shadows, which is affecting
the other shells. So I'm going to erase
them like that. If you don't erase them,
the shadows is going to affect even the other shells. So we don't want
to do that, right. We only need to have
that wacket right there. So this is fine. So once you're done with that, turn off your UV. You need the black and
white mask right here. So let's go to File, Save as. You can save this in your
desktop or wherever you want. So save this, save it
as PNG or JPG anything. You can save it as
JPG, no problem. Just save it UV. Or something you can give
anything name you want. I'm going to just write UVM, save this here, and I'm
going to bring that. So I'm going to bring that
to the substance painter, drop it here and say
texture and input. Next, I'm going to
delete this layer. I'm going to create
a fill layer. And in fill layer,
it is very important to turn on your color
and the height. So you need only
these two to turn on. So how I'm going, that
is, I'm just going to click Alt click on the color. Then I'm going to leave the
alt and click on the height. So that's how we can
select these two. And then I'm going to do then what I'm going
to do is I'm going to come down and from the color, I'm
going to go to black. I'm going to go pure black. Then I'm going to right
and say black mask and I'm going to add a filler to the black mask and I'm going to drop this UV into this gracia. So now you can see that we are getting that shadow
effect right here. So you can see we are getting that shadow effect like that. Okay. Now, though this
shadow is looking nice, we need to create a depth right here, so the
shadow looks good. So to create that depth, I will come to my fill
layer right here, and the height in this height, I can increase this
height like that. So you can see when I'm
increasing the height, I'm getting that
depth right there. So I can increase
the height like this somewhere around
like zero point, three, and then I'm going to come down
to this black mask, right click on this black mask. And here I'm going to add blur. So if I add a blur, because you can see this line is
very harsh right now, so I can add blur right
here so that it is going to become soft and I'm going to play with this
blur value like this. So it looks nice.
You can also come back here and increase
the height like this, and you can see that by
increasing the height, we are getting that
depth feel on this area. Okay, you can see we are getting a depth feel in that area. Okay. So this is how we
can create that detail without modeling in
that area. Okay, guys. So this is it for this
detail right here. So in the next video, we are going to
create the stitches. So till then, keep practicing and I will see you in the next
video. Thank you.
19. 19. Adding Stitches : Hi, guys, welcome back.
So in this section, we are going to
create the stitches to create the stitches first, we have to look at our reference where all we have the stitches. So if you have a closer look, we have the stitches right here where we created
that shadow detail. The next we have
stitches right here, which is going to the way down. And we have stitches
right here in this below. And if you have a closer look, we also have stitches,
even this area. So here. The stitches are a bit
of lighter in color, and it has a bit of
medium size to this. So this is how we
need to create it. Okay. So let us go ahead and start creating
these stitches. So I'll just take my reference like pure to the next screen, and I can create
those stitches right. So to create the stitches, what I need to do is I need to create a ad lon right here. Okay? There are
different methods to create stitches in
substance painter. In latest substance painter, we have latest stitch brushes where we can
create these stitches, but I'm going to show you the best method to create
these stitches. So I'm going to cancel this and I'm going to come to
the brushes right here. So what we are going to
do is we are going to just write SDI TCH stitch. So here we are going to get different types of
stitch brushes. We can utilize them.
Okay. So the one I use the most is
the stitch one. Stitch one is very useful, and I use this in
my company also, and I use this in my
studio most of the time, because we can play around with the color
and all those stuff, while we like to adding with a fill
layer, we can do that. So if I show you this, let me show you how this
stitch one works. So let me for doing that,
I will delete this. I'm going to get a fill layer, and I'm going to just
say, right click, add a black mask, and here I'm going to
add a paint layer. Okay? So adding after
adding a paint layer, I'm going to click on the
Stitch bus right here. And suppose I need to
add a stitch right here, I can add it like
this, and I'm going to come back to this fill layer. And here I can change the color, and the stitch brush
is going to, like, behave, and it is going to change the color
life. So you can see. This is the one way where
you can create the stitches. So this is also a really nice method to
create the stitches. Okay. So the way we create
stitches is we click on a place like this
and we hold Shift and if we move by
holding shift itself, if we move our mouse to a different direction
and we click, we can create these
stitches in a straight way. So this is how we
create stitches. So we hold shift. We click and hold
shift and press and hold shift and we can keep on holding the Shift button and we can create these
stitches like this. Okay, so the stitches is
going to rotate itself, so no need to worry about it. So let me undo this. Okay, the next way how we can
create stitches is by using this type of stitch
brushes right here. Okay, so this is the
dynamic brushes. So if you click on this, okay? Okay, before clicking on
this, we need to create a layer here, then we
can click on this. So once you click
on this, you see our stitch h is going to be activated in the property film. So here it is going
to be activated, and you can have a look at what it is creating right here. So this is the color. Okay, this is the base color. If you're creating now, so this is how it
is going to look. This is how it is going
to look, the stitches. You can change your color to
any other color like that, and you can add the
stitches like that. Okay, so this are the method. For now, what I'm going to
do is I'm going to, like, keep this stitch color
to somewhere around light gray so that we can have a look at our
stitch when we are creating. So this is what I need to keep to a light gray and the size. So if you right click, you can see the sizes in two. So I think the size
is fine for this. Il going to keep that size. So some bigger stitches
is going to be visible, then the model is
going to look nice. So you can also
decrease the size. Like, for example,
1.5 if you want, so you can decrease that size. Okay? It's jab ish. So
let us keep 1.5 or else. Now let us go ahead and
start creating the stitches. So the first ditch I'm going to create is this area right here. So this is the area where
I'm going to create this stitch going
all the way to here. So this is what I'm going to
create. So symmetry is on. Okay, my symmetry is
turned on right here. So let me create that
before creating anything, I'm going to rename
this layer two. Stitch I'm going to create this. So I'm going to click on
this and hold my shift key. So click on this
and hold Shift key, and I can just create like that. Okay, I'm going to
create like that. So from here again,
I can continue holding shift and I can create like this and
holding the Shift key, I can continue till here. So if you see the other side, because it's a symmetry model, so it is going to continue. But if suppose your model
is not perfectly symmetry, then it's going to be an issue. So in our case, I'm
going to turn up the symmetry and I'm going to
recreate the stitch again. So let me undo and
recreate the stitch. So here, so yeah,
another method, how to create dishes,
we can create directly in the UV itself. So, yeah, I forgot that. So you can create that
directly in the UV itself. So while holding this shift, you can just create
it in the UV itself. So click like that. Okay. So you can create
directly in the UV like that. So same thing you can
do it right here. So click and hold Shift and you can create
directly in the UV like. Okay. So this is
how we can create the stitches directly
on the UVs itself. Okay? So creating on the
UVs will be precise. Rather, you created
on the three D model. So creating in the UVs will be like it'll be more precise. As you can see, we have
created, um, perfectly. Okay. So the next stitch. So let us pull the
reference back. So the next stitch is going to the bottom
like this from here. So we can create this also. So we can add a stitch here
and we can pull it like this. So it is starting
from the middle. So even you can do it
on the UV if you want, but this is a small stitch. I can do it in the three D.
And also another cool tip I want to tell you that while creating all these
stitches or something, I will recommend you to turn
on the orthographic view. So that orthographic view
will show you your model in a two D manner so
that it will be easy for us to,
like, add stitches. It is similar like
creating in your UV only, but the orthographic is going to be very feel
like a two D view type. So let us create this stitch. So I'm going to create
it in the middle. So I'm just eyeballing this, so I can create it right here
or somewhere right here. So we to click on
this like that. So this is going to
be one more stitch. Okay. So I can create
it till there, so there is no issue.
So same thing. I'm going to come
here and I'm going to click on this side right here and I'm going to click on here and I'm
going to click on this area. And that's how I'm
going to finish area. So in later stage, we can add some seams
down here and we can get effect like it is going inward,
so we can do that later. So this is like this part
is done for the stitches. Now let us go for
this pillow ton. So for the pillow, like, I'm searching the area where
the UVs need to be created. So you can search
this by creating this random stitch
right here and you can see where
it is affecting. So in our case, you can see, I think these are the areas
where these pillows are. Better we can create it in the three D spread cells
three space itself. So let me have a look
at the reference first. So yeah, this is a small area, so just going to create that. So I can start from here. So can click this line like that. I can go all the way like this. So this work is a little
bit of patience work. So while creating this, we
need to be very patient, and we need to create this. So while I was working
in the company, the stitches that
the stitches that we create for the model has
to be very accurate. Otherwise, the QC artist
might catch that mistake, and he might like,
send it back to us to recreate those stitches because these stitches
are not matching. It can be like
color or the size, so the QC artist
might catch that. So we can skip that area
because we cannot see there. So let us, like,
create from this Like the bottom one.
Again, we'll start from here and I'm going
to follow this line. So creating these ditches is a tedious part in this workflow because if your model has a
lot of stitches going on, so it'll be very hectic job. But luckily, in this model, we have less ditch, so we will
not be having any problem. If you remember, we created the unevenness in our model
where we are modeling. So that is helping us to follow that line so that
it looks realistic, not just a straight line. I'm pressing Control
Z do most of the time because I want my
stitches to, like, be fine. I want my stitches to look good. So you can see that we have
done the stitches right here. Okay. So next, let us
go for the next stitch that is here in the
top through this area. So let us do that. So for
that, I'm just going to, like, come here and I
can start it from here. If you see the reference, again, we have that stitch going
on. So we can create that. So I can start from here. Then click here. I follow this line. So I would also love
to know about how you guys create stitches
in your worklow. Like, if you can send me a message or tell me in
the review or like that. So I would also love to know how you guys create stitches. Is it this method or any
other method that you create So I'm holding Shift key
here to click like that. So it should be a straight line. So I'm holding the Shift key. And whenever I feel that the
stitch is not looking good, I'm going to, like, press
Control Z to undo that area. I suppose your system
is not that strong, suppose you have a weak laptop, not a strong laptop or desktop, you can decrease this four k to two k while you are
doing these stitches. So you can decrease that,
then it'll be really faster that will be very
fast for you to work. Though we cannot see our stitches properly,
but don't worry. After you complete the stitches, you can see them really
clear, as you can see. My PiC is a little bit
stronger to handle this. So some pieces might not be that strong to
create the stitches. So I would like such as them to decrease the
resolution while working. So we are almost done.
So in this case, I'm not doing it
in the two D view. I'm doing it in
the three D view. So it's a lot more
fun like this. Mm mm. So here I'm just
closing this area. So, yeah, we can close that. Nobody's going to
check on those lines. So here I'm going to close
that area right there. Okay, so this is done. So we have created
those stitches here, we have created
those stitches here. We have created those
stitches right here. So we have created those
stitches in those areas. Let me go and check if
anywhere stitch is required. So I don't think we have
more stitches going on. Yes, there are no stitches. Do we have stitches right here? Yeah, we have a
stitch right here. So let us create that area. So this is the area where
we have some stitches, so we can create this area. So let me deliver a small story what happened when I was working
in my company. So like, once I got this complex model where it
was having a lot of stitches. So the model was
not that complex, but it was having
a lot of dtitches. But while creating
these ditches, by mistake, I like, made them a little bit smaller. So what the QC artist. Usually the model is going to be checked
by the QC artist. So what the QC artist did
is he just, like, um, gave me a review
that telling that your model stitches are way too smaller
than the reference. So like, he told to create all those
stitches for me again. So I had to go there and create all those stitches
from the scratch. So that was a very
painful process for me. So yeah, that would
be a suggestion for you guys that when you're
creating the stitches, right, make sure you check
the size of the stitch. Also, make sure the
color is correct. And the next one is make
sure the stitches are looking like they can
literally see the stitches. Sometimes people create
very small stitch, which will not be
visible properly. So in that case,
again, you might get a correction to that. So they will say
that the stitches are not looking properly. So you might get a
correction to that. So be careful on creating the stitches because it
takes a lot of time. Okay, so here we have created all the stitches
right here. You can see. So we have done with all the stitches, so
that's completed. Okay, guys. So in the next
section of the video, we are going to create the Sims. Okay, we are going
to create the seams, like you can see here. There
are some seams going on. Can see there are
sims going on here. So we are going to create
this stuff in the next video. So thank you and keep
practicing as always, and I will be seeing you in
the next video. Bye bye.
20. 20. Seam Line Creation: Hi, guys. Welcome
back. So let us go ahead and create
the seam lines. The seam lines are those lines which cuts our fabric like this. So we are going to
create these lines. So before that, let us
save our progress, right? We need to save the progress. So file save us, and here we are going to
save to the next number. So I'll save it right here. It's very important that we
save our progress, guys. If we lose our progress, then it's very
difficult to gain back. So let us create the seam
lines. The stitches are done. So let me go ahead and click on the ad layer again and
I'm going to bring another ad layer
and I'm going to write Semine Seam lines. In this, I'm going to
create those seams. Do we have seam brushes? Yes, substance painter? Yes, it provides
seam brushes too. You can have a look so can type seam and you can see we
have Sam brush right here. You can use this seam brush
to create Seam lines. Definitely, you can create them. Okay. Or else if you are like, you don't want to use
this, which I tell you to use this because it'll
give you realistic feel. But suppose you
don't need to you don't want to use
this same brush, you can use another technique
by using the simple brush. So let me show you that. So suppose I can select the basic soft brush from
here and I'm going to, like, I'm going to cancel
this mode from here. So I'm going to cancel this mode from here, so I'm
going to cancel this. Okay. And let me see if the brush is working.
Yeah, it's working. So in here, what
I can do is I can go to size and reduce the size, and I'm going to come down, turn off everything
except the height. I'm going to
increase the height. I'm going to, like, go
backwards like this. And I'm going to, like,
if you paint now, you can see we are
getting this line. Okay, so we can use this and
reduce the size like that, and we can paint
the area like this, holding shift, and
this is going to give us the seam line. Okay, this is also a
method which we can use. I think we are going to go
with the mixed method in this. I will teach you two methods. So for creating this
lines right here, we can use this method. Okay, for creating this
line here at here, we are going to use the
same tool right here. So this one dynamic stroke on. So we're going to
use this one for the lines, that is the lines. And for creating this area, we are going to use
the manual method. So this is called the
manual method by using a soft brush and just
increasing the height and, like, going backwards
with a value. So yeah, let us create that. So I have already done here.
So let me continue this. So let me click on this
and come back like that. So I'm going to
follow this line. Here I'm going to end this.
I'm going to go back. I'm going to create this
detail again from here. So create some
variations like this. So it looks very
realistic. Like that. So we'll bring down like this. We'll stop it right here. So let us do let us do the
same seems for here also. So we can create this. Come like that, can go here, click on this and
click on this area. So be careful while
we are doing this. So you might like by mistake, you can touch those other parts. So I'm going to start
from here again. So changing my light, stating my light so that I can
see what I'm creating. So we are done with this area. Both the areas, we
are done with that. Okay, we are left with this, so let me finish this quickly. Okay, this is what we get. Okay, let us go and do the
same thing from this side. So the details are
what is going to make your model look very realistic. So the details are one thing that you need to focus
on while creating. So even the model
is very simple, you can see that we have a
lot of details going on. So even thanks to
substance painter, it has a lot of brushes so that it makes our
process really easy. We can come down like this. No need to be very perfect. I'm doing a random clicks
to finish this art. Let's create this
one. The last one. H. So here, I'm going
to finish this. Okay, so this is
done right here. So we have created
this looks fine. But, you know, the
intensity is really high. So we need to reduce
the height intensity. The one thing we need to do, and also we need to
add a small blur so that it looks
really realistic. So first thing is, like,
we need to add a blur. So add a filter and add a blur and reduce the
blur amount like that. Okay, so a small blur effect. So 0.17 or we can change to 0.15 like that. And from here, we can
come to this seam line, go to height, and we
can reduce this height. So somewhere around 60 like
that. Okay. We can do that. So that it is not very intense
when we are looking at it. We can also go to this blur and we can
reduce this further. So 0.1 ten will be fine. Okay. And we can also
decrease this a bit further. So it's 50, looks nice. Okay, next, we are going to
create this seam right here. So as I told you to create this, we are going to
write Sam and we are going to click on this
brush right here. So click on this. So for this, I'm
going to create in a new layer because I
have added a blur here, so I don't want to add any
blur for this right now. So I'm going to create
this new layer and write. So I'm going to write Sam 02. Okay? This is another seam. So For this theme to work, we need to work with
the path along, like paint along path. So this is only available in the latest version of
substance painter. So if you're using a
substance latest version, you are going to get this
path paint along path. So if you're using
the older substance, you are not going to get this
option right here, okay? You're not going to even get
this dynamic stroke thing. But if you're using the
latest one, you will get it. For older users, who is
using the older one, I will suggest to create it with a manual method, the lines. But if you're using a new substance painter,
just follow me. So how I'm going
to create this is, I'm just going to
click on this stroke here and I'm going to
click on this stroke here, and this is how the
seam is going to look. Currently, the seam
is also coming with some stroke like
wrinkle strokes. So we can also play with this. For example, if I come down, you can see that, first of
all, this is the offset. Then this is the
smoothness, like this. Definitely should be sharp. And we can reduce
this like this. This is stitch puckering. So let's go to technical
parameter right here. So this is the height.
We don't touch that. This is the height
range. So definitely we need to be lighter
note in the lighter note. So let us decrease this
height range like this. Okay. So we can add some irregularity here
to look realistic like that. I'm going to keep it far
and I'm just going to Okay. So once we are happy with this, we can press Enter to confirm this and we can go
for the next one. Click on this and click on this. The settings will be
applied even here. So press Enter to confirm this. Okay, so we are
done with the both, and next we can go back. So we are even in the back So click on this
and click on this. Press Enter to conform. Then from this side again, click on this, on this, press Enter to conform. This is how we confirm this. Now, even we have it
right here, can see. So click on this area
and click on this area. Okay. In here, we can increase the irregularity so that we get a little bit more wrinkles
like we have here. And also, we can play
with other settings. This is the height range. This is a slice width. This is slice contrast. We have other settings
also right here. So yeah, I think this is fine. No need to change
any other thing. This is fine for here. So we'll just press Enter
to confirm that. Let's come back here and we can click on this and we
can click on this. Okay. That's fine. Let's
press Enter to confirm that. We have done for the both now. We are finished. So
did we miss anything? No to create on the bottom,
nobody's going to check that. So I think this is enough. Okay. So another seam we have here
is this area right here. So we can also add a seam to this area so that it feels
like it has, like, a dip. So we can do this right
in the stitch line. So click on this and let's
click on this right here. Okay, like this and we can
enter to confirm that. Again, we can go back to here, again click on this and
you can click right here let me offset this
to right in the middle. Swiss Enter and that
will confirm there. Okay, so this is done. I'm just having a look at where else we can add some seams. Et's see back. Okay, I think that's it for
the seam, I think. So what I'm going to do
right now is I'm going to come to my brush here. It's very important
so that I can see how the seams are looking here. So I can see that
this seam line is not in the middle of this
stitch, so we can fix that. Yeah, this is looking fine, but this is not looking fine. The one way we can fix this is by adding a blur,
so we can do that. But also, we can fix this
by going back to this line, clicking on this line again, and we can offset this
and see if we can do it. Yeah. So for that, we need to come back to the paint along that, paint along path, and
click on the stroke again, and we can play with the stroke. When we are done, we press Enter and we confirm and go
back to the rust tool. Next, what I'm going
to do is I'm going to add a small bevel, sorry, small blur so
that it looks nice. So I'm adding a blur, so it feels like it
is dipping in and I'm going to decrease the
blur amount like this. So it looks nice. Okay, so
I'm going to add it here. Decrease this a bit
more. So it looks nice. Okay. So I think we
need to add seams here, but I think there is
no seams in this area. So let me have a closer look. So I don't see seams here, so we can skip this one. Okay. So I think, yeah, this
looks fine for now. So we have added our
stitches and the seams and those details are
looking very nice. So let us go to the next part where we are
going to create the wrinkles. So this is one of my favorite part where I'm
going to create the wrinkles, and I'm going to show you
how we can create it. So till then keep
practicing guys, and I will be seeing
you in the next video. And yeah, don't forget
to save your progress. You have created
so many details. So just click on file save us, and, like, you can save
it on the fourth number. Okay, so I will be seeing
you in the next class. Thank you, and bye bye.
21. 21. Adding Wrinkles: Hi, guys. So in this
section of the video, we are going to learn how to add wrinkles to our sofa model. In the previous
video, we learned how to create the stitches, then we learned how
to create the seams, which gave a further more
details for our model. But the wrinkles
are the one detail that we make our model
to, like, stand out. It is going to look
really nice after that. So how do we do that? How do we add wrinkles? So the first is I
have given you a lot of Alphas in the project folder. If you come to the
project file and you'll see there is a folder
called texture and Alphas. Here you can see I have
given these folders, and inside this folder,
there are a lot of alphas that you can
go and explore, okay? Some are in PSD,
some are in JPEG. So you can go and go
ahead and explore them, and you can see
which one you like. But personally, I will
for this project, I'm going to use the
free fabric bundle, this folder right here. So also, I have given a notepad. And if you open that notepad, I've given these three
links which directs to the original place where
this Alpha is belonging. So you can go there and, like, thank the
original contributor. Okay, so these are
completely free alphas, so you can download them. So as I was talking, we are going to open the
free basic bundle this one. So we are going to open
this, and we can use, like, some of the
alphas from here. For example, the first
one which we are going to use is the number 50, cloth and wrinkle
Alpha here, this one. So we are going to use this
one. So let me drag and drop this in the substance
painter tab. So in the asset library, I'm going to take this as a texture, and I'm
going to input. Now, the main question is
how to use this Alpha. This is the main question, how we can apply this
Alpha to our model. So for that, I'm going to create a ad fill layer right here. So then I'm going to all
click on the height. So I need only the height, I
don't need any other values. Then I'm going to right click
and say, add a black mask. And in this black mask, I'm going to add a paint
layer, so add paint layer. This is very, very important. So remember this one. Next in the paint layer, I'm going to come down and
I'm going to search for the gray scale tab and I'm
going to drag this Alpha, this wrinkle alpha, and just drop it to the
gray scale right here. If you have done that, next
what we can do is next, I'm going to come back
to this fill layer, and in here, I'm going to
increase this height value. I'm going to increase
this height value. So here we can type this as
we can type as wrinkles. Wrinkles 01,
something like that. I'm going to come back here and I'm going to set
the paint layer. Make sure you are in the
paint layer button this one. So now that I'm going to
click somewhere here, you can see that we can see
our wrinkles are coming up. Okay, so let us go ahead and start
creating some wrinkles. So I'm going to increase this
brass somewhere like that. And I'm going to just drop
these wrinkles right here. Then I'm going to drop some
of the wrinkles right here. Okay. So once we have
dropped these wrinkles, what I'm going to do next is, I can come down to
this smrge brush right here and from here, I can increase this
value of the brush, and slowly I can pull
them back like that, and also I can rub them to make sure it
is a very soft feel. Our wrinkles need to be very
soft when we're doing this. You can come back and
pull them back like this, and it will feel very natural. So let me go ahead and do this. So this is one of the
most famous method that we usually
follow in the studio. So sometimes your wrinkles
might go to other parts. So be careful while
using the smudge tool. So you can just pull them like
this to the top like that. So this is how you
can pull them. I'm using my left mouse key and slowly rubbing
to those area. So again, I'm using the
smudge brush to do this. This is how it looks right now. So if you feel it
is very intense, you can go ahead and
change it to the height, and you can definitely, reduce this value a little bit. So we can keep it at 70. So it looks very
natural like this. So looking nice, right? So
next we can do the same thing. We can even do it
for this top area. So this looks nice. So let me just come back to the paintbrush
right here and I can click this area and
again, rotate this. So holding control, I can
rotate this like that. So if I need to rotate,
that is how I rotate. Like holding the Control key and let Mouse button
key, I can rotate it. So I'm going to add that. So I'm going to rotate here,
so holding control. So we can add that like this. So clicking it confirm. So I'm going to click it
to confirm like that. So this is how I'm going
to add these wrinkles. Again, I'm going to come
back to the smudge brush, increase the size a little bit, and I'm going to see
the light direction, and I'm going to, like,
smudge it slowly. So here, my aim is to make
sure the wrinkles are looking very realistic and
also the flow is correct. I'll make sure the
edges are very smooth. So I'm going to go for the
top view here and I can smooth this even further
so that it looks nice. So I can pull them
down like that. So I can pull them
down like this, but make sure it is coming very naturally,
so it looks nice. I'm going to, like, rub these
areas and make it smooth. This is how I'm going to get those
wrinkles on the top. Next, we can add some
wrinkles in this pillow area. Let me go back to the
folder and I'm going to go back and we can search
for some other wrinkles. For example, we can go to
the folders and search, let us pull this one, rag this, rub this and this
a texture import, and we can come back to the faint brush here and we
can import this back to here. And we can drop it like that. Can drop it like
this. And we can use the smudge brush
again and we can spread this to the
areas like that. Make sure the intensity
is very subtle. That is the main goal
we need to achieve. So the intensity
shouldn't be very harsh. Like you see the
intensity is very subtle and it's
looking really nice. Okay. So even we can add some of the
wrinkles to this area. So let me go back and
see what we have. So I'll come back
and I can go back to this folder and I can see we have wrinkle even
I can drag this. So let me drag this
both texture, input. So going back to the Brush tool again and can just
track this like that. Okay, so here I'm just
using my control key to rotate and finding the
angle where I need to rotate. So Okay, so you can hold the control and left mouse button and you can slide this to increase
or decrease the flow. Okay. And we can click on this. You can see and we can
click on right here and we can click on
the smooth brush again and we can
smooth this out. Make sure the tip
is really soft. The wrinkled tip has to be soft, or else it is going
to look unnatural. You can pull some
of this like that. Okay, I see there is some
more wrinkles going on. I can soft this
area a little bit. That is for the back. Now let us go for this side, we can do it even for this side. For that, before this side, I'm going to use going to go for the brush
and pull this one. I'm going to just add it here. Let is increased to 97 and
then click it right here. Go to the smudge brush and going to use this
smudge brush right here. H. Okay. So next I'm going to
add some wrinkles here. So I'm going to bring
that same wrinkle that we used for 50. So I'm going to
bring this same one. This really nice one. So we're going to
use this. You can use any other one,
whichever you like. I'm going to drop
this right here and I can hit this right here. Rotate this. And I can click it right here and
also click it right here. And next I can use the smudge brush right
here and I'm going to erase the stuffs.
I only need this. I can erase the stuff. Doing it very subtly. Okay, so let's do
for the other side. So I can go to the Don't forget. You have to change it to
paint again and click on this and click on
this one right here. Again, I'm using control and
leftmost button to rotate. So that's how I'm rotating. So let's add some variation. You can pull this like that. The wrinkles are going to look bigger. Pull it like this down. We can reduce this 70-60 to
get a bit more soft fill. If you want, you can even
add more wrinkles on this side and also you can
add more wrinkles on here. But for this, I'm
going to call this as done because this is
looking really nice now. As you can see, the model is looking very nice with
the wrinkles that we added. I'm going to switch
back to base color. You can see that Okay. So till here, we are going
to call this as done. So our model has been
turned really good. It is looking really nice. So this is a really
perfect model. We can use this
for GLB right now. So that is what we are going
to do in the next video. So in the next class guys, we are going to learn the most important part
of this course. We are going to learn how to export our model in GLV, okay? I'm going to teach
you two methods. So I'm going to teach you how to export from substance painter. I'm also going to teach you
how to export from blender. So by using this two method, you can export
this model to GLB, and you can submit that to the studio or submit that to any of the client
you are working for. So that is what if they're required, you are
going to submit that. So then, guys, keep learning, and I will see you in the next part of the
video. Thank you.
22. 22. Exporting GLB from Substance Painter: Hi, guys. In this section, we are going to learn how to
export our model into GLB, the GLB file is a very
unique file which is really important for creating the
argument reality models. Only when you convert
your model to GLB, it is also known as GLTF so only when you convert
that to that format, then you can import this
file into a configurator, and that is how the customers can view that particular sofa
chair or whatever it is. They're going to see that
in the in the space. Okay, they can see that in
the argument reality space. So that is what we
are going to learn. It's a very simple process, and I'm going to show you that. But but this is a back
and forth work, okay? It's not like you
just go ahead and click Export and the GLV
is going to be created, and, yeah, that's done.
It's not like that. You are just going to
export the GLV and have a look whether it is
looking nice or what. So if it is not matching, it is not looking
great, you need to do the adjustment
according to it. So after that, when you're
satisfied with the look, you're going to, like,
call that as done. So let us go ahead and export
our current model to GLB. So what I'm going to do is
I'm going to go to File. I'm going to go for
Export, and from here, I'm going to click here and I'm going to come to
my project save file, and there is a folder
called GLB file. I'm going to select that
folder, and from here, I'm going to press
already you can see that there is GLT PR
metallic and roughness. So this is what we
need to export too. So if you need that, by default, you will be into something
that is PVR metallic rough. So click on that and
press G on your keyboard, and that will take to
GLTF PR metal roof. So click on that. And from here we are going to hit Export. So I'll take a while to
export all the maps, so you'll get a
message like that. Yeah. So export
successfully finished. So whenever you finish this, you can click on this button to open the files, the
directory files. Now I'm going to
show you a website where we are going
to test our models, where we can view
the GLV files, okay? So we are going to go
to Google right now. Okay, so this is the
viewer where you can see your GLB file whether
it is looking good or not. So this is called
asmdelviewer dot the. I'll be giving this link in
the notepad for you guys so that you can come to this
website and check your model. So currently, the file
which we have exported, this GLB file, we just need to drag and drop
this into this viewer. It'll take a while
and it'll load. So you can see that the
file has been loaded. So this is the file,
and it's been loaded. So currently it is looking
something like this, okay? So you can see it is looking
something like this. The issue is what
I'm seeing here is this is too much harsh, so this depth is too much harsh. Also, the wrinkles are a little bit too much
harsh right here. So we can go ahead and reduce a little bit
of those harshness. And rest of the things are looking fine, there
is no issue in that. Russia is looking good, so
this depth is looking nice. I think everything
is looking fine. Let us fix this one right here. We can fix this and then even we can reduce
a little bit of this, uh, wrinkles height value. But it's looking fine. If you need, you can keep it like this. But if you need to reduce
also we can reduce, there is not a
problem with that. First, let me come to
substance matter again. So I'm talking about
this shadow right here. So we can decrease
the depth of this. You can come to this
fill right here. So this is what
affecting that shadow. So you can come to this. You
can come to this height. You can reduce this height, and that shadow is going to, like, fade a little bit.
So you can do that. But my recommendation
would be like, not to change anything from here and you can
come to Photoshop, so come to Photoshop. So if you remember, we have created,
this one, this file. So we can change it in here. So we can come to group and we can reduce the
strength like that. So pacity, we can
keep it under 60. Okay. I'm going
to turn off this, and I'm going to
save this again. So let me save it to the
peg or PNG, whatever it is. So let us save, and
you're able to save it. Let me go to the project files, and I'm going to this
project file section, this one, and from here, I can drag this and drop this and I can say
project Import, say texture and import, and from here, I can go to the fill a tab and
just drop this. Now you can see that
it has been blurred. So the strength
has been reduced. You can see the strength
has been reduced. So now we can export it back
and see how it is looking. So file export, you're going
to export back to GLB, Okay, this is
successfully exported. Open the output
directory, close this, minimize this, and let
us import this back. Okay, let's have a look. Let me import that again. This is how it is looking, so we can reduce the height now. I think we can reduce
the height a little bit. How we're going to do that
is we are going to come to the substance painter. From here, I'm going
to reduce this height. Something like that.
Let me export it back. Again, this is a back
and forth stuff. Till then you feel that's
looking nice, we have to do it. Yeah. So this is how it is
looking right now. Okay, this is how it
is looking right now. So you can keep it like this. If you need more depth, you can add a bit
more depth like that. File export texture.
You can export this. Cancel this and you
can explore this right here. This is what we get. Also, if you need a bit more detail right
here, we can also do that. So let me show you
how we can do it. So if I go to
substance painter and I'm going to create
a new ad layer and I'm going to only
keep the height, increase the height Okay. So this is what I get. So I'm going to increase
the height right here and I'm going to
decrease the brush size. And then I'm going to click here and I'm going
to click right here. Okay. And then what I'm going to do is I'm going
to right click and say, add a filter, and here
I can add a blur. Okay, that is how I'm
going to get this depth fill like that, so you can see Same thing we
can do it even this side. I can come back here, click on this, click on this. That's how we are going
to get the depth fill. Let us go ahead and
export this again. File export texture,
let me export this. Open file directory,
so I opened this. Let me minimize that and
let me bring that GLB back. So this is how it's looking. Okay? You can keep it
this way if you want, or we can reduce the height. So let me go back and let
me reduce the height. To something like 60,
and I'll export it back. So this is a back and forth
work, as I told you before. So this is a final we are doing this finalization of
our GL we exporting. So we have to, like, play around till we
get that effect. So you can see that we are starting to get that
effect right there. It looks fine now for me. So this is fine. I don't
need to do anything else. Next, I can come back
to substance painter. From here, I'm going to save the project, which
is very important. Come here and save us and already this
is gone till fifth, so I'm going to save to sixth. Okay, so I have exported all I have saved the
project right now. So we'll wait a while.
Yeah, it's done. Now, it's very important
that we export our textures. So file export textures, and from here, I'm going
to select that directory. So I'm going to
select a texture PBR, and I'm going to select the PBR metallic
roughness option. So PVR metallic
roughness option, and I'm going to put PNG, ad wit, and I'm going
to four K Export. Okay, so it has been exported. You can see. So we got all
our texture maps like that. So we have learned how to export GLB from
substance painter, and this is how we got
all the GLB files. So this is how we do it
in the substance painter. So now, let us go
ahead and we can see in the next video how to
export GLB from blender. Okay? So let us go
ahead and see that. So thank you, and I'll be
seeing Una next video.
23. 23. Exporting GLB from Blender: Hey, guys, so welcome back. So we are back in blender, and we are going to
learn how to export GLB or GLT file from
the blender itself. So anyone who wants to try to export this GLB file from
blender, they can do it. The blender has its own exporting method
on how to do this. So let me tell you
how to do that. First of all, we need to
go to the sharing tab. Okay, this is the sharing tab. We need to go to the
sharing tab right here. And let us click on
our model right here, and we are going
to assign texture. So let me assign a principle
VD texture right here. Okay. Next, we need to bring all those textures that we exported from
substance painter, if you remember, we had in the last class exported
all the PVR textures. So those textures, we need to bring it and
apply to our model. Okay. The process of bringing those textures
are different types. The one is you bring it
manually and connect the base color to base color,
roughness to roughness. So this is one process. The second method
which is my favorite, the second method is we
can use nod wrangler to bring all these textures at once and we can export the GLV. Okay. So let us do it by
the nod wrangler method. So nod wrangler is a add on. So we have to go to that
add on section and we have to enable the nod wrangler
node to work here. To hit Control plus comma
to get to my preference, control comma and preference. And from here, I'm going
to in the addons menu, I'm going to search for
node and no wrangler. Okay? So this is the
add on right here. So I'm going to click on this tick and I'm
going to close it. Okay, so this is the first
step. You need to do this. Again, in the next step, what you're going to do
is you're going to select your principal VRDf
shader like that, and you're going to
press a shortcut key that is Control Shift and T. So click on the principal VRDF
in press Control Shift T, and you'll be like, coming
with a tab like this. Now we need to navigate
to the texture section. So let me quickly go
to the text sections. So here is my textures,
so texture PVR. So this is the textures that we exported from
substance better. I'm going to select everything,
and I'm going to select. I'm going to say
principle texture, and here you can see that all the textures
has been connected. So don't worry about
this height value. So you can see that this
is not looking correct. Okay, don't worry about that. So what you can do is
straightly select file. And just select export. And from here, you just export
it as a GLTF that is here, GLTF two point oh, so click on this
and you can export it to like any of these source. So this is GLB five, which I exported for
the substance painter, if you want, you can send it to a different
folder if you want. But if we can create another
folder, it will be fine. So this is blender. This is Blender GLB. This is the blender GLB. I'm going to select this folder and I'm going to
click on Export, and this is the model name hair. So let me export this to GLTF. So just wait a while
and it is getting export So, yeah, it's done. So let us minimize
this and go back to the folder right here and
we have the blender GLV. So this is the blender GLV. So let us open the
model viewer right here and we input it to here
and see how it is looking. So as you can see,
we are getting the same GLV that we got
it from substance painter. So both the process are same, but we can do this
even in the blender. Also, we can do it in
the substance printer.
Devasis Samantry, Creativity in Every Frame
