3ds max for interior designers from absolute beginners

1. Introduction to 3ds max course for interior designers: Hi, everyone. My name is an, and I work as an interior designer for more than ten years. I'm using Free DS Max and VA to create my renders, and I'd like to share with you my experience, especially for all who see how to start working Free DS Max from absolute beginners. That's why I've decided to create this course using an interior designers approach and also a working method that I've developed during seven years while I was working as a teacher of Fred including Free DS Max and VA as well. In this course, we will start everything from scratch. The hardest thing in any profession is the start. And I would say a correct start, as there are a lot of methods, but the most productive ones are those who were created from real practice in time, as this is like a final stage of your efforts after you learn theory. As a teacher, I tried to explain free DS Mac to students in the most simple way, and I was waiting by their homework, which is, by the way, a must. How good did they understand the lessons? Keeping their work motivation, especially at the start, it's crucial. They must feel as soon as possible that the effort that they are making is bringing them visible results. That's why this course will repeat the same method that I've used. We will use from the start of professional approach using hot keys. We will advance using this plan, this general plan. This is like a guide for every interior designer, and we will get to the practice as soon as we learn the theory that we need to navigate in Free DS Max. We will learn the basics of free D modeling. We will learn the basics of lighting. We will create a photo studio, and we will learn the basics of V we can get to render our homeworks and obtain our first freed realistic renders. In this course, we will talk about the basics you must know in order to start work in free DS MAX, and I invite you all to join this course. So let's get started. 2. General plan that any interior designer must follow: Every project has a start and end. I'd like to repeat that one more time. Every project has an end. Anyway, we have to start with something and that something is a project order. We must keep in mind and follow until we begin the process. Only in that way, we will not get lost. Shortly, I'll tell about the order we must follow. First meeting with the client gives you the first puzzle piece you have to combine to obtain the expected result. After you listen to the client's requirements and preferences, and also with notes taken and written down, we must form inside our minds the general style and concept of what we are going to do. Clients may see a few steps further, but you as a designer must see at least twice as him. He must sense that he can trust your opinion. So first is always the sketch. When we gathered enough information and formed an idea. Next is the three D model stage. We will pass to that beginning with the next lessons. But for now, I would say three D model is the gray objects, not more. Gray, I mean, no colors, no materials, no lights. The gray stage, it's not so interesting. It's sometimes boring. But if you put everything on one plate, it may be over mixed. The real ism in images is an amount of layers, like in photoshop. Only difference is that in max, they are not in two D, but in three D. When some mistakes occur in the render we develop, a lot of beginners get lost and they will occur. No one designs perfectly and sets the program to work and give the ideal results from the first time. The more experienced ones, just do that not so often because they feel already what they have to do to fix the lights, for example, if there is an overbright or so on. But they also work and find themselves in the process. Main rule is that you can't skip order and you can't pass to the next point until the previous one is done. I'll talk later in this part about proportion and scale. But for now, I would say, the gray stage must give us a balanced space. We must feel proportion and scale. There is a stage called light test. That's about third point. It's actually a test of gray stage and light balance. Again, no colors, no materials. We must understand the layers separated alone. Clients do see and understand render one piece. You, the designers, must break them apart. And if you will learn to do that, you will get to the good results very fast. Being in a hurry, won't save the project. You'll probably hear from clients that they still don't feel you manage to understand what they've waited for. And so on. If it may be okay with a less demanding client, you won't skip the next, and do remember the quality of your project promotes you further to the next projects. They may not recommend you further. The worst part, a lot of times you'll even don't know that. Be patient and give work quality. On the right side, we see an extended plan of the model. I've divided that into five subcategories for a better understanding of what we are doing and where we are. Shortly, in this course, we will be covering the first three of them. This course is meant to develop interior design skills while three D modeling by itself covers a more bigger range. And also because we are focused a bit on other tasks because learning the program from the start to the end, it's not a solution. In the first part, we will talk about the first integrated ready, if you can say so, objects called primitives. The key to understand more complicated instruments lies in following a logical chain. We must understand and see how the objects transform and become more complex with more options and possibilities, and the main idea is that we must learn them in that order. And more, I can say that's a natural order, how they develop in plan of complexity. Third part, lights and cameras. If we divide the project into idea and brushes, well, half of image success is the light. You may have a good idea, good materials and higher render settings. But if your light it's not okay, you won't get the image at the level, I call commercial. I'd say that's not a mercantile way of thinking. I'd rather say that's an level where a client is ready to pay for your work. Light is the key to the good images. With a good light, your materials will look good a lot of times even from the beginning. As I said earlier, there is a stage called light test. It's a stage of revealing light problems and the scene detect overbrights in dark areas and more important, find a way to solve them in that interior space. A good looking image. Don't give you a similar lighted interior and reality. The person will live in that interior you are creating and not inside the image. In that way, the light tissues must be fixed using real situations, not computer filters that will help improve light situations inside an image. The fourth part materials. I'd better make a difference from the start. At last preds Max material is a whole part, if we can say easier so, and texture is a part of material. Materials may have or may not have textures. We will talk in detail when we get there. But for now, I would say that we will be using ready professional materials. Some of them we will create, but more than half we will be using from ready libraries. The fifth part is the render. Okay. Render is the process of generating a computer based image that tends to simulate reality. The better you understand the space and rules that drive it, including lights, surfaces, outside factors, the better your renders will look. While there is a bunch of settings that may adapt to every scene, still, that super Lc is not lying in a setting. You will get to know that when you begin your first real project. First of all, the spaces are different. Lightning is also different. You cannot apply the same light situation to every interior. There is a style also in what you are doing. You must get to feel if you need or you don't need that in a specific scene. A balanced light feels right while one out of balance feels strange, a lot of people tend to finish their projects too early, ignoring sometimes light problems or some mistakes from images. They are called simple and three D. Effects. After that appears questions like why my render looks not so good. I'm totally for high quality renders. If we talk about presentation skills, a good image, but don't forget the main project is divided into two big parts. While the render is the half of it, or we can say the first part, the other is the idea. It happens sometimes that we may not have a lot of time for perfect renders. Still, the idea must remain untouched. I'm not saying we must ignore somehow our renders quality. There are instruments that can accelerate that to a level where Renders looks okay and you must ask yourself, you are an interior designer or you are a free artist. It may seem that both do the same thing, while a part of the work is indeed the same, but they still got different goals. A free artist is more like a painter while interior designer is more like an architect. It's totally okay if you as an interior designer to show mood in your images using different effects and so on, like an artist, but a lot of times you won't have the time to do that. Clients, don't like to wait long. That's at least one thing you'll have to consider. The second one will be, what if changes may occur? For example, you worked a lot to make the image look very cool and finally client may tell you he likes the whole idea, but there are some things that he would like to change. Third part as an interior designer will be the technical part or plans, which are a part only for interior field, and it's still a part of the job. There must be a balance between time and effort you put in a project and the result you get. That's why Renders must have a logical deadline. Especially for you because you are working, not someone else, and that must be discussed with the clients before the project begins. In conclusion, I would like to say we must follow the plan of the projects, so we don't get lost by practice, it will make itself clear for us and will help us to manage the projects to the end. Leave the clients happy they got the desired result, and for you as a specialist, help grow your level and promote what you are doing. The most important thing is that you have to feel that you like what you are doing and the results will come for sure. In the next part, we will talk about the first steps in Freds max and how we will begin our free D practice. 3. 3ds max and Vray 3d brushes: During the studying process of interior design. All the students must begin with the drawings by hand. Using a more artistic approach without any computer software. What actually lies behind this is the fact that computer only is continuing your drawing. It's not him the one that creates the sketch. It's you. It's no more than just a brush. Yes, it's a very advanced brush, but still it's just a brush. He or may say it will not think for you. All the work is dictated by you. Many of you might say, I do not agree. Client is receiving in the end three D renders and plans, and they are made by the program. Yes, this is the final part and the final result. But if the program is so smart, why it's not giving you the optimal color combinations or pleasant proportion. Why it's not choosing instead of you the textures that would better fit in the project. While it's not maintaining objects shapes based on one style. When students still got the lack of experience and combining objects using a style, they tend to say, Well, this is fusion. Fusion close all the questions. The answer is very simple. The level of experience is directly seen in your works. You are the thinking one, not the computer. You choose, you combine, you move until it looks fine. The hand sketch is the beginning of everything that lies in your duties as an interior designer. The main focus is not the software. I don't want to say that free D renders do not matter. They do, and they do a lot. The main idea, it's not something we can define. It's different depending what projects requirements are. But we will talk about that so that we can form a whole piece, and we will try to understand the core rather than trying to apply just some genuine templates. 4. How to understand 3ds max interface in 12 easy steps: When we open first time three S max for many people, it may seem confusing. So many instruments. How can I handle this at all? On the other side is what lessons should I take first, so I don't get stuck and manage to understand what I'm doing, but not just repeating some moves seen in a tutorial. When I started to learn three S max, I had almost no one to explain where should I start or where should I go. I just opened a bunch of tutorials and started to repeat them. In this way, I hoped I would understand the program. This method is a lot like learning the program in the visual order receipt on your screen. This is the first button does this. This is the second one. Maybe one day, using that type of approach, you'll also get to the desired result. But it's more like a shovel example we've talked about earlier. We actually don't need every instrument in Free DSX. We must understand what we have to do and how to apply that in a sin using only instruments that we need. It's okay to know more instruments, but that comes with time when we begin to solve different situations. But for the start, it's enough to follow a ready system done by someone who has already been in that process. Different teachers see the study material differently, even if the buttons do the same thing. But I understood one thing in the process of teaching others. There is a factor you must try to control. The delivery of your information itself must be easy or at least as easy it can be for the student. We cannot know that until a student begin the practice. If he accomplished the task, in most part, he understood what he had to say. When I was working at the training center, throughout 70 years, I had a few thousands of people that came to me to learn through DSX. At the beginning, I knew for myself what I have to say, but I couldn't decide that for the student's perception. So in that way, delivery changed in time, group by group. I was observing how students react to study material. For me, the question of easy understanding was crucial. You can't know that until you try to deliver that at least one group, more, of course, it's better. Only then you can appreciate how easy or not is your material or should I say your method. Well, as time passed, I was changing piece by piece. The information I had to talk about in order that was getting more and more comfortable for users. There was one thing I was sure. I had to avoid the help type method. This is the first button. This is the second one. Sometimes you have chapters that demand that type of approach because the information is technical, artistic vibe and style are more linked to your inner understanding and feeling. Than to three DS Max instruments. But if you want to visualize the ideas you've got in your head, there is the theory instrument part that cannot be skipped. If we will take a look at the initial screen or interface, this might seem confusing. I've tried to simplify the approach, avoid where is possible the definitions, maybe some exact terms or instruments. We will try to keep it as simple as possible. But as I said, there is a technical necessary part and we have to learn that too. For the beginning, I've divided the program interface into 12 visual parts. This will help us to understand the big image and the logic that drives the whole program. The first piece is the file menu. The options here are common for almost every program. Here we can create open, safe new files or projects, and a few other options that are not so important right now. From the second part, we will need only three buttons you see in the corner. And I think everyone knows what they are doing. This is actually a continuation of the previous file menu. We will be using this menu but not from the beginning. Here are a lot of buttons, functions, and instruments that are mirrored or doubled. They are the same functions found in other panels that contain the same commons and do the same thing. The only difference is the position. From the beginning, we will be using them from other panels. I'll show later as we proceed. That is only for visual purpose, or maybe in some cases, it's more comfortable. Instrument panel. This is a very important one. Here are the main instruments we must use to work in three SX. We cannot skip them. Or we won't be able to work at all. They are the mechanics and dynamic of the program. This one is an additional panel with some mirrored or doubled instruments as well, and it's been developed for comfort in navigation. It appeared in latest versions of the program. That's why the importance is secondary. You will like it later, maybe you'll use it. But for beginning, we will learn the initial position of our instruments. This is our working space, or should I say workshop. Here, we create everything we create a max. The window initially divides into four sub windows or sub views, or we can customize that number. But I would say, I think we need just one window almost all the time. We will use for views windows only in specific situations, but about that later. This is the common panel. Here are all the instruments and objects we create in max. A lot of them are mirrored or doubled, as I said, in other places. For example, in upper menu. We will pass to this panel a few lessons later. This is the dynamic or a big part of dynamic M. As we see it, we can forget it. We will use hotkeys instead. This is a very important moment. It's not only about speed. However, speed, it's very important. This is the animation panel. We will just point it out, but we will not talk about the animation in this course. This is also an important one. This is the coordinate panel. Here lies the technical, exact part. For us as interior designers, that cannot be skipped as well. We will talk about it in the next lesson in detail. This is Mac script. It's for IT. This is a scripting language, and we will not use it. This panel is the Vra panel. V is a plug in used for photo realism, if you can say easier so. VR got its own lights, materials, settings, and other objects we will talk about later. This is a simple divide of the program. We will use these big parts to understand the position of pieces we need in order to begin our first steps in three D S max. In the next part, we will talk about coordinates, and we will begin our first steps in understanding the three D space and exact objects. 5. Understanding 2D, 3D and principle of round objects in 3ds max: Coordinate system or coordinates. Every project consists of at least one object. However, objects in the scene are in the majority of cases a lot more. I'd like to try to define what do we have and work with from the start. If we would divide that object or objects into smallest parts. In PridsMx, we would get the elements that Max uses to build every single object that we see in the scene, either a sofa or a whole project. But before we begin to talk about geometry, I'd like to point out a rule that would certainly help us to understand the core of the whole geometry in general. There are no round objects in max. I'll show an example for visual purpose, A how do we begin to work, we will talk soon. For now, this is just an important moment we must consider and understand. Let's say for example, we have a sphere. We will know that the sphere is a perfectly round object, it feels like it's actually so. But if you take a look at the edges, you will notice that there are some jag edges. Although they are not so visible, still they're present. I'll use for now some functions we will talk about in the next lessons. For now, we just analyze how the program works and things. If I will take a look at the same sphere, using a special wireframe view, I would actually see that the sphere is divided into surfaces that link between them and create a whole object, and more important. We can actually count those surfaces. I will open the options, roll out, and we can see a feature here called segments. If we begin to change that parameters, we see that the sphere surfaces change as well, and the number written here is the same number of surfaces that form the spheres pend roundness. If we can call that so. There is one more feature here called smooth. I'll double the sphere just for the purpose to see visually what is going on. If we uncheck that option, we can see that the sphere is no more around. I got surfaces. Well, computer as everything, also got his limits of power and memory. If we would push it to the edge, we would get a technical crash. Now, try to imagine that we have a big project that needs to be done. But the technical limits of our computer cannot allow us to load that information. That's why, for that purpose, we develop methods that can push the limits further. Yes, the limits are still present, but using optimization, we can use the resources of our computer at a higher level. Let's imagine that the computers limits are like a truck that can load only that volume that fits in the tracks box. Well, when for example, some one wants to carry furniture, it's more productive to take it apart and then put it together again. In that way, a lot more objects would fit inside the tracks box. Still the box itself remain the same. It's very like how optimization instruments work in max, and not only. The same with the sphere, we can increase the number of segments, and our sphere would look more and more around it. But at a moment, there is no visual difference. I'll show another example of optimization. After that, we will talk about coordinates, and this is a very important one. It will interfere in almost every project. It's called interpolation. Let's say we got a circle. Again, what I'm doing now, we will discuss later. I showed this just for understanding the essence of what we will be doing. We all know that the circle is perfectly rounded. But if we will take a closer look, we can see that the edges are also jagged and we can even count those edges. A circle consists of four points. Name quadrants. Between any two points, we have a quarter circle. Okay. That is supposed to be rounded perfectly rounded as the radius of a circle is equal. In the circle options roll out, we have the interpolation parameter. It's got a number of steps. By default, they are set to six. But if we would change that number to zero, we would not see the curve anymore. It became a straight line, and that is because we got zero steps. If I would set the steps to one, one point equals one step, then the program, we will try to draw the circle using one point or actually the quarter circle. That's a portion between two points. These are two equal parts, and we say, well, that's not a circle, although the program see it as a circle. Even if we see straight lines or jagged, If I would increase the number of steps to two, The same principle apply. Only now the divide is made by three, and so on. When do we stop to increase? Well, that's a very good question. By default, the program is using six steps. It is considered that the circle looks very similar to a circle, having six steps. If we need more, we can increase that. But at least for now program is using the optimization, and that optimization is using a mid level. While we see the circle around, we are not overwhelming our computer. Maybe one object would not overwhelm the computer. But when we have a lot of objects, this might create delays or even the crash. Another question would be, when do we increase the number of values higher than six. We will talk about that a bit later. I will show that in examples. But for now, I would just say when we begin to lose the visual difference, that is the level where we stop, and that is the principle of roundness in prides max. Okay. As a second step, if we analyze the edges, we can say that the straight lines consists of two points in space that are linked between them. Breaking it down to the end. The smallest elements in max are the points. Actually, everything we see in max consists of points. Points, form lines or edges, edges, form surfaces. The surfaces that link between them in max and not only are called mesh. We will cover that later. When we will get to the polygons. But for now, I would like to talk about points. What do we know about points? Point is the smallest element in geometry. It doesn't have size or volume. It got just a position in space. Probably anyone saw this. It's called two dimensional cartesian system. Okay. This is a method used to detect and draw the point or the points in a project. We got two x, x and y. We talk about d. The intersection of these xs form the initial point or 0.0. We will need that a lot, but about that later. Using a measure system, for example, inches or metric system, we draw on those x equal measure units. If we are using inches, in that case, that would be 1 ", two inch and so on and that would be minus one minus two minus three, and so on. Same with y, one, two, three, and down minus one minus two minus three, and so on. Let's see, for example, we have a random point. First, we count on x, and then we count on y. And by that actions, we determine the position in two D space of that point. We can add the third xis. If we have volume present. In that case, we begin to talk about three d. The principle of writing down the point position is the same, even into d or three D. In the previous case, we can say that x is present two. But for that point, is equal to zero. 6. Coordinate system and object pivot point in 3ds max: Okay. Let's take a look at max. The grid you are seeing here is actually this system applied in preds max. That's the x x is, and that's the y. Dimensions of the measure unit can be set to the desired one. For this, we will use customize Unit setup. Here we can choose between metric system and inch system. Still, it's not so important because the principle remains the same. Now finally, let's take a look here. Here is the coordinate panel. Also, we compress F 12. This is the part that gives us exact movement and not only everything starts here for an interior designer at least for sure. We've talked about identifying a point in space using axis system. Well, this is a continuation of that principle. Here we see the axis, and every axis has an input. Depending on what mode we find ourselves at the moment. There are four modes. We will talk soon about them. That input is highlighting. Now let's talk about move option or move mode. It's the most simple one. For now we are looking to understand the principle that lies beneath the way max is thinking and understanding the way max is moving the objects. It's the key to begin to design exact objects. Now I'll point out a few buttons we will need for this lesson and a few next one as well. Five things. First, create Second, modify third box four, move and five coordinates. Create. Here we can create everything we create in max. Second, we'll be modify where we modify everything we already created. We need to remember these two buttons. We will use them very often. The third button is the box button. This is the first most simple solid object. We will use it very often for the start. This is the move option. Or move button. We will actually use a hot key button that later. It will help us to move any objects, including the box. Finally, this is the coordinate panel where we can track and see the exact positions of our objects. From the beginning, we have to create something because max is empty before we move or do any transformation to a specific object or objects. We select, create as we want to create something and then choose box. This is what we choose to create from the list. We click a point in space and then drag while holding our left mouse to opposite corner. In that way, we show the program at the bottom of our box. When we established the base we drag the mouse up to define the box height, and click one more time, left mouse to finish our box. I max, left mouse always do active options like picking, selecting, moving, rotating, scaling or other options as well. While right mouse always gives access to some options. I will repeat that process one more time. But for now, I'd like to point out a very important detail. If you see While I'm defining the base of my box, there is a point that lies in the middle of the base. It's still moving because I hadn't choose the opposite corner yet. When I click, you can see it remains still, and then I can finish my box. This is the point called pivot point or transformation point. There is one more thing I would like to show. If you observe while I'm creating the base of my box, it gives a feeling like it's moving on an invisible floor. Well, the grid you see here is meant to give us the feeling and visual sense of the plane that we will use, and we will name simply the floor. We can create objects anywhere even outside that grid. It doesn't matter. That point we saw in the center pivot point is remaining on the floor. Even when I do define the box height, why is that? Max, the system is always using that pivot point, we also call transformation point as the position in space from where all the transformation object will suffer, will be done. For now, if we try to move our box, well, the moving will be done from that point, if that's a point, that point must have an exact position in space. We can see it here. We can try to ungroup or unlink that point from the initial box. By default, they are linked. That's a function we will use later. From the start, we think in reality, if I take a box, I'll just take it and put it in another place. Well, computer doesn't think that way. He must know from what point to which point he has to move the box. When we drag the box, we are actually moving not the box. We are moving the point, pivot point. It's like an object's heart. And the box being linked to this point or Pivont point moves with it. Here in the coordinate panel, we can control the exact distance of that move. If we press F 12, we get a box. We see here two options. First, it is called absolute and the other is called offset. We can also see that button over here. It does the same thing with the coordinate panel. We can actually say that the coordinates got more types. For now, we'll talk about the first two. They are the most important absolute and offset. To explain them, I'll need to show an example. This is the modify panel. Here we modify everything we've created before in max. I'll modify the box and give the box exact dimensions. Let's say for example, eight, inches by 4 " and 2 ". Also, I'll put the box in zero point. We used to say that the length is the biggest part of an object, and the width is the smallest one. Well, a max it's not really so. Max always understand the length as parallel to x, and the width always parl to y. It doesn't matter if the object looks bigger on y or x. For max, always the length is parallel to x, and the width is always parallel to y. And there's a hot key I will use to replace the box. I'll press right click above these small arrows. We call them spinners. If we press right click above any spins in max, Max will set the value to zero or to default one. In most cases, it will be zero. I will use right click on x, y, and z to establish the pivot point in 0.0 of our coordinate space. Now, for example, I would like to move our box one g. Using x, for example, we will take x just for simplicity. Max is like a sphere, and the grid you see here, it's actually the center of that sphere. Now I'll go further. Okay. Max is simulating our world. This sphere is nothing more but the projection of our real world. We can say that box pivot point is in the center of the Earth, we say that absolute mode or world mode is always using that center of the Earth to specify the position of an exact point. That's why when we right here, one, meaning 1 " and we press enter, we get 1 " distance from the zero point, and it remains still. Well, the offset mode always uses the pivot points position as 0.0. Meaning world is changing. For example, if I would use offset to move our objects 1 " also on x, I'm writing down one, meaning 1 " and press enter. We can see that the box moved, and also the offset reset it to zero, why is that? That's because the offset is considering zero point, the point where the object is right now or the pivot point of the object is right now. It's like a dynamic zero point. The first one absolute doesn't move, and the second one moves with the object. For example, if I would add 2 " to our actual position using absolute, I write down two, We get 2 " far away from the zero point. That is the main zero point. If I will write down two using offset, it will actually move 3 " because it's added two plus one we've entered earlier. That is the difference between absolute and offset. I will show more using examples when we get to practice. That will be soon. The main idea is that they will do the same thing. Only difference is how comfortable is to use one or another. Still, the result will be exacted and the same. Coordinates are crucial for us. Without them, we would like the instruments that we need to create exact spaces. First, we will begin by creating standalone objects or compositions and step by step, will pass the interior tasks. By the way in interior, they do the same like they are alone. Only difference is that in interior, there are a lot of objects, and our duty is to make them be in the right places, so they combine between them and also form a visual pleasant composition. 7. Main list of hotkeys in 3ds max: Hot keys. Before we begin our practice, we must take a look at the dynamic of three DS max. Understand how we are going to move, navigate approach, and examine objects we've created before and so on. First of all, let's take a look at the whole list we will need for the start to begin to work. This is a list of hot keys, and I got a very important moment to point out. Beginners don't want to use the hot keys as they create an unknown tension from the start, they feel more comfortable to use buttons. First of all, because they are visible and easy to understand and use. On the first side, it appears to be so, but when I began to work Freds Max, I was in that category two. I was pushing buttons. It felt more comfortable indeed. But on the other side, what about the results? Now, I understand if I had used the hot keys and the right principles from the start, I would have reached the results a lot faster. I mean a lot faster. I could tell more. I had a issue I had to get over with. I had already got used to push buttons, and it took me a lot more time to forget those habits and also got used to the new ones. For the new students, it's a lot easier to learn the right method from the start and not to bother at all. It's the most productive one. It gives two or even three times more speed and it will get more comfortable as you get to use it. You get to feel that in the process. So in conclusion, no need to learn other method. This is the most productive one. Let's see what this list tells us. First, we have four modes, select, move, rotate, and scale that we are always using in max. We cannot be in two modes at the same time or be outside of at least one ever. The first one is select or selection. We will use it not so often that because move does two things at a time, it selects and move. However, we got selects one mode and we will talk about it to see its basics. These are the buttons that define select. You may ask why move is defined by one button while the selection is defined by a few. Select is composed of different types of selection. First, we've got a filter. Again, we will not use them at least I don't, and I do manage to create without them everything I need. You'll see that in the process. However, I must point them out. At least for superficial understanding how Max thinks. Next one is the select button, hot key que. If you notice in the corner, some instruments have a little black arrow. It opens up a few other options. For select, we can see it got five types. We can choose them using mouse by holding and selecting or by clicking the hot key. Almost all the time, we will be using rectangle. Next. We have this button here. Select by name. Okay. It selects any objects in the scene by its name. We usually use it when there are a lot of objects in the scene, and we need to select details, and one more button window crossing. By default, we can even see by the drawing what it does. It selects any object, even when you select just a part of it. If we push it or activate it, then to select the object, we will need to select the entire object. This is the selection in max. Next one is move or W. We already talked about move when we talked about pivot point. It's moving the pivot point, if you remember, and the object being linked to that pivot point moves with it. For example, in Ahead, we have to define the pivot point every time. This system is more common to max. Anyway, the result is the same. We use move all the time as the initial position or mode we find ourselves in. As I said, it selects and move at the same time. That's why select is often left behind, move is like two functions and one. We also see that we are in the move mode by this axis x, y, and z. You can make them bigger or smaller by using plus minus from keyboard. But for now, they are okay. One more thing. Yellow color you see indicates that a specific axis is active. We will talk about axis constraints after a few lessons. For now, the basic of the principle is that if I move, for example, on x, then x is yellow, meaning that it is active. And also, my object doesn't move on y or on z, it's constrained by x x, like moving on a straight railroad, and also the same with the rest of xis. We can also use two xis moving at a time. But about that later. Last thing is coordinates, we must control to get exact movement if we need. But there will be tasks that we need a more artistic approach. However, all the people divide into two categories artists and technical persons. Artists tend to work as painters all the time. While technical persons need exact dimensions and requests all the time. But we must keep a mid balance between those two features. No one is a perfect artist or a perfect technical person. The only thing that makes the difference is the percentage of balance. Next one is rotate or. If you remember I told that when we switch between modes, we see different inputs in coordinates. Rotate is very simple. It uses a number of degrees to turn the object, and xs change as well as you see. We must use for now only one axis and avoid screen type rotation or free rotation. Later on that. Number of degrees and the exact turning is something we will talk about soon. Last one, scale. Scale is the mode be used for a more artistic approach. We can see also it got the black arrow, meaning it got more types. We will need only the first two. First, uses all xis and second uses one xis apart from others. There is a big issue why scale is not compatible with dimensions and exact situations. Let's say for example, we got the same box 842. And if we use F 12, we see that using offset, we've got an option that says 100% weld. Well, if I would write down 50%, my object would get two times smaller exact two times smaller. But in the options, we see no difference now. If we look at the absolute type, we see that using the first type, as I said, it uses all axis, we see written 50% on all axis. It's like a coefficient of scale that tells us that max see object eight four, two, but all the inputs are using that coefficient of 50%, meaning that now the box is actually 421. That's why scale is a bit confusing, especially for beginners. We will use scale, but I'll show you what situations. At least for walls or other exact objects, we will not use it. By the way, the second type that uses one axis do the same only on one axis. Next one is arbitro The button does this. Please do not confuse with rotate. When we use orbit, we are moving around the object. The object itself doesn't move. While when using rotate object, it's actually moving. We can say that orbit is like a point of view. Try to feel the softness of moving around the objects. By the way, we must look at our objects or composition all the time from different angles. In that way, we begin to get a more complex feeling of volume, space, and proportion. The scroll mouse alone is doing what this button with the hand drawing does. It drags our sing. Last button is switching to four window view. As I said, we don't need that for now. We will use that when we'll establish our cameras, for example, later on that. The bigger working space is or window, the better. Get a big screen for yourself if you plan to work as a designer. The bigger the project, the bigger the screen is needed. That's for comfort, although that is very important. Last one here is the Zoom. Other buttons are not so important right now. You will not need them at least for beginning for sure. That's how Zoom works. If I don't have any objects in the scene, pressing z on keyboard, we'll reset our grid. If I have unselected objects, then will zoom them all. Third, if I have selected objects or object, then Z is going to zoom only them four. This is crucial while modeling. You must always control your mesh while you are creating something. A four, you can keep active all time. It gives a feeling of volume very important at the beginning, and three, we use to see through walls, for example, and not only, I will better show examples. These are the main hot keys we will need for now. We will talk about others later. As I said, we must use them to get a pro level from the start. You will understand that later in the process. Next, we will talk about our first objects and get to our fast practice. Okay. 8. Understanding mesh, vertex, edge and polygons in 3ds max: Mash. Mesh is called the base material of which consists every single object in prides max. It's like the skin of the object in a way. If we would take a box, for example, and look inside, we would see that it's actually empty. What do we know about geometry till now? We know that object consists of points. For example, a box got eight points. They are called, if you are talking about 1.1 vertex or more vertices. We know that every point got coordinates, and we can see them here. Between the points, we have lines that connect them. We call them edges, and lines form between them surfaces. We call them polygons. Finally, all the polygons between them form the mesh. The mesh is a whole of object or a piece of the whole object. Depends how we are talking about it. Anyway, mesh is a whole made of vertices, edges, and polygons. By using certain rules that are based on optimization, we must keep our mesh not too low. I'm talking about segments, and also not too high too low, we begin to lose detail, too high, we are overwhelming the computer resources. There is a visual k level that shows us all the details. Still, it doesn't get too high, maintaining the mid level, the ok mid level. For round objects, if we can call them so, we must not forget about smooth. The mesh density also depends on what type of object we are talking about. Let's divide our objects and max so we can get an idea of how they act. First, parametric versus non parametric. Okay. Object act in two ways. First, a lot of them got parameters. Then we say it's a parametric object. After we establish the parameters we need, we get an end of options for that object. In that way, we must convert it to another type of object that's not parametric. By using that function, we lose xs to our initial options, objects options. But we got now x to some functions that were not available in the start. They help us to get access to objects details. But we will talk about polygons when we get there. That will be the third part of the course. The second type of divide will be solid objects versus lines, or we can call them splines. The first difference between those two objects is that solid objects got volume while lines don't. Lines are somehow just the edges of the object. They got now polygons, they got now volume, but still they are very important. We will talk about them in the second part of the course. The mesh is very important for us. First of all, in the way it's billed. In that way, we understand how we get to work with it, and also it depends what we are trying to obtain. There is one thing that mesh must not skip and reveal for sure, being at that k mid level. These are the curved objects and the edges of an object. Here lies the big part of realism that's going to develop visually in it works. It doesn't matter what we are building, a chair or a whole kitchen. I'll show an example. If we can take a look at a chamfer box, and at a symbol box. We can see the difference between the edges and more important how light interacts with them. In reality, every object we got an edge Herd At least that's how we call it and it doesn't have edges that are perfectly straight like they had been cut with a blade. The interaction of light and objects creates what we call the volume and the space depth. There is something I'd like to show. There is an image that shows very clear what we are seeing on our screens. We actually see the two D projection of virtual three D volume inside three DS max. We will always see the volume in that way. Although there is one factor that interferes. It's the camera and the angle of view, we use to visualize our objects. We will use it for sure, but we will talk later about cameras. For now, we're just going to form the necessary type of thinking to analyze three D space. 9. Create and modify panels, Standard primitives in 3ds max: Create and modify. We've talked about create and modify buttons a bit. Just like move mode, they are the same initial position for creation of our objects or projects in three S max. Actually, it doesn't matter what we are doing. We will need them always. We said that create even the name confirms it is the section that we use to create everything we create in max and modify, is the section that we use to modify what we've created before. Before I get further, I just wanted to point out that we got six general sections up here. For now, we will only use the first two. We will get to use the third from the next part of the course. The rest are more linked to other parts of max such as animation and not only. Will not need them at least for interior design. Those six general sections are divided in subcategories. For now, at least for this course, we will need only the first two general sections, and we will look only at them. First one, create divides into seven subcategories. We will need for a big part of the full course, only the first four. I'll point them out first. Geometry. These are the volume objects. At least the ready ones. More complex volumes must be created. They also divide. From this list, we will need only the standard extended primitives, and compound objects. We will use just one function from here for now. I'll show later in this part. The second one is shapes. We already said that shapes or lines Mx and not only are called splines. Third, the lights, and fourth other cameras. By the way, if you remember our project plan, they are exposed in the same water we saw there. For now, let's see what types of primitives we got. First one is the box. This is the most used one. That's why it's the first in the list. This can be anything that repeats a box shape. Even a wall of our future house. By the way we can set the exact dimensions. But we do that using modify. Here, we create and modify, we change sphere and the rest of the objects are well known simple objects. We know them from the first geometry lessons. I won't stop too much to talk about simple objects. We will just point them out, but there are some things I would like to say and show. Objects may have different settings depending on how they look. But there are some common settings that you can see in every object like dimensions, segment input, smooth option for round objects. Okay. And down here we see two checked options, generate mapping coordinates and real well map size. These are the options that show the future applied materials on that objects because materials, same as the points got their own coordinates, and textures got their own exact size. We will talk about that a lot later. But I just wanted to clear everything you see here in these parameters options, as they are, as you remember, parametric objects, at least for now. The next one is geosphere. The difference between the sphere and a geosphere is the mash structure. Cylinder. You can see in the options that the upper part named P also got segments. Later, I will return to this moment. Next one is tube. This is like a pipe, Taurus. It's like a ring. Pyramid T pod. A lot of people ask why do we need T pod in max? It's four tests, especially light and material tests. Plane, we will need that later. I guess the box and plane are the most used one from here. Finally, we got text object. Not so important for us. In conclusion, everyone that is new to Max as a homework must open max. Take every object in this list and check all the options using modify. In that way, you will get to know better the first objects you will going to use and also begin to use hot keys to navigate and move in max. I guess the second one, it's more important. It will get the feeding, how we move and work in max in general. Options are not so complicated. They are actually the most simple ones. In the next lesson, we will begin our fast practice. Okay. 10. Loading reference image for 3d modeling objects in 3ds max: Loading reference or image. In every practice that we will have, we will need to see the object we need to model. Every object that must be simulated in max from reality has to best two conditions. First, it must be in proportion, second, it must be in the right scale. Only then we can tell that the object is one to one. The same as the object we try to recreate from reality. First, let me load the image and I'll explain. There is one thing we must consider before we proceed. If you remember are told that length in max and width are always the same dimensions, no matter if our objects looks bigger on x or y. Length is always parallel to x and width to y. Now, the same principle applies here. We create a plane initially with random dimensions. Then we go to the map where our image lies and bring the mouse arrow upon our file. After a second, we will see its dimensions in pixels. Attention, please. These are not inches or other real dimensions. But the issue we get using our length and width of our image is the same as if we would use real dimensions. Only difference is that the pixels are a different measurement system. Next, we remember those numbers and we write them in the modify and max. Only thing we must change is their order. That's because x is always the height. And y is always the base of the image. No matter if the image is bigger on x or on y. They remain always the same. Now, we drag our image on that plane. Be careful, please. Do not drag it on the empty background because it will do other things. Our plane must be in shaded view or a free must be activated, so we can see the volume. Well we drag the image on the plane, the plane having exact ratio, we load our image in the perfect proportion. That's why this is the first condition. If we are out of proportion, our image or object will be deformed, meaning that we are out of proportion, or the dimensions will no longer be as the original ones. Second point, it's about scale. You may enter your right dimensions for an object, but you may say the object or the image looks bigger or smaller. Well, that's about scale. If the object is in proportion, then bringing it in the right scale will make him to be one to one. With the real object, we want to create a model. We will talk a lot about proportion and scale, but that will be as we proceed. For the start, we need proportion. Later, we'll talk about scale. The last thing I would like to say is that we use that technique for artistic approach. When we model walls and not only, we will not use it. I'll show in examples. 11. How to quick work with selections and copies in 3ds max: Hot keys part two. Before we begin our practice, I want to point out a few more hot keys and button combinations we must use to work in the fastest way possible. Right click Cancel. Okay. If for example, I want to create something, be that a box or whatever other object, and not only. When I press the button to create a box, we enter into a sub function. If we can call it easier so. While the box button is active, I will be creating boxes until I close or leave that sub function. I can press escape, that's one option, but it's more easy to finish with a hot key, right click, like so. Also, right click cancels almost all types of subfunctions. Next one is control adds to selection. For example, if I got a few objects and I want to pick only specific ones, I can hold control and select that specific objects. After that, I can modify them.For example, I can move only the objects or rotate or scale, and not only. Next one is out. It removes from selection. Sus control, only vice versa. It's removing objects from selection. After that, we can also modify that just like we did with the previous ones. Next one is copy. There are three types of copies. We can copy an object in the same place. We don't use control C in order to copy because this code key creates a camera. We just press Control V with selected object or objects. We can also copy by holding shift and dragging the axis while moving an object, rotating an object or scaling an object. There are three types of copies. We will choose only simple copy or instance. Reference, we will not need for the start. Simple copy is just a simple copy. Instance copy is a copy that keeps a bond with the previous copy and modifies exactly as the original. For example, If we got a few lights that are the same type in an interior, we can make them instance. So when we adjust the intensity, we won't have to do that to every light individually. We adjust one light and all others adjust to the same input. As we proceed, we will talk about more hot keys. Okay. 12. How to start to 3d model in 3ds max?: Okay. First practice. First practice will be very simple. We will use just an artistic approach, just as if we would draw by hand, like a sketch, and step by step, we will add instruments to make that result look better and technically more exact. But for the start, I do always begin with students free drawing. In that way, they don't feel from the beginning that this is a very complicated process. For this purpose, I selected a few images from Internet and you can follow along and do the same. I'll explain for the start what we are going to do. These are the most simple objects we can find to begin. I know that there are more simple shelves, but modeling just a straight shelf would not be our example. That would be just too simple. The shelves you are seeing here are composed of three elements. We need to model those three elements and then put them together so we can receive a complete shelf. For the start, we will use box. These can actually be free boxes. Only difference is that they got different proportions. We will assume that the material, it seems to be like painted wood. Got the same thickness. Only difference is the width of the pieces as the length is also the same for all. For now, we will model them as a hand sketch without perfect fit. About how we will join them perfectly. We will talk in the next lesson. Now the goal is to model the shelf very close to what we see on the image. We will talk about exact objects as we proceed. I'll try to model that, and then we will talk about it. We need the reference to see the initial image. For that case, we will create a plane and we will input the dimensions of the image as we talked in the previous lesson. We will rotate our plane 90 degrees and put it a bit back so we can see the reference and understand what we have to model. The most important thing is that we must see the proportion we need to create. We select box and begin to model in front of our play. We create a box again, for now no dimensions. Later on that. As this is an artistic approach, we will use scale to bring our box to the desired visual proportions or we call them dimensions, whatever. Something like that. Let's select our box. I'll move it close to our image, and let's try to find our proportion. For now, as we will not use dimensions, we will use scale. Let's try to scale it on x and on y as well. Try to feel the proportion from the image and apply it to our box. It's very close, something like this. I'll pick the second box, and let's do the same. Let's use scale, and we will have to attach or set our box as we see in our image on this portion of the first element. Let's scale on y and we will do as we see on the image. Try to feel the proportion that you are seeing on the image. Let's use move. By the way, we will use hot keys. I'm pressing now move as a button as this is just a practice, first practice, but for the future, we will use hot keys. Now let's kill one more time on y. So we can find the details. So we can find the details of our box. Let's pick up a third box and as well in style it as we see on our image. We will use copies of, but that will be a bit later. Now, let's use the free boxes. Okay. Let's use the proportions, and let's instyle our box on our initial first box, our initial first element, our shelf. I'll scale a bit and let's move. I know it's a bit imperfect. We'll get to that. We will use snaps. We'll talk about it soon. Let's make our final adjustments. It's very close. Maybe I would add a bit of thickness to this element, and let's adjust it. Don't worry about that imperfections. We will get some to exact instruments, and we'll get rid of that. Well, it's very close. Maybe just a bit to scale x. And here as well. And I think a bit of thickness so that. Let's move it a bit. Well, it's very close. Keep in mind this is like a free drawing. We will use this only for our first practice. We can assign a material. This is actually not materials. We will talk about that later. These are colors, but let's say for now that this is a material. If you remember our five point initial plan, we first define what we have to model. Next, we model. Next, we use lights and cameras. For now, Max uses a default lining and the camera will be our standard view. These all are a simplified version of what we are going to do. However, we begin to stick to that process, so we get familiar with it. I know that the shelf is not perfect. We'll fix that in the next lesson. But for now, this is the principle we'll use to model our future objects. You may ask why we model something that has no exact dimensions. I can tell you that there will be a lot of situations when you'll need to model a lot of things you won't have. I know that there are three D models libraries, but don't forget clients are full of surprises and the desires they got are far beyond library's capacity. That's why a lot of times you'll need to model things that you don't have. There will be situations when you'll need only to remodel something from an existing object. For example, like a kitchen. Client may say to you he likes that type of kitchen. But the position he got in his house is different. You take the style and the ready elements of a ready kitchen remodel them so you can get the same kitchen, same style, but now it's adapted to the client's plan, and also fits his real room dimensions. That's just one of the examples. In the process, you'll see that you'll get a lot of similar situations. Next, we are going to talk about snaps and we will try to model once again the shelf using dimensions and instruments that will help to fit perfectly the elements. 13. Snaps or how to fit exactly 3d objects in 3ds max?: Snaps. Snaps are the instruments that we will use very often. They are the core of the exact construction and modeling. No matter what we are creating. There are actually four types, but we will need only the first two. These are the hot keys. First, object snap. Let's say, for example, we've got two boxes, and we want to fit them perfectly. Corner to corner. For this, we will use snap object snap. It's like a magnet. You can even see it on the button drawing. Let's take a look at it settings. We will press right. We have here a bunch of options. For now, we will need only vertex. Unlike Autocad, we can keep all the snaps active and Max all objects will jump if you do so. We will check only vertex. If you remember vertex is equal to point, meaning we will use our points in the scene to fit perfectly like a magnet that drags a point to the other. That's how it works. Here are some other options. I will talk later about them. The second one is angle snap. Well, this you can keep active all time. In the settings, you can see here written five degrees. We can leave the default. That means that when we turn the object, no matter on what axis, we snap to every five degrees. For example, five, ten, 15, 20, and so on. Let's try to model the previous shelf using snaps. 14. How to use 3D Snap to model exactly a 3d model: Homework. First of all, I would like to say that first steps in whatever activity are usually harder than the next ones. Different types of questions appear. What if I don't manage to do that, and so on. Till now, we discussed everything you need to know to begin. You must use the knowledge, hot keys, and keep the desire of achieving results at a high level. The results are not always perfect from the first try, but you must be patient and keep going until you reach the same result as you see in the lessons. The tasks will grow, so must get used to the process and very important, don't give up. Homework. It's energy demanding. There are people who get tired and not thinking to pass over that. You can keep your homework. This is the workshop where you become a designer. After you will accomplish all the tasks from the course, when you look back at these first exercises, you will understand that they were very simple. The hard ones just begin. But this is the base that will prepare you to be ready when you begin to face the first real projects. You must learn the brushes, as we call them at a level where you don't think anymore about them. Instead, you'll be thinking at what you have to do to solve the projects questions and very important, learn them now, so you don't go back. Let's get to practice. In the previous lessons, we've learned how we load an image as a reference. In that way, it's easier to model because we see it straight and not looking at it. In another window. Let's load our first image. By the way you can find the images in the attachments. I've picked some random simple images from the Internet. We draw a plane and remember the pixel ratio. I've got sometimes bug. I must switch the facets viewed to see my image. You can skip that. We check real well map sites to see imaging fully extended on the plane. We put the pixel ratio. The plane seems to be very big. That's not a problem. We are using just proportion for now. Later, we will scale it down so it's more comfortable to navigate. We rotate it 90 degrees and set it in the front of our grid. We use angle snap. Our shelf is composed of three pieces or free boxes. We will try to model it using real dimensions. So you get a feeling how real dimensions apply in max in general. But that will be just one example for now, as we will talk about dimensions later. First, we draw a box from create panel. Then we go to modify panel and input the real dimensions there. When we use real dimensions, We always use modified panel and avoid scale. First, we input the thickness. Let's assume that we got 2 " just for simplicity. Next, we'll have to adjust the width as the thickness will be the same for all pieces. We look at our image, visually appreciate the proportion, and we get a feeling of how much we assume the width is. We can always correct that if the input is too big or small. Let's see now 8 ". Same with the length. We try to appreciate first, the input, then we look how close we are to the visual proportion from the image. Something like that. We will copy attention not instance, as our thickness and width are the same, so we don't input that one more time. We rotate the new piece to put it above the first one. We have to adjust only the length because after rotating length remains in the same position as we created the object. We will copy as instance. So the second part is the same. We'll snap it from both sides. Then we will appreciate how it looks compared to the shelf on the image. Remember as a rule, we always go from big parts to details and not vice versa. We snap we've activated vert snap. We drag when we see two cross symbols. That means that the snap is ready to drag exactly. Same with the second piece. We adjust one piece, the second one being instance adjusts as well. The process is very common like a painter process to draw. We draw, and if it's too big, we raise a bit and keep doing that until it looks fine. If you remember our project structure, we can say that. Id of the sketch is decided. First step. Second one, model is ready, light. We use default light for now, fourth materials. We click on the color panel and we will choose a material. That's not a material. That's a color, but we will assume it is. We establish the shelf in the center of our screen. We can use Zoom if it jumps. That will be a simplified camera in style process. Finally, we will render to obtain the image. About that, we will talk after we finish our first homework package. In that way, you can understand the whole process. Of course, very simplified for now, but still the structure of any project is the same. Let's get to the next example. 15. How to 3d model using a straight view of a reference: Okay, let's get to our next example. I'll create a plane. Let's choose this shelf, this wooden shelf. We will have to remember our ratio. I'll drag it on our plane. Let's uncheck our real world map size. Let's put our ratio. We will not bother with the dimension that we get. Don't worry that the plane is too big. We will get to that. For now, we need only the proportion. For now to have our object one to one, we'll have to do two steps. First, we'll have to get our proportion. That's what we are doing right now. Next, we'll have to scale it to a real reference. And after that, we'll have our model in a real size in a real weld size. Let's create a box. And let's start to model our shelves. I'll raise a bit our image. First of all, as I said, we will not use dimensions. We will use our eyes, and we will have to scale it. Let's install it close to our image. First of all, we have no perspective here. If you can C. We will talk about perspective a bit later. That's a very important topic when our models are turned a bit and they have angles. Now our shelf straight almost straight, 90 degrees to us. It's a very simple way to model and we will raise our complexity. Let's model our lower part. I will use scale on z axis to adjust the thickness. And let's try to copy. I'll copy and not instance. Let's use free copies. Now, let's try to adjust our free copies. Let's adjust the width of our shelves. Now the next we'll have to create our left part and part. Let's use. Don't forget to switch. I autocad, you can left them turn it on. I mean, the snaps and Max you'll have to switch. Again, let's scale on x, so you can adjust the thickness of that left element, and we will copy that. After we finish, Let's use snap first. Again, we switch between snap. Let's turn it off and then again, let's turn it on and snap that. Let's snap that element here. Well, it's. Now we have the back part. It depends what type of furniture you have. Let's check snap. That back part you see only the front part through our shelves. That's why it depends on model of furnish you have. I mean the thickness of that element. Let's assign it random thickness and let's scale it. Usually those elements are a bit th than the thickness of our whole elements. Okay, let's scale it on y. Let's use again, snap so we can snap it to our corner. Well, something like this. We are very close. I'll save this model, and soon as we get to render, we'll render it. It looks very close to what we see on our image to our wooden shelf. I'll save and let's get to our next example. 16. Understanding intersections in 3ds max and how to model intersected objects?: Okay. Let's get to our next example. Let's create a plane and let's remember our ratio. We have here intersected objects, we have here intersected shelves. And check the real world map size. Let's input our ratio. Again, we will not worry about the size of our plane. We will scale it later. The biggest thing here is that we have perspective. The previous shelves that we modeled in the previous lesson, we straight they were straight 90 degrees towards us. In this case, we have here an angle and you can see it. And the fact that this element that you see here, the lower element from where we begin our modeling. It's a bit smaller visually. It's a bit smaller than the real element that we'll have to model. This is called perspective, and I do suggest you so you can watch the perspective lesson. It's a bit further, but you'll have to understand the principles how to use perspective in modeling. Without this, you will not be able to model angled objects. This is a very, very big topic. Now, you'll have to understand only the principles so you can start to apply them, and step by step, you'll get used to that. This is about trained, and this is about the feeling of the Fred models. This is inevitable. You'll have to do this. Okay, let's start to create our first element. We always start with the corner and we will start here as well with our corner the lower corner from here. And we will add somewhere around ten per 20%. To our elements so it can fit the real size because the element that you see here, the lower part, it's a bit smaller visually, only visually, I repeat. For now, we will use this intersection in a simple way, meaning that we will intersect our boxes so we can get these elements, but it doesn't mean that you'll have to do that in the future. In the future, we will get to instruments that will correct that. We'll have to get rid of that intersection, so we don't get artifacts in our final render. One more thing, you have to repeat the position of elements of the furnishre elements as you see on the image. Try to learn using real examples or real references. As you can see these elements that we are modeling right now is between two elements. So we'll have to model it in this way. It's a lot easier now to move just only one part. That's about polygons. We didn't get to that polygons yet, but we can do that. For now, we will use just scale to do that. Now let's use x z so we can install our elements and adjust it as close as possible to our image. Well, it's very close. Again, we have a bit of angles, but we will avoid that. Let's copy the same element and same thing, you can see here this element on the image, it's a lot smaller because of the visual effect of the perspective. Let's copy like we see on the image, this element above our first two left part elements like this, and the element, the second element that intersects our shelves or doubles this initial shelf. It's a lot smaller. Again, this is perspective. For now, I will group this element. The group creates a one piece that stands a selection that stands that remains until we unlock it, and I will use only the corner, the lower corner of our element. For now, as I said, the intersection, we will avoid that intersection. For now, we will leave the model like this. We need to get to more instruments to understand how to avoid that intersection. For now, I will save this model and we will render it in our homework render. 17. What are chamfered edges and how they add to photorealism of 3d models?: Okay, let's get to our next element or next model. Let's try to model this wooden stand. I'll create a plane. Same thing, let's check our real wheel map size. Let's input our ratio. We will create we will add to this stand a new feature, we will add our chamfer box chamfer edges. This will add to photo realism and how the light will interact with our edges. You can see here the chap box. It's very light like the box, only got the filet. You can see it here. The fill it, it's working with edges, and the edges interact with light, and while we are entering. If we have chamfered edges, the light will be a lot more realistic. We'll interact a lot more realistic with our edges. We don't have perfect edges in reality. We always have chamfered edges. They may be a bit more or less chamfered, but they are always chamfered. As we said, we always begin with a lower corner. Let's begin with this lower corner. I'll bring the elements, close to our low corner. Again, we don't have here almost, we don't have here perspective. We have the projection type, the 90 degrees towards us. It's a lot easier to model in that way. It depends what image we have. Now let's try to adjust our box. We will add the Canford edges a bit later. Now let's adjust the box. I'll use scale. Keep in mind, we have different instruments, including turbusmve that works with edges, that's about the level four of modeling, but that's a long way to go. For now, we are using the most simple methods. Now one more thing, we have to watch close how those elements are instyled. We'll have to repeat that so we can get a reference, real reference, the maximum, how that stand looks in reality, and we'll have to repeat that in a way that it fits as close as possible, our appearance of our model in our render. Let's use a copy. Okay. Now let's try to install that copy here. Again, it's a lot easier to move just only one part and now using the polygons. For now, we will use the scale. Keep in mind, we'll have to add the edges, the Canford edges, and after that, it will be a lot more complicated to feed that. That's why we'll install our general parts. We always go from general parts, medium parts and only then we add details. Let's snap that here. We are almost close very close. Maybe just a bit. Just a little bit. Again, let's snap that. Like that. Seems okay. Let's snap it one more time. It's very close. Let's create the second part, the right part. I'll create an instance copy in that way. When we will add details, we'll have to add that to one element and the other. In this case, just one we'll repeat Okay, let's install the that upper part above, like on the image. We've got the big part very close to what we see on the image. Let's adjust a bit on y. So we can adjust the width. Of our elements. Keep in mind, we have the black parts here. We will not do that. We have to get to polygons to do that. We will skip that for now. That's about level three of modeling. Now, let's use only the instruments that we learn till now. I'll create a shelf. This shelf will be between. Our main elements. We can say that these are the shelves and let's install them. Again, I will call him. I'll install them using our image reference, and I'll copy them as well as instance. We will add a bit later the details. Those chord edges. Using the image to adjust the height. One one instance copy. Something like this. And now we have to install those middle parts. Same thing, let's use the chamfer box. Let's move a bit our main image, and we will snap between those shelves. Of course, if we would have dimensions, we will create just one piece using the dimensions and we would copy that. But in this case, we will adjust that only visual Let's use the scale so we can adjust. There is an instrument called the line. We will see how it works a bit later in this course. For now, let's use midpoint. This is another function of our snap. We usually a line. Well, we can use the snap as well, but the line it's a lot easier. But we'll use only our snap. Same thing, let's turn on the snap with the middle point, and we will adjust Let's grab the middle part, and let's install our shelves, the middle part between shelves. Same thing, we have to do this for every single shelf as we don't have the dimensions. And in that way, we will not obtain some holes between those main elements or medium elements. Should I say. And the last part. Let's snap. Let's snap here as well. I'll add some thickness and our scale visual Of all those elements shod be equal in reality. Well, almost done. We have to add those Ba parts. Again, as I said, it depends what type of furniture you have. Usually, they are a lot thinner. If we talk about medium or well, I don't want to say cheap. Furniture, but it's some kind of economy. When we use thinner elements, they are not seen. They are seen only from the front side. Let's snap, again, we use the scale, so we can adjust, let's add some thickness. Let's assume for now that they are they have the same thickness as our main elements as our main furniture. Usually, they don't. Well, it depends. It depends. Same process for those parts that are covered as well. We look at the reference, our image, and we will do that as well. Let's assign a bit of thickness and visually adjust after that, let's snap. Okay. To left it. One more here. If you can see I'm using the box, I don't see the reason to use chamfer here. We will not get to those elements. You can use it. There's no problem. You can use the Chafer. Again, let's scale a bit and let's snap that. And last, last one. Let's drag and let's scale. Let's add a bit of thickness, and let's adjust. I'll snap this element here. Well, almost done, almost done. Let's sign. Let's say, like a material. This is not a material. This is a color. We'll get to materials, when we'll get to render. For now, let's add some chan You can see here the chan you'll see that a When we will get to render. If you use scale, you'll get some divisions because of the scale factor. Now we will adjust the filt so we can see the edge. You'll see a lot better in the render. You can see even now that light, how light interacts. It creates these small details when we will add some light. It will create small shadows and it will add a lot to reality to our photo realism. You cannot have as I said, perfect edges like they are cut with a razor. Same thing here, the instance, and they will use this inputs with the elements that they are linked with. Same thing here. Let's add fill it. You can see instantly how those edges interact with light. As I said, you will see that a better when we will add light and when we will get the shadows. Same thing for all our elements here as well. Well, about field segments, you can use up to ten. I think it's enough. Some do use six like a standard, but you can use up to ten. More I don't see any difference. They are too small to make a difference. This is our element. Let's save it. And we will render it. You'll see those details when we will get to our render. They will be a lot more realistic when we will add light and when we will add materials and the shadows when we'll appear. Okay. This is our element. Let's save it and we will get to our next model. 18. How to avoid perspective distortion when 3d modeling?: Okay, let's try to model another example. I'll create a plane. Let's try to model these shelves. We've got two identical green shelves. They are glossy. We will add that a bit later. Let's drag that on our plane. I'll uncheck the real weld map size and let's input our ratio. Again, the plane is a bit bigger than we expect. We will scale it a bit later. Now, let's rotate and I'll move a bit back our plane. First of all, we can see that we got perspective in our image. You can see that the closer to shelf seems a bit bigger. That's because visually only. That's because of the perspective, and we will also use the champ the chaper boxes to create our elements, they will create and add realism to our image. You can see by the way on the image itself, where the green elements stack. You can see the shadows and the rounded corners that interacted light. We'll try to recreate that in our ender. We will start as usual, with the lower corner, with the lower left corner. Let's create our element, and let's adjust our scale on X Z the principles of perspective, as I said, as we use, we will add a bit to our element somewhere around ten 20%. This is the very most simple method that we can use. Keep in mind, you'll have to understand the principles of perspective a bit deeper, so you can understand how to recreate the objects in a more advanced way. Let's create the second element. We got the same thickness of our element. We will have to adjust only the height of this element. Again, the same thing, we've got an angle, and we will try visually to appreciate the height of this element. I'll turn off snap so we can move our element, and then we will stack it or snap it. Maybe just a bit. Well, it's close. We will add the C details a bit later when we will finish all our elements. Let's adjust the width of our elements. They are a bit wider. I'll grade in instance, and I'll snap it there. We have to keep in mind that proportions are equal here. I mean the elements between those shelves. We understand that those elements are equal and I'll I only copy them, and I'll put them in their places so that they can form our shelf. Okay. Again, we copy instances. We will add the details to one element and that element, we'll repeat that for the entire shelf. I'll copy this entire element, and I will snap it. Well, something like this. Let's move a bit our image, we got that element as well, that chrome element as well. We will try to model it. It's a lot easier to model that element using plans. That's about the second level of modeling. We didn't get there. We'll have to model it using a let's say more simple way. It's a simple to create a rectangle and apply fill it to its corners and we will obtain that element a lot faster. But for now we will use only the instruments that belong to our level one to the standard primitives. This element got the width, and I will try to fit that we can obtain that chrome element. We will copy instance, we'll obtain that chrome element that matches our height. One more per I'll use snap to match the width of this element, and I'll add to the thickness. We can create the impression that this is one piece. And this method seems not the best. Well, it's not. We got more advanced instruments, but we didn't get there for now. Step by step, we'll get there. Let's copy again, instance, and I'll snap this last element here. We cannot obtain that rounded corner that you see on the image, and we will have to create something very close. Again, let's use our eyes to determine where this element stands. According to the perspective rules and the image and our model of course. I'll let it fill it to this element and to this as well. Here, it was supposed to be rounded. Well, for now we will leave it like this. In the boxes or in the standard primitives instruments, we don't have enough functions to do that. Let's apply a color to it. We will apply a material later. For now for simplicity, this will be a chrome I'll copy. And I'll try to install the next element in its place. Here, we could use a line. This is an instrument that we will cover a bit later in this course. After a few lessons. It installs on the surfaces different objects. It's a lot easier to create that or to use that. But for now, we will use the instruments that we know. We will advance step by step. Now, let's try to find the place of element. We can use another function. This is the constrain. It's something like a snap that it's constrained by one axis. We can use one axis. We can grab a vertex. You can see that the x is that we are moving now. It's active, meaning it's yellow, and I can grab the lower point of that axis, and I can snap it right to the corner of our element using this function. It's another way to install our elements on surfaces. But I think with a line, it's a lot easier. We will get to align in a few lessons. Let's find the place of our element of our chrome element. Watch the image, so you can see and feel the proportion. Something like this. Let's create one more copy here. I'll use the access constraint system for now. Let's grab that point again and let's snap it to second corner. Same with this element. Okay. Something like this. Let's check that so we can use our snap in three D as we did previously. Okay. Let's move our image a bit. We can add a color. This will be material. Well, this is not a material, as I said, this is a color, but first of all, let's add the fill it the details to our elements to our chamfer boxes. So we can obtain those details. We will see as I said, those details in renders, they will be very clear. And they will create shadows the stack of those elements and they will interact with light and will add a lot of realism to our model. This is one of the keys to photo realism we are trying to obtain in our images. Especially if you model furniture or work with furniture. Maybe I will scale it a bit. I will adjust it. I think it's a bit wider. Try to feel the model and the image at the same time. Well, very close, and as I said, let's add the color. So we'll add the green on our image like this. And we will and we'll create our second shelf. So we'll get to render and we'll render our models, and they will look well, almost exactly like in our image, very realistic. This is or those are our shelves, and let's save them and get to our next model. Okay. 19. How to use chamfered edges for rounded 3d models?: Let's create one more example. I'll grade a plane, and let's try to model these rounded shelves. We will see how to use Camper cylinder. It's the same like the Camper box. Let's uncheck the real weld map size. Let's imput our ratio. Rotate our image. First of all, the same thing, we got a bit of perspective, but we will try to avoid it. We've got the rounded shelves. I'll show in second how we can use the chamfer cylinder. This is the Camper cylinder, how we can use it to create those rounded shelves. First of all, keep in mind, we have to add site, and we also will add fill it so we can obtain those rounded corners. We have here a function that divides slices. Should I say slices, our champer cylinder, let's add as well the segments, so we can obtain the roundness. If you remember we got the interpolation. We have no rounded objects in max. We'll have to add segments. And obtain that perfect roundness, well, almost perfect, of course, visually. It will make no difference. Now let's try to adjust our element, our rounded element. I will install as well the lower corner of the first element, we will copy the rest of them. Let's try to feel I know we have the corner on the image and we got the angles of perspective, but we will try to feel how much we need to add for that, that rounded shelf. Well, it's close. And we will create as well a chamfer box. Let's adjust the height. I will add to the thickness of element. Let's adjust the thickness as well. Let's snap that here. So we can obtain that perfect fit. Let's turn on snap. Let's copy this instance. We'll input the fill it or these details for one element and. We will repeat that for all the elements that are linked to it. Now, the same thing for this rounded corner. Let's use same instance. And let's snap it. One more element, let's copy. Again snap. We can actually copy a few of them at a time. Same thing, let snap. And those three elements as well. And same thing let snap. Almost done. It may jump a bit. That's okay. Almost done. Let's move our image bit back. Let's add that details to our shelves. I'll let a bit of fillet. You can see here we need segments for our fillet. There. We talked about that we usually input somewhere around six maybe up to ten. That is enough. We don't see the difference after ten. It's a small surface, and we will not see the difference in our render. There we obtained that rounded edge. The same thing we will do for our tanfer boxes. Well, something like this, let's save our image, and we will render it a bit later. I'll add color for now so we can obtain some kind of material but. It's a color. Let's save and we will get further. 20. What is a photostudio and why do we need it in 3ds max?: Photo studio. A photo studio is a workplace where artists take develop and print photographs. In a photo studio, they shoot outstanding quality photos, products or models are often filmed or shoot from different angles. After they are professionally retouched and optimized for further use. We can say that photo studio is a powerful multifunctional photo creating, an editing workshop that contains vast editing kit of tools for basic or advanced retouching. It has a goal to show in the best way possible, a product or even a human model and present it as a complete artwork, using a wide range of effects, filters, color enhancement tools, and correction tools. We will try to simulate a simple virtual photo studio on FidSMX using real world principles. For now, we will just make a simple introduction to visualize our homework in that way, we will start to get used to realistic instruments, lights and materials. 21. Vray light basics, exterior vs interior, how to create a photostudio?: Photo studio. Before we'll get to creating a photo studio, I would like to explain in general what light demands from us as designers. And for that, I will have to explain the whole process shortly. So get an idea of what we are doing from a full overview and not trying to link some details to obtain an overall understanding. First, I thought about creating a whole topic on this as there is a lot of information that we need to discuss, but I understand that I would not be able to cover every detail. I decided to explain this in a very simple way. Like I would have to explain that to a kid. First, we have a ready to use material library, which is very useful, as we won't talk now about materials. This is a very big topic, and I'll create a whole course on it to explain that later. But we will have the advantage to use ready realistic materials in our homework. So in that way, our images will look very close to reality. Don't forget to obtain super realistic images, we must involve a lot of layers, and we begin to discuss that from the base from the start. Anyway, the results will look pretty good. Let's get to some practice. Now I'll try to explain some features that we will use further. This is the V panel, quick access to our v panel. This is the red material library. We've got here different types of materials. They are classified by groups, so it's easier to navigate and find the necessary material. This or we can press the hot key is the material editor. We've got two modes. We got an extended view and a simple view or compact view. We will use compact view for now. I and we have to use, of course, by render setup. Here we've got some settings we will be using to create our images. Let's say, for example, we have a sphere that will represent our planet. Our planet is green, so we have to give it a material. I'll choose a grass material. We'll have to right click on that material, add that to the scene. We choose a sample. Any of the sphere that you see here is a sample. We've got 24 samples. Of course, we can erase and add more materials. We'll talk about that later. And we will drag our material upon our sphere that will represent our planet. Every single material consists of sub layers. The respondent do different things. We'll talk about that later. But for now, we have to know that every material have a structure. We can actually see the structure to understand how the material is formed. This is very important. But now we will use just the diffuse channel, or the diffuse sub layer. It actually shows the color or texture of an object. In order to see our texture, our grass texture, we must turn on the shaded view, which is by default off. Now we've got our planet, our planet is green, or now you have no light to see. If I push the render button or the image creating button. You can see that the image is actually black. It's black because we have no light. So we have to add some light. Our light is our sun. This is the natural light. Of course, we've got some artificial light, but the main source of course is the sun. Let's add the sun. We will use array sun. But the way you can see here lights and cameras as we talked in our structure of a project. We will use our lights panel, we'll switch to ray, and we will select the ray sun, which is a position for our sun, we drag towards our Earth or our planet. And we have a question window appear. Would you like to add ray sky? Yes. We are adding our sky. We can see here, we can press eight. It's the hot key. We will use it. I'll show how in the next steps, which is a sample. Now, we drag all ray sky upon that sample or above. As instance, very important. If you can see all very sky is white, or it's over exposed. If I hit render, you can see that I barely see earth or my planet. It's too much light. We'll have to turn that down a little bit. For that, we use camera. In our case, if we want to simulate reality, we will have to use cameras like in reality. So we will use a physical camera as this is a simulation of a real camera from reality. You may ask why we are using cameras. We already see our earth or planet. Yes, it's very bright, but still we see it. Cmeras simulate light behavior in reality. It's a little bit better. But still there is too much light. Now, we'll have to adjust the settings of our sun. First, we'll have to link the sun and the sky. You can see it's too bright. We'll have to specify a sun node, or in other words, we can see that we are linking our sky and sun. You'll see in a second how they interact together. Here we've got sun intensity multiplier. If we will reduce our light intensity or sun intensity multiplier, we can actually see our sun. We didn't see it before because it's just too much light. If we raise our sun, we can control our daytime. The higher the position of the sun is towards the earth, the light is giving. Now as we reduce the intensity, we can see the object actually a more pleasant way. Okay. Yes, it's still bright, but it's not that bright as it were. I'll change the sun in a way that we can see it actually in our ender. We don't see it because it's way too bright. In the modified panel, we can see that camera got its own settings. This is one way to turn down the intensity, but we will talk about that a lot later. We'll try to do that using a simple method. We will have to switch to our array settings. We will find the color mapping roll out. You can see there, it's written default. We will switch out to expert as we are going to have a professional approach, and we will switch to exponential. What exponential does, it actually reduces the overrides and the dark areas to some kind of mid level. In that way we can reduce our overo or under exposing problems. We press render, you can actually see it's a bit better. Next I'm going to use another type of render. It's used to adjust the light materials in the sea, and we can change in the render process of light intensity and not only. Try to reposition the sun. In a way that we got some pleasant lighting. Maybe I'll turn down a bit the intensity. Soon, we will see the sun. It is just too bright for now. Oh, increase the sun size. Actually, you can see. There it is. So the render. I'll go to perspective. We have to switch between perspective view and camera view. Don't forget about that. And let's say for now that we have to build a house on a little portion of our planet somewhere here, where the sun, of course, being a lot bigger hits this portion with its light. So we can see actually what is happening. Or we can say that we got daytime. Now, let's assume that we are zooming in, and we will draw that portion of earth where we want to build our house. We assume that it's the same material, so we will drag that. Don't forget to check real Weld Mp size. First, I'm going to model a simple object, so you can see how it interacts with light on a straight surface. Don't forget. I have the facets view on, but it will look okay in the render. We will add some segments to make it a lot smoother. Reposition little bit of camera using scroll. I'll give a material. Let's try some car pain for example. Actually, you'll be able to see the reflections and how they work. We drag the material upon our object. And we heat render. This is the mid level of light that we will have to obtain in every scene. It's like an average, so we can see our objects in a pleasant way. You can make it a little bit darker or a little bit brighter. But we have to keep that level very close to some mid tones. I'll stop the render. Next, I'll try to show what's the difference when we talk about exterior and interior. And actually, what's the difference between lightning and exterior lightning and interior. For that purpose, I'd have to draw a house. Of course, this will not be the method that we will be using to draw projects or model our projects. But for a quick test, I'll have to do that in a very simple way. I'll choose another. Assemble. Let's assume that the base of our house will have some stone type of structure. The base, of course, will be buried a little bit in the ground. So I'll have to scale it to make it bigger. I know it looks very primitive, but I would like to explain that in a visual way that you understand what we'll have to do. We will try to trace some walls. Of course, we will be using another methods in our projects. For now, I just need some quick walls to show you how light in directs an interior and an exterior. We will draw walls using splines. We'll talk about that in the second part of the course. We will not use boxes for walls. Of course. Now, I'll have to model window and door and I'll have to position them in a way that light comes for the window. You must see how light behaves in exterior and interior in a very simple scene. So we get the feeling and understanding how it will interact and behave in our projects. I'll try to model some kind of roof. Just a simple roof. We'll use a pyramid. A i will scale little bit, so the edges. Test the walls or extend was little bit. Let's give some genuine textures to our walls and our roof. For example, I. I'll check real well map size, so we can see the texture. I know it's not textured as we want. Perfectly. We will talk about that later. We need just the idea for now. We will try to assign to our roof, some concrete texture. Although they are white of the time. And of I don't know if you got some textures for roofs. I know these are tiles, but they look like a roof texture, I can put stone on our roof, I'll use some kind of tile texture that looks like a roof texture. Don't forget to turn on shaded view. And I check really well se. I know this is like a like a kid type of house, but the idea is that we will understand how light interacts using that very simple primitive model. I'll group that. So if we are talking about exteriors, we position our sun and camera in a pleasant way. And we choose an angle from which our house will look good. Of course, there is background. We will skip that for now. I think the idea is clear. Something like that. This is the process and we talk about exteriors. Of course, the houses are more complex. But the process is very similar to what you see here. Now, if we are talking about interiors, some things change. Not too much, but still some things change. I'll try to position a camera in interior of our box or our house, so you can see how it interacts with light. I'll leave the sun so you can see that the light that we got from outside, it's not enough. So we have to adjust and add some hidden lights or some artificial lights and not only If we got more cameras in the scene, we have to specify what camera or select the camera and then press C to enter the specified camera or the selected camera. I will enter and modify panel the camera settings, and I will use Zoom. Although this is another desired function, we'll talk later about that when we'll get to cameras. But for now, just for simplicity, we will use Zoom. We will try to establish a straight view. We'll talk about views and camera positions later. And I'll hit render, so you can see what we have what we obtain. If you can see, it's very dark. Well, it's not very dark, of course, but it's darker than we expected. So we have the feeling that we need to add some light. We can increase the intensity of our sun. But in that case, we will obtain over exposed images or over brights. But don't forget one thing. In reality, the same situation happens. So we will need to add some artificial lights to raise the light intensity in our interior. It will happen in reality too. We need to add some lights, some ceiling lights, some well lights, hidden lights, not only Maybe some floor lamps and so on, to increase the intensity of light until it looks fine. Okay. Now, let's try to do that. If you can see, by the way, outside, it looks perfect or it looks just as it should. If I would raise the intensity of our sun, you can see that we begin to obtain over brights outside. So this is not a method. We will go over exposed sky and we will see white spots in the window instead of our background. We will use the y lights to simulate light in interior. This can be anything, as I said, any type of light. Ladies, that we will have to adjust the intensity and interior and an exterior to. The lights as you see got their own settings. Now, I'll try to simulate a simple ceiling light. We will switch from plane type to sphere type. And we will try to adjust the position, and of course, the intensity. We can assume that we will have some hidden lights or secondary lights in order to obtain some different effects. We will also adjust that. Most of the time they will be invisible. So in that way, this is some kind of process simplified process, simplified process, how we will work with our interiors in order to obtain images that will be not over exposed or under exposed. If we are talking about light layer, or light situation in our scene. I Now, we will save this situation of photo studio, if we can call that so. And we will bring here the objects that we modeled to visualize them using our realistic materials. And we will also obtain our first realistic images and step by step, you'll get the feeling how light and materials interact in general. These are also the first steps that we will take towards our projects. Same things repeat in a more complex way. There will be just more objects and more lights, but the interaction and the behavior remains the same. I'll change the four to some kind of neutral texture. Let's say, for example, a great texture. Let it be concrete, for example. In the next lesson, we will bring our homeworks and we'll try to visualize them using the same instruments and the same materials. 22. Vray materials and render basics, how to render 3d models?: Okay. Finally, we got to our photo studio. We will obtain our realistic or photo realistic images. Let's use the merge function so we can bring our previous models into our scene. We said that we will scale them. This is what we will do now. We will use the ready material library to assign materials to our free D models so that they can look realistic in our future images or our future enders We got a wooden shelf. Let's pick from the library wood. That's very close to what we see on our image. You can see that the wood it's not applied correctly. This is another big topic. We'll talk but not in discourse about this. We have to understand how the materials are formed and how they are applied to our surfaces. This topic is just too big to discuss it in one lesson. We will just uncheck the real well map size, so we can obtain some kind of wood, how to apply the materials or textures on our surfaces. We have to use, first of all, the coordinates, our textures got coordinates as well as our models, and we will have to adjust them so we can obtain the desired result. For now, we will leave them like this. Okay. We created some kind of plane that we will use for our floor where we will install our models. We will use our camera so we can look for our camera towards our images and our three D models. Let choose and let's adjust the view that we are seeing in our camera. Let's adjust the position of our free model. In this case, this is a more simple way to create a render as we have overall light, but it depends what situation you are developing. Our model is a bit higher. We'll have to lower it so we don't fly. We must understand the different solutions. For example, if we are developing an interior, we have to use the light as in interior design or in reality. In this case, this is more like an exterior. But for now, we will just render our elements, our models so that they can look as close as possible to our images. Again, when we talk about free dnders we must understand that this is a long way to go. This is the first steps that we are taking right now. We have to begin with something and that something is right here. First, we have to understand how to obtain our first images, and step by step, we'll have to add layers, what I call layers for obtaining our photo realism. Let's adjust a bit our view. First of all, we have to get rid of that fly of our images and our models. We will install them on our floor, and we'll have to get rid of the shadows underneath them. Let's press vendor and let's see what we obtained. I'll try to center them in a way that they fit our center of our image. Again, one more thing, we have to keep in mind the ratio that we are using for our image. In this case, we've got a model and an image, and in this case, it's a lot more simple to install. We can actually install almost any ratio. But for the future, you'll have to pick the ratio for render. This is crucial, so you can obtain good images and good ratio. Good ratio plays a key role, how render looks and how it is appreciated. By anyone who sees it, including your clients. Okay, we'll switch from progressive to bucket. We will use brute force and light cash. Some do use radiance map as well. And I will render. Okay. Keep in mind, we will install the radio noiser as well from here. The video noisers a layer that gets rid of the noise or the artifacts that we obtain from our images. It's increasing our image quality. Let's hit render. You can see those buckets that very buckets, they are linked to the power of your computer directly. And you can see the wood the wooden shelf that we obtained. As I said, there are some things that have to be adjusted, fine adjusted. But for now, we will leave them like this. This is like the second step. You can control the lights from here. But for now, we will leave them as default. Now let's try to save our image. We will save it like GPA. Let's try to bring the next model. We use merge to bring our models into our render. Again, saying things, we said that we will scale them. They are not scaled according to a real scale. They are scaled according to our camera. Now, let's try to render those selves. The same processes with our previous model. I'll keep the image so we can see the reference and the model that we obtained. We got wood, same thing. We can choose a wood that is very close to what we see on our image. For example, this one, it's very close. I'll pick a sample, and we will apply this material. Let's select our freed model or shelves and let's supply. First of all, I will scale them. So that defeat our scale. Again, this is not a scale. We are only adjusting them according to our camera. But they have to be adjusted so we can see them in our renders at a scale that is acceptable for our scale that we use now. Let's move these or maybe you can delete them. I will rotate those models. Same thing, we have to install them in front of our camera, and let's try to obtain a pleasant view. You can rotate them, but try for the start not to use angles. Try to adjust the camera. We will have to hit that button show in viewport, so we can see the texture of our wood. Again, this is a very big topic. I will not start to talk about it here. Let's check the real well map size. This is the only thing that we will do here. The materials have to be learned in a logical way. We will start only in a simple way. This course, it's about how to obtain the first basics in FredSMx and how to start the modeling about how to apply materials and specially if we talk about an advanced approach, we'll have to pass through all those five steps. We can understand how to obtain the perfect realism if we can call that so. Okay, let's instyle that in front of our camera. And we will adjust them so we can see them in our render in front of our camera in front of our view. Let's find position for ho. Keep in mind you can pan using the mouse, the camera position, so you can find adjust how they are looking in your view. Same thing, let's render. Of course, these are simple vendors. We have to learn how the lighting performs in V in general in interior and exterior depending on what you will be doing. I'm more into interior design, and only after that, you'll understand how to work with light. By the way, light, it's the third step and the materials are the fourth step. You'll have to learn the light first. Light is crucial. One more thing, it interacts with materials. That's why you'll have to adjust it. If you remember our shelves, where we said that we used our chamfer boxes so we can obtain those shadows. Now it's the time. We will try to see that how they look in our render. Let's try to install them in front of our camera. As I said, begin first with the straight angles. Don't try to rotate them at random angles. It's a lot more complicated to find a good view after that. You can see the wood. It's differently, yes, there. It's differently applied on our shelves and our elements. This is about how to apply materials, but again, we will not talk in this course about materials. Materials must be explained in a whole course. And those black elements as well. We will not apply them. Let's select our shelf and don't forget to hit that shown viewport. It will be visible in our render, but we would like to see that in our view port as well. Don't forget to uncheck the real world map size, so we can see all those elements. This is the most simple way how to apply a material so we can see it. Now, I think we did that for all our elements and let's group, so they don't jump, and let's install that in front of our camera. Again, we will have to check that our shelves not flying. We are close to a floor. I'll zoom a bit so we can see that distance. It's close. Okay. Let's move our image and our shelf. Maybe we can turn it a bit. This way we will obtain a better. Okay. We got shadows inside ourselves. That's because we have the light coming only from one direction. As I said, if this is an interior model, we will have to add lights in interior from all the directions at least a few directions. So we don't have shadows and dark spaces, but that's another topic, big topic for interior design. This is our shelf. Now let's save it. Let's merge our next model our green shelves. Same thing, let's scale them. We'll have to use here not the material. They are not from wood. We will use some glossy material. Let's move our previous models. Okay. You can speech on the top view so you can see the position and the camera the same time. Same thing, let's install them on our floor, so we can get rid of those shadows and the fly effect. Forgot to group them. But we need to we need to add the materials. Let's add a glossy material. We have already. We can use this, for example. Let's apply that to elements green elements. Keep in mind the wood got a texture. These elements are maybe in one way we can say that they are clean. That's why this material will be applied correctly. It doesn't have a texture. Again, this is the topic we material, so I'll not get too deep into this now. Let's adjust a bit of color. It's maybe too green. We got a yellowish, I think, hue. Let's use a chrome as well for our legs. They are not legs. They are holders. Maybe we can call them like this, those elements. Let's apply chrome to them. We've got different types of cros, but now we will use this one. We'll have to group. Not to grab any other objects with our group, especially our sun. In this case, we will not see our objects in our render. Let's install that free D model in front of our camera. It's a front view, we will have to turn it a bit so we can see it like this. So we can see the image and the shelves or the shelves in our image. Let's find a place for our image as well and for our shelves. So we can see the reference and the model. Maybe a bit back. Let's rotate a bit, so we can obtain a good view. We are Maybe let's center of them as well. Maybe something like this. You can see the glossiness of our material of our green material. Keep in mind if you'll use those shelves in interior. You can obtain a realistic appearance. You'll have to obtain the reflections of the objects around them. Only then they will look as in the image. In the image, they are placed inside an interior and you've got the walls there. You've got different objects, you got the details on the shelves as well. Let's take time now. For now, you can see in the reflections we are obtaining our horizon and the edges of our plane that we are seeing here. Anyway, it creates the effect of reflection that we need to show that our material is glossy. But it's a bit poor effect. It's the lack of objects around them and the lack of environment, the interior environment. If they are an interior object, of course, Okay. Okay. Something like this. Let's save our image. We got one more. We've got our rounded shelves. Let's scale them so we can fit them to our view. Let's find a place in front of our camera for them. Let's move our previous subject. We have a dark gray. It's not glossy, but it's not match. I got a bit of glossiness. Let's try to find a material that is. We can maybe we can use this one if they are wood semigloss that we can use. Let's apply that and let's hit shown view port so we can see the wood effect. Let's check our real well map site that will enable the. Keep in mind they are instance and they will repeat the same effect on other elements as well. Let's group that And let's place that in front of our camera. This is our last model. We will have one more lesson with a line where we will render our models like a second part. For now, this is our first part here ends our first part in this course, where we model the well, not the most simple but at least simple objects that we try to model, and this is the stage where we obtain the renders like the final stage of our full process. You can understand how those models are created and then how they are rendered and how the images are obtained. You can save by the way the renders and I encourage you to upload them so the other students can see them as well. Let's find better position for our self. Something like this. Let's hit render. Almost done. And there are the effects that we talk about. Let's save them, and let's get further. 23. Scale and proportion in interior design and 3ds max: Scale and proportion. Scale and proportion decides everything. Proportion in interior design is about the balance you must get between the objects in your three D scene, colors, textures, light, and shapes, and all that must link in one style. While proportion and scale seem to define the same thing, actually exists a slight difference between them. Scale refers more to the pleasing ratio of one or more objects in interior, compared to the interior itself, it's height, dimensions. In other words, a comparison to fixed objects while proportion implies a feeling of rightness in general, not linked to some exact objects. It's more overall feeling that everything looks fine. Some call it trained. 24. Perspective basics and how to use that for 3d modeling?: Perspective. We would have to define simple what is perspective, we can say that perspective, it's the art of representing three dimensional objects on a two dimensional surface, so as to give the right impression of their height with depth and position in relation to each other. Perspective works by representing the light that passes from a scene through an imaginary rectangle, in all cases the computer screen. This can also be a paper on which we are drawing and not only whatever surface on which we try to represent a three D volume. And as we draw, the light seems to pass through the surface to our eye. A if we would look through a window and draw directly on it. If we could look at this picture, we can say at the point where all lines meet, it's y, the plane, it's the window, and the cube is the free object we are looking at. And we draw on the window, the edges of that cube. They are not the same as the initial cube. First, they are a little bit smaller. That is because the window of plane, it's closer to us. We think in real three D space, the cube, it's actually the same. Our eye sees it's smaller because we are looking from one point. You might say, wait a second. If an object is closer, then it seems to be bigger. Yes. Take a look at this image. For example, TV seems to be closer to us with the biggest part, and the far away from part seems to be smaller. But it seems to be represented okay on the drawing. Now, take a look at this image. It seems like something is wrong with the cube from the left. Although take a look at its edges. They are the same, but it looks not okay. Now, I want to point out five things we must keep in mind. First thing that we must point out is that we see objects, no matter what objects using human eyes. Different animals, for example, see the same objects differently, depending on their kind of view. This, for example, is how fish looks and sees objects. We will talk about only human view. We see the objects bigger, or the closer parts to bigger. As they get far away from us, they get smaller. Only visual. Second thing. There are three types of perspective, one point perspective, two point perspective, and three point perspective. We will use the first two types the most of the times. Perspective is a very wide subject. I'll point out just a few basic concepts that will help us to understand further things. Without them. It will be hard to explain a lot of functions that we must learn ahead. Plus, they are crucial to understanding how to set and use a camera about that lot later. Third thing. No matter what type of perspective we use, we always have the horizon line. In real life, it's the horizon itself. The lines that are above the horizon always are pointing down, or should I say better the edges, although it's the same thing. And vice versa with the lines under horizon. For example, if you look at this cube, we cannot draw the upper edges somehow pointing up. They are always pointing down. The most high point is the corner of the cube. If we would draw its edges pointing up, drawing would seem to be wrong, because our eye does not see in that way in reality, such as the closer to edge, it's the bigger one. It doesn't mean that the cube is different and its edges are different. They're all the same. But from the point of view, we are looking using human view, we do see only in that way. Of course, the other edges that are a bit far from us, compared to the closest to edges are represented a little bit smaller. Fourth thing. We always, no matter what perspective we are using, have a vanishing point. One point perspective got one point, two point perspective got two points. All the edges are pointing into one point, if it's one point perspective, or into two points. For a two point perspective, only thing is that all the lines left to the highest lowest point, are pointing left from the right part, pointing right. Now the final fifth thing. If you remember the shelves where we had a view from an angle, meaning they are not straight on the image. In reality, they are straight. But the angle we are looking at them. It's the same situation like here. We have the edge, the closest to edge, instead of the cubes corner. And when we said that we draw a straight line underneath them to find the real length, we assume that we are ignoring perspective where closest to edge seems to be bigger. In that way, we bring the far edge on a straight line. And it shows the real length as now, it is at the same distance far away from us like the first edge. That's why we usually must adjust the objects because we don't have always straight image views. If there is a possibility to shoot an image before modeling from a straight view, it will make the process a lot easier. Now, if you look here, we've got some things we've talked about. Perspective means that we view objects using a perspective method. That is the most common to us because it shows the object or the objects as if we would look in reality at them. There are also other types of views. We don't need them for now perspective and arthrographic, other types of views we will use. I'll better showing examples when we get there. Next, we will talk about a function called a lion. Okay. We will need that a lot in Fred S Max. Okay. 25. Align instrument in 3ds max and how to use it, basics: A line. Next, we are going to take a look at the new instrument that we will be using a lot. We can say it's like a Snap's brother, but although they've got some functions that do the same things, a line works best in other types of situations. Let's see how it works. We can find the button here. It will be more simple to show an example to understand how it works. Say, for example, we gave to boxes. First, we're going to take a look how it works as a snap. It does the same thing. Let's say, for example, we have to connect two corners or should I say vertices, something like that. We can use snap. This is the first option. Now we'll have to use a line. We select the object that we want to align, key to line, and select the second object. While using a line, the first object that is aligned always moves. And the second one stand still, or it doesn't move. For every object, we can see that we have four different options. First, I would like to explain those options to understand exactly what we are doing. Okay. I'll copy the box. The four options that we see written there are minimum, center, pivot point, and maximum. In order to understand those, we have to take a look at the vertices or the points of an object. We will take axis x just for simplicity. We can say that every four points of any phase of a box belong to one plane, meaning that the position on one axis will be the same. For example, any of the four points. From the back side of box will have the same position on x, if we are talking about coordinates. In that way, we can say that any of the four points, for example, from the front side of the box, are the maximum on x, because on x is x, they got the maximum value or the highest value. Or we can say on x is x, they are the most far away points, meaning we have no points further than them. And in this case, as the four points consists in one plane, we can say that any of those four points that belong to the front side of the box, on x will be considered maximum points on x is x for that box. Same thing or same principle applies to the back side of the box. Only difference that we are talking about minimum. Because x is x in that direction got negative value. If for example, I'd have to rotate my box, then I can say now, the only two points from the upper part of the back side of my box are considered to be minimum, and the only two points from the front side of my box, from the lower part, are considered to be maximum. The other points are found in the middle. Thus they are considered nor minimum, neither maximum. If I would turn my box one more time, then I can say that only this point is considered minimum on x, and this point is considered maximum an x. The other two options from a align box, we can assume that we already know what they do. Center is the middle point on one x or on two or three, it doesn't matter. A pivot point, we've talked already a line, we'll use it as the reference to align the object towards the pivot point if we are checking that box. Now when we know all the four options, what we are doing, we can pass to our previous example. We select our first box. We push a line, and press on the second object. We will and check all axis. We will begin by aligning on one on x. First, we have to align those two points. For the first object, this point will be minimum. Because on axis x, it got the lost value. And the second point from the second object on axis x, same will be minimum. If it to align, apply by the way, it's a multi ok. We can say that the two points have been aligned on a straight line. Or should I say the first box or the first point from the first box moved on a straight line on the same value if we talk about coordinates with the second point from the second box. In this case, we can say that the two objects or the two boxes, it doesn't matter, have been aligned on on x. Now let's go further. Let's do the same thing on y. The first point from the first box on y, it's also minimum. The second point from the second box, it's also minimum. We could apply. I said, apply it's like a multi k. Now, let's try to analyze the last move. We have to move on x, the first point for the first object, a current object. We can say it's also minimum because it's the lowest part on z. In other words, the most bottom part. If we talk about height, in this case, and for the second object, the second point would be the most upper part of the highest part. So we check maximum on x z. After we align all the points, we hit okay. And now we can say the two objects are aligned perfectly. Same option, we can obtain using Snap. That's why I said it's like a Snap's brother. Now let's try to look at another example, and I would like to show another option of a line or should I say the difference between snap and the line. If for example, we've got two cylinders and we would have to align them in that way that they fit perfectly. Center to center. Snap will be very uncomfortable to use. But those types of situations, we would use a line. Now let's try to align those two cylinders. We select the first one that moves. We press a line and select the second one. Using center for both objects. I will heat apply. Instead of ok, not to close the window, it resets all the parameters. Now, I have to move the lower part of the first cylinder using x is z, so it's minimum towards the upper part of the second cylinder, also on z, which is maximum. We heat okay finally, we obtain two different methods to join objects perfectly. Using our new instrument align. We can also find it here, but we will be using the hot key plus a. In conclusion, a line, same as snap, will be the second instrument we will be using very often in our projects. Next, I would like to pass to some real examples, which will be a part of our homework, and I invite you to follow along. And after you finish the free examples I will show in the next lessons. You'll have to choose three examples of your own and do them as a part of the final homework. We must keep in mind that if we want to achieve results, we must practice. Now, let's pass to our homework. 26. Homework motivation and why it is so important?: Homework. Next, we're going to pass to homework, which will be more and more advanced as we move forward, so we can get the feeding that you manage to control, understand and deliver visually ideas that must link to the skills of FRDSMc software in our case. We must get step by step to the point where we begin to feel more comfortable to start a project. You must keep in mind one thing. This is very important. I would like to share with you some experience that I saw while I was teaching and I'd say it's very common to a lot of people. At the same time, W is a very big mistake. During my life lessons where I used to show after theory, the exercises or practice or homework, as we call it. There were students that were watching how I model, but they were saying to themselves, I understand that. I don't think I have to bother to repeat and to waste my time. After a few lessons, the students that repeat it entirely the exercises were indeed progressing. While those who tried to find an excuse not to do it were asking questions, seeing it's not equal doing. Someone said, I know, and they know too. I can do it. They cannot. So while watching, they understood what to do, but didn't practice to be 100% sure they can do it too. So as the tasks become more and more complex, watching and not doing or practicing, it's the biggest mistake. I know sometimes practice is a bit, I can even say maybe not too interesting, but I would say the interior design process in the first stages may be indeed, sometimes not too interesting while you raise the walls, input all dimensions and so on. The idea is that you cannot skip that stage. Everyone wants to get to the colors and decoration from the start and avoid the hard work. Design, it's about hard working a lot. You must find inside yourself patients and keep the pace. With every project that you accomplish, you will be receiving experience. The next steps in further projects will be faster. I would like to add one more thing. If you think you can skeep the hard working design, it's like going to the gym and instead of working, you find every time an excuse not to do it and to rest. Your eyes must train to feel proportion, scale, color balance, style, and so on. You won't be able to skip that, and without that, you won't become a designer. Rt and skill is something you cannot buy. You cannot buy yourself a cool feed body. You must train it. In art and design is the same. This is all about your motivation and hard work. So be patient and go step by step, finish your homework. Only that way, you will feel indeed that your level grows. My students used to do three times more homework than I've presented here. That was a more intense challenge, but also they got good results after that. Take a deep breath, and let's go. 27. How to use Align instrument to fit 3d round objects?: Let's try to model this table using a line. We can use snap, but it's a lot harder to do that. We will use a line. You'll see in a second why it's a lot easier to use a line. Let's load our image. Our reference image. I'll create a plane. Same things that we did previous. Let's rotate our plane, and let's input our ratio and load our reference. We are using a line usually when we have to stack round objects like cylinders, for example, because it's a lot harder to get to the center of our cylinders. Or we use a line, usually when we have to install on surfaces, different objects like for example, plates on a table and so on. We loaded our image. Now we have to get to front as our object is standing. I know the table got details. We will skip those details for now. We will not use chamfer, for now we'll have to understand the principle of how a line works. I will use simple cylinders. Okay. Let's get to creating our elements. We will have to add later segments, so we get the perfect roundness, as we call it there. Let's add sites. We will use for the start simple cylinders, so we don't have to bother with details. We can count for details that we need and actually I'll give them different dimensions, so we don't get confused which element represents one on the image. This third element will be the holder of the glass part of the table and the last one the fourth we use to create our glass table. Let's start with the first one. First of all, we have to go to front, so we can see our table, we have to enable our shaded view. So we can see our table. Next, we must install our table on our floor and on our main access. In this case, it's why it doesn't matter. We have to use the center. So the our table got a bit of perspective, a bit of perspective, and we have to get rid of that angle. Try to feel where the floor is, and let's install this one, this cylinder on the center. We have the highlights there on the image. Try to feel where the center is. Next, I will adjust the radius. We get the exact radius or almost exact radius on our image. Next let's adjust the height so we can get the thickness. We can adjust the thickness. There. We will skip for now, as I said, the details. Now here comes the line. I'll have to install this element right in the center of my first element, the second element. We can use the line from here, we can use it from here, we can use the hot key. I'll use the hot key and I suggest that you do that too. First of all, it's a lot more simple to center those objects and then our pivot point moves. Next, I'll have to move up our second element, so it's lower part of minimum in this case, it's moving on x z. That's why I'll have to use here minimum. On X is z I'll move on the second element that's on maximum or the highest part or the upper part. In this case, I'll stack the lower part of this second element and the upper part of our first element. In this case, they will be stacked perfectly. Let's adjust the radius and the height so we can fit our element from our image. Now they are perfectly stacked. Next, I'll take out third element and let's do the same thing. Let's center them, and then I'll use minimum to maximum on z, and in this case, we will set it above our second element. Let's adjust a bit the height, and it's radius so it's with Well, let's close. I know we've got a bit of angles there, but we will skip them for now. Try to feel them visually. We don't have perfect images always. The last part, the glass part. Same thing, glass part. Now to adjust the thickness. Try to feel the thickness from the image. It's something like this and the radius. Something like this. I know there is a bit of an angle there, but still we will scale our table a bit later when we will get to render. Well, this is our table. Let's try to model these two examples as well. 28. How to model using Align a street light?: Okay. Let's get to our second example. Second line example. Let's try to use this street light. You have a simple street light. In that principle, it's very like in the first example with our glass table. Let's input our ratio. I'll actually use the plane and the same elements. I'll move our glass table. The principle, it's very alike, so we can load only our image, so we don't repeat all the routine. Let's choose one cylinder and let's adjust our elements. We have here a few cylinders and we've got a sphere as well. First of all, let's create our first element. Here, let's create our second element. It's a bit wider. For now, I will assign them dimensions so we don't get confused what element we are using here and according to the image, of course. Let's get a third element. It's than the previous two ones. We will adjust them like our glass table. We have the last one, the holder of our sphere or the lamp. We've got our sphere as well. Keep in mind our sphere got its pet point in the centers. We'll have to adjust it only visually. You'll see in a second while. Let's start with our first element. Let's install our image on our axis center. And on our floor as well. Let's pick our first cylinder, and we got the radius, and let's adjust the height. Something like this. Let's pick our second element. Let's use the line. Same thing, let's center to center on all axis. Then we click Apply to reset our axis. Then we need the minimum to maximum one, so we can get our lower part of our second element on the upper part of our first element. Let's adjust the radius and a beat the height. Yes, we got angles. We got a bit of perspective there, but we'll try to visually avoid it. Same thing without third element, and let's install it on our second element, and let's adjust a bit. It's radius and its height. Something like this. Yes. And our last red element, the holder of our lamp. Same principle, same moves. They are very close. Something like this, try to feel the proportion using your eyes. And the sphere. We don't have specific point to use the sphere, so we'll have first to install it in our center. Next, we will use only our image, so we will have to simulate sexually. First of all, let's install it in the center, so we have to adjust the radius according to our image, and we will lower it a bit until it feels like it's stacking with our last holder or last fourth element. Or something like this. Okay, let's get to our next example. 29. How to use Align to model a realistic 3d lamp?: Okay, let's get to the lamp. It will be a bit harder than the previous two examples. Let's try to load our image. Let's input our pixel ratio. Same thing, I'll move our first object. Now let's input our ratio. Don't worry about the plane that it's bigger or smaller. Let's move a bit or image. Now, here, we have a box. We can use actually a champer box. Let's add step by step to difficulty to our Fred model. I'll add to fill it segments. So we can get that effect of light. And let's adjust a bit. We'll have to also according to the scale that we will use according to our image and real world reference. I'll bring our chamfer box close to our image, and let's adjust it as close as possible to what we see on our image. Keep in mind we have an angle there 30 degree angle, a perspective. So we'll have to visually avoid it. No lamp got as well, a bit of angle. It's not perfectly straight. I mean, on the image. Let's bring our chamfer box close to our image. Now let's try to feel. It seems like the edges are equal. We'll have to adjust the thickness using scale. Let's try to readjust the bit the fill it. Well, it's close. Try to feel visually the proportion. You can use fine tuning by using F 12. By the way. It's very close and try to feel as well the thickness of our element. Let's install it on zero level on our floor. Now the second part, it's a thin cylinder that we will use that chrome part. A Let's pick a cylinder. Let's try to align it with our first element. We will have to create those spheres as well. For the lamp, we will use a tube. It's like a cylinder. There are actually two cylinders. Defines the outer surface and the second one defines the inner surface. Let's align our cylinder. It's a bit thinner. I know we have an angle there. We'll have to visually get rid of the perspective and the angles from the image. It's it's about there. We have a light bulb. Of course, there. We don't see it, but we have a light bulb there. Let's just the height. It feels like the holder of our lamp. It's almost close to a real one. We also have those glass spheres. Now let's install our tube. It's the same thing like with the cylinder. Now, let's adjust its height. Now, we don't have to use a line as it is not linked to a minimum or a maximum. We'll have to use the image. And then we will use the height to adjust the height of our lamp. Those two cylinders that I've talked about, the radius one that define the inner surface and the radius two that will define the outer surface. Well, the height is almost there. And let's adjust. I know we have an angle there. You can see even by the spheres, they are a bit angle to right. Okay, we are close. We are close. Let's add a bit to our height. The radius to will define the thickness of our element. We'll have to add a material so we can simulate, but that's another topic. For now, we will use only the model. And we also have our spheres. They are not linked as well. They are linked only to the center of our holder. Let's align them to the center and I'll bring them close to a reference and let's adjust them. Again, this same angle, we will skip that for now. Let's only visually feel the proportion that we have to input. Let's close and let's copy that. Let's use free copies. So we can repeat. Well, we are very close at least. Well, something like this. Okay. Next, we will try to render those elements in the next lesson. Let's save our model, and let's get to our photo studio. 30. How to use Vray to render and create realistic 3d images?: Now, let's try to visualize our objects. Let's use merge and let's bring our table into our photo studio. I know that models are a bit bigger, so we have to scale them and we will bring them in front of our camera. After that, we will assign materials to them. Let's intend them on our surface, on our floor. We have here glass. So we can chrome as well, so we can use some of the previous materials that we've used, and some of them, we will load. Let's pick a glass for our glass table. Let for example, even this one, the first one, and we will assign the glass. Don't bother about materials now. This is a very big topic. Start with the modeling and don't skip the order that you have on the design order we talked about. Let's speak the rest of the elements and let's assign chrome to them, our group, our table, so we don't jump. Let's delete the previous model. Let's install our table on our floor and in front of our camera. We will try to adjust the angle. Try to feel visually the floor. We can use by the way line to install it on our floor, but for now, we will not bother with that. Let's rotate and let's install it in front of our camera. Try to feel the view, so you can see the model and the reference at the same time. Try to bring it to a proportion or pleasant view. Okay. Let's try to use maybe the top. So we can place it. Maybe a bit better so we can adjust it. Let's see what we obtain in the render. I know the materials look maybe a bit poor. That's because we don't have the reflections of the interior objects. This is a very simple sky. But for now, it will be okay. We will get to more complicated scenes when we will get to interiors. That's another topic for the future. Let's change a bit of our camera angle. We've got too much reflection. The chrome, it's almost like a mirror. So it reflects the sun, and we will try to obtain, let's try to obtain an acceptable reflection for our view. Again, this is happening because of the lack of the reflections that we have around us. This is an interior object. Maybe I'll move the reference a bit closer. So we can see, that's better. It covers a bit of the light. And we got reflections. Maybe we can use another top of chrome less reflective. But keep in mind that's not a problem. The problem is the lack of walls and the objects around our model. That's some group. Let's try to use this fan. Yes, this fan is better. We obtain a lot better reflections here. We are close. Keep in mind also that our scene is empty. We don't have nothing above our freed models. Okay, let's bring the next object O street lamp. Same thing, bring it in front of our camera. Let's try to find for it a view. I'll scale it. Same thing, usually it's a lot easier to use top view, so we can adjust the position in front of your camera. It's a lot easier in that way. Let's delete the previous subject, and let's try to adjust this one. Let's lower it so we can get it to our floor. We have here, well, it's a glass, and we can use actually the previous material that we've used for ourselves. I'll change only the color to white. So we can get some kind of plastic. Again, don't bother with materials for now. This is a very big topic. We will get just some very close materials to what we see on our image. This course is for the first steps. For advanced settings, we'll have to learn a lot more theory to understand what we are actually doing. Now, let's try to actually use a ray material. You can open the V ray material and choose this is the standard vary material. You can see the standard FDS max material, but we will use V ray material. So as we are using as our render, let's try to give it a red color. Again, I will not get into advanced settings for our materials. For now, we will use it in a simple way, but we will have to adjust our color, the color of our lamp. I would say the holder of our lamp. It is close to what we see on our image. Let's group it let's install it in front of our camera. I'll add a bit of reflections, so our material don't look to crude. You can see the reflections there and I'll lower the glossiness a bit, get some kind of semi gloss, like a paint. Again, don't bother with that. These are material settings. The materials must be discussed from the start. Let's lower our image until we hit the floor. I'll bring a bit up our reference, and let's find a view in front of our camera. I'll bring them closer to our camera so we can see them. Let's see what we are actually seeing in our view. I think I'll move a bit of our image. It's covering our reference. Well, it's close. I know that sphere should emit light. But for now, we will leave it like this. Maybe here a bit to the darkness. Yes, that. That's a bit closer to what we see on our image. Again, these are just only small adjustments. Don't bother with that. Our main goal for now is to create the models and we learned how to create the first models. This is the most important thing that we have to get from this course. Well, something like this, let's get to our third model, our lamp with the spheres. Okay. And I have actually saved all those three models. Let's scale them first of all, after that we'll bring them in front of our camera. Again, it's a lot easier to use top view. The scale, we said about that we are using the scale only according to the size of our camera. It's not a real reference. To bring our models to be one to one. We'll have to use a real reference. First of all, let's use chrome for the bar and for the lower part. Yes, for that part. And for those spheres, we will use glass and for the tube we can actually use this material for lamp part for the upper part a bit darker. We will see how it will look in our render. But now we will only visually adjust it. You can use, by the way, photoshop to get the reference, there are techniques using the gray color. I will not talk about this here, but just in case we can pick the exact color. We are using only the visual part for now. Same thing, let's use a glass. We will use a color glass. Maybe we can use this one. The only thing I think I will copy the color from here to here so we can get the same tint or the same hue for our spheres. Let's select them all and let's assign this material. I'll select and group our model, and let's install it on our floor. Let's rotate a bit and let's choose a view for our camera. Again, let's zoom a bit so we can hit the floor exactly. Well, almost exactly. We can use as I said, a line to do that perfectly, but we will not bother for now. When you will model, three D interiors, you'll have to do that perfectly. Let's raise a bit of our reference so we see the whole model. Let's try to find a view for lamp. It's a lot easier to use a bigger window. You'll feel the model and the details a better. Maybe I think we are very close. Again, same thing with the reflections, we have to put that lamp inside and into year so we can get the same effect. Don't bother about that. It will act or it will perform as it should when it will be in a place inside and into year. Let's try. We are close very close, at least, I think. Maybe just a bit. Let's adjust it. Just a bit. I think we are very close. I will not bother with the super details. It's close enough for now. Well, that's it. I do encourage you to upload your results so that other students could see them as well. 31. Conclusion: Conclusion. Finally, we made it to the end of the first part. If you're watching this, I hope you managed to accomplish all the tasks from the course. And I'm very glad if that was helpful. At least I saw how this program helped a lot of people that were my students a few years ago. And I'm almost sure that this course took you to the level where you understand the basics of FridSAX and interior design. I'm also sure that you have already determined for yourself that this is your path, and this is something that you really like and inspires you to go further. I'll proceed to the creation of the second part for anyone who appreciated the effort that I made to deliver. In an easy way, the necessary information for a beginner designer. I know we will want every time to get the best results with the least effort, but we must understand that this path is not an easy one. You will have to involve if you expect results. You must realize that you must give time and hard work before achieving some levels. But also, we must know that the process has an end, and the effort will be granted when you finish your steps. To at least the level where you can accomplish your task as a designer from the start to the end. I thank you all for watching this course. I'll continue in the next part, and of course, I wish everyone patience and success till next time.