AI & 3D Art: A Course for Digital Artists

1. Introduction: Have you ever wondered? And artificial intelligence enhance my artistry and they'd give life to my 3D creations. Well, we have something that will answer all of your queries. Welcome to the AAE and 3D art. Unleashing creative potential for digital artists. And extensive online journey that brings together the fascinating world of an AI and 3D digital industry. This course specifically curated for digital artists. Your pathway to comprehend and master the power of AI technologies, including chat GBT and ai image generators or augmenting your 3D art creations. So here's what the course has to offer. Sartorius will begin with the IGBT, will learn how to make use out of it as your personal tech support. This module enables you to troubleshoot your software issues, discover new features, and hone your skills in 3D tools like Blender. It also introduces you to the concept of AI for generating novel ideas and locating inspirational artists. Igbt, as you're writing a brass Power AI can enhance our descriptive writing for your artworks, enrich your vocabulary and improve your text fluidity. Learn to use AI for search engine optimization to bolster your online visibility by optimizing keywords and hashtags. Igbt as an art research assistant, get assistance exploring conceptual ideas for your art environment and experiment with variety of ourselves for the textual descriptions. You'll learn how AI can suggest contextually accurate names, props, and materials to enrich your art creation process. Afterwards, we're going to be moving onto ai image renderer. Dive into ai image generators such as mid journey, understand their alternatives, and learn to create detailed concept art for references. Gain command over color palettes, camera angles and aspect ratios, ensuring a comprehensive understanding of your artworks visual perspective. Generating texture detail. Learn how our AI system can enhance freedom environments with vivid colors and intricate stained glass decorations. The textures designed specifically for Blender will transform your fried equations individually captivating masterpieces. Seamless texture. Not only will you learn to convert AI generated image into textures, which you will also match the transforming them into usable PBR materials with varying roughness values and normal mapping density. Lastly, we will plunge into exploring the dream AI beginning with Blender scene setup with AI. Discover how to bring the power of dream AI to your blender workflow. Adding intricate details to your rendered images and transforming your 3D objects individually captivating assets. Ai, texture generator, color projection. Learn how to project texture is directly onto 3D objects, enhancing their overall visual appeal. Understand how to enhance specific details to add more depth to your 3D environment. Seamless sexual creation and BBR setup. Learn how to create seamless textures in Blender using dream AI, incorporating them as PBR nodes with a diverse array of grunge textures. This will provide you with a versatile library of high-quality materials. Understanding how to upscale textures to preserve sharpness and detail. Also mastered the art of crafting extra details for stylus prompts and creating small prop cutouts to enrich your scene. In this extensive course of 37 lessons, 7 h worth of content, you will embark on a journey of blending artificial intelligence with 3D art, culminating in the ability to enhance stunning AI, enhance digital masterpieces. For both budding artists and seasoned professionals. This course will empower you with the knowledge and skills to effectively leverage AI tools, authoring a cutting edge creative process. So what are you waiting for? Joint are ai and freely art a course for digital artists today? 2. Using ChatGPT AI as Tech Support: Welcome everyone to air and pretty art, a course for digital artists in which we're going to start off with making use of chat GBT, a text-based type of pain AI, which is really useful for digital artists. So to start off, why is it actually good to make use out of the AI? Well, for starters, it is really good in helping you out in regards to when you encountered certain issues within your 3D modeling path. Or let's say you're working with certain software that you don't know how to solve an issue with. With using IGBT, you can simply ask for a question and it'll help you out. So for example, we are working on a low poly type of a, an environment. We can ask how the topology is like if it was in regards to the overall vertices. So low poly in Nevada grown men, what's considered only count, were to just type it in right away, give you an answer. As you can see over here, it's going to give you a type of information for you to adjust. And if you want to, for example, make it a bit shorter, we can just type in, memorize it. And it's going to give us a much shorter type of an answer which is perhaps easier to digest. The upside of using this instead of just going through the forms, for example, is that you're going to get a straight up an answer. It's going to be a support for you 2047 type of assistance that's going to help you along the way on your journey. The other way we can make use out of is if we were to make use out of it as an actual type of a tech support in which we have a problem. For example, in Blender, if we're not able to move our object, like so, we can just type it in. And it's going to give you a certain type of solutions which you can go through and try out and see if it works out. The upside of doing this instead of a search engine is that you don't need to go through multiple links for multiple websites to find what you're looking for. It's just going to give you a bunch of ways to try to help you out and solve your problem. And it's actually quite flexible when it comes to this type of a setup. You're able to even expand the points. So for example, I'm trying to use a second point. Prolonged. Quite understand. So I can just type in expand second point. So it's going to give me that a bit of an extra information for it. So there is that it can be as specific as you want and it's going to help you out as much as you can. So if we were to go to a blender, lets say and have a specific issue, for example, we are not sure why mouse would be giving us a bit of an issue in regards to when we're trying to just move a certain vertices, we can type it in and give a specific type of an information to charge a bit T. And based on that information, it's going to help you get the right type of an answer. The downside of using it as this type of a tech support is that it's not actually up-to-date when it comes to software. So for example, if I were to ask specific software base type on an issue that only this version has, it might not be able to find that solution if the version is too new for it. The current one that I'm using right now, if we were to scroll all the way up, it's saying that the default model is Chad GBT free 0.5, which is really good and really fast when it comes to certain things. But the downside of it is that, again, it's not really good when it comes to new things. And yeah, In regards to the overall setup with the one thing that I will say is that you can make use of a newer version. If I were to go to a new virtual IGBT, right now I have a chat gbd plus, which is like a paid version. Everyone is able to make use out of IGBT 3.5 GB. T4 is more of an experimental. It's the newer version which has a more intricate type of AI. The downside of using the newer chat GBT is that it is a bit slower when it comes to giving you solutions. And there is also, if we were to write it down in regards to asking something else. So for example, lender breezes during launch, something of the sort is going to give you an answer. And sometimes I tried to not notice, but there are some bit of hallucinations. Hallucinations with in regards to the hallucinations I'm talking about in regards to this text type of a setup is that it doesn't actually stop generating It doesn't actually always give you the right answer. Sometimes it tries to come up with a solution by grabbing a bunch of formation using its neural network. And it doesn't always give an option that makes sense. So what I mean by that is, let's say right now, I'm asking about freezing to relaunch its giving me a type of optimal setup or a computer. And in this case it gave the right type of look. But for example, sometimes it could give, in this case, in this less than ten years old computer, it could give less than 100 years old computer, which wouldn't make much of a sense. So in that regard, it's not always accurate with the information provides. But in most cases it's going to be quite alright. So, okay, there is that in regards to the technical support and now going back to what I meant with in regards to the overall lack of information to the newer software and where it's lacking with the chat GBD for there is actually an option called browse. With the browse option is actually quite useful as it's able to pick up the internet search engine information and it could give you a better type of a result. For example, if I were to go to IGBT free 0.5, I can type in Blender, a free 0.5, which is the newest version of Blender right now that I have 3.5, 0.1. You can see here at the bottom right hand corner, blend a free 0.5. I can type in what's new here. I'm just going to go ahead and copy a message over like so. And if I were to type that in, as you can see, it doesn't have that information because as it says over here, my knowledge is been cut off by 2021. So there is that. But with the brows functionality for search plug-in with the search plugin and we can just type in the same an option. And as you can see, it'll start browsing through the website when it's not able to pick that up. And it's going to give you a really good type of solution. So right now, it is taking quite a bit of a time. Overall. It's going through the links, clicking on them, gathering all the information. And then once it's going to be done with it at all, it's going to give us a reasonable solution. So let's just go ahead and wait it out a little bit. And in regards to the AI, overall, AI, what's nice about them is that the more it runs through the processes to more users are making use out of them is that the better information is going to get, the better the processing speed is going to get as well. So before with IGBT 3.5, it wasn't quite as fast as it is right now. And it's got really fast. It gives you straightaway the right kind of results with Changi be D4 and wish to web browsing, especially right now, it's quite a bit slow at the moment. We can even click and see what it's doing and what kind of websites it's going through. And right now it's only going for a weekend blender, though. Google search that as well. But again, with CBT is just going to condense the entire information and it's going to be so much better overall. And after a bit of time, it's going to give you a result like this. So again, instead of just browsing it, I went ahead and made use out of the chat GBT. In this case, what I can also do is I can ask you to specify it for free, the artists, so specify for 3D artist. And it's going to be much nicer in regards to condensing the overall information. So it's going to make sure it sets that up. Although right now it seems like he's rewriting everything in regards to what you already wrote down. And that's not what I want. So I'm just going to go ahead and ask it once more, What's new with that? And to be free DIY, artists, specific, only a go. You've got to be careful with the word. So before I specified it with the freely artists and it just rewrote the entire thing and why it's useful for 3D artists. So again, it'll take some time to load everything up. And as you can see over here, it's going to write down what's new food aversion in regards to the 3D artwork. So how you're able to make use out of it will be up to you. And yeah, that's pretty much it. In regards to the technical support for the charge EBT, you are able to solve your issues. We are able to summarize what's new with the blender, and we're going to continue on moving with the IGBT, how better you can make use out of it as a digital artists. But we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing in a band 3. Bashing Conceptual Ideas Using AI: Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we talked a little bit about IGBT and how we can make use out of it in order to set ourselves up with some technical support and how to get certain information out of it to keep yourself up to date with the newer software updates. So now we're going to go ahead and talk about on how to make use out of it as an actual artist. Although charged with t is a text-based software, you can in the way technically make a tech start. So for example, text art of stick man, you can make use out of that. And it's going to give you a certain type of an art style to that. Of course, this is not really useful for us as if we want to make use out of digital art, more of a 3D work, for example, will need to make use out of this AI in a bit of a different way. So how can we actually make use out of it to help us with the overall process? Well, for starters, setting ourselves up at the very start. As an artist, you need a certain mood board. You need a bit of research to figure out what kind of a setup you need throughout your design to make sure that the overall environment or character or just a prop as enough depth within it and you're able to understand the information behind it. So first things first, we're able to get ourselves some conceptual ideas for the environment. And it's able to help us bash idea. So for example, I can get ideas or Viking bean 3D environment. Like so. It's going to give us a sort of a title and a description. And it's really nice and easy for that. Of course, because this is a text, it's still leaves plenty of room for our minds to figure out what type of an environment we need. But as a base, it's really good for just getting some interesting ideas overall. So for example, biking longhouse, Viking, ship yard and such. It's really nice and simple ideas. We can also bash ideas. For example, we can do Viking and Cyberpunk or 3D environment. Or, or not periphery the environment, sorry for free the character style. Let's go ahead and do that. And it's just going to give us a bunch of different character ideas which are going to be great starting point for us to dive into with our research and whatnot. So it's just able to in a way hallucinate for her us as AI tends to do and just kinda bash ideas together really quick, really easily, and in a way that would still make sense. So it might not make sense for certain ones. So I'm looking through them and maybe cyber biking shaman, it's an interesting concept. Sure, we can make it work, but it might not be quite as desired result for a sci-fi type of setting. So, yeah, bashing ideas, really simple, really easy. And we can, even for example, if we like one idea, let's say like, I like writing street samurai. Let's go ahead and make use out of that. And I can just write in, give me variations of this. And I can just paste this in. And it's going to give me all of these of a variations from this. So it's going to make use of what we gave it. And it's going to expand on that same type of a theme though. Yeah, by just doing this, we're able to get a bunch of ideas like so. Alternatively, what we can do is we can find ourselves some conceptual ideas. So what do I mean by that? Well, we can go ahead and for example, give then John Ross for dystopian sci-fi. And it's going to give us just that. So this way we're able to explore are a type of genres without actually knowing what we're searching for. If we were to just search it simply on the Internet, we might not be able to find the right type of genre. In this case, we're just simply asking within that direction, within a sci-fi dystopian kind of a look what kind of genres there are and were able to get some really nice type of a setup out of this. And it's super nice and simple to make use the chat GBT for version will give you a similar results. So we can make use out of every 3.5 or version four. And yeah, that's pretty much it when it comes to conceptual ideas. So if we were to just select the shielded Sentinel, this one looks kind of an interesting idea. We can just put this in. And I can ask for concept ideas. Or a, to scroll down. Let's say genetic engineering dystopia, it sounds kind of interesting or a genre of this character. So what I did right now was simply asked for a concept, ideas for a specific character within a generic engineering dystopia within this type of genre. So by mixing and matching these kind of things, we're able to direct our AI to where we want it to go. And by making your Saturday I as a sort of a work engine, we're able to just get ourselves some real nice ideas and then we'll be able to just work on the visual aspects of things as digital artists. So, yeah, that's pretty much it when it comes to conceptual ideas and conceptualizing them within the text of IGBT. That's going to be it for this lesson. And next one we're going to explore how we can make use out of this IGBT to get more inspiration from other artists, for example. So, yeah, that's going to be it for this lesson. Thanks so much for watching. And I'll be seeing you in a bit. 4. Researching Artists and Artwork Using ChatGPT AI: Hello and welcome back around to ai and 3D art, a course for digital artists. In our last lesson, we learn how to make use out of charge EBT AEI, a text-based AI, will help us to get some concepts, ideas within our scenes or within just a general mood boards. So now we are going to explore, continue exploring on getting ideas and how we can make use out of which IGBT. In order to simply help us out with setting up moodboards, are just getting some extra inspiration. The easiest way for us to do that is through getting the artists. If I were to type in something like sci-fi artists, like so we're just going to get a bunch of sci-fi art is just like that. Now let's say we want to get more of an interesting idea. We can also specify that, for example, I kind of like HP Lovecraft type of work. So for one to bind an art based on that, I can do that. I can type in HP Lovecraft inspired artists. And it's going to give me a bunch of lists in regards to that. And I can make use of these names who get a punch of artwork that's going to be unrelated. What I'm looking for, our next thing that we can also do is we can grab one of the names and we can paste it in. And we can just type in similar artwork, Excel. And just by doing that, we're able to get ourselves a similar type of artists that's going to help us in the long term. So by just going through these names, were able to, for example, find a bunch of artists on the internet, get inspired by the artwork and just kind of conceptualize our overall ideas for what we want to set ourselves up with. The other thing that we can do is also searched for artists based on the timeline. So for example, if I want to find 1920 '20s artists American Style, and go ahead and make use out of this and find some artists which should be popping up. Sometimes it just decided not to work. In some cases, it just freezes up or something it was running right now. But if it is doing something unexpected, just click on this bottom button over here to regenerate the response. And you can see it's going to give us a proper response to this time. And it's going to work much, much better. And not only it's going to give us a type of an artist, it's also going to give us a description about it. If you noticed before. For example, this one over here, it wasn't quite as long of a summary. We can ask, for example, to give a longer summary. Or if I want to ask more about a specific artist gives a summary of work, for example. We can do so and we can just get ourselves a specific type of artwork from this type of an artist, we can find what's it's been most famous for, and what type of pieces artist produces basically using charge EBT like that. Getting an artist getting high above a timeline and getting style mixing into the style as well. It's really useful and beneficial are also encourage you to be a little bit more specific in regards to what you're looking for. So for example, I was before I was asking for 90, 20 artists American style. I can even add a bit of an extra. So I can add in low saturation, like so. And I can also type in something like low angle art work. So in this case is going to give us a different type of a list. So it's hopefully going to give us the right type of a look. We can see what it's asking. What's this talking about? We can see the description about it as well. And it's the first one, for example, it's saying, well, not always in low saturation, summer resorts adopted subdued color palette and strong emphasis on form. So this is a very nice type of a steady solution for when we want to eat different types of perspective of different artists and whatnot. And we can be really specific. And we can even, for example, 1910, we can even give like, for example, a fish eye lens art work. Artists like that. And it's just going to give us a bunch of different types of data. All in all, it is a very nice program to make use out of y. And we're trying to get ourselves mood boards when we went to resource specific angles. And when we want to just look up specific art work off the artists themselves and all in all. Again, it's up to you to how you make use out of this program. You really need to be making sure you know what you're looking for in a way that you are going, progressing with artwork yourself. Though, the AI is really useful with the artwork production. But at the end of the day, again, it's just a tool that the artist needs to make use. And yeah, that's pretty much it when it comes to that. In the next lesson, we're going to continue on talking about how we can help ourselves during the environment setup or the artwork setup itself, during the process itself. And not just the mood board setup or the research. We're going to continue on with that in the next lesson. Thanks so much for watching and I'll be seeing you in a bit. 5. Using Text AI for 3D Modelling as Digital Artist: Hello, Welcome back everyone to freely art a course for digital artists. In the last lesson, we left ourselves off by creating some variation. Or our artists research on how to speed up the process overall in regards to that. And now we're going to continue on by looking into charge EBT this time, however, we're going to look a little bit more how we can make use out of it during the process of an artwork itself. So with that being said and done, I got a quick scene over here. Nice base set up. And I'm just going to go ahead and talk a little bit about this is a nice scene, but in some cases, for example, there might be some missing details. So what am I going to do about it? Let's say I have this type of a setup that's a little bit missing. So I was planning to have a house as making of a boats or something of the sort. And I don't quite know what it's called. So I can just simply go into the chat GBT and asked for it. And I can just type in, what's our kids are old or fill in boats. And it's just going to give me that type of a x, but I don't either name, so I can just type in, give me a name. Ips and Cox. Egyptian themed. Oh, it's talking about boats in this case, I'm just going to simply ask for an Egyptian themed building. Building name or building boats. I'll specify that small boats as well. We don't want any more boats or anything of the sort. And it's going to give us a name for it. So it's going to be quite nice for a, for example, for sine. So that's quite nice. One other thing that I wanted to talk about is during this environment, let's say there is a missing detail with it. A boat itself. I got to myself, this type of a boat, but inside of it, it looks quite a bit empty, so I'm not quite sure how I can fill that in with the four that I can actually make use out of the IGBT to give me some ideas. I can ask for that with prompts for free. The thing, I'm making sure I'm specifying its Egyptian fame. So it's not going to give me certain props. That's a little bit off in regards that overall setup. It's given me a lot of Egyptian themed symbols and whatnot. All of them are not what exactly what I'm looking for because it's assuming that I just want purely Egyptian theme. So I'm just going to actually copy this, paste it back in, and I'm just going to type in that boat is within and chips in river. Just for context. And so there you go. It's going to give me a budge, much better type of a setup. So for example, reed mats, water jars, adult and, or's. And now the wildlife. So for example, we can have some of a vegetation within the bone itself just laying around, collected or something of that sort. And just like that, we're able to just quickly gather all of these ideas for our artwork and get ourselves some real nice apple setup and just think it through on y, wherever we're going to make use out of that. And that's pretty much it in regards to that. Similarly to that, we can also, for example, describe the scene itself. We can go onto the architecture and for example, type in our lecture or Egyptian, harbor. Me small ideas. So just as an extra, I can get some of that as well. When you are working with IGBT though, we just need to make sure BR specific but not overly complex with what we're naming, what we're writing. So we're just looking for the key words. The AI is just looking for the keywords at the end of the day. So I just typed in that. It's more looking for architecture. We're looking for Egyptian harbor, the ten ideas. And it's based on a hot, so that's, that's all it's looking for and that's all it's going to give us. And I'm hoping that I should mention in regards to the IGBT itself, is that every time we regenerate a response, it's going to come up with new items, is going to come up with a different list. Sometimes it will have duplicates though. So watch out for that. And in this case, I can't seem to see the duplicates over here. But yeah, just gotta be very careful with in regards to that. But as you can see over here, there is a completely new list that we can make use out of. And it's going to help us in regards to developing our environment. Another thing that we can make use out of this four is, as you can see, this is not lectured at just a simple mesh that up. So if I want to, for example, think on what kind of material it's being made out of. In regards to this cloth, for example, in regards to the sale, I can make use out of this, helped me out with that. So what is I'm actually just going to go all the way to the top where I was asking about, um, well, where is it? There you go. I'm just going to copy and paste the same type of attacks just to speed up my workflow little bit and give me ideas. Or a boat. I'm just going to delete this part over here. Or a law material. Egyptian themed world. There you go. It's going to give me all of these like so. And linen apparatus. Outbreak. Milk is going to give us a lot of material to work with, which we can research real quick and then add it onto your scene. So we don't even need to just simulate overall visuals. And we can actually look into what's been used in Egyptian type of a theme. This case, we're going to be able to help ourselves out with getting more accurate type of a setup. And what's the one most oh, I can just ask that and it's going to say linen. So although gave us a bunch of different ideas, maybe some of them wouldn't have been used for boats. And ask which one it would be most likely to be useful abode. I pour a sale and it gave me linen. So it also gave some a bit of an extra information and why it's historically accurate and whatnot. And yeah, it's really nice, really simple. And it helps us to or rather continue on with the workflow, with the overall artist flow within our environment. And it doesn't hinder us. And we're just able to focus purely on the visual aspects of our artwork. And yeah, that's pretty much hit in regards to how we can make use out of the chair GBT in regards to the overall workflow. When we are actually setting ourselves up with environments and scenes as digital artists. And yeah, in the next lesson, we're going to continue on, finish with the IGBT by talking a little bit on how we can make use out of it after we're done with the environment themselves. That's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 6. GPT Assistant Within Blender: Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we talked about how we can make use out of the chat GBT to help us proud actual process of the artwork. And now we're going to talk a little bit what happens afterwards? Let's say you've got yourself a nice scene setup. You finished up all the work. You got everything rendered out, and you are pretty much done with the images. You might have taken some videos as well. You want to present your work to the world. What do you do? Well, here's the thing. To set everything up. You're not only needed to have images, neural only needed to have the renders. You also need to make sure you have the title, the description, and it's got to be visible to a user right now. In this day and age, there are so many artists, there are so many pieces of work. And it's always going to be a somewhat of a competition if you want your work to be seen by the world. So what do we do in regards to that? Well, for starters, with the charge, if T were able to create ourselves a type of a keyword assistance. So let's say a user is searching for something related to the theme of your artwork. But we're not quite sure what a user is searching. We're not quite sure how they're going to search it up. We just got to make sure that if it's in regards to the specific art style is going to be able to be seen. So in regards to this type of a setup, this is a walk restaurant, which I would like to, for example, set ourselves up with a nice Within a nice portfolio piece. I got to make sure that people view it and half of times, if they search for something related to that, I'm just going to type it in 3D. Art, work in a bar, romance of work, restaurant. I'm just describing what it is, a type of piece that I have for the context. We need to put a dot and then I'm going to ask for what I want. So for this case, I could ask for give me a title or this portfolio is and it would give me a title like so. So it's going to give me one. If I want to get more, I could get, give me ten variations, like so. And it's going to give me ten variations to choose from. So that's quite nice. Thing is about this is that we also need to make sure that again, it is in some way, whenever I use a researching for it, is going to give a specific theme, is going to give the right type of results. So our piece is going to be seen by the right audience. But I'm just going to type in the same thing, Excel and I'm just going to add at the very end. Sorry, let me just delete the thing at the very front. Like so, at the very end, I'm going to make it right. Make it search engine optimized, like so. By doing that, we're able to get ourselves a nice a type of a title. In this case, it seemed like there was a bit of an issue. Let me just go ahead and restart. You go by just clicking on regenerate responses gives me. And I said type of setup again, if we don't like this, we can ask for extra like we did previously. It might be quite alright. Oh sorry. I just realized the mistake I did. I wasn't I was looking at the titles right now and I just realized it wasn't giving me the right type of result. The reason being for this case is that this title, it doesn't say walk restaurant. It says work restaurants. So I made a slight mistake in regards to that. Let me just go ahead and fix that mock restaurant. Now I'm going to ask it for that. And there you go. It's quite nice. But I'm not sure if it's something I quite like. And let's say we got ourselves a nice title after optimizing it, we can also, for example, just copy the title itself. We can also include, we can write down make sure to include into this idle. I'll make sure I split that up with a line so we can hold Shift and click Enter to get ourselves a new line. So it's going to make sure that we split this up like so. And there you go. Is going to give us a better type of a title. Notice how puts the stylized or the front of the title is because before we asked about search engine optimization and because of it, it tries to make sure it's optimized on a lot of cases. Stylize it being used quite a lot when it's being searched up. And virtual, I suppose that's being also used. The person that's looking for this type of a I felt this type of an artwork is going to be able to find your work much, much easier. And therefore you're going to get more views for likes and whatnot. Now, the other thing that we're going to be talking about is after title. Of course, we'll need a description. When publishing artwork. Or an artists like myself, it's sometimes a little hard to write neatly. I focus on the visuals and I'm not really good as a rider. Plus English is my second language, so my vocabulary might not be quite as high up as other people. Though, having challenges with t Actually levels out this playing field. In regards to the description writing, I can ask for a child GBT to write me a description. I can just paste this in. I can add a bit more detail. So for example, this environment includes four or k. You're not actually sorry, material that up and I just write everything in what I I can't describe the environment. I saturation, rising sun. What else can I write them? On a table and table since we've got some food, Excel, we have some menu declarations and whatnot. Menu of corporations and whatnot. Modeled in Blender, textured and Substance Painter. I just basically give every formation that I can think off from the top of my head. And after I'm done, I just type in at the very top. So I just have a couple of lines using Shift and Enter. And then I'm going to write, write a description from this high volt, like so. And at the bottom, I'm also going to hear is extra in about work. And also, let's not forget that we need to specify that it's for free. The artwork or fried D. This time is going to be environmental artwork and environ mental art work. So once we're done, we're going to click Enter. And now I just need to make sure I regenerate the response. It's giving me error as it seems. And let me try doing that again. And loading up. There you go. Alright, so there you go, it's going to give us a bunch of different types of descriptions sorted. And one more thing that I would say is in certain cases on websites. Also, like when you set yourself up with keywords, you can even put keywords in the description itself. Or alternatively, you can make sure you add keywords just asked for additional keyboards and add them onto designated areas. So images go ahead and ask for some keywords. So if 20 keywords. And in this case there are keywords when it's only word-based, individual single words. And there's also a type of keywords that are going to be long string, basically a word combination type of keywords. So if we want to have a longer keywords, going to ask for 20 keywords like so you can see is going to give me this tab or result. And then I can ask, give plenty long string keywords. It's going to give us actually a bit longer than I expected. I'm on keywords. You can ask for that as well. There you go. That's what I'm looking for. So it's like three to five type of word words. It's going to be very nice in comparison to here where it's just like one or two words, each, dependent on our website, depending on where you're uploading your work, you might need to do this kind of keywords and it's going to give you a better visibility when people are searching for that kind of work. Also, when making descriptions that are not just makes sure to the type of theme you're going for, the eye of a setup, you've been working on. The more type of information you're going to give the AI, the morphing is there going to be able to work with. And the more, the better the outcome it'll get out of this. So, yeah, that's pretty much it when it comes to the chat gb t. In short, we talked about how we can get ourselves technical support out of a tree job which IGBT, by asking questions in order to problem-solve ourselves with some technical aspects of the program. We then talked about how to set ourselves up with mood board or help us get concept ideas using both the artists and genres together. We also made sure to Go over the basics of how we can make use out of the idea beside ourselves. Or we have some prompts and some assets for when we're working on a specific area of an environment. The only thing that I want mentioned throughout this is how to make use out of the Python, not going to delve too much into detail. But for example, charge of t is actually capable of doing some coding as well. We can make use out of it in a 3D modeling program. Which if we were, for example, to go onto blender, go to scripting tab on the top like so we can see that there is a tab over here which we can make use out of. And we can make use out of it quite simply. So for example, rate and random cubes in Blender, iPhone code, we can just ask for that. And it's just going to give us this exactly type of a setup. We can just grab all of these and we can just place this entire code into R before. And it knew for texts. Then within here I can just paste in the code, hit Enter. It will have a look on the left-hand side. It gives me a cube. I'm just going to make sure that we do have a queue with in this section, I'm going to go ahead and run the code like so. And you can see it gave me a bunch of different type of cube is within the environment. So yeah, you can make use out of the pie phone and set yourself up with different meshes and help you generate some, for example, assets within the scene, which is pretty useful. But if you are going for this kind of setup, I would recommend you to, instead of just using the default type of charge EBT, make use of something called Blender ET. This is a very nice type of a blender add-on. But I will tell you that isn't free. And you require special tokens, which if you were to set yourself up with the chat GBT, you're able to go ahead and do that installation is over here. So if you were to scroll down, you can see it. And yeah, you just have to make sure you download it yourself up with the add-on and follow along the system. So you can just download it from over here. I click on occurred clicking Download zip, and you will be getting yourself somebody called Chad GBT for assistant. And this allows you to, for example, change GPT model from Djibouti for the GBD 3.5. I'm not going to go too much into detail for this, but yeah, to make use out of it, you do need to make sure you go into your add-ons to enable it or GPT. I'm just going to search for that. You need to make sure you have yourself some API key, which if you were to search for chat, DVT API, you're going to be able to find it. Just like that. You can go ahead and go onto it. And you can simply go into your manager or view API keys set yourself up with one. And again, this is a paid functionality, so I'm not going to tell you too much on how to set it up, but just reading a new secret key, making sure that the billing information to set up and whatnot. And you'll be able to get yourself a real nice type of an Assistant which will allow you to do what I just showed you. And it's basically what it's going to do is it's going to use the Python directly onto the blender itself to give you some nice setups for the settings. So you can, for example, select all of this. You could go on to the scripting and you could type in the thing from the IGBT itself or by going onto the modelling and using the blender system, you could ask, for example, for all of these assets to be smaller by a value of 0.5, for example. So 50% smaller in general. So that's going to be it for this lesson. Thanks so much for watching and I'll be seeing you in a bit. 7. AI Image Rendering Introduction: Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we left ourselves off by finishing each IGBT, a text-based ai. And now we're going to continue moving on to the next ai, in this case, is going to be imaged generator, sort of AI where you are able to put in your own prompt but in your own texts, and it'll give you an art piece based on that. In this case, I'm going to be using my journey, which you can sign up for joining Beta. And you can just sign in and pay for the subscription itself. It used to be a with a simple trial as well, but now they only do Freebase type of a setup when they have a special promotions. The alternative to this myth journey can be also used as Open AI. It is a pretty good type of an image generator. There also is a version called freeway, also pretty good type of an image generator. And finally, it's going to be stable diffusion, which we are going to be touching within the blender section of the course. For now though, let's go back on to the mid journey and talk about this. And by default, you'll need to sign in and set ourselves up with subscription and whatnot. And you'll basically get yourself into the website itself. You're going to see, for starters, a Community Showcase which you are able to get a bunch of images and some prompts. We're going to come back to that in a bit though. But yeah, by default, on a website, you're not going to be able to generate the images by itself because you actually need a discord application for you to make use out of the mid journey. So I already got myself setup for that. So discord over here. And there are a couple of solutions in regards to remove journey setups. If you pay on a bit of an extra subscription, you're going to get herself a private message or any bot which will allow you to create your own unique ideas within something called stealth mode. If you are using a lower subscription, you will be having an alternative to that. A simple mid journey bought a server, which will allow you to go into one of the servers. So we can select the General, for example. And you can start generating your own ideas over here next to our users, which is pretty good as well, considering that you can also check other people's work as well. So that's pretty nice. But the sake of this course though, I'm going to go ahead and go back to the mid journey bot, which will basically make sure that my chat doesn't get spammed out. And as a quick tip, I will let you know that I usually have the mid journey is server and the BOD both meters. So you can right-click within a discord. You can mute the server and this should be a button over here that says MID Server. And I recommend you doing that. If you're creating some prompts and you're seeing what people's work as well. Because otherwise you'll be flooded with messages coming from a Discord. Yeah, moving on, the base of this entire journey is all you gotta do is just go into the message and type in. Imagine like so. Click space, it'll go, it's going to detect the command right away. And then within a prompt you can type in whatever you just hire. The most basic of the stuff resemble if we can type in a Viking Village Excel, we can look it up and it's going to wait for it to start. And after it's done generating, it's going to give you a nice result or not nice result, but for different variations of a result. It gives you basically an option to pick from whichever render you prefer to make use arrow. And once you get the desired result, you can basically select one of them and upscale them, which I'm going to show you how to do that in a bit. So for now, let's go ahead and wait it out. There is hidden in brackets. As you can see. You see a bit of a progress over here, which is going steadily up is by default is going to give you a blurry type of result. But as it keeps progressing with the AI type of a rendering, it's going to give you a better and better resolution. So as you can see, we also have the other option that says fast self. So self means that it's basically I'm using the direct messages to the bot itself and not the server. Then fast means that it is a priority queue. So what I mean by that is if I were to type in settings within the bar and click Enter, we've got a bunch of other settings to make use. So the only one I wanted to talk about is the fast mode. If we were to take this off, it'll give you a relaxed mode which won't take up any of your credits. So remember when I was talking about the subscription-based, it actually just basically gives you a certain credit score. The higher the subscription you're paying, the more of a score you're going to get. And to make use out of the fast mode, you'll need to make use of those credits. So, yeah, by taking this off, you're going to go onto something called relaxed mode. Which if I were to now type in the same message, which by the way, another quick tip, if you were to click Control Z, you can go back to the previous messages. So I'm just going to click Control Z and go back onto my hiking violent a village. Click Enter again. Now it's going to start doing the same. I pour a setup, but as you'll see, it's going to be much, much longer. I'm going to leave it for now and go back onto talking. They go, it says relaxed mode. You'll be able to see in real time how long it actually takes whilst I'm talking about this Viking Village by just simply typing in and prompt and Viking Village, It's going to give you four different results of a Viking Village. If you're going to write exactly the same type of prompt, it's not going to give you the same exact type of result because every time it generates, it generates the whole image from scratch using the prompts you have. It basically has a sort of a database of all the different images and whatnot, an art work within itself, which then it's able to link up and kinda create its own unique original piece. So in this case we have these kind of iterations. And let's say I like the bottom left one over here. If you notice underneath the entire setup, we have couple of options. We have U1, U2, U3, and U4. I'm just going to scroll down to see how this is doing and it's actually done already. So I'm quite surprised with that. Usually relaxed mode would take quite a bit longer. I guess this is not a rush hour during this time of day, so it might have been a bit faster. It's basically non priority type of queue, everything that is within a fast mode, it's going to end up getting rendered first. And this is going to be put in a certain cube wherein on which whenever there is an extra resources within its servers, despair is going to make use and Dennis going to start generating. So in this case, it actually was quite fast. So yeah, going back to this, I'm going to continue on talking in regards to what do we have with the options. We have U1, U2, U3, U4, and this refresh button. So let's talk about the EU buttons. They basically will allow you to upscale your images. If I like the number three, for example, I'm going to click on free, the bottom left. That is the way the order is. So this is the first one, the second one, third one, and a fourth one. So by clicking on U3 is going to initiate the command. Make sure to never click it twice. It just click it once because it'll end up generating it again. And as you can see over here, it's already done. It generated me with a nice image. So right now this is going to be a much, much better resolution if I were to open this up in a browser. This, and I think this was the one. You can see that this is the image I'm getting, which has an Irish art style. I can zoom in a little bit. I can see the type of quality I'm getting. And this is the image on the bottom left-hand corner that I had before. It's going to be a little bit slightly more blurry because it's part of four images as well. So there is that, so yeah, that's pretty much it in regards to how to use it. The Refresh button, it's basically going to give you the same type of command. By clicking on this, you're going to refresh the prompt again, which is going to give you new set of four images for the Viking Village. That, That's pretty cool. If you want to have more variations of one not of the same prompt, you can make use or that button. The final thing I want to talk about is going to be the V1, V2, V3, V4, just like we talked about the first line, the first row, it's going to be similar. So we're assuming each second image for image and forth image. In this particular case, however, it's going to be that it's going to create variations based on the similarity of this image. So if I were to click V3, I'm going to be able to get the variation of that same image. So that's going to try to keep the same. Rsl, tried to keep the same composition, another whatnot, and make some slight changes within it. It's not easy if you want something really specific in regards to the artwork. But it is pretty good for when you want like a generalized type of an image of something. And we, for example, you don't like a specific type of a part within an image. Maybe like a person was not facing the right way or something. Or you just don't like the way the people are laid out. By clicking on this variation is going to give you, as you see over here, the same type of variations. But it's just going to vary some things within a composition or not. For example, over here you can see there's a flag within a boat. These boats are facing different ways lightly, and houses have slightly different roofs and whatnot and just basic simple type of swaps. Changes in variation, which is pretty nice altogether. And before we end this video, I want to talk a little bit in regards to the subscription itself. It's not a sort of a credit system where you are able to render images and it just uses up like a token per render. In a way, it's calculating how long it takes to render each part of the objects. So in fast mode, if we were to start rendering images like so, we're able to take a certain amount of time to render and that time is being calculated into the system. And it's going to make use out of your subscription basically. When upscaling, however, I'm just letting you know that upscaling process, it's super fast. So whatever you have multiple versions, for example, you can click on couple of them and you don't need to really worry about I'm being taking too long and you can see it's just almost instantaneously, almost instantaneous. It's going to give you the images straight away like so. So, yeah, you should not use the program too much in regards to generating it, but upscaling, you can use it as many times as you want and it's not going to be too costly of a process. And so we pretty much covered our mid journey type of a an image generator. And on other websites, on other programs, it would more or less work the same where you input prompt. You have certain settings, you can make certain bits of variation like so. And you'll be able to get yourself a certain artwork or certain piece that you desire. But obviously it's not going to be perfect and you might need to do a couple of extra touches of editing or something to get perfect type of result that you desire. But now though, we're pretty much covered that the program itself. So we're going to move on onto how we can actually make use of this program within our digital art workflow. And we're going to move on with that in the next lesson. So thank you so much for watching. And I'll be seeing in a bit 8. Concept Piece Creation And Alteration Using AI: Hello, Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we'll ask ourselves off by making a quick overview of what an AI generator for images can do. A mid journey. That's the name of it. And yeah, just went over all of its settings are all of his general settings. That is, now we're going to dive a little bit deeper into it. So right away, the first thing that we can do to make use out of my journey is to make use out of it as a sort of a concept piece, as a starting point for our setup. For example, if one day and environment we can make use out of it to get ourselves dumping as a starting point. So yeah, the way we can do it, for example, we can just type in imagined and we can type in street alley, for example. Let's put it this way. So the first things, the first thing that is going to do is just going to generate as basic ideas for the street alley. But of course, Let's say we want to be more specialized, more specific setup. So what we can do is we can give it more of an better idea basically for the overall setup of what we're looking for. So if I were to click Control Z and go back to my prompt, I'm just going to make sure I click on the prompt itself. So it's going to make sure it's recognized command. I'm going to go back on to restrict Ali. I'm going to put a comma and then additional information that I want to put. So for example, in this case, I'm actually just going to wait this out until this is done. And I just realized I left this off on relaxed mode, so I'm just going to go ahead and just delete this. Use my settings command like so. And make sure I set it up too fast just to make sure that my other commands that go a bit faster. And this is the type of a street alley we're getting. So it's very colorful, very nice starting point that we're getting that we can use as a reference point. But it might not be quite as nice smile not be quite the right type of a setup that we're looking for. So what I'm gonna do is I'm going to click Control Z and go back onto the image prompt. I'm actually going to this time hit Tab instead of just clicking on command itself to make sure that it gives me the texts that I had before. And now after the comma, what I can put is I can put extra details. For example, a neon night time like so. And just adding neon and then nighttime, it's going to give me a complete different type of a look. So now it's going to be more consistent to what I'm looking for. For example, if I'm looking for more of a futuristic neon type of a vibe or like a Cyberpunk type of setting, for example, or something of the sort. I'll be able to get it out of this. And yeah, by just specializing in what you want, you can get some nice results. So for example, you can also ask for a specific type of a century, for example. So 1800s type of street alley. This can also be type of a setup. So you can get yourselves and nicer type of setting out of this that specializes in 1800s. So basically, you use commands to specialize and what kind of generated image you want. And that's going to give you some nice results. One thing I will say is that makes sure to not over x plane or over complicate this entire setup. It might just give you the wrong kind of results that might not give you the right type of setup. And also, when I'm looking for like a starting point as a freelance artist, I often want to get a more, even more realistic or more stylized type of look depending on the environment from doing so, for example, if I were to go back to the neon type of setting, your nighttime, I want, for example, if we wanted to go for more realism upward, put in four for K, which usually gets high definition. It's not going to give you a high-risk high resolution or more pixels. But it will make sure that there's a little bit of an extra detail within your setup for where to put it in for k, that's going to give me that. I can also put it in ultra realism. That seems like a nice command. Listen, I putting with a dash. So it's going to be making sure that it's getting this as one. And just by putting these in, I can click Enter. And you can see this is the type of neon style I was getting before. If I were to just open this up, show you the work quite nice, but there were somewhat painted and they weren't exactly, it might be a nice side point. It looked like more of a concept artist. So I went ahead and asked for more of a realism using for k and ultra realism. Other thing that we can do is we can also go for more stylized type of look. We can, for example, if a word to type in stylized, stylized So it's going to give me a nice result. But obviously because if Amar use it as a starting point within a 3D software or wanted to make sure that it has nice proportion. So also put in 3D. So stylized three D seems to give a nice type of a setup or different types of variation. And it will give you a real nice type of a starting point. The other things that we can control is going to be in regards to the color schemes, for example. I'm going to go back onto this. I'm going to keep it as that. And we can type in some extra. So for example, green color scheme. So we can control basically the overall color palette of the generated images. Like so. Or we can, for example, type in highly saturated, were to type that in as well. Highly saturated. It's going to give us a higher saturation or and also to low saturation, in which case it might not actually work out. And the reason being is that we also have neon. Neon lighting often is known for high color contrast and whatnot. And it might collide with the low saturation. So often, it's not going to give you the right result. And the way you need to think of this is that the more examples that has on Internet, because the way that this AI was made is just scooped up a lot of different images and God like different tags and whatnot and kind of mash them in together. So if there wasn't right amount of images, it's very specific or very out of the common. It might not give you the right results. If I were to search for something very odd or very niche that has like a small portion of images that the air was trained on. It might not give you the right results. So in this case, because I use low saturation, which I'm going to wait on this. I'm going to check if it actually looks quite alright. But anyways, going back to what we were doing before, or k ultra realism, let's go ahead and see how this turned out. So as you can see over here, it gave us a much, much more detail within the settings. And I'm not upscaling this at the moment. I'm just seeing how it looks and yeah, it looks quite nice as nice reflections and whatnot in comparison to the previous ones. Obviously, it's not going to be the same type of a comparison, but we can see the overall style. So now we're going to see the stylist 3D. Let's see how this would look like. And these ones have like a little bit more of a figure shapes around in regards to the detail. And I'm not sure what's going on with this. This seems to be connecting two images together. So it might be that this stylized 3D wasn't quite working well enough. You can see that it's not picking up the right type of detail. In which case, it might be because they just didn't have enough examples for establish 3D scene that had just Neon settings. So that might be the case, but even so, you can see like some nicer breaking points on the concrete for example, in comparison. So up to you how you make use out of it. And sometimes you need to tweak some wording. So for example, I might need to remove the neon itself and yet a nicer type of a stylized theme. But for example, going back to what we were doing before, highly saturated, this is going to be much higher saturation. You can see that the colors are overly saturated. It's a nice color scheme to make use out of, especially in our settings. So it would be pretty cool to make use of that. Then there is a green color scheme like so it's already looking quite nice if you want it to be more of a green saturation. In regards to our environment as a starting point. For example, if we want to make use as a type of concept piece as a reference point, basically. Finally, low saturation, saturated. We are not going to get the right result because just realized that I don't need the saturated. So let me just go ahead and fix this up again. Low saturation. I'm going to try that out. I'm also going to remove Neil this time. Let's see how this would look like. Just because we removed the neon, it might give us a much better result because we still had a stylized spree, the one. But let me just go ahead and wait for a little bit. And there we go. We've got a couple of alternatives rendered. So this one is the neon one that's stylized free D low saturation. Go ahead and have a look how this looks like. And you can see it has, It's still constant RT type of a look. It's not really good at handling the neon hypo, alleyways when it comes to finalize artwork, obviously every iteration, every version of the myth journey, it gets better and better. But it might not have had enough images in regards to that. For example, if we were to look at the street LA, nighttime, that's also stylize pre D and low saturation, but without the neon color. We can see that it looks much, much more interesting in regards to how salads there is. It still is low resolution. If we were to upscale it, we would, we would see that it actually looks quite nice. We might scale the second one, for example. Again, it's quite a passport or process when it comes up scaling it. But then it adds a bit of an extra detail and so forth. And yeah, that's pretty much it. And when it comes to the concept art creation, we can make use out of this and we're running out of time. So I will continue on with this type of a topic in the next lesson. So thank you so much for watching. And I'll be seeing in a bit 9. Midjorney AI Generating Angle and Composition Variations: Hello and welcome back everyone to ai and 3D art, a course for digital artists. And last lesson we talked about how we can set ourselves up with some concept pieces, how it can manipulate the art style and specialize in which direction we want to be nice to go for. Now we're going to continue on with the overall idea and talk a little bit more in regards to how we can have a little bit more control over the overall composition, style and whatnot. So let's go ahead and get started. First things first I want to talk about is going to be a bit of an extra type of description, descriptive writing. If we were to forward to click Control Z, I still have the same previous type of setup. I will take off the low saturation and I want it to be low saturated. And I will actually add something like neon. Sampling could guess I quite like the overall style, to be honest. And yeah, we'll take off the stylized 3D. I think that's going to give us a nice step. Look. Go ahead and add this prompt. And while we're at it right away, while we're waiting, I'm going to talk about the additional description. So first things first, what we can do in order to make it look in a specific way in the wave that we want or in the way that's usable within our program that we want to recreate. For example, if we were to use it in Blender, for example, I wanted to maybe want to use a different angle so we can actually specify the type of angles that we want within the mid journey. And by simply writing one of the cameras angles that I usually use within the cinematography. So we have low angle, high angle aerial shots, mid shot. We can have those options to make use out of it. And it's going to give us a much nicer type of results. So like I talked before, low angle. If I were to type it in, low angle, like so, it's going to give us nicer type of a result. So right now, before it was just a straight kind of alleyways as you can see over here. If we were to type this in, her as a low angle is going to give us a different type of results. Or alternatively over to type in, aerial out like so. It's going to give me different type of setup. You can see over here, I typed it in with a gap and didn't use located before. In this particular case, it's not going to be as relevant. But sometimes it does seem to give a bit of a different type of an outcome. So do recommend you playing around with that a little bit. If you're not getting there, same type, the type of results that you're looking for. Angles is a great way of setting a different type of shots. We can also specify not only the angles. So for example, I angle at this point, I angle is a pretty good one. But I like using that when I'm setting up certain content pieces and whatnot within the 3D environments. Since I get a different type of an angle that I can see the top and I can see the bottom or whatnot. Anyways, high angles, pretty nice. But let's say we want to tell the camera how far, how close away we want the piece to be. We can also talk in regards to that. In regards to the closeness. There are names for a specific type of shots. So we can either have close-up shots, we can even have mid shots, and we can have something called a full shot as well. So in this case, I'd prefer to have a full shot or actually there are a lot of angles like that. So maybe I'll go for the extreme of close-up. It might not be quite as nice if we want to go for entire environment, but if we want to just focus or skill set onto one particular part, this might be a little bit better. So let's go ahead and wait. And while we wait, let's go ahead and go back to what we were looking for before. So straight alley, nighttime neon, without that extra tab on description, we can see that we get those kind of thoughts. It does vary in regards to the angles, for example, the bottom-right, you can see it has more of a variation to the angle itself, but all in all it's more or less the same. Then we have ourselves a low angle. You can see the camera gets a bit closer to the ground and it's a more prominent and more visible when it comes to that within the shots. It's not quite exactly visible for this particular example, but usually you get more variation. When it comes to aerial shot. You can see that we get way different type of a feeling, way different type of a look when it comes to that. And it's looking quite nice already over here, so that's quite nice. Then in regards to the closeup, even though we use high angle, it doesn't seem to have much of an effect because it might not have gotten 2 min examples. But if we were to try using a different type of a scene, we might be able to get a better type of a look, but anyways, close up, we can see that it closes in on this, an actual closing. Let me try showing a different example to explain a little bit better in regards to this So what I'm going to do, sorry, I'm just going to go ahead and delete this and I'm going to type in, imagine we've had, type it in, by the way, the full word, I can just type in. I am, It's going to be the first prompt. I'm just going to hit Tab and I'm going to get myself the entire command already set up for me that I could type it in so that speeds up a little bit overall process and waste. Going back to this, what we can do now is we can simply type in, for example, orange on a table, very simple, very basic type of a setup. I'm then going to also add, I'm going to hit Tab to make sure it goes to the command that I'm going to also get a closer, not only close-up, extreme close-up. I'm just going to happen close. So we can see the difference. And you can see already by processing everything, this orange is a bit further off. This is a bit closer in and that's extreme close-up. It's going to be super close-up in regards to objects. So if you're working on some specific details N1 to get some referenced, nice reference points of certain objects within your scene. You can make use of this to get some nicer detail and just to get nicer reference points from this. And just like that, we're able to get some real nice type of setup, obviously, because it's an orange, it's a very common type of a thing. And it should give us some nice results overall, you can see that if I were to go open it up in a browser, we can see that it actually looks quite nice, quite a lot of detail within it and whatnot and yet it's basic prop. So in certain cases where the probe itself is very uncommon, it might be a bit harder to get those results though. And because it's any height, you might get some type of issues. For example, with this one, you can see that leaf is actually floating on the sides. So you can either choose the alternative one or you can try to maybe use variations. So before if I were to press this, we'd be able to get ourselves more variations out of this. And yeah, just like that, we're able to compose and get nicer shots. The final thing I want to talk about his day in regards to the commands themselves, know not only can rewrite it in the prompts. So for example, extreme close-up. I want to actually go back to the neon type of a setting. I'm just going to click on Control Z times until I get my previous prompt. Or actually, instead of doing that, what I will do is I will go all the way to the top until I get to the one that I like. For example, like this one, nighttime neon style. Well, maybe not this time, not this one. Saturated. Now, I'm sorry about that. I just wanted to look into them. It just a little bit more. And yeah, I'll just go ahead and use the original one. Therefore, K ultra realism, I like that one by default. Anyway. So you can see the oranges over here that you've got much, much closer in regards to day go extreme close-up, you're going to be super close-up. Entire orange is going to be filling in the frame. So going back to this, once I have it copied, I'll need to basically go ahead and use, I imagine hit tab, then click Control V. And just sorry about that. Just didn't copy entire section limits code back all the way up to the four carriers them. If you at some point tried to go between your own stuff or if you're using a server, by the way, using the default one, you might be struggling with this entire sections. So what you need to do in that regard is you just need to open up your inbox and it should pop up with your mentions when you are within the server. So by default, when you type inventions, you should, when they're done rendering, you should get them over here so you don't need to wait for your own one or search for them and whatnot. You should be able to scroll through your own ones and you should be able to find them easily. And that's just something I wanted to mention before. Getting some comments in regards to the stealth mode not working in the same way to the server. So what I want to do right now is just a quick show of will actually take the aerial shot. This one I quite like. Anyways, I'm going to go ahead and select this hit Control C to copy. Go all the way down. Now, use the imagined it Tab Control V. And there we go. We've got to sell this. And I'm going to go ahead and hit Enter. We're actually not enter. Sorry, I didn't want to show you the extra commands I was talking about. So mid journey has some command prompts. If you were to go to docs.majority.com, there is a command list and you can see a bunch of them which are going to be parameter list. There you go. They're called actually parameters. There is a way to increase the quality which will increase the rendering time. There is way to keep the seed, which I will talk about how to get more consistent type of a look in a bit. There is a way to get a bit of a different style tile. We're going to come back to this in a bit. The one that I'm looking for specifically though, is aspect ratio. There you go. That's the one AR. So that's the best recommendation that I'm going to give this lesson probably that because the reason being is this is a huge lifesaver when we went to get a nice composition. So in this case, most of the images by default has one-to-one ratio, so a complete square, but by using a bar, we can specify the type of ratio. So the YouTube thumbnails, which videos and whatnot, they usually have a ratio of 16 by nine is the maximum you can get in ratio is two by one, which is going to be completely white, but you can't go further than that. So keep that in mind when working with this. And I'm going to go ahead and use 16 by nine. It's going to give us a nice composition. We can make use out of these, the ones that we have over here. But you can see if we were to try to set it up as a widescreen composition. It might not give us just as nice type of a layout. But right now because we're using the AR 16 by nine, it's going to give us a much, much nicer type of a look. Let's go ahead and wait for that. And all in all, it's going to perhaps work in a better kind of a setup. And keep in mind, because it's also considering the composition as well is going to help us out with that. So if we were to use this as a reference point and would work much, much better if we were to set ourselves up with wide shots. And yeah, let me just go ahead and wait it out. There we go. You can see the type of aerial shots we're getting now. We're getting so much nicer for the widescreen type of its sharp, and we'll upscale one of them to show you how they look like. So maybe one over here, I'll go ahead and upscale it so it would break down the image just a little bit like so. And you can see the type of look that is getting. We get a nice kind of a composition on the right-hand side. It blurs in the certain stuff. It helps us with the overall the way the objects breakdown is alleyway, Just overall, it's a nice shot for widescreen type of setup. So yeah, that's pretty much it when it comes to that. In the next lesson, we're going to continue on talking about this. Or we can get a similar more of a similar shot instead of just using the variations at the bottom for the commands over here. We're going to talk a little bit in regards to that. So we're going to continue on with my journey in the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 10. AI & Custom Image Generation: Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we talked a little bit about the composition on an ankles and just in general, how we can make our concepts starting points for a reference type of a setup a bit better. Now we're going to continue moving on in regards to that. We're going to talk a little bit in regards to the variations. And then we're going to learn how we can make use out of it within blenders. So let's go ahead and do that. So, yeah, this is the image I would like to use, but at same time, it doesn't look just quiet, right. So what we can do well, like we talked about previously, if I were to just go ahead and locate maturity parameters, there is an option for seed. It would allow you to get a similar type of design XML type of look. So even right now, if I were to have this and I wanted to have more variations, I can click make variations, but it's in general going to just switch out a couple of things. It's not going to give the right amount of variation that I want. So the alternative for that would be to make use of the team. And it's quite a nice type of a setup, but I don't usually I use it quite as often. It is a useful thing to know though. So let me just go ahead and show you how we can make use out of it. If we were to find the right type of an image that we want to make use out of, we can go ahead and simply add a reaction and then search for envelope. The envelope. If we were to just react to the image with an envelope, we're going to basically get the right type of an ID and seed the seed we can make use out of it with this command, like you see over here. You basically at the very end, if you put it in, we'll be able to get similar type of generation that has been used within the same ai. And it's nice feature. I don't quite like it as much as the alternative for what I'm going to show you. And that is to basically make use out of the entire image is and allow it to just generate it from that image. So what I mean by that is if we were to go onto the image, open it in a browser, we can go ahead and copy the entire link, as you can see over here. So with the generated image, we can copy the entire link and then we can just go ahead and re-imagine this entire shot. But this time after and before the commands that is, I'm going to just put it in the entire link to make sure there is a space over here. So the commands are going to be right after this. I'm going to click enter. And what it's going to do is it's basically going to process this entire image with the keywords. Keywords are actually needed for the image to be processed properly. So we can be, they can be changed, but the still are needed. We can just simply put in an image and expect this entire process to work. So by putting this image is going to process the entire thing. And then it's going to allow you to get the desired results basically, which is a real nice type of a functionality alternative. What we can do if we want to make use of our own image, for example, we can simply add it onto a discord, whether it's a server or a messenger, a direct message doesn't matter. We just simply added into the server or whatnot. Then we go after it's uploaded, open it in browser. And there you go, you're going to have yourself a link. If you want to make use out of the ones from the website or internet, you would simply have to open it up or you would have to wear to just click on this, you would have to right-click and copy image link. The only thing that you need to make sure is that at the end it says dot PNG or JPEG, basically the image format. And then afterwards, once you're done, you'd be able to make use out of it. So in this case, if I were to try to make use of the same type of prompt, but change up the image. So it's going to try to make use out of this type of a football with the image, with all the keyword set up. It might give you some bizarre results, but experimentation like that, it's sometimes nice to make use out of, and I do recommend you doing that every once in a while. It will give you some interesting setup. I will wait until they're finished and I will show you the results. There we go. It actually created ourselves, is sort of a nice hitting with Bowl. And it tries to incorporate some of them. Look pretty cool, not going to lie. They are definitely more of an abstract piece. But yeah, by just having certain keywords, mashing and ideas with the images themselves, you are able to get so much variation, so much of an interesting type of results. You can definitely make use startup. Yeah, that's pretty much it when it comes to that. So in the next lesson, we're going to pick ourselves type of an image, and then I'm going to make use out of it in order to show you how we can make use out of these two basically help us with the production within freely environment using blender. That is, yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 11. Blender Basics: Hello and welcome back around to a high-end 3D art, a course for digital artists. In the last lesson, we talked a little bit hidden regards to how we can make use of the custom images and set it up to help us get nicer type of environments and pieces that we're going to continue on with it and just get ourselves a nicer image. I really liked the first one actually, I'm going to go ahead and use it in order to set ourselves up with a nicer variation. Well, we gotta sell us a nicer piece. I'm going to open it up in a browser, save it out. And we're going to learn how we can make use out of it within blender software. So let's go ahead and do that. Going to go ahead and open ourselves up with a blended software. We will make use out the blended program for freely modelling a little bit just to get a hang of it first, I would like to play a quick introduction video to the program just to help you familiarize with the program itself. If you're confident in the scalars, would recommend you to then skip it over and continue on. With the second lesson, I will have interactable keys from this point on. You make sure that you're able to follow along a bit better in regards to the lessons. Yeah, I'll see you in a bit. Hello everyone and welcome to the Basics of Blender part of the course. I recommend grabbing a pen and paper or a Word document enjoined down these keyboard shortcuts. He'll be going through the very basics of Blender and the keyboard shortcuts you will need. We've all that said, let's get started. On the left-hand side, you'll see I have key casting on. This will show you the keys I'm pressing in real time. And this will be on pretty much, if not all, of the entire Cole's. The next thing I'd like to show you is any new keys we use. There'll be a small animation, the opiate down at the bottom right-hand corner. This will only appear the first time we use that particular new key. And I think it really helps keep the floor of the lessons to a decent rate, both for beginners and those more familiar with Blender, because they only appear once. They won't pleura up the screen. And there's always screen casting to rely on. Also down the bottom right-hand side, you'll see a detail animation of anything that needs more contexts. This is useful if you're new to 3D model in particular, because there's a lot of jargon and technical terms that need a decent explanation or more contexts of why we are doing something. I recommend. Then if you need more information, jumping onto the blended website and checking out their detailed explanations or pretty much anything blend unrelated. So now when we mentioned blend the viewport, this is actually a viewport. You can see all of this gray area here is actually the viewport. Now, if we go to the UV Editing ball up here, you'll see the overlap downside. It's now in two screens. And if I say the UV Editing viewport, all that means is just this grayed box over here. So now let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is the middle mouse button. Actually, if you hold it down, you can rotate anywhere within the blend of viewport. And then if you want a Zoom is just scrolling and scrolling back. Now you can also press Control Shift on the middle mouse, hold it down and then just push it forward or push it back. And you can scroll in very, very slowly. Now it's a pond or you need to do is you need to hold Shift button on the middle mouse. And then you can pan from left to right and to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom through it. All you need to do is press the adults on the actual number of pod and that will zoom. You're writing to the objects. You want to Zoom too. So for instance, if I'm zoomed out and I want to zoom to my life, for instance, it's very easy then to come across the scene collection. Click on your light crest adult on the number pad and that will zoom you write it. Now the next thing we need to discuss is just deleting objects. To click on an object is just left-click. And then we can press as you can press the Delete key, and that will just delete out of the way. So I've just lead to more light there. And now I'm going to come across to my camera and actually delete that out of the way as well. The next thing I want to discuss is if we click on this cube and we press shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual Q. If I don't actually click anything on my mouse and I just click the right-click bond, it will drop that back in place. Now you can't see there's actually two cubes EU at the moment. Well, there actually is. So we need to bring in a gizmo. And the gizmo is basically something that we can move things left and right, up and down, things like that. So if I press Shift Spacebar, calm down and you'll see we've got one that says Move. And now we actually have our gizmo. And if I pull this to the right-hand side, you can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you go to Select and now you can move it basically anywhere around the viewport. You can drop it back with a right-click or you can put it wherever you want it. So g, and then you click, left-click and it will put it wherever I wanted it. Now also why the adult bond, the Zoom to bone is important is if a person adult bone now you will see that if I just zoom out and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual q. Now, if I click on the other queue and oppress the adult bone You can see now I'm actually rotating around the origin of this Q. Now the next thing we want to discuss is object mode and edit mode. At the moment we are in object mode, we can't really do a lot with this cube except move it round. Now if I press the top button, we will then go into edit mode. And in edit mode, we can actually do a lot more things with this cube. So up on the top left-hand side here, you will see that we've got three different icons. One of them, this one here is versus the next one across these edges and the next one across. Now, if we're on vertices and we come over to this vertice for instance, I then, if I press Shift Spacebar to bring in my gizmo again, I then can move this around. Now if I come in to edge select, I can grab the whole edge and move this around like so. Finally ever come into face select, I can now grab a whole face and move it around like so. Now the other thing is if we come to, are there to select, I can select the vistas. You can also select another vertex or another object or something else like that, just by holding the Shift button and actually clicking on the other vertices are the other objects. Or if we come to face, like for instance, we can grab this face, shift, select the second place, and this is how we can select multiple objects. Now, the next thing we need to discuss is the axis. So we can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top right-hand side here where you've got these two interlocking balls and you click this little down arrow, you will see that we can turn on the z-axis. Now we're just going to turn this on just to show you what I mean. So it turn that on. Now you'll see another axis appears here. Now, the green axis is representation of the y. So if I want to scale this out on the y, all I would have to press S and why. And now you can see, I can scale it out along the axis. Now everyone to scale out on the x, so that's the red axis. I'll press S and X and I can scale it out alone, 56. And again, the same thing. So S and Z, the open down axis is dead and its essence add and then you can scale it up and down. Finally as well, this also important if we actually wanted to rotate it, because we're rotating it on an actual axis. So what we're going to do is I'm going to grab the whole of this by pressing the a button and then I'm going to rotate it around. So once you rotate two on the y-axis, so it's Paul y, and then you can see it will only rotate on the y-axis. And no matter where I put my mouse, it will always rotate on that axis. Clicky back to where it was just again, the right-click. And if you want to turn it, all you need is presses all and Y again, and then let's give it a degrees. So what we're gonna do is gonna press 90 on the actual number pad. So 90.2 boron, and now you'll see it's rotated by 90 degrees. So just to summarize that S is scale and all is rotate. Normally when we scale something or rotate something, it's followed by the actual axis and then it's followed by a number. Specifically when we rotate something, normally when we scale something we just hit scale, pull them outside and we'll scale it up when we rotate something that's normally all followed by the axis, followed by a number on the number pad. Now the last thing I wanted to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all turn off the z axis. And what we'll do now is we'll use the number pad to actually view this. So if I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the numpad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now the opposite to get to the opposite, or you need to do is you need to hold control. So in this occasion will press control and seven, and that will bring us to the bottom of this object in the viewport control one is the rear of the object and controlled Three is the opposite side of the object. So now before we finish this section of the course, I need to show you something that's also very important. So if we come up to the top left-hand side, you'll see you've got a button here that says Edit. And if we come down to Preferences, one thing that you should always do that when you first download a blender, you should always put on the status bar, which is this button here. And if I click all of these on, you will see now, if I click them all along and I close that down, down at the bottom right-hand side here, you have all the details that you need. So for instance, we've got how many phases and how many triangles are actually in the scene, on the objects are in the scene. I'm the memory and v round. Let's actually take note. This is really important if you want to get a good idea of how much power you computer is actually using and how many polygons and triangles or indices, polygons and triangles you'll learn more about as we progress through the course. And that pretty much covers the basic blender. And I hope you-all found that both helpful and informative, but more importantly, easy to understand. So now, as they say on with the show, Alright, welcome back everyone. I hope that the video has been productive and you were able to now get a better grasp over the software. And now in the next lesson we're going to continue on with this and actually start setting ourselves up with the reference. And I'll show you how we can make use out of the images. So yeah, I'll see you in a bit. 12. Using AI as 3D Modelling starting Point: Hello and welcome back everyone to ai and pretty art, a course for digital artists. Last lesson, we got ourselves an image and we went over the basics of Blender. So this is the image I'm going to use as a reference point. And we will be able to learn how we can set ourselves up with a basic layout. So the way we can do it is we can go ahead and hit Shift and a on the app itself, like so. Then there is an Image button over here, which we're going to be able to click reference. The image. Import is going to allow you to bring an image, but before doing that, makes sure that camera is set up nicely. So right now, because the image that I'm going to use is going to be sideways, diagonally. It's not going to be as important at the moment, but by using numpad, you can, for example, click one or three or seven to go to top-down right view, front view and so forth. So it's really important to have a, more or less like a general type of a setup or camera or the view that is to allow you to import it on the right type of why basically, well, let's go ahead and do that and I'll show you what I mean. I'm going to go ahead and add an image as reference. Good starting point. I'm going to find the image real quick. And that's going to be, you go, That's the image going to load it up. And there we go. You see what I mean by adding the image in this way, it's going to make use out of it and add an image based on the cameras. So now we're going to make sure we adjust this overall image. The easiest way for us to do that is first of all going to be these points are the points on the image itself, which we can drag it in and out and it's going to be surprised to scale it up. But of course this is not all. We need to make sure we adjust the image itself. So the way we can do it is we're going to, actually, if you're not seeing these points over here, just make sure to click on this button like so. And there's going to be, or sorry, not this button. This button over here. It's going to basically allow you to enable empty image. This is, this needs to be ticked on in order for you to see these points that will allow you to scale it up and down. Then in order for you to move it, we're going to use this tool over here, but in this case, it's set to global, so it's not going to move in the right direction. So it's only going to be moving in a weird way or not weird, but in the world, in regards to the world position, we're going to change the gizmo to be local. This way it's going to be properly aligned. So now we can bring forwards, backwards like so. And we're going to readjust the position in a way that we want. So we got arrows to go up and down, sideways and back and forth. And then we've got these little squares in-between to kinda move it in regards to the log axis. So it's not going to be moving the z. It's going to only be moving the green and the red, which is x and y. You can see this axis somewhere here in regards to the color coordination that I'm talking about on the top right-hand corner. So they go, we gotta solicit some nice type of settings. And we can just upscale it and just kinda nicely positioned it. What I like to do at the very start is actually bring in a human reference for the things that I'm working with. And I have a simple type of a human reference that I'm going to make use out of. So let's go ahead and grab that. I will make sure to have this added as a resource pack. So, yeah, let me just go ahead and add a simple human reference, which we can do so by going onto file, and it is OBJ. So let me just go ahead and import an OBJ. So that is going to be wavefront OBJ. There you go. Actually this is a legacy one. I'm just making sure I'm using the right ones, which go ahead and check it real quick. Actually, it is particular case, it doesn't matter which one you use if it's legacy or not. We can just use either one or let me just go ahead and find the human reference. You will have this type of a setup within your resource packet. Just make sure to unzip the entire package. And then after which just makes sure to import it. And you will have yourself a nice human. So first things first, we're not able to see the human past. This image we can work with, this is going to be if we see the updates behind right now I have the human reference and a box behind me, but I'm not able to see this. So what I'm going to do is I'm going to simply go on to select the image, go on to the Image Options. And then there is a small option called opacity. If you enable this and lower this down, we can start seeing the objects basically behind it. Then we're able to select it, but at same time, we can deselect it. We can select pass this image reference, but just keep in mind that it might be selecting the image itself when working with this. Anyways, moving back to this, what I, another thing that I like to do is set the camera based on the reference itself. So right now, I'm actually going to go ahead and go onto camera. And I'm going to click on the numpad, which is going to We're onto your camera. If you don't have the camera or you deleted it at the very start, you can click Shift a and you can add camera through here, like so, so this button over here. Anyway. So once you get a camera and click zero as the numpad, you can click N also to pop up the menu on the right-hand side within the view bar. We're going to go ahead and use view. And we're going to click on this button over here, camera to view. This way when we move the camera, we're going to make sure it stays within our locked view basically, so we can move the camera. As you can see, this frame over here, which represents the camera, is going to move with us. Alternatively, if we don't have the song, but it's going to move this out and leave the camera behind. There. Is that. So first things first, I'm going to try to make this image a little bit more. Basically straight in regards to the overall setup is going to be a little bit easier for me to work with. I'm going to make sure that this cube is a little bit longer. So I'm going to be able to readjust overall setup. That's a nice length. Also select this image like so. I'm going to bring it back. We're going to then lightly rotated so I can click our Zen. Keep in mind that this is still set to local, actually not ours that are perhaps a little bit RX or zed, or not our z or y. There you go. In basically rotate around and until we get the right type of setup. Now since we have the camera back on this angle like so, we can click zero to go back on your camera, which we're trying to get the right perspective too. And we can just play around with the overall settings and get the right type of results. So I'm just going to make this much smaller. Well, with the camera view turned off. And we'll move this out of the way actually. And we'll see how my character looks like in regards to these people over here. You can see that we are actually needed to go back, way backwards. I'm going to lock down the view. I'm going to move all the way back like so until we get this type of look that I'm going to pick up this image reference, bring it back a little bit like so, and set it up just like that. Then I'm going to click our y, rotate this around perhaps our x, our y, like so. It's something like this. It looks a little bit better. And we can just basically play around with the setup, make sure we get the right type of a look in regards to the camera itself. In regards to how we get a perspective. Explain around, we're going to be able to get the right nice setup. I'm just making sure that the scale for human, which I'm going to click right now and I'm going to click zero is going to look more or less the same in regards to the humans, it's a bit hard to see, so I'm actually going to make sure that the cameras view is ticked off and I'm going to zoom in to the frame itself. You can see the frame is still there, but I'm just zooming in a little bit to the human. So now I'm just making sure that it might be a little bit smaller, like so. That looks, that looks about right, In regards to the human. And I'm wondering how it's going to look like in regards to the perspective itself. So then we need to maybe rotate it around. Ry, resemble it, looking a little bit nicer. Now this time I'm looking at the grid itself, making sure that the grid kind of matches up a little bit more with the overall settings that we have. And I'm just wondering, are x or y or z. If you need to rotate the image itself a little bit like so, which I will do actually. And there we go more or less. You can see this line is actually very nicely like so. And we're able to get it in a nice position. So then you might be wondering, what did we do with the camera? What's going to happen to it? When it comes to the camera, we might need to readjust the camera itself afterwards. But all in all, it's actually quite easy to do once we grabbed the camera and grab it to lock it to review. We can also, using the local axis, we can rotate this around. We can click our x. We will pan it sideways or why? A little bit, or sorry, our zen. There you go. We can just get it just right, like so. And after doing experimentation like that, making sure that it has a nice position, nice and proportion or whatnot. It isn't actually looking. Why that's bad. I'm going to click Control Z because I forgot to unlock the view. And I just realized that this is not looking quite as I hoped for, because the reason being is, I can see that this building in the background, the cube that we had before, which is another thing that we should make use out of to kinda get a nicer setup. It doesn't look quite as well in regards to the proportions. So we might need to do some adjustments after all. So I'm going to also select this cube over here, going to click sx2 ended as y. And I stretch it out, make it a bit thicker in regards to the building itself. Then I'm going to start playing around with this a little bit more Something like this. And just playing around with it, getting the right type of an angle like so we're able to get a nicer type of a setup. I'm just wondering if we need to, for example, bring it back, bring it, scale it up and whatnot, and get the nice type of a setup anyway. So once we're done with that, the final thing that we need to do, once we get into the right position and whatnot is simply replicated based on this type of a setup. So after we're done with it, make sure to uncheck this off, get back out of transformation orientation to global. Because when modelling it's usually best way of doing. And then what we need to do is simply based on this type of a look. We're going to be modeling ourselves the basic streets. So the best way for us to do that is actually if we're to bring out another window. So I'm going to right-click and I'm going to be doing in horizontal split is going to be nicer or actually sorry, with the vertical split. So I'm going to right-click on this edge over here. Vertical split, going to drag this out and we're going to get this type of result, which if we were to hover over the mouth, by the way, the mouse location is very important and blends. So just make sure to hover over the right window, then click zero. It's going to bring us onto this type of a reference. So that's pretty good when it comes to that. To click N to make sure I hide this away. So they go, we got ourselves a nice reference points. So now what do we can do is simply by looking at this type of a setup. We can select this and start working in regards to how we want our buildings to look like. So I'm going to go ahead and for example, this, this a little bit to the back. Bring this. I'm going to click Control Z, actually, sorry, old zen to make sure I'm not in a wireframe mode. Sometimes useful. And just by playing around with this, we're able to get ourselves some nicer type of a setup. Overall. If it's hard for you to see what we're doing and we can always select this and just increase the opacity a little bit more like so, then it's a bit easier to see. I also realized that it might need to be dragging this a little bit higher up, like so and maybe adjusting. Yeah, we still need to, for example, sometimes suggested just a little bit like so. Quite like the angle. It takes a while to kind of set up the angle that we want, but once we're done with it, it gets easier after a bit. So I'm just going to make sure I get it a bit to the side. Why you go? That looks a bit nicer. Also something to keep in mind is that because it's AI, we might not be able to get a perfect match. But it is a nice type of starting point. I am actually just going to go back onto the default. There you go in to make sure that the opacity doesn't change. And yeah, we've sorted, we can continue on. So in this case, because this is a ground level, I might need to just drag it up like this a little bit, like so. That's a little bit better. And grab this and make sure I certain bits of adjustments like so. Something like that. To make sure I grab this a little bit more. You go like the way position. So I might need to move my camera around a little bit as well. Mall tweaking the fixed like that might need to be done. But once we're happy with the overall results, are able to then get ourselves a real nice type of setup and positioning bit of an angle. It's a bit of a hard angle in this particular case, especially based on this, we're able to definitely make use out of it and work with this. Just grab ourselves. Why you go? We're going to move this to the side a little bit. And yeah, that's pretty much it when it comes to the overall setup houses. And then afterwards, once we're done with the setup, we can make use out of the overall system for color palettes and whatnot. I'm just going to click Control Z. If you don't want the camera to move by accident, you can also lock the transformation. You can right-click, right-click. You can select the camera. You can go to transformation step, which is going to be over here on the object properties. And you can just simply lock all of these down. Excel once you're happy with the result. That is why even if we have this, it's not going to move. Basically, we're not going to be able to rotate it. And just having this locked in might be quite helpful sometimes. So yeah, just like that would be able to have a nice starting point and we'd be able to recreate this type of a scene in no time. So I'm going to continue on with the rest of the lessons though. Since at this point it would take quite awhile for me to just do an entire scene from scratch. But hopefully, that was quite helpful for you. And you were able to pick up a couple of things that were quite interesting for you. And one final thing that I forgot to mention is in regards to the camera itself. If we were to go ahead and select it, we can change the ratio, the resolution of it. And let's go ahead and actually change that up to be a square image as well. So something like 1024 is a nice type of resolution on base resolution. Or cameras you can see now it's a square. So it's much better in regards to combining this with, in regards to the image ratio. Over here. We're running out of time, so we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 13. Building out composition with AI Assistance: Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we let ourselves off by readjusting and realigning camera, and we're going to continue on. And greater solace, a quick gray box in regards to the composition of the generated image. If we want to let say, copy the type of a transformation, the type of a setup of this image to the camera. And what we can do is we can simply grab this image. We can copy the rotation itself. So we can just select it, hit Control C, copy it onto here, paste it in, and get those angles out on to the thing you can see me go in between the camera and the image. And this way I'm able to just get identical type of a setup. And then afterwards, all I gotta do is just make sure I within a global or local type of an orientation. Big G x or sorry, now I need to make sure I unlocked the entire thing, gx, and then move everything out of the way in order to match up with the image. Just like that. This might be a bit nicer of a way of doing it. I'm also going to go back onto the camera. I love to rotation real quick and then grab both the empty and the camera at once holding control. Then we can just simply rotate them all at once. And make sure we have let me just make sure we are within a goal, are going to reset a little bit like so. Our y, sorry, y. By just doing it like silver able to in a much, much nicer type of an angle. And one more final thing that I want to talk about is going to be in regards to the camera itself. We also have focal length and whatnot, which would help us to change up the POV itself. And this might be needed in regards to where there's a bit of an extra lenses solution or whatnot. I'm not going to be touching that here though, so I'm just going to leave it as is, might need to realign the camera a little bit. And again, after I'm done with it, like so, I can go ahead and go back onto the object settings for the camera. Makes sure to select the camera and lock it back into place. So I'm gonna do the same this image as well. So when we are sure that we have the right kind of a setup, we can do that. And then afterwards we can continue on modelling with the reference on the side and is going to give us direct feedback on how the setup looks like. And we can see how a human, for example, if it is the right size. And in this case, it might be a little bit too small, for example, or I'm not sure. So let's go ahead and do just that. I'm going to go ahead and extend this a little bit in regards to the overall field. And we can go ahead and just start building it up a little bit. So I'm actually going to go ahead and bring this opacity just a little bit like so. I realized that the character was way off in regards to the size itself. Let me just go ahead and fix that now. I'll go ahead and check the character again real quick. There you go to ask a character that's more likely to resize. I don't want to make sure that the buildings are, I don't want to make sure that either scale up the character. I want to make sure that everything is more or less in regards to the scale is quite useful when, especially you're setting up some simulations and whatnot for smoke or something like that. It's easier to work in regards to the real scale itself. And just real quick going to go ahead and lock all of these up. In regards to the location that seems a little bit better. Going to make sure that I actually reposition this With element. Just go ahead and start working on that real quick. I'm going to bring this forward just like so then there's going to be a number of building next to it. Let me just go ahead and grab this out of the way. And when I'm in general, setting everything up right now you can see it's might not be completely accurate to the reference, but it's really helpful when we're seeing what kind of detail we need to add the main features and whatnot. And we can just build around this type of a scene. So I'm just going to grab certain object like so I'm just going to check where the camera is. So that's the camera over here. We can see it being like so. And we're just going to make sure that this is within a sharp. I can also hide the image by clicking on this icon over here. Just like that. We can go ahead and just play around with it overall shot and get all the details that we want. And that's very much it in regards to the whole setup. Might make it like so, maybe bring it a little bit forwards. And this is looking quite alright, although right now it's a little bit floating in regards to the whole setup. So let me just go ahead and grab this cheese. Oh, sorry, let me just change that up to a global orientation. It's going to pull that up a little bit. There you go. That's looking much better overall. And now we can play around with all of its settings. So yeah, character like so, a walking path over on the side which I can just do ever using the same mash or just grabbing and have one. Right now, I'm more focused on in regards to setting up a gray box. And once we're done with that, we can simply add more detail afterwards. So there is that. So I'm just going to go ahead and do it like so. For example, once we're done with this kind of a setup, we can click is zero and we can just see how this looks like. And it's looking quite alright. We can start adding a bit of an extra detail. So I am actually going to get this out of the way in regards to this camera view. So the way we can do it is actually by clicking on this button over here. And then there is a point where it says empty because this image counts as an empty, as you can see even on my name itself, by default it says empty. We can click over here and just take it off. And now we're not going to be able to see it on this view, but we're still going to be seeing it over here, which is pretty nice in regards to that. So that's another way of doing it in regards to the overall setup. And we can just start playing around with the settings themselves. We can, for example, make some adjustments and edits the two, the whole setup. And just make use of what we have to grab ourselves. Nicer shapes. I'm just going to go ahead and add maybe like a cube over here. Like so. Playing around with the shapes. Again, most of the time when we want to work with certain environments, which just wanted to make sure that the gray box is set up. So right now for example, there is a roof on this area over here. And we don't need to be very restricted to what we're having right now. We just need to make sure we're grabbing a nice type of a look overall. So yeah, I'm not going to bore you with too much of the detail. But for example, this is very useful when we want to get a certain type of a look, and especially with the silhouettes. So if I were to now click zero on this camera, we can see how this would look like. And I'm going to click and to make sure I hide this type of a tab. So this is how we're looking. So for example, this building on the side, it has more of a silhouette. I'm going to just move it out to the side again. I'm just just in case I'm showing you. I don't have the camera lock down to the setup. And let's say I want to have a bit of an extra on the side. I'm going to also get cursor to select it, for example, right now to make sure that everything's bonds in this section. And this way, we can just simply start playing around a little bit more with the shapes. In regards to how everything looks like. I'm going to click zero now, going to just play around with this. Maybe something like that. Why not worried about anything in regards to the overall hypo of assets setup. I'm just making sure that I'm focusing on the silhouette. And by just simply breaking down the tasks that you're able to get a much better overall setup. So over here I can see that there might be a bit more of a rounded shape. I'm not quite sure. It's up to you what you can setup. So for example, right now I might go for a bit of a rounded shape over here and just see how this would look like overall. And I think that's quite nice of a setup. Then afterwards maybe there is a need for a roof as well. We can go ahead and do that just like that. Like so. And grabbing it as a small portion. Again, because now we have a camera setup nicely. We can just play around with everything and make sure that everything looks quite nice overall. And I'm just going to do something like this as well to help us out. Their overall setup. Something like this. It looks pretty good. I'll just grab this shape over here, make it smaller, expand a little bit and do something like this. Let's see how this looks like from angle. Yeah, that looks pretty nice in regards to breaking up the shape. And yeah, even the wiring itself. We can have a look at the certain setup over here. For example, there is a bit of a wiring coming from this section, which we could totally do in regards to the overall composition. Making sure that people are going to be the right size. In regards to this area. They seem to be a thing that looks like a reasonable scale. I'm going to go a bit closer to our overall composition. Just make sure that this human is actually like a nice type of a setup for a size. That looks quite alright. Although in this case, for example, over here, they might be a bit of a lower type of roofs, but I think when we get those people have it closer, it might be quite high up. So I think that's quite okay. And then final thing that I'd like to talk about is just going to be real quick. Science, science on the wall, signs on the buildings and whatnot. It's surprisingly hard to set it up when you want the right kind of composition and make it look just right. So what a grim and you're doing is just grab couple of preferences and maybe an extra type of an image if you want to get from other angles as well. And just play around with the overall setup. So for example, this building over here, we'd have a nice type of a, an elevated sign. So we can go ahead and do that like that and grab it off to the side a little bit like so. But it up to the side. Then we might need to just make use out of the same one. And just simply start building it around within the scene. So just like that, we'd be able to make some nice variations. And yeah, that's, that's that basically when it comes to the science, There's nothing else that we need to do. I'm sorry, just left out this type of sign as well. So we can spend a bit of more of an extra time, but I'm going to leave it here in regards to the overall setup, it would take a bit of an extra time to set up the overall scene. But all in all, if we have a look at it right away, we can see the type of area, a type of composition that we're getting, which is looking quite nice just from this type of a look. I'm going to go ahead and pick up the pace. In regards to the video itself. The reason being is that I want to make sure that it's fully focused on the AI aspects and how to use it as tools. And so, yeah, you can slow down the video if you'd like to see the full modeling process. And given how there are onscreen keys, it should be easy to follow along. So right now I'm just quickly adding certain wiring using the curvature. I'm just making sure I just go round in regards to the flow of the buildings and getting some more chaotic type of a look. I'm also making sure that in regards to the gravity, interest drops down a little bit. Again, because this is a gray box and multiple worried about the overall look or whatnot, but I'm just making sure that the silhouette of those wirings ago in a similar pattern as to what I'm seeing in the concept. It's just like a side note for myself just to make sure that I know where to go. And then afterwards, again, I just play around with the primitive shapes, making sure that I get myself those silhouettes that I like out of the concept piece. And in regards to design itself, even though I realign the camera itself, you can see that some pieces aren't exactly matching to the overall perspective. And the reason being is that the f of x might be a bit different. And this is a bit of a difficult tangle that I picked up. But the overall flow, you can see that there's definitely help out, for example, seeing how far away it is in regards to the angle or how each part needs to be set up. In regards to the scale and proportion and whatnot. Yeah, just playing around making sure that I'm getting those main pieces within the shot, getting those close-up parts, as well as the smaller parcel, the smaller problems, for example, in the street, I'm making sure I'm getting the main ones as well. That helps to break out the surface of the overall composition. And once I was happy with that, I just played around with the camera itself, made sure that it looks quite nice and re-adjusted overall picture a little bit just to see how it looks before and after intercourse or composition. And yeah, once I was happy with that, I had a nice result as a gray box for me to, for example, continuing on with the modelling process, what environment? So that's going to be it for this lesson. And next one we're going to continue on with the journey and learn how to set ourselves up with textures and how to make use of them within the scene. So thank you so much for watching and I'll be seeing in a bit 14. Generating Stained Glass Texture Using AI : Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we talked a little bit about how to set ourselves up with a concept piece and how to use it as a reference point or our Blender project. In this case, however, we're going to continue moving on with the entire setup and we're going to learn how we can also make use out of the mid journey for our other projects as well. So right now I have a quick setup of a Greek Church. So let me just go ahead and open that up. Let's give it a wait until it loads up. And this is a type of a setup. You should get yourself the loading up with the materials. There we go. We've got yourself a nice church that really can texture. But as you can see in the windows were lacking a little bit of detail. They're not, you don't have any Decker to decorations or anything of the sort. We need a sort of a stainless glass to make sure that it looks nice and fitting of the overall aesthetics. So what's the way we can make use of the majorly, well, we can make use out of image journey to create them. But let me just go ahead and do that. I'm going to go onto here. And what we can do is we can go imagine prompt. We can go ahead and ask for certain type of details so we can ask for stainless glass and then we can even ask for a specific theme. So Greek, Greek named stainless glass Greek Church theme. And just waiting it out. We can get ourselves with some nice result. I can also make sure I get the right type of a setup. I'm going to type it in an extra detail, which is going to be texture and I saturation. And also low detail as well. So I can see that it's not giving me the right results on the first try already. So I'm going to go ahead and just go off with the second one. I'm going to make sure I type in. Instead of this, I can type in Orthodox dogs like so. Now for the churches and say our apertures that are in Greece. And let's go ahead and see how they would look like tau by playing around with awards, making sure we get the right type of setup that we might get. Nice type of a look. Again, we just need to wait it out a little bit. There you go. We can see more of a detail right now. And it's still not giving me the right type of look. And I just realized my mistake. I didn't write in the stained glass. I wrote in stainless glass, so that's a mistake on my part. I can see that it wasn't give me the right results. And reason being is I was not giving the right prompts. So let me just go ahead and fix that thing. Glass Christian texture facing front. Let's go ahead and get this result out of the way. Going to wait it out a little bit. And yeah, it's definitely it's definitely giving us better results. And I don't like how it's giving us just faces. I can already see that the face is coming up with the right type of a result that I'm looking for. So let me just go ahead and just take off Christian completely thin glass pattern. I'm just going to put in pattern. So let's try it out now. And I'm hoping I'm going to give us a much, much better result. I'm just looking for a basic type of a look at basic type of a setup. Let me just go ahead and wait for that. And yes, it seems to be giving better results. So even though it's loading, we can see that the progress is much nicer in regards to the window itself. Gives us a nice texture for that. I'm quite liking the result. And keep in mind that textures need to be in square. Aspect ratio is don't really work in regards to that. And for example, let's take this. It's a wider type of a setup, but overall image, as you can see, is square. We need to make sure we use the default type of aspect ratios. Okay? The images that we're getting, actually quite nice. I quite like this because you can see going back to the square pattern, some of the patterns will be circular, which are actually pretty nice if we want to, for example, do it in certain circular type of a window. In this case, you can see that all of these shapes are more or less these, except for this one over here. So we are going to grab a circular version and make use out of that. Let's go back onto our setup. So I really liked the fourth one, and I liked the first one, but I want variations out of it. So I'm going to select the variations. I'm going to use the fourth one to upscale like so. So we gave me a nice texture And then again, I'm just going to wait it out and see what's going to give me. So there you go. And in this case it's not giving me the right type of a result. So what I'm gonna do now, you can see that it's already not going to look quite as nice as I was hoping for. I'm going to upscale the first one. And then I'm going to just wait it out until it's finished, which should be pretty fast. It's upscaling is pretty fast. Going to go ahead and open it up in a browser. Grab the image link like so. Imagine stained glass. I'm just going to paste in this image. And just with a prompt like that, I'll be able to process the entire image and get a nice result. So let's go ahead and wait it out. That going to give a similar color scheme and it's not just going to create variation is actually going to reprocess the image itself, which is pretty cool. Anyways, going back to this, I like to circle one, and I like this one. So let me just go ahead and grab the fourth one plus as like a nicer wider shot, which is going to be pretty good for the windows. Let me go ahead and grab this and let's go and make use out of church. Now, I'm going to make sure that we are grabbing these images. So this one over here, let me just make sure we don't know them all. Yeah, I'm going to open it up in a browser. Make sure to do that as well, by the way, when using mid journey, since when we saving it out from the browser, it's going to give us a high resolution. So, yeah, if we were to just save it out from here by right-clicking and saving from this end. Not going to be as high resolution. And opening it up in browsers, saving it as these images are saved out, I will actually make sure to attach these couple of images onto the resource file as well, just to make sure you have resources to work with. The next thing that we need to do is go back on through church and get this imported into our scene. What I like to do, usually when I started working with such generated images, is I like to just add ourselves a plain, simple plain GY, just going to move it to the side like so and add a new resource. This one is going to be called glass one, like so. Then I'm going to make a duplicate. Uy, just make a simple duplicate holding Shift D. Then I'm going to go ahead and remove a texture material from this had a new one. This one glass to yeah, let's go ahead and leave it as is. But this one, I'm just going to simply go on to shading like so. I'm going to select this plane like that. Make sure that we are within object selection like so. We need to make sure that it is set to the material itself, set to principal B as the app, which should be by default. Then I'm going to assume how to find the area where we have the materials. And I'm going to start off with importing the basic material or stained glass one. This is the one that if we were to attach this base class, give us this result, is actually rotated around. So I'm just going to click our 90. So just to get it on the right position, I'm going to click a dot to make sure we focus on this now and let's go ahead and now try fixing it. First things first, what do we need to do? Well, we need to make sure that it is set up with a nice light source. So I do have within this environment a son that's giving us a basic type of lighting on this search. If we were to go to the rendering scene, like so, we'll be able to see how it looks like with the proper lighting or the sake of the performance though, I'm going to go ahead and just use viewport shading instead of rendering. So like so. It looks a bit different, but we are going to be setting this up with a nicer a material that actually I'm just going to go ahead and import another one right away. So I'm going to select this one which is called glass tube. It's a drag this in and attach after dragging this in, attach this to the base color, just like that. For now we're going to leave it as is. We're going to continue on with this in the next lesson, learning how we can adjust them. We can actually set it up properly and nicely for the last itself. So we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing in a bit 15. Creating Stained Glass In Blender Using PBR: Hello and welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we left off by bringing and importing a generated type of an image of a stainless glass. This time we're going to work with it to make sure we actually set ourselves up with a nice texture to make use out of it within these stained glass windows. So how do we do that? Well, for starters, we're going to go ahead and set it up to be as a PBR texture. By default, it's making use of a base color, as you can see over here. We just dragged it in to the waiting area. We set it up with a nice material or a base color, but now it's not looking quite as nice when it comes to just overall setup. So let's go ahead and fix that up. So do that. We're going to make sure that firstly, we control the roughness. Right now the tightness of the window is a little bit too rough. It needs more glossiness, it needs two more to make it a bit more shiny. We need to fix that up. So the way we're going to do it is we're just going to drag this down in regards to the roughness. We're going to set it up as a value of 0.2. And that's going to give us a much nicer glossiness out of this glass. Now everything that we need to do is actually we need to increase the metallic. Although in most of the cases where we use metallic or a value of zero or a value of one. When it comes to glass, It's a little bit different. We need to increase that up. And as you can see, it's going to give us a much nicer result. If we don't increase this, we usually get a somewhat of a plasticky look out of glass. But with this increase in can see that it actually looks quite nice overall. So there is that. And that's all it takes for us to set up with a nice type of a tiny surface for a stained glass. We're going to do the same thing for the other one as well. And we're just going to go on to this one, set it up with 0.8 and 0.3 for roughness, and there you go. But it's also a really nice glass type of setup. Alright, so how do we make use out of it? Well, or Cyrus, we're going to sell these glass pieces. I made sure to split them up. In regards to the entire mesh, you can see them being split up. Though I will say this that I have not. Yeah, I need to make sure that I have all of these picked up like so. So just these glass pieces over here. I'm going to go back to the modeling tab actually. And I'm going to check if all of them are selected. Xor or making sure that I'm also an object node by the way, for this. So I'm going to hit this symbol over here, the question mark next to the right hand shape next enter. And that's going to give me this type of results. So there you go. We got ourselves a nice setup. Alright, so next thing that we need to do is we just need to make sure we have rapid properly. We're going to actually go ahead and take off the material from it all. So we're going to add a new material and we're going to change this one to glass one. Then we're going to make sure we click Control and L and link material. So the whole selection just like that and we're going to get this type of results. First, we need to go ahead and fix the UVs. So let's go ahead and do that. We're going to go to UV editing with all of the windows still selected, we're going to go hit Tab to go on to Edit Mode. Then we're going to make sure we select it all by hitting a to select all of these windows like so. And we're going to make use out of it all too. Smart EV project Excel. I'm going to go ahead and click, Okay, this is going to give us this sort of a look. We're going to select it all. And we're going to also go to UV. We're going to simply have everything selected within the UVs. So I'm just going to click a to make sure all of this is selected. And then what I'm going to do is I'm just going to drag this out like so actually, in order for us to see what we're doing, we're going to scroll a little bit just like that. And I'm going to select viewport shading so we can see these entire textures just like that. So I'm going to increase the scaling. It's the simplest way for us to set it up until we get something like this. Perhaps, maybe it's a little bit too big, make it a bit smaller, like so. And now we can go ahead and see how this would look like. And that's a type of result that we're going to get. So yeah, That's pretty much it. When it comes to that. I actually left off these smaller windows as well. So let's make sure that we grab this up as well. I'm going to go ahead and do the same process again, smart UV project. Grab these all by clicking a and just let the desired results like that. But doing it like so, we're able to get a very basic, very simple type of a setup, which makes it look a lot nicer overall. So why don't we think that we should talk about is how we can make use out of it in order to get nicer results or our areas as well. So I'm just picking these real quick. For example, on this section over here, how can we make this circular? Well, the easiest way would be to just wrap this play like so Shift H EY, going to put it off to the side as the secondary. I'm going to go hit tab. And actually I'm going to go onto the modeling mode like so I'm going to hit Tab within the edit mode, we are able to then select the vertices. Let's go ahead and make sure that the vertices are selected for, all of these vertices are selected for displaying. Then all we gotta do is we just need to hit Control Shift B to bevel. And we're going to start beveling it out like so we're just going to go onto edges, going to increase the segments like so. With the bottom left-hand corner options, we can just write ourselves a really nice and simple type of a circle just like that. So, yeah, just by making a simple circle, by bubbling out the vertices are able to get ourselves a nice shape, though, for us to make use out of it. I'm just going to actually rotate it first or x 90 though. And it's going to give us this sort of a look, Gy, rough into this over here. So just like that, we're going to get ourselves a really nice type of a setup. And yeah, that looks quite alright. Going to make sure actually grab this end is going to isolate the view, going to hit one. Now I can see what I'm doing. So clicking want to make sure I go on to orthographic view and yeah, Making use out of it in order to get this sort of a result, making sure that it's nicely centered and edges don't go outside. And this one already had frame, a certain frame. We can either leave it or keep it depending on the desired results. So just by doing it like so, we're able to get much nicer result. Of course, we can change our pieces as well. So for example, these are the sign we can make use out of this piece over here to get a nice results. So I'll show you how to actually set ourselves up with a custom shapes. So I'm going to click our x, our y, 90, like so. We get this result. Now I'm just going to click one, or actually, sorry about that. I'm going to select the frame on the side, hold Shift, select this and isolate it. Then select this piece, the frame, and go Click, want to go onto orthographic view. And then I'm just going to play around with how I want this to look like. So for example, if I wanted to frame something out like this, I quite like this overall shape because it goes with the flow. Might need to rotate it, for example as well. Just like that. And I'm actually looks quite nice. Maybe I'll make it even larger, just a little bit like so. Something like that. Alright, once we're done with that, all we gotta do is just click. Okay. Now click Okay, make sure we select this, go into edit mode and then click K. And then we can start just cutting out the shape to the way we want it to. I'm just going to go ahead and do that. There you go. And once we are done with this Excel, we can click Enter. We can click free to go into the face selection like so, and select this face. We can click Control I to invert everything else. Clicked lead basis. And there we go. We're going to get ourselves a nice type of a setup G. Why? Well, it all the way back, like so, there we go. We've got ourselves a nice setup and I think this is centered. So just as a way to speed up this workflow, what I'm going to do is actually, I'll make it, I'll make it simple. I'll keep it simple, as simple as possible. I'm going to click Control D, g, x, drag it to the other side as x minus one. I'm just flipping it around completely. And I just realized that I'm going to click Control Z real quick because I realized that I need to reset this rotation. What I'm going to do is I'm going to click Control a and reset rotation scale. Then I'm going to click S, x minus one, like so, and gx, and I'm kinda position it onto the site. I was thinking about using mirroring in regards to the modifier properties. But for this particular case, this method will work just as well. So yeah, we can go ahead and go out of isolation View and see how this would look like. There we go, a nice dimitri going all the way around this circular parts though. Yeah, that's pretty much it when it comes to that. We also need to maybe change these as well. We'll go ahead and do just that and let's see how this would look like this a little too little. So what I can do is just go into UV Editing and I think is UVs are already set up. So I'm just going to go ahead and select it, click S and scale them out like so. And actually going to click our zed 18180. So I'm just going to keep it outline. That's like that. Oh, yeah. That's what we're going to get. Pretty good. And that's all it takes to set yourself up with a nicer type of glass. Might even do parts over here as well. But in essence, that's all it takes. We can change up the shape. We can make use out of it to write ourselves or new type of windows. And yeah, we're going to leave this lesson as is. Thank you so much for watching and I'll be seeing you in a bit. 16. PBR Material Using AI Generated Seamless Texture: Hello, Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we left ourselves off by creating a nice stained glass or Blender project. Now we're going to continue on moving with it and make sure we create extra, like an actual PBR texture out of it. Instead of just setting up a base class material. For us to do that, we're going to make use out of a mid journey bought. And we're going to quickly create a simple concrete type of an image. We're going to go ahead and imagine a prompt on Crete, lecture. Lecture like that. We can even add in something nicer like stylized. So let's go ahead and do that. Just going to write them bi-layers. And to add on top of it, I'm going to type in neutral lighting like so. And as a plus, what we need to do is in order to make this work, we need to make sure that it's set up as seamless texture. For us to do that, what we need to do is simply add double dashes and type in tile, like so. So this will make a title but texture that will give us a nice seamless texture. So let's go ahead and just type that in. We're going to wait for it to start. Let's just give it a second. And just like that, we're going to get this result. Although it doesn't seem to work quite as nice with in regards to the concrete. So I'm going to try it again. This time I'm going to take off the stylized. In some cases, when working with textures, especially it might be a little too much in regards to detail when using certain awards. For example, stylized and concrete. It tried to just give some exaggerated shapes in regards to the overall setup. So that's why it's not working. But in this case, I just wanted to make sure It's giving us a nicer type of a look. And I just realized that I typed in the writing neutral, wrong. But in certain cases, for my journey, it doesn't really matter when you mistype the word itself, as it still recognizes what you want to get out of it. So in this case, since I typed in neutral lighting with a misspelling, it's still going to give me a nice results. So let's just give it a second to finish this up. There you go. Just like that. We're able to get some nice type of parents. But this one, the first one I quite like it. I'm going to go ahead and upscale that. And then we can move on to the next piece. Let's go ahead and wait it. Alright, they go, going to go ahead and open it in a browser and just save it out. And I'm just going to click and hold and actually just drag it into the folder. Like so. I'm going to just rename this as concrete, just like that. And now we're going to be able to go ahead and grab ourselves a new blender projects. So let's go ahead and do that. That's like that. Okay, so let's go ahead and delete the cube. We're going to grab ourselves a simple plane and we're going to go straight away into shading. The simple plane will always have a default of a texture. So let's keep it as is. I'm going to go ahead and open ourselves up with the concrete and then drag it into the setting itself. And actually, I think, yeah, it doesn't have a texture. Let's go on to the Texture tab onto material properties that is, add a new texture. We can create ourselves a something called concrete. Though. I seem to have misspelled it. Let me just fix that up. Like so. Alright, so the texture itself concrete. Let's go ahead and just add it in. So dragging it into the shader. And we can just directly added to the base color, which will give us this type of result. Going back to what I was saying before in regards to the table command to make a tile, we already set it up. So what we can do is just go to UV Editing. Make sure that we scroll through here and added material visible like so. So we can select this within editor mode and just upscale this. And as you can see, it's going to tile quite nicely overhaul. So that's actually quite nice. Let's make sure not to Tyler too much because it's going to be pattern regardless. So make sure not to overdo it in that regard. But all in all, it's still going to look quite nice. Let's go back on to shading now and start working with this actually, though. First things first that we need to do is, although this is a concrete texture, we're going to go ahead and grab ourselves Colorado. We're going to shift in a search though, and we're going to search for color ramp. That's like that. I'm going to click Enter and we're going to just put it off to the side. Then we're going to drag this color onto the bottom which says fracture. And this actually makes it black and white. And although this is a concrete, it's gonna be hard to see. I'll show you with an upper material later on. For now though, let's go ahead and make use out of it and actually see what color ramp is doing is we can hold Control Shift and click on your mouse on it to see what it's doing. And it's It's again, it's a bit hard to see, but right now, if we were to adjust the color ramp, we're going to be able to see what it does in regards to the setup. We can see that it actually by clicking control, by holding Control Shift and left mouse and clicking or left mouse button. On this type of a note, we're going to be directly see it on or object like so. Control Shift and tapping on the screen like that. What we need to do basically right now is we've got to make sure that we highlight those darker edges, those darker gaps in areas over here. So what I'm going to do is I'm going to use this arrow on the left hand side, which is going to bring out the darker pieces just like that. And that's on the right-hand side, the right-hand arrow, this one over here. If we were to click and hold the left mouse button, we're going to be able to drag it across like so. And we basically want to make sure that only these lines are visible like so. And the closer we get both of the arrows, we want to know what the sharper, it'll get better. We basically wants something of this sort. And yeah, that's looking quite right. The reason we wanted to do this is because now we're going to be able to make use out of it. In regards to setting it up with a subdivision surface. First to make use out of it, we need to set it up with a displacement mode. So for us to do that, we're going to simply go ahead and drag this out. I'm actually just going to move this off to the side. And I'm going to hold Control and Shift and click on the principal, the SDF to get back to the usual type of material. And for this, I'm going to simply click shift and a search for displacements. So let's go ahead and do that. We're going to find ourselves displacement. We're going to just simply put in the height value like so. And we're just going to put this into displacement value over like that. So we're going to get this sort of a result. As you can see, it's giving us, Hey, nice variation, although it's a little bit too intense for us to control the intensity. We're going to go ahead and add a map notes. So we're going to simply click Shift a goes for search at math like so we're going to add it in between the displacement and colorRamp. And we're going to change this to multiply. So now we're going to, by default, it's going to give us a value of 0.5. The closer we lower it, the less of a value is going to get at zero. It's not going to do anything. That value of 0.01, for example, is going to start giving us nicer results that might need to be even lower in disregard today go 0.001. We're going to set it up with some nicer bump map values like so. And just like that, we're able to control the intensity for it. And now we're going to continue moving on with in regards to the controls. We're going to start setting up ourselves with a roughness values, just like we did before. We'll need a color ramp. Let's go ahead and do that. We're going to search for color ramp like so. Just add it in from the image. Just like that. We're going to hold Control, Shift and tap on the color ramp. Just like that. This time we're going to just want to lower this down a little bit like so. We're going to increase this just a tiny bit like so, so it would darken it down. And then what we wanna do is we want to actually click on the plus symbol over here to get a value in the middle. This way, we're able to kinda lower this down or in a way control the intensity overall. Like so. So by lowering this down, we're able to kinda bleach out the dark, darker parts just like that. And we're going to get this sort of a results. So this is actually going to be quite good for our overall setup for the roughness value. So let's go ahead and connect this to the reference value just like that. And now we're going to go ahead and click and hold Control Shift on the principal, BSD f, we get this sort of results. So you might wonder if that's a nice kind of roughness. You can see some glossiness and whatnot in darker areas, but it looks like puddles and whatnot to actually have a proper control over it. I recommend you using the curvature. So shift a search for curve. So let's go ahead and add it onto here. And just like that, we're going to now be able to control the shininess of an object basically of the overall material. And by tweaking the values like silver able to get some nice results may be lowered down the overall roughness. Making sure I grabbed the top piece over here. So yeah, the one on the right part, by the way, is going to increase or decrease how rough it is. For example, the one at the bottom part is going to take it off completely. So again, just like it was with the color ramp at the left-hand side is gonna be the darkest parts. At the right-hand side is going to be the brightest parts. So if I were to increase, this is going to affect the brightest parts links though. Hopefully that makes sense in regards to the overall setup. And we can use this to get this sort of a result. Although the darkest parts, I can see that I don't really want it to be so shiny. So what I'm going to do is I'm going to go ahead and actually just this part over here. Like so. What I'm doing right now, if we were to click and hold Control Shift and click on this, we can see what we're doing and we're basically making sure that the darkest parts are actually going to have a bit of a more roughness. Then as it goes down, it's going to start increasing in the middle values. Or the, how glossy this example, if I were to take this down a little bit, you can see this is going to look, the darker parts will make it more shiny. And then as it goes to a, more of a whitish parts are brighter parts. It's again going to start doing some roughness value increase that are white. So when it's white is going to be super shiny and whatnot. So yeah, that's pretty much it in regards to that. We can play around and it really depends on the type of a material that we make use out of. So now we can go ahead and hold Control Shift and click on this and you can see the type of a result that we're getting, which I think is a little bit too shiny. Actually. I'm going to increase this a little bit like so. And there we go. Those are the type of tiles that we're going to get right now. So now then we are done with this. We're going to continue on with the process. And now in the next lesson, I'm going to show you how to set it up with other assets as well. So yeah, that's going to be it for this lesson. Thank you so much for watching and I'll be seeing you in a bit. 17. Setting up Brick Seamless Texture from AI Generated Image: Hello, Welcome back everyone to freely art a course for digital artists. In a last lesson, we left ourselves off by creating a nice concrete type of a pathway in which we ended up with nice BBR values or roughness. And we've got some displacement even as well. So now we're going to continue on with this and we're going to make sure we get ourselves a nice wall. Prefers to do that. We're going to go ahead and create ourselves yet another type of a setup. I'm just going to click Control Z to get the previous prompt. This time, I'm just going to create a simple brick texture. Excel. And the well-born that I need is going to be a width texture. Let's go ahead and do that. By just creating couple of days, we'll be able to get yourself a nice scene within the areas. So let's go ahead and just wait it out a little bit though. Right? So this is a type of stuff we're going to get and I'm just going to grab one of the walls, like this one quite a lot. But let's go ahead and just upscale that. As for the word I, quite like the last one actually, but I might make some variations based on it. Let me just go ahead and do that. And again, I'm just going to wait a little bit. Excel. Alright, so it's rendering it up and I'm just looking at it. I don t think it's going to give me the right result. I think the reason being is that the neutral lighting is missing it up. I'm going to just take it out and I'm going to take off the lecture as well, since we are creating tolerable surface anyways, I'm just going to write down wood planks like so. And that should give me nicer result. The reason being is bursitis. I know that a neutral lighting gives a basic type of shading, though. It's great for a texture. But in certain cases where the wood, for example, needs to have more darker areas are the planks need to look more on uneven. It's not going to give us the best type of results. So build loading up or I can already see that it's not going to look quite as nice. It's going to look to plan for what I'm trying to create, which is just Tableau creates some barrels. Well, but for this one, I can see that it's already giving a much nicer type of variation within them. So it's going to be much nicer. Anyway. Once when it's going to load up, it's going to look much better. Until then. Let's go ahead and actually I'm just going to grab it onto the setup itself. I'm just going to drag this onto the folder real quick. I'm going to rename it to something like wood Excel. Then I'm just going to drag it out into a decimal. That's going to be brick texture. So brakes. Going to then actually, before we drag it in, I totally forgot to mention one more thing. We can reuse this entire setup. We can actually make use out of it again for another texture, the only thing that we need to do is simply we need to go on through material tab and we need to hit on the new materials. So if we were to click on new material is going to make a duplicate. You can see we have concrete and concrete 001, but a concrete zero is 01 is going to be quite useful for us because we can just rename it to breaks. And it's going to give us basically a duplicate of this type of thing. Are we going to do is just simply replace this concrete P and G. So I'm just going to drag this out onto concrete. I'm going to hold control and I'm going to Data, reattach it onto breaks like so. And we're going to get this sort of a result. Although it and have that I realized I made a slight mistake because this is using the same material. So what I'm going to do is real quick, we can change the material to concrete for this one. Then I'm going to hold Shift, going to create a new plane like so G to drag it out a little bit. And I'm going to change this one to break so our X 90 like so to put her up to the side, just like that, doesn't need to be perfectly aligned or anything of that sort. I just want to make sure that it looks nicely overall. So something like this. We're going to do as quite well. Then we can go on to UV Editing, like so. I'm going to click a to select these ones and I'm just going to control the size of these breaks. Yes, like that. So I think that looks quite nice altogether. That's looking quite good. Might've been clicked e to extrude. Although you can see that these parts are already looking quite off on the sides. I'm just going to grab the side parts. Click you. Look smart, you are UV unwrap. And this way we can get this result, but right now, this doesn't look quite as nice as it needs to be slightly smaller. Just like that to make sure that we align the sale of the brakes, though. Yeah, something like that. It's going to look quite nice. But overall, brick wall We can now go ahead and go back onto the shading and play around with the world settings. We're going to click and hold Control and Shift and click on the roof. Colormap will ramp. And then we're going to play around with these settings. So for now, I can see that it's a little bit too dark in certain areas. I'm just going to lower this way down. You get nicer transition within the bricks itself. We don't need to sharpen them down as much. And I'm going to bring it up just like that. So this is some real nice variation. We get some broken up, breaks, we get some bricks that are going out. Then we're going to hold Control and Shift and click on Multiply to see how this would look like. And yeah, this looks like a nice displacement type of texture that's not too intense. We can now go ahead and click and hold Control and Shift. Click on principled and see how this would look like. Yeah, this looks quite alright. Maybe we can even increase the multiplier 2.005. So that's a little bit too much. So let's lower this down 2.3. And I can already see that it is a little too shiny. So let's go back onto our color ramp. Usually the color ramp itself for the roughness that we're using right now is quite alright for most cases. So what I tend to do is just simply lay around maybe with the middle value to get a nicer type of intensity, then go to RGB curves, mainly clicking Control and Shift and holding it, happening on an RGB Curves and then play around with these values. So right now, I wanted to be a way intense, way more intense. I'm going to drag both of these values up to the top. Like so or you value that are close enough to the top. Or the second one because the breaks usually when there is a bit of a brighter surface. So in regards to, for example, this patch over here, show you what it is. This patch is actually this part over here and it is actually darker. So these patches are the ones that are brighter up. So I actually need to fix that up. So I'm going to lower this down and increase intensity for these parts over here. Just like that, are actually going to basically in change that up completely and lower this down. So yeah, the brighter patches are going to be a bit darker. So we're going to be having a bit of a shiny effect on them. So it's going to look like some kind of polish or some weathering effect. So it's going to look quite nice overall, though. Yeah, this is looking quite nice. I'm just making sure that I am increasing this a little bit as well. Something like that doesn't need to be too intense for a wall, doesn't need to look too bad in regards to the intensity of it all. Now when we look at it from different sides and whatnot, we can see that they look quite alright for brick wall. Alright, so the final thing that we have to do is going to be the wood itself. I'm going to show you how we can make use out of it to set it up onto objects and not just a simple walls and whatnot. And even so we can even we still have a little bit of time. So I'm going to show you how we can change the world. For example, we'll color to be just a different type of a color altogether. Or a city that we're going to grab ourselves a color ramp, which is going to be shifting a look search. Let's go ahead and I'll ramp. And now we're going to attach it over here, like so we're going to hold Control and Shift. Then we can simply change up the colors by selecting this arrow over here. We can click on this and we can change it up, for example, to be more of a resemble reddish type of a wall. So this one is also going to be worth the read. We're not going to change it completely because instead of just changing this to a color, like if I were to change it right away. And click Control and Shift and then tapping it, you can see that it just takes off all of the original values that it had before. So I'm actually going to make it a little bit more red. In regards to recolor. Then I'm simply going to hold Shift in a search for mics. Go ahead and grab this and we're going to change the mix to color. And then we're going to combine both color ramp and Briggs PNG. So let's go ahead and do that. Like so two a and B. And then we're going to get a nice color. So I'm going to hold Control and Shift tap on this mix like so we can see what it's giving us. By changing the factor 21, we're going to get the value b, which is breaks, the original breaks. And by changing it to zero, we're going to get the value of the color ramps. So, yeah, I think I'm going to go back to the zero value. I'm going to just slightly increases the red. I'm going to change this to be a little bit more towards the red as well, something like that. Yeah, that looks good. Let's go back onto the color ramp and they go, we can just ends up the brick. Learn to be more reddish just like that. And although it's a little bit too much regards to that leg or something like that. Yeah, we went from this color to this color and that's all it takes now we can go ahead and just that's just their base color hold Control and Shift and see how our reddish will look like. So That's alright. So two pi and lesson is going to be in regards to the setup of a great, we're going to learn how to make use out of that. So thank you so much for watching and I'll be seeing you in a bit. 18. Creating object out of AI Image: Hello and welcome back at Brown to ai and pretty art, a course for digital artists. In the last lesson, we left ourselves off by setting ourselves up with a nice wall and we change, deepen the color for it so we have more control over the overall hole or a result from the image. We're going to continue moving on and set ourselves up with some nicer objects using the wood texture that we created previously. This is a type of wood that we created and it's looking quite alright. I'm going to go ahead and use the, probably the third one is going to look quite alright. Actually, this is the one regenerated. And let's go ahead and make use out of one of them. We might be able to use out of the, let's say the first one, I think it looks quite alright. Go ahead and do that. And we're just going to upscale it. To wait it out, grab the texture, make sure it's set up as width, like so. And I'm just going to go ahead and go back. I'm going to duplicate the brick texture since we have some color variants over here that we can work with. I'm going to go ahead and change this up, make a duplicate out of this. Change this to what? We're actually I'm going to keep this one as a brakes. Yeah, I'm going to keep this one as bricks. I'm going to create a new plane like so. And I'm going to add this one as the original brakes change, just 12 would like so so this way it doesn't get changed. And for this, we're just going to rename this one as just simple bricks without the 001. Alright, so now that we have this type of a setup where it's going to change up the lecture. We're just going to grab the wood texture like so, drag it into the blender file, hold Control and add it to the color like so. And we're going to get ourselves this type of result. Now this was a red. I'm just going to change the factor 21 for now and work with this. Then afterwards. What we're going to do is we're going to simply create a nice, great for us to make use out of someone's going to actually go ahead and delete this. We're going to shift in a, we're going to create a simple cube. Just like that. We're going to move it off to the side. And we're going to start by simply creating in dense or the starting points. The best way to do it is just simply click i with all the faces selected to be the easiest way to do. We're just going to make sure that it is set to individual. There you go. And we're just going to make use out of it to set something up like so, maybe a little bit thicker. Just like that. We're then going to click E, enter alternatives. And we're going to bring it in words just like that. We've got ourselves a simple Create. And then afterwards we're just going to add wood. And we're going to go ahead and fixed overall UV Editing, which we're going to go on to the UV Editing tab. We're going to click a unwrap by clicking you like so. And we're going to click Smart UV project. There you go. Alright, so now we got something like this, which is looking quite right, but we need to change up some of the extras for some of them. And you just wait for us to do that because I know that these are always going in one direction. We need to make sure that they go in the other direction. We're going to click Alt Z. We're going to then select it across like so. So basically all of these that are going the wrong way, we're going to be able to select. No, and I can see that some of them have wrong selections we're going to do is I'm going to go ahead and deselect some of them as well to make sure that we're selecting only the ones that we want. Yes, like that. Alright, so there you go. I'm deselecting basically the areas where they're going in the right direction. And for the areas where I don't like for them to go in that direction. I'm going to make sure I have them selected. I'm then going to go on to the UV, set itself, going to click a, R and then 90, like so. And there we go. We've gotta fix just like that. We can then play around with the setting itself. Next, I'm going to check real quick. If all of them are set up nicely. If I don't like the way they're going, I can go ahead and select them again. Like a are dead and 90 like so. And there we go. Basically making sure that everything within the US setup is going in nice low in regards to the longest pieces are going in one direction. So yeah, once we're done with that, we can just select them all up, scale, down scale whichever way we want. And I think I'm going to actually, I'm going to keep it as is. I'm going to select only the squares like so. Within the UV sections. I'm not worried about them being overlapping or anything of the sort, since this is a seamless texture, I can just have them on outside as well. Once I'm happy with the selection, is going to just build them up, getting more planks in a way like so. And now let's say that we have a nice box just like that. But this box might not be quite what we're looking for in a way that it basically doesn't look quite as nice in regards to color. It just looks too. Who similar overall setup. So what are we going to do is we're going to go back on to shading. We're going to play around with the color Rambo little bit. We're going to take off at the factor a little bit and we're going to make use of this to grab ourselves a nicer type of a setup. So I'm just going to darken this are important, make it a little bit greenish type of stuff or actually a bit more towards the brown lake. So maybe go. That's looking a little bit better. And that looks quite alright for this. We can also make a duplicate out of this as well. Actually, before doing that, I like to increase the volume for this a little bit, just wondering if that's going to be quite alright. I'm actually going to hold Shift and Control to go onto color ramp because this is not the right type of a color ramp at all. We'll make sure that we started up nicely. Yeah, something like that will do the trick. Let's go ahead and go on to the displacement, going to hold Control Shift, click on the main shader. Let's go ahead and see how this looks like. And here this looks quite nice. Alright, I'm quite liking the overall result is I'm going to leave this value as this actually. And I'm going to go ahead and simply go on to the roughness, going to go on to color ramp itself. Rgb Curves. Going to actually reset this entire thing is I don't quite like this type of curvature. We're now. So that's like that. Now we can play around a little bit with, in regards to the setup, might need to increase this Ella ramp from doing right now is basically making sure that the darkest parts start to take off quite a bit of that information using the RGB curves. Maybe something like that. Going to increase this a little bit. There you go. That's what I'm looking for. Making sure that this is like so inverted like we did with the break since they're so dark in those crevices for the wolves, for the wood itself, that we don't want any of the shininess coming out of it. I'm actually just going to increase it as much as again. Something like that will do the trick. Let's go ahead and see how it looks like. Now. We're going to see that it might be a little bit too shiny overall. But it really depends on the preference. If we go on to render view, we can see how it looks like. And once we're happy with the results, we can then move on to some variations. But essentially, the way I'm going to make variations is actually going to be quite simple. I'm going to link all the duplicate button over here to make another duplicate. Auditors are actually sorry about that. I'm going to make sure I click on the plus symbol over here to make a second version of a material, click New. And then we're going to go ahead and just get a wood. Then we're going to make a duplicate out of this. So this is going to be Would, we can call this one dark, like so. Then we're going to basically make a selection for this. I'm going to isolate this view for Cyrus by clicking a question mark next to enter. I'm going to select all of these phases just like that. Hello. And actually I only want to change the orders themselves. So what I'm going to do is I'm going to click Control and I to invert this, going to now go out of isolation view with this type of selection. And finally, I'm just going to play around with the color factor. Going to see if this looks good. Something like this. Oh sorry about that. I'm going to click Control Z because I realized I made a mistake. And the reason being is that with this selection now we need to click Assign. So I'm going to have the word dark selected. I'm going to click Assign. And now when we're going to change up the color, there we go, it's going to darken it down. Just like that. Yeah. Pretty much it in regards to that, I'm going to also just to make it nicer, stylized touches. Going to go ahead and click controller I, going to then make it maybe a little bit smaller by scaling it inwards. And that way it's going to, as you can see, like change up the overall shape a little bit, which is pretty nice. Then I'm going to go ahead and select probably all of these entire section like so. And actually, I'm going to bevel, all the edges going to go into your modifier. Quickly add a simple beveling like so, and make sure that the angle is set to the part where these pieces basically don't change up. Something like this. Basically, I want to make sure that only the arts on the edges are going to be affected because we scaled it inwards. This angle over here is not going to be affected by an angle of 88. So that's pretty nice at all we need to do is just lower the amount over here. Around 0.02 is quite okay. And yeah, that's pretty much it. When it comes to the setup of the materials. We can go ahead and just make another barrel. So I'm going to go ahead and rotate it. Another one like so. And just some barrels suggests like that maybe have this rotated as well. So our x 180, something like this, will be quite alright. 90, we'd have some variation in regards to setup. And yeah, that is pretty much it. I hope you enjoyed the video. We're pretty much done with in regards to the seamless textures using mid journey. So thanks so much for watching and I'll be seeing you in a bit. 19. AI Prompts and Decal Creation: Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we left off by creating some nice creates within the scene. And now we're going to continue on with the progress within the AI. And before moving on to the next step, we are actually going to talk a little bit more in regards to the journey itself. One more final thing that we're going to talk about in regards to this Blender project is that we can actually add ourselves some texture on top of it as a sort of detail. Right now just typed in graffiti. And I usually add an extra keyboards for that sort of detail. Look black background or white background. Sometimes either one works better depending on the thing that we're using. So this one is bright and colorful and black background seems to do better. And also use centered. So it's always making sure that there's no cutting off edges and we're able to make use out of something nice. So yeah, by just setting it up like so we can grab one of the decals. I'm going to go ahead and grab the second one leg. So I'm going to just add it on to the project, open it up, adding onto my folder. Where to go back onto the project itself than simply adding a mesh plane. And I'm going to go ahead and create a graffiti. So afterwards, I'm going to go ahead and just add this type of a setup. Let me just go ahead and do that. Grab drag-and-drop the image itself. There you go. So now if we were to add this onto your base color, we can see how it looks like and this is what we're getting out of it. So there we go. Now think that we should do is set it up as an alpha so we can go ahead and do so by just grabbing it like so, searching for a ramp colorRamp, going to hit Control Shift, tap on this. And I'm just going to drag this all the way to the other side leg. So we're going to get entire alpha selected, something like that. Alright, so now we can simply drag this into the alpha. We're going to now hold Control Shift, tap on here. And we're going to go all the way down until we go on to blend mode for the settings within the material mode. We're going to change this to alpha blend, like so. You get this sort of results. So in click our X9, and now we can just go ahead and add it onto our wall. So there is that going to go ahead and do it like so. And there we go. Alternative to this would also be if you want to have more control over this, is that we can actually select this, go on to the texture painting mode, and open yourself up with a list. But this downwards, click on this plus symbol over here. We're not going to go too much into detail in regards to the texture painting, but we just need to click on this plus symbol over here and then select the opacity. So right now I can select the path here because I need to go back on shading, going to take it off from the Alpha over here. Just remove it completely like so because otherwise it's not going to allow us to select that like so. So now we can go ahead and go back onto protection pain. Click on a single image like so. Now we're going to go ahead and create a new one. Just like that. Going to make sure that's set to black and we can click Okay, like so. And we're going to get ourselves this sort of a look green to make sure to rename this to opacity, like so. Then we could go back onto the shading. We can go ahead and set it up with that image. So shift a search for image extra, like so. We're going to find ourselves the opacity that we are creating right now, like so. And we can go ahead and attach it to the Alpha just like that. Now it's going to be completely black as you can see. But if we were to go back on the texture painting, since we connected at all, Basically, we can start painting ourselves up with this type of a look. So I'm just making the radius of the brush over here and be stronger. We can also change couple of options here, but I'm not going to go too much into them. But basically, we can start painting on this texture and it doesn't seem to work. I'm going to try to flip it over. Yeah, it seems like the upper side is the one that's controlling our opacity. It's it depends on the base, It's leftover. So I'm just going to real quick go on to the object mode. I'm going to go on to the modelling. We're going to select this itself, going to click our Z NAT. So I'm just flipping it over entirely so that our face will be over here. And then I'm gonna go back on their texture paint when to start painting it like so. And if we go over to the texture mode, we can see that we're actually getting ourselves material, that we get the detail that we want basically. Yeah, that's another way of doing it. But honestly, at this point, because I was using a black type of a background, I don't really need to do that. I can go back onto the color ramp and just set it up with a normal opacity. If it was a white type of a background, you just have to do the opposite and just bring this these two arrows all the way through oversight. So yeah, that's pretty much that Also make it partially transparent. And that's going to give us a better type of a look. As I want to make sure that this course covers fully extend of how you can make use out of the journey. And the final thing that I want to talk about is how to actually get ideas out to get the styles needed for your artwork. So since the mid journey itself, actually, as a nice community feed, you can make use out of that because as you might know, MIT journey or any other AI renderer is very hard to get the specific style you are looking for, very hard to get the exact type of a result that you want. So by using our pupils prompts, you can actually get yourself in a better direction to go with. And so yeah, I'll firstly show how to make use are the majority website itself. And then I'll show you the alternative for it. Alright, so within the merger and the website itself, not the discord version, we're going to be able to go onto the website, will, once we login to it, we'll be able to go on to the Explorer community. And within here you'll see a bunch of different images. What's nice about it is that you can also write them the prompts. For example, if we are looking for a medieval height and we can do so, I'd like so we can search all of the problems that people have created already and then we can decide on what kind of art style or what kind of a look we're looking out of this. So for example, these ones look kinda nice, but let's say we want to have something more stylized, something like this. We can actually open this up and as you can see at the very bottom, we do have all the prompts used for this type of an art style. So that's quite nice. In regards to making use out of it. We can click on these three dots over here and we can just go ahead and copy and copy full command, like so. Then all we gotta do is just go into discord and Buffon a discord. If we just click Control V, I'm sorry, we need to first of all, make sure we imagine a prompt and do this though. And then it's going to start loading it up. And as you can see, it's already loading it up nicely. But just like this one, it's going to give us a very similar type of an art style that we can use as a reference. So it's very, very nice, very easy to make use out of. So we can simply browse through all of these different people's works. And we can find the RSL that we like and simply make use out of it to get some similar ideas, similar reference points, or similar starting points in general for a 3D environment. So that's pretty nice and Ringo's to that. And yeah, let's just go ahead and wait it out a little bit. It's almost finished. It's 93%. Once we get to this point, you see that it's already looking and shaping up pretty nicely. There we go. So as you can see, it's not quite similar in regards to our cellular rehab. So this is what we had, but it's close enough to be considered. That's going to be within the same art direction and whatnot. The hearts are going to have enough variation, but the overall aesthetics is going to closely resembled the original. So that's quite nice. And even get yourself a image itself by going ahead and saving this image. So are actually, as we talked previously, we can copy the image link like so. And then we can just imagine this whole thing in regards to going to go ahead and do the same thing. Imagine this entire thing with the image attached to it. So I'm going to do is just copy this entire setup like so. And I'm going to make sure that we have a picture at the very end. And there we go. It's getting us to a result that's closer resembling the original one in regards to the angle and whatnot. And it still gives us some nice variation. Or final thing I want to say in regards to this is that if you want to get even closer of a result, do the original one, which you can do is simply, you can just add double dash at the very end. Sorry about that. But just make sure it's within a prompt double dash i, w and two. And that's going to give you an image that's even closer resembling just needs to sometime to start it up. But yeah, it's going to give you some control over this entire AI tool panel thing that I wanted to talk about is the alternative to the mid journey itself to the website. So this is a very nice website, but this only contains my journey generated images. There's plenty of AI type of assisted images generated through different programs. And the link that I would recommend you to use is going to be something called a lexica dot art. Very nice and simple. A type of website that will allow you to see a bunch of images similar to what we were looking before. Click on it, we can see what type of model It's been using. So this one has been using lexical aperture version free to click on something like this. This is the version two, and there are actually from different websites of that as well. Though can't seem to find ones. Most of them are from lexica aperture. And if we like the ourself, for example, we can go ahead and click on an image. We can click Explore the style, for example, and then it's going to load this up. We have two different generate results within the same ourselves. So it's a very, very nice, very simple to do. Then afterwards we can just simply, if you like, what are the prompts? We can go ahead and just click Copy prompt and make use out of it in a similar way. Finally, one more thing I'd like to discuss is going to be simple prompt creation in general. Though there's also a website. Are certain websites like these, for example, where they actually sell generated prompts. So it's actually very nice when you want to get a similar style or a specific type of anesthetic. For example, over here, if we're looking for character design, interdimensional beings, we can see that we get those kind of art work consistently with the provided prompt. However, these types of prompts are paid. So nice option to have. If you're looking for something specific as well. You can see like some nice renders. For example, if you want to do certain renders as well, you can make use of these prompts. And yeah, it's a very nice, consistent way of getting certain renders out. I think these ones are mainly, yeah, It also says in regards to which type of AI is being used for the type of prompts. So over here we can see that it's been used a myth journey. This one is GBT and I think it's actually for an article for texts. So yeah, that's pretty much it in regards to that. Now finally, in the next lesson, we'll be moving on to dream AI. So thank you so much for watching and I'll be seeing in a bit 20. Dream AI Renderer Assistant: Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we finished off the topic in regards to AI generated imagery and how we can make use out of it, or 3D environment creation. Now we're actually going to make use out of an add-on provided from within blender that we can set up to be used or are generated images and whatnot. So let's go ahead and talk about a little bit about that. We're going to start from scratch from a brand new project. The reason being is that we actually need to set ourselves up with the add-on and we need to basically download that. So let's go ahead and do that. And there is a version called The Dream, a render AI rendered. That's the one we're looking for. So I'm going to be called AI renders table diffusion in Blender. There you go. That's the first version. We're going to look at. It's free, but make sure to support the developer on this add-on. So let's go ahead for now. I'm just going to go ahead and add it in my card and all on it. Like so. And yeah, there you go. We're going to get ourselves to this one is a bit different to what I'm going to show you later on in it only takes up one to 0.2 mb in regards to the overall that up. So it's quite small add-on in regards to the overall AI. The reason being is that this add-on is actually going to make use of Internet. Let's go ahead and Firstly set this up. We're going to go onto blender. We're going to go on to Edit Preferences. And we're going to go ahead and select add-ons tab over here. And we're going to simply click install Excel, find ourselves with the same type of location and locate the renderer. I don't, it can stall. And then afterwards you're going to get yourselves this type of a setup. What do you actually need to do now if you enable it, it's not going to be setup just yet. Reason being is that we need to set ourselves up with an API key. So to make use out of the functionality, we need to sign up for a dream studio. And it's a free type of a setup. So let's go ahead and do that. Once you are within the website, you'll be able to register, sign up, and you'll be able to get yourself three credits. Those free credits will allow you to render out your items, render out your scenes using the AI assistance, which will be able to then create API key. So just make sure to create a BIT. Don't share the API key with anyone else. Just copy it. Clipboard and just simply go ahead and make use out of it. Over here. I'm just going to paste it in, hit Enter, then I'm going to refresh blender as well. The reason I'm refreshing blender is simply to just make sure that the API is improperly set up. I'm just going to check the dream ai. Going to be called a render, just like that. And after we're done setting it up, we're going to get ourselves everything ready for us to go. Only thing that we need to check is going to be within the renderer itself, but that's going to be there you go. Within the tab for rental properties, we're going to find ourselves the AI render. Let's make sure that this is enabled. So let's go ahead and click Enable. We can also decide what kind of size we want. I'm going to make use out of 512 by now. And then we can talk a little bit more in regards to how we can actually make use out of it within the render itself. For us to set it up. All we gotta do is just get ourselves a simple scene. So all I'm going to do right now is just grab a plane for us at the bottom, like a sort of a ground. And then we can just grab a couple of cubes and that it up like sort of a buildings for example, can be that's going to look quite alright. Like that. We're able to get up and I see the only thing that we need to do now is just go onto the camera. So we already have, by default a camera in the scene. I'm going to go ahead and click zero on my camera. Just to grab it into the of the scene that I'm going to go ahead and click End to open up this bar on the right hand side. Go on to View and lock the camera to the view like so by clicking on this tick box over here, then we're able to move our view around with the camera attached. Once we're happy with the overall dipole setup, we can go ahead and click this tick and we're going to get ourselves a nice setup for that. Alright, so let's go ahead and talk about what we can do. In short, if we were to just render out this same by clicking this button over here, or we can click F2 for a shortcut. We're going to be able to render out, actually, I did forget one more thing, which if you are able to read this, it'll say Cash path is needed. So this is going to be needed to be set up. Then we'll just go ahead and do that real quick. It's going to be within this bar over here for output properties, we just need to make sure that it is set up nicely in regards to that. So let me just go ahead and do that. I'm going to just find a quick location for it. So hit Accept. And then I'm going to go ahead and click F2. And if you have it set up nicely, it should give you this sort of a result. Once we render out, then when you wait it out a little bit, it will start composing it for your AI. So let me just give it a quick second. At the bottom, you can, at the bottom you can see the render loading up. There is a bar. So the first time you do it might take some time to link everything up. But once you're happy with it, you're going to get yourself an image, something similar to this. As you can see, this has been rendered. So it's a totally different than what we had before in regards to the setup, it looks similar. And the reason being is because we didn't actually put any of the prompts in. So let's go ahead and do that real quick. We're going to talk about how we can affect this render overall and how we can set ourselves up with some nice setups. So for starters, prompts, the way how we talked about in my journey, we can set it up, we can get Building. So we can just simply click F2 again to render it out. And it's going to give us a nice result in regards to that. So this time, instead of just being a couple of cubes, it's going to give us a city. But the thing is, it's actually going to be gracefully again. The reason being is that the way this renderer behaves is it grabs the depth of your renderer. So what's going to be closer? What's going to be further the overall object's information in regards to that. And then it's going to grab the color information as well. So because we had right now everything in gray, we had no materials whatsoever. It's going to give us the same type of a result. Well, let's go ahead and fix that first. I'm going to go back onto remodeling stage like so. I'm going to turn up the viewport shading so we can see the materials right now we don't have any materials, so let's go ahead and fix that. And we're going to go ahead and just simply go onto the materials tab. I'm going to select the plane underneath, going to click New and call this base whichever way we want. And all we gotta do is change up the base color is something more natural. So we can, for example, make it green to make it look more like grass. Grab those objects, select them. And I'm going to simply, I'm actually going to select one of them for now we're going to remove the default material, add a new one, change this one to something like blue. Then we can go ahead and select the rest. Click Control L and link materials. And sorry about that. I had last objects selected as the final one which had no materials based on a selection is going to give you different results. So let's make sure that we hold shift and select the one. We want to make sure we translate materials onto the rest. Right now you can see there is a slight outliner which has a brighter orange type of look. That means this is the main selection. And based on the main selection, we can do a transition or a link to materials on the rest of the assets. Alright, now once we're done with that, I'm going to go ahead and click F2 again. It's going to give me the same type of render, but as you can see in the type of a view, once it's done, loading this up. So it's going to give us this result. Nice. It looks quite basic and whatnot. And the reason being is perhaps we didn't add enough prompt. We can add the prompts like extra windows or something or sort. There's also negative prompts which will take off all the negative keywords that were digital fine, so ugly, bad art. It says watermark, grainy, everything that you wouldn't want. I usually keep this up by default. It gives us some nice results. So let's go ahead and leave that in. And let's talk a little bit about the pre-set style in the next lesson though, because we're running out of time. So thank you so much for watching and I'll be seeing in a bit 21. Blender Render Detail Dream AI Tools: Hello, Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we learned how to set us off with AI, dream AI add-on. And now we're going to go ahead and continue on getting a bit of a better detail out of this. So first things first, we can make use of a pre-set style by clicking on this will have a bunch of options. And notice that you can also scroll up and down in regards to the options themselves. And it's a bit of births are, we have set up. You can see that this is the main one, but once I start scrolling down, it'll start giving us hover options as well. So yeah, just keep in mind that if you're not seeing the type of a style that you're looking for. Just make sure to scroll down a little bit, maybe you'll find it that way. So yeah, some presets are very nice and often make use out of them. The one that I like quite a lot is going to be Mumford. This is a nice preset. Let's go ahead and make use out of it. And yeah, we can simply make use out of this. And I'm just going to go ahead and grab a couple of extra steps. So there is a random seed, there is a steps similar to mid journey. It will have AIC, which we can resemble, take this off and have our own custom ones so we get more consistent results. And in regards to the steps, I take them up to quite a bit in regards to the default value. So usually go for 50, for example. When it comes to that to get a nicer and sharper edges. Then afterwards, I go ahead and simply re-render this entire setup. And there is actually one more thing in regards to that. So there is Operation tab, which if we open it up, there is one called new image from last render. So we wouldn't have to re-render. Let's say we are using a different render by default. If we go up to the render properties, the render engine is set up as Eve, which is very fast. It's a real-time renderer. But if we were to be using cyclists and might take a bit longer to set up all the entire render image. So using this option in regards to the new image from last render, it can be pretty good. And actually I will make use out of this right now. I'm going to go ahead and click. And it should give us a better option, although I'm not seeing the loading bar and might just froze down my blender. Yeah, there you go. It says not responding at the top. I'll just go ahead and wait. And keep in mind if you're not seeing this type of an image, there is a tab right now that's called a render. So that's where the renderers who go in regards to the older rendered images from the AI. I'll just go ahead and give it some time. And there we go. We gotta cells this type of result. As you can see, it gives us a much more interesting of a detail. We're getting some more shapes out of this, even though we didn't add anything. And it's very, very nice and simple to make use. Now one thing that I want to talk about is going to be in regards to the overall setup. So as I talked before, in regards to the mesh itself, it makes use of a depth mask. So right now this setup, it only has a depth in regards to these three cubes and it's not quite as nice. So for example, if I were to just grab this group over here, click E to extrude as Y to kinda bring it in, I can get some nicer type of results. And I'm just going to go ahead and do that actually. As why. Maybe something like this. There you go. That might look quite nice. And for example, let's say we want some windows. Let's go ahead and do that. I'm going to add couple of lines, like so I'm just clicking Control R and using my mouse wheel to add them in. And I'm just going to add in a couple over here, maybe all the way over here as well. Over here. Something like that. For example, I can hit, I click Enter and then at the bottom left-hand corner, I can change up these to be individual. Takeoff the thickness, and there we go. We're going to get ourselves these kind of borders. So I'm going to make it something like this e and then bring them in. As you can see, we're going to get this type of a deaf. So this is going to be quite helpful for the AI to get more information coming out of this. So the more complex, basically the shape we're going to make use out of, the better the results are going to be. So I'm going to go ahead and click F2, and I'm going to see how this would look like. Let's just go ahead and wait it out a little bit. There we go. We've got ourselves this type of a look. And I don't quite like this one per se because it's not quite as detailed. There are some artifacts and whatnot. And we might need to redo this type of a render. But all in all this is how this overall setup behave. So we can just make a couple of extra on the side like so And I can, for example, change the color or all of these are going to go ahead and do just that. Like this. Make the materials get more detail basically for them. And I can also just bring a nice plane to the back. So not going to be just off in regards to that waste by just playing around with the shapes, by getting some nice detail, and even by going back to the AI render and add an extra props. So we can type in, in rocky area, something like so. And yeah, we can leave it as is. Go ahead and click F2, see how this would look like the diego, our default trend that looks like this. And we can just wait it out to see how this would turn out to be. One more thing to mention is probably going to be in regards to the render itself, make sure that the camera is set up with 512 by 512 resolution or something of the sort. As if we make it too big, it might, it would cause a lot of issues, rendering issue. So there you go. This is the type of a result we're going to get. What we can also do is if we scroll all the way up, actually we're going to go on through reformat, going to play around with that today go the resolution 512 by 512. The reason being is that the AI itself, we can make use out of it to upscale it afterwards so we can go onto the upscale tab. And it is actually that as automatic in this particular case, it's set to 2048. By 2048, Let's go ahead and see if it's true in regards to the image itself. Might have upscaled it automatically. By default, it will upscale this automatically just makes sure that scale factor is set up to whichever, whichever type you want. And if you want to go to the previous types of renderers, you can click on this button over here and go to the previous lenders like so. Make sure that before closing out, the project is saved out the images that you'd like. You can go onto the image tab, click, Save As like so. And you can just save it in whichever area you want. So I'm just going to go ahead and do that like so. And that's the image we're going to get out of it. So it's a pretty neat type of functionality to get some nice artwork out of this. And you have certain control over it, although it's not preferred, spoke at this moment, it's getting better and better all the time. You can see the 1.52, 0.1. And it's going to keep on improving in regards to the functionality for this. Anyways, moving on, We've got a couple of other things to talk about, but that's going to be making use out of the upper eye. So right now this, Hey, I only will allow you to just help you out with render, which by the way, we'll mention this that you can make use out of this in your animation as well. You were to set up an animation and render it out. It will render out animation video. So that's pretty nice in regards to the functionality. And if you want to disable it, you can either disabled the add-on for the preferences over here. So I'm just going to happen AI lectures because there's no dream textures. Hey, I render it, is. There you go. That's going to be it. And we can just simply click this off and it's going to disable that. Or alternatively, we can disable it through this area over here if we were to roll down. Second, let me just find this button over here. There you go. We can just simply take this off automatically on Render. And we can render out our own images. And then afterwards we can simply click this button over here and it'll help us out with in regards to that. And yet, the reason being that this might be a better is because right now, because I'm disabled it. As you can see over here, the API key has now been lost, so you'd have to go back onto our website, hope it is back in and put it back on three API key. And yeah, that's pretty much hit when it comes to the overall dream AI renderer type of an add-on. And we'll need to make you sort of a different add-on for the other section. So thank you so much for watching. And I'll be seeing you in a bit. 22. Dream AI Texture Addon Setup: Hello, Welcome back everyone to ai and 3D art. Because for digital artists, in our last lesson, we'll learn how to get an extra detail in regards to RAI renders. Now we're going to continue all making use out of dream AI hover. This particular one doesn't have anything outside of the dreamer AI render. And we want to actually, for example, and generate the certain textures and whatnot gets some more of additional functionality. I'll show you an alternative to the one that we had. Let's go ahead and just open up the dream AI. I'm just going to go ahead and Google it. And there should be a link that's going to be from GitHub. And we just go ahead and find that up. Actually, I'm just going to go ahead and type in dream, a lender and they go to the GitHub. This is the one that we're looking for. It's going to be called the course and Cadbury dream textures. And to get it, you'll just need to go ahead and actually go all the way down. And you'll need to find yourself to installation, download, latest release, like so let's go ahead and click on it. Just like that, in which you're going to find the installation types. There's Windows, Mac, and Linux. So just make use out of which I want you on. The one I'm going to make use out of is going to be called a new video one, the one that I have a GPU for. So in the video GPU, make sure you find the right link basically. And there are a couple of options for this particular case. Notice that there is either a direct or local cloud rendering and the wonder we're looking for is going to be four. Now, the local only means that you can render the images from within your computer itself. Or alternatively, cloud would work in the same way that I showed you before in regards to the dream AI being rendered for the images, this type of a texture render would work in same way. I'm going to go ahead and show you how to set it up for your local machine dose. Let me just go ahead and do that. I'm going to go ahead and align it. As you can see, dollar for this one is a bit bigger in regards to that is 1.5 gb. So it'll take some time to download it. So just make sure to wait it out. And after you're done the lowering it and after we're done installing it, we are still going to be needed to install certain modular kids onto it. So let's give it a second and I'll show you what I mean by that. There you go. It's now been downloaded. And in this particular one, because using the local and Cloud, you'll see if you open it. There is another zip file. Usually when we install add-ons, we don't need to unzip them. However, in this particular case, we do need to do so as to save up the size. They ended up zipping it, the zip file of an add-on into it. So what I'm going to do, I'm just going to simply extract this one out. Let's go ahead and do that. Make sure to just basically extract your item. If it's a local one, it's not as relevant if it's only the Cloud one as the size of the zipped files of the add-ons wouldn't affect your sides at all anyway. So this is how it looks like the unzipped one is actually 5 gb and not the 1.5 as I said before. So there you go. We're now going to go ahead and add this onto our blender. We're going to go ahead and just simply get a fresh file from this. Instead, not going to save this one out. Let's go ahead and simply wrap ourselves the Edit Preferences, go onto add-ons and then go ahead and install it. So I'm just going to grab this 11 is called a dream texture is not a renders, so let's go ahead and make use of it. Although they both use the they will diffusion type of a setup. Let me just go ahead and show you what I mean. It will take some time to load that add on n. It is 5 gb after all. We'll just give it some time until it gets everything sorted. There you go. It took I'd say like half a minute to actually properly loaded in rehab paint dream textures. We can go ahead and open this, then we can enable this, and we're going to get this entire setup. First thing that you need to do is you need to download yourself a model. You need to use modals in a way that's like a sort of a preference or the thing that controls your art style within the AI. This is what uses the, basically what type of learning algorithm is used for this AI to set this overall adult. So by default, it's going to be the stable diffusion AI. Just make sure to download them. And when the salon again, make sure to not exit the program. Otherwise, it's going to break it up. It's $1 it in a specific folder. And if you cancel it midway through, it's just going to kind of break this add-on. Already had experience with that. So I recommend you once you start downloading it, just make sure you get that up and sorted But they go. Now got myself, a couple of add-ons, got my self-diffusion 2.1, got up scalar and a GoTap. I'm going to show you what each one of them do. For sorrows though. Let's go ahead. And if you're not seeing any of those which should be downloaded with the default ones. Just go ahead and search them in here and you should be able to find your ones. So for example, I can just type in two dash one and it should find me one are actually stable. By typing stable diffusion, you can see all the different types of wants. And they do slightly different things depending on the ones that you're using. For example, right now, because I have those default ones. One is upscaling, one is deaf, and one is to 2.1. So let's go ahead and go over them, what each one of them does. And token, this token is actually for a setup of some other diffusion. So some of the models are paid, for example, and you'll need to get authentic code in order to make use out of them. I'm not going to do that. I'm going to just use simply use the free default ones. Then afterwards we got a dream studio optional. This is the base, this is the key that you need to get. Basically, it's the same type of a setup as we had before. Once you get this key, you'll be able to make use out of it. This is the API key that we used before. So after we're done with this, let's go ahead and actually make use out of it. So the first thing that we can do is we can simply, basically once we get the dream AI type of a setup, this add-on is a bit different in regards to where it's being located. So actually have a previous ones on. Let me just go ahead and turn that off real quick so we wouldn't get confused with that. I'm going to just turn the previous the older one that we've talked about. And I render, There you go. I'm going to turn it off. Okay, So what I meant by that is this dream add-on is not going to be located over here. That is going to be located on the tab on the side. If we were to collect n, We're going to open ourselves up the tabs that will allow you to lock in a camera, for example. And you can see that there is a tab called a dream. By clicking on this pattern will be able to open up the menu that will allow you to make use out of it. We have different pipelines, stable diffusion, dream studio. So this is basically whether or not you want to use the Cloud service. Then we have the models. The models need to be set up based on what you're trying to get out of them. So I'll show you what I mean by that, which just a simple introduction for now. And we have prompts like what we're trying to set up. Whether it's a texture or simple concept art or a sort of a piece. And yeah, we have certain sizes variation, for example, we can control that. We can have projected. As you can see, this is turned off for now, which we're going to learn how to do that ourselves up with it in the next lesson though. So, yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing in a bit 23. Projecting Textures: Hello, Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we talked a little bit about how to set ourselves up with the dream, a texture type of an add-on. Now we're going to continue on and make use of it in order to set ourselves up with a nice type of a scene? Or are we just going to go over and see how we can make use out of it. So let's go ahead and do that. For starters, we need to model something in. I'm just going to go ahead and do that right away. Going to show you just a very basic type of setup. Let's say we have a plane. Then we might have a small type of a hut. Or actually I'm going to have something like a maybe like a mailbox or something of the sort placed over here. So I'm going to go ahead and do that real quick. I'm just going to go ahead and model a very basic type of a setup, but not worried about the measures taken in and whatnot. I'm just hearing about more of the shape itself. So I'm just going to drag this out. Yet, a nicer type of a look, and it's a very basic type of a setup. I'm not over complicating it or anything of the sort. I'm just making sure that the shape itself is going to look quite alright in regards to the overall setup. And we might need to add a bit of an extra on the side in regards to like a flag or something of the sort. I'm just going to go ahead and do that. Like so. And actually I'll put it on the other side. In most of the cases when setting this sort of a thing up using a dream texture. We're going to be using a dream texture projection for Zara's. We need to make sure that all of its detail that we're setting it up is usually at the front side, not the back hover in this case, I want this to be more empty on the side. I want this on the edge to be a little bit more of a, let's put it this way that it needs to be a little more cleaner with in regards to the silhouettes. So that's why I'm doing it. So what I'm projecting it, it's only going to be focusing on what's on one side. I'm going to come back to that in a bit though. Let me just go ahead and make sure that we grab something nice. In regards to that. There's something of this sort. You go, it's going to not worry about anything other than the shape itself. Something like so that's going to be quite alright. I'm actually going to crop it a little bit forward, like so. There we go. That looks quite nice, right? So what did we do now? Well, first of all, let me just go ahead and make sure that we set up some bit of a basis well, to make sure that we have something like that and we don't need to worry about the UVs or anything of that sort. We can add, for example, bevels or anything that we like pretty much. In regards to this, we just need to make sure that the shape is not overly complicated. So it looks quite alright. Okay, so now that we're done with this, we'll add some beveling over here. I'm not worried about the apology or anything of the sort for this particular case because I'm just focusing on making sure that the overall setup looks alright In regards to the shape. Once we're happy with the shape, Let's go ahead and go into the camera. Clicks zero. Go onto the camera, click n, and let's go on to review and lock the camera to review like so. Then we need to make sure that this overall camera has the right proportions because the depth, that is a dream users actually always comes in the aspect ratio of one. So always going to be a square. That's the reason why we need to go on to the output properties and set this up to 512 by 512 legs. So this is going to be a perfectly nice square. And actually for the back, might grab a couple of spirits, for example, going to put them up like so. And once we're done setting up the camera right away, Let's go ahead and go back to review and take it off from the locking to the camera view. I'm then going to set up some rocks. So just a very basic type of a setup, going to use average vertices which is located over here. Which if we were to move it and use our scroll wheel, we can just drag out the setup and grab yourself some nice rocks as well. I'll show you how to set it up. I don't I try not to overdo them in regards to that. So something like this, it's going to be quite okay in to make sure it's set up something like this. Let me just go ahead and see how this looks like. I'm going to make sure that it's set up within the main shot as well. Or for them like so. Then we're going to be able to go to the dream tab. We're going to go on to the stable diffusion. Like so. The model is going to be depth. Let's make sure that we use them. Otherwise it's not going to work. It's going to have this type of button. If you're not going to have this, is going to say something differently completely. Anyway, once we're done with that, I'm also going to make sure I smooth out these shades like so. I'm going to leave this as is though, and the subject, Let's go ahead and type in the subject. So I'm just going to I've been posted blogs, stylized. Last, rocky environment. Like so. Then once we're done with that, all we gotta do is just basically we gotta grab all of the objects like so I'm going to make sure that the light is not selected. So only the assets, the Static Mesh. I'm going to go ahead and turn on the texturing. First of all, the viewport shading so we could see what we're doing and the way it looks. And then I'm gonna go ahead and just select all of them like so, like everything. And go ahead and click project the texture. And as you can see over here, it starts creating certain textures. It starts making a nice type of a setup. So let's go ahead and see what it actually did and how it's set up. And I'm gonna go ahead and make sure that the log camera is ticked off and see what's up with that. So what is happening over here? It seems like there is a box. It seems like the rocks are here, are somewhat setup as well. Let's actually go on to, instead of just the layout, we're going to go on to an ImageView. So for us to do that, we're going to click on the top left-hand side onto this icon over here. We're going to go on to the image editor. And we're going to see ourselves with an image. Well, it's not an image here. We need to make sure we select the image for this type of a r and then we can see what we're actually getting. So this is the Render. It basically similarly to the AI, the dream ai for the render, it selects the entire scene, picks up its depth and it makes use out of it in order to create ourselves a nice setup. So I'm gonna go back onto the 3D, view it what it's doing. And yeah, there you go. It's basically doing that. And the only difference for this particular case is that instead of just giving us an image, it actually projects the entire image onto our selected assets. So if we go ahead and select all of these assets, we go to the UV Editing. We can see that all of these assets, and it's not actually showing up on the actual setup. So I have everything selected. I have this clicked on. You can see that they are totally different UVs from what it's using. The reason being is that we actually need to go on to the object properties, Object Data Properties and under UV maps. And we just need to make use out of the other Ron basically, if created a brand new version instead of, instead of just reusing the same movies. And because of it, we're able to see complete different setup. So I'm going to make sure I click on the projected UVs instead. Going to make sure that it's set up for all of these objects that I made use out of like so. So it's using the projected UVs, the ones that we just created. And I'm actually just going to make sure that the poll is set up as well. Anyways, once we're done with that, we can go ahead and select it all. We can have it all selected and then it should give us a different type of a result. I'm just seeing why this this is okay. This rock. Yeah, forgot to select the different rock, Diego. Alright. Going to make sure that this is all selected. So basically I'm making sure that whenever it's rendering is going to use this UV and I'm also selecting this, so it's also going to be applying this if you're exporting these meshes, just, I recommend you making sure that you only have one UV map in this area. So just remove the previous one and you should be alright. Okay, so going back to this, I'm going to go ahead and select this. I actually want to make sure that this black is also set up like that. Alright, so that it's set up like that. We can go ahead and select it and see how it looks like. And this is the result that we're getting basically out of this. We gotta sell us the entire box or the entire box setup. You can see it's slightly go and out of the overall shapes. So it's not going to be perfect. It's not going to be creating perfect type of results. Probably we can do is we can simply click L. We can make it a little bit smaller like so again, because I have this button over here selected, UV sinks selection, it'll mean that although I have the selection only the rest of the UVs are still going to be visible. Looking just slightly reposition it, it's still going to give me somewhat off the right angle, like so. And I can do the same for this as well. For example, although this flag itself, I'm probably going to just keep it off to the side like so. As I can see that this shape is not perfect. So in short, the overall setup might not always come out the way you want it, but we can make use out of it regardless. You just get some nice shapes. So I'm actually just going to make sure I select this rock, for example, just the rock itself. There you go. And just make use out of it to just reposition the rock a little bit like so the biggest concern for me is this overall setup. I don't quite like this. What I'm going to do is I'm going to just make it a little bit smaller and put it off to the side like so. And we'll show you how to make use out of the entire setup. Oh, actually seems to be quite big. Sometimes there's also an issue in regards to the overall meshes. If some parts are going outside of the camera projection, it might give you some very bizarre distortions, so I recommend you fixing that up. So right now I have this selected, I'm going to click, you, click on Wrap, just like that. And we should be able to have more control over this. I might need to just write off to the side like so. There we go. It might not look super nice and super realistic. But it's a very nice start for us to make use. Of course, because I've put in a stylized is going to give me that kind of a setup. If I were to take off stylized area over here, it might be me a different type of a look. One more thing to talk about is the resolution that's going to come in handy to upscale the overall setup, which we can make use out of a different pipeline. But we're running out of time. So we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing you in a bit. 24. Adding Depth and Fixing Sides from AI Projection Using AI Upscaling: Hello, Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson we left ourselves or with a simple setup of a postbox. And it's not quite there yet in regards to their overall setup, it's really hard to make use out of it by default. So we got to cut some corners. We got to make sure that we set it up properly. And the first thing's first is that we need to make use out of the app scalar in order to get ourselves better results. Because by default, you can see the resolution is quite small. Which by the way, I recommend you making your startup camera first and just making sure that the camera itself is going to be as close to the setup as possible by just attaching the camera itself and just getting it as close as possible. You will fight cutting off corners. So basically makes sure to do that. Then once you get a rendered that's as close to the resolution as tensor to the resolution as possible to the detail you want to get. Then you're going to go on to the image itself. So right now I'm just switches over from a UV editor to an image, or actually it is set up still as UV editor. Doesn't matter which one you are, but basically it needs to be within a 2D view, so either UV editor or image editor. And then we've got to make sure that this render is set up. So we pick the right render. If we click on this window, will notice that we get the same menu as we did before with in regards to the dream. However, in this case, we're going to make use out of this window to make use out of it in a different way. So instead of using a depth, we're going to use up scalar. So let's go ahead and select the upscaling. Then with this image selected, we're going to make sure that we have everything set up and they go AI upscaling. We're going to just simply click this button over here, then it will start upscaling. And you can see this is how it looks like before. And once it's done. So it's kinda take some time. So let's give it a moment. And you're going to get yourself. As you can see over here, it's almost finished, but you can see that the resolution has improved a little bit. So let's go ahead and give it some extra time to wait it out. And after it's done, it's going to give you this sort of results, so it's upscaled. I'm just going to make sure it's upscaled properly. We finished shading step. So let me just go ahead and check that out real quick. It's going to set up a, as you can see, it as an image already attached in their fingers. And I'm just making sure that it is that with a upscale version. So we got to click on this one over here to make sure that I actually has an upscale version. So you can see this is how it looked before and this is how it looks after. So there is that going to go ahead and make sure I do that. The rest are using the same type of materials, so don't need to worry about them in regards to that. And once we're done with that, we can also add a couple of extra details. For example, we could make this a little bit standout as well. So I'll show you how to do that. I'm going to go back onto Modelling tab over here on the top, going to go on through the modeling tab. Like so. I don't actually like these rocks at all The way they turned out. So I'm going to go ahead and actually make them smaller in the UV side. So let's just go ahead and do that. Like so. Make them a little bit smaller, just like that. And so it's not going to go and make some weird variations on the side. Alright, so going back to this, let's go back on through modeling tab. Let's talk a bit in regards to the detail and how we can add those extra detail. And actually this poll, I will make sure that this bowl is also a little bit smaller as well. So let me just go ahead and do that. I'll just grab it and ended up like so. Nothing too fancy, no need for that. Alright, so I'm going to also make sure it's shadows with instead it looks much nicer that way. So going back to detail, in order for us to add detail to this, what we can do is we can simply go onto the edit mode. We can click K and then we can start adding extra. In regards to this using the knife tool, I'm just going to go over the overall shape. Like so. Not going to worry about too much. But just in general, like this, click Enter. And now it's going to give us this shape. What we need to make sure though, is that the tape itself on the corners would have bit of an extra topology, not topology, extra texture. And if we were to just use extrude right now, like so you can see that this entire texture ends up getting stretched out. So I always recommend you to use insert instead. So by clicking I and just drag it in, like so. And then you can click G and Y and just kinda drag it out words like so. And as you can see, it's going to put a sort of an extra resolution on the side. It's not going to just stretch out one pixel completely. So that way, it looks much nicer in regards to that. I'm going to also make sure it's set up to shade smooth Maybe we can just do it a little bit better in regards to the offset. I'm using ALT and AST to inflate it a little bit outwards. Yeah, that's how we would make use out of it in order to add that extra detail. Now, one more extra thing that I'd like to talk about is going to be how we actually set it up for the other side. Let's go ahead and see how we can do that. I'm just going to go ahead and do the same for this, this time. However, I'm going to go inwards. In this particular case, instead of just clicking G and Y, I'm going to hold Alt. I'm going to tap that is old and S and then bring it in words to just kinda deflated a little bit like so. This is going to be a nice small bit of a detail. Anyway, starboard side, as you can see, it looks like quite a bit of a mess. The reason being is that our mess that for side, that is, the mass is not going to get any projection views. So the camera itself that we had before, which I happen to move actually I'm just going to click zero to grow out of it. It's not going to get any information from this image itself. So we need to make sure we set that up. Though. For us to do that, we're going to just simply select this box over here. We're going to go to the other side like so. We're going to grab these parts just like that. And with what do we have the UV sinks selection. We can see how it looks with this out. We can just take G and move it out of the way. And it's going to automatically detach these parts. So what we can do is just simply we can grab, for example, this part over here. We can move it like so. And we can just get a nicer type of a setup. I can click on this button over here, UV sinks selection. So we could take off all the rest of the parts for now. And we can just move these inwards, like Sosa, our side, we'll get a nicer. I bought a look. This part is actually needed to be fixed up as well. So I'm just grabbing these parts, fixing it up like so bring it somewhere like so a little bit higher up. Just like that, something like so. And we're going to get the same type of a look on our side as well. Very nice, very simple type of a setup. Now, we're done with that. We could probably fix the middle part as well or something of the sort for the middle. Actually we're going to get ourselves a nice detail. So once we're done with one texture, we can make use out of multiple. Our textures, combine them and whatnot to get ourselves a nice type of a setup. Before we continue on and move on to the next lesson, I'd like to talk about one more extra thing. That is, if we were to just save out this blender file. So right now I'm just going to click Control and S save it out. It saves it out, but it doesn't save out those sections that we generated. So first to make sure that they are actually saved out. First of all, I prefer to make sure that external data is going to be automatically packed as a resource. And then secondly, I often would go to Texture Painting tab over here. Since we've been Texture Painting tab, there are options over here. So within the active tool, when we have the texture painting, there is somebody called save all images. And usually if this is enabled and you need to click on Save or images, that means that all the asset items, not all of the images where it's saved up. So just make sure that this is basically saved, which will allow you to save all the images. So yeah, there is that if the project or anything crashes and you don't have that button checked on, then you might lose some images, might lose some texture, which would be pretty much impossible to get it back because every time you generate your own new type of textures, you would get different results. So, yeah, that's pretty much it in regards to this lesson. Thank you so much for watching and I'll be seeing you in a bit. 25. Using Multiple Textures for Detail: Hello, Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we'll ask ourselves off by getting some extra detail for the setup. We fixed the other side as well. And now let's go ahead and make sure we get a nice setup for the overall design of upper parts. So for starters, let's go ahead and add some extra pieces to this box, to this postbox. First to do that, we're going to, first of all, it makes sure we are within the edit mode, which we can do so by hitting tab. Then we're going to hit select the front, the entire France section alike. So we're going to hit zero to go onto the camera view and go on to the view and lock the cameras. So this way we can grab the front section like soap, we're going to go to the closest possible, but it's still going to get certain contexts or this entire setup. Then we're going to go on to the dream setup and we're going to this time get postbox door. So we're just going to actually type in red door within Excel. And this looks like It's okay. We're also going to make sure we get bake option over here. Just like that. If we were to get it over, we're going to be able to select which one of the V's, V1. So we're using the projected UVs. But for this particular case, we can simply fix the UVs. So for example, if I was to be using specific UV, said that I didn't want to switch out. I could make use out of that option and it will give me a nice result for now though, I'm just going to have the selection, I'm going to get hit smart UV unwrap like so it's going to give me this sort of an option. And now we're going to go back onto the modelling like so. We're going to have this option ticked on and everything set up. We're going to hit reject. And then we're going to just wait it out. As you can see, it's going to give us a nice type of a setup. So there you go. It's going to give us a real nice type of a door. We can go on to images to see how it looks like. We're actually, we're going to go to the UV editing to see what type of option gives. This is what it's giving me. I'm going to check real quick if it's stylers as well because I don't read rock environment, I don't need rocky environment actually, I'm going to take this off like so. And I'm going to make sure it's set up a stylized, as you can see right now, once the first time of prediction is over, we can redo it and it's going to be much, much faster overall. There is that. Alright, so this time it's going to give me this sort of a look, which is quite alright. But I don't like that. It's not actually fitting in. I'm going to just select it all and I'm just going to place it over here like so. And it's going to look quite nice overall to the door itself. So the difference might be that this texture is a little bit different to the texture that we regard ourselves. What do we do? Well, first of all, I'm not going to increase the resolution using the upscaling. Going to make sure that this is set up properly. And actually, I'm not sure. It's using salt. Yeah, this one because it was a 3D view that we changed it this using DEP. This one should be up scalar. So yeah, this is upscaling model. Not going to change that up. So that's quite nicely set up already. And we're usually, I would upscale the texture first and then I would go ahead and adjust that. So now I can go on to the shading. I can make some certain tweaks to the base color itself. The way we can do it is we're going to just simply use Kerberos curvature. We're going to hit shift and a search for curve, RGB curves. We're going to put it in, in-between, like so. And we're going to just drag it down or actually sorry about that. It seems like before using the wrong that up. So I'm just going to make sure it is the right setup instead. So I'm going to drag this out a little bit annoying how they have these setup right into the material itself. I hope that one day they'll have it up on the side so it'll be easier to use, but it is what it is. Well now it's always in regards to the Updates, it's always keeping it up because it's more or less of an open source. But anyway, so what I wanted to do is simply add curvature. Alright, sorry not float curvature. My bad. There you go. Let me just go ahead and search for curvature, RGB curvature added in-between. There you go. And now we can go ahead and just kinda realign the texture, make it a little bit darker and make sure it fits a little bit more in regards to the overall setup. Like so. I could even grab this entire thing. I go inwards and then click E a little bit like so, sorry, not like that. Going to click E a little bit like so. I again, perhaps a, it goes something like this. That looks quite nice. There you go. Alright, so we've got to sell us a nice adore at the front. That is quite nice. Then we also have a flag on the side. And yeah, this is basically the work the workflow. We just need to do it one-by-one and get ourselves nice setup. Going to go back to the modelling. The camera is still set up, just going to grab the flag like so, make sure it's in the full view. Select it all, grab the entire setup. And now we're going to again make it to the UVs. Going to give us a nicer setup. And I don't think that I wanted to do. Yeah, I'm going to go back through modeling mode, change this red wood door to the metal flag or something like that. That's a flag. You go. And also we can make it blue. So what it will give us, hopefully a blue dipole of a flag. Let's go ahead and wait it out. And whilst we're waiting, which was rather fast actually, and it's not giving me the nicest results, to be honest, I'm not sure why that is the case. It's actually bacon out the flag over on the side. It's grabbing the v's, but doesn't seem to be saving those UV. So I'm not sure why that is the case. I'm just wondering why that is the case and it'd be like that it should save out the default UV setup. I'm just going to go ahead and go back to modeling and just redo it real quick. This time the UVs should be in the right position and they're going to be properly set up. So yeah, there you go. Going down to the v's because the UVs, we're set up with a projected view. It should, it will give us the right setup now. So, yeah, anyways, going back to this, let's go ahead and talk a little bit. In regards to the dapp and color, we have an option like that over here. This is an option that will help you to control the overall renders. So similarly to what we had to the AAA renderer within Blender, where it had made use of depth and color. This is the same type of option that will allow you to make use arrow. You also have a strength noise, which will control the type of a setup that you're having. So basically what I'm going to do right now is I'm going to go onto texture paint, going to select this entire flight first like so. With this, going to also make sure I have where is the diego red color? It's going to add red color at the bottom or actually, sorry, not red color. I'm going to add a darker brown color like so. And I'm just going to paint it up just like that. Up until this point, like so. Alright, now that we're done with that, we can go back onto modeling. I'm going to go ahead and project a dream texture, which is going to give me this type of a look like. So to check just in case if you move maps, not enough in newer has been created. Excel. Alright, so now I'm going to go on through UV Editing and see what gave me end here. This is what it gave me. It gave me like a blue flag and a nice job of a rod at the bottom. So yeah, it's a pretty nice, the other side is a bit messy. So for example, we can fix this a little bit. We can go ahead and do that. Or actually what I'm going to do right now, I'm going to grab this entire thing, maybe reposition it a little bit and make it smaller, like so. I think that's going to fit in much, much better. So there you go. We've got ourselves a real nice type of a setup for a flag. It's a very simple type of a way of doing it, but it works, and that's what's nice about it. You don't need to worry about painting and painting certainty kill yourself. You just need to focus on modelling and the rest will be taken care of. We still have a couple of rocks and I still want to show you how we can set ourselves up with certain of additional other assets that we can do, which I will do so in the next lesson. So thank you so much for watching. And I'll be seeing in a bit 26. Generating Seamless Textures: Hello and welcome back everyone to ai and 3D art, a course for digital artists. Last lesson, we left ourselves off by getting some additional detail or the flag and just getting some extra door detail by just resetting ourselves up with a new texture map. Now we're going to continue on with this kind of technique and make use out of it in order to set ourselves up with the rocks. But in this case, we are actually going to make use out of a different dream setup. So by default, we were using the DEP type of a setup. We also made sure to use the scaler to upscale the detail. And now we're going to learn a little bit in regards to the original. They will diffusion 2.1. But let's go ahead and do that. First. Actually make use out of it. Instead of just using it in the 3D view, I'd like us to go to a 2D view instead. So ideally, it would be nice as to probably set ourselves up with a new workspace layout, which we can do so by clicking on the plus symbol over here. And I'm just going to start off with just getting a simple modelling tool area over here is going to go ahead and rename it to a 2D, like so. And I will change the image itself from 3D to an image image editor day ago. So within this view, now we can finally set ourselves some additional proper actual texture. So before we were using a lot of death mask projection and whatnot and getting detailed ourselves stairway. This time however, we're going to press N, we're going to go onto the dream view. And within this selection, we're going to make sure that the model that we're using is going to be 2.1 like so. Then the prompt, we're going to make sure that the prompt is set to texture of waste. We're not going to get the right results. And finally, I'm just going to check the size, the size, okay? And yeah, there's a lot of miniature type of adjustments that we could make use out of. But all in all, it is okay to make use out of everything as is. Alright, so Let's go ahead and set ourselves up with a nice type of a texture. We can call this one for service. Let's go ahead and set ourselves up with a rocky or actually grassy texture for the ground. So let's go ahead and get ourselves grass stylized. Going to move the mouse a little bit. Stylized like so. And bright or actually saturated, saturated. I'm just going to write that in. Then afterwards we got to do is just click Generate. And it's going to do its thing because we're using a new, because we're using a different module. It might give us, take us a little bit of an extra time, etc. And it's giving us this result. If you don't like the result, we can just click Generate again and then wait it out. And it's going to give us a different type of results. You can see every time it's giving us different results. But there is that quite like this one actually I'm going to make use out of it. So let's go ahead and do that. But to go back onto the modelling setup, tick off the camera attachment like so. Move my camera outside. And now I'm going to make use out of it for this setup. So let's go ahead and do that. I'm going to actually go on to shading like so. And put this, I'll need a different material X-ray actually. Let me just go ahead and do that. I'm going to create a new material. But it's like so image that we're going to use is going to be image over here. So let me just go ahead and search image texture. Going to go ahead and open it up, are actually going to click on this one over here and you can see the top one is going to be the newest one. We don't need to search it through the entire setup, going to plunk it in like so for now and I'm going to go to UV texturing. And then with this, I can just click a has an upscale it and see how this would look like, like. So I'm just wondering if this is going to be alright overall. Because the reason being is it might not, yeah, there is a bit of an issue in regards to the UV not being a seamless texture. So let me just check that out real quick. There you go. I forgot one small detail in regards to that. And that's going to be seamless axis. If we were to turn this up to both, it's going to make sure that in all directions is going to be seamless. And I need to just regenerate a new one, which is in a way unfortunate because it's not going to give me the right type of a setup. But all in all that's going to be okay. I'm going to do it again. I don't quite like the saturated word might take it off from that. That's a nice grass That's looks promising. Don't really like it. Let's go ahead and take off a saturated. Going to now, try again. Let's see what this is. And this is a bit of a harder process. Again, the overall AI technologies being improved. Example mid journey, it was a bit easier to set it up with this. It might be a little bit harder, but all in all, it's still going to give us some nice results. So now I'm going to go to Shading, going to make sure that this is set to a grass. And there you go, you can see that this is a seamless section. It's going to be looking much, much nicer. We can also go to UV. I'm going to select it all by clicking a, going to rotate this around. For example, if we wanted to look a little bit nicer from this angle or something of that sort. Rather, in general, just play around with the shapes and whatnot and get nicer shapes. Alright, so now we're done with this. We can do pretty much the same way if the rocks as well. I'm going to go ahead and go to 2D view. And also, as I said before, make sure to go to texture paint. And within texture Painter is a button called save all images. As you can see, this one is enabled now going to click Save Images and it's going to make sure that we saved out that graph that we just created. So there is that. Alright, so now we're going to create a rocky surface or just rock. That's going to be alright. Let's go ahead and do that. And there you go. It's actually creating a nice extra for it. Just wondering if that's going to be alright. I don't quite like it. If you didn't have gaps, it would have been very, very nice. I'm going to also put in a bright, although I don't think it's a good idea. When we have the architectures, we can always increase the brightness, which I showed you how to do beforehand. That's not the way. So let me just go and type in something like stone. Instead. We also need to think of the overall wording that we're using. So let's just make sure we results the right type of wording. This case. I might not take anything and just type in stone. It by itself doesn't always work with certain words, but with our words it might do better. I don't like how, it's like pebbles. Might try it one more time and see how this would look like. And again, it's always about experimentation, experimentation, testing it out. And again it's giving me same type of concrete rack. I'm just going to type that in. Sometimes needs to be an alternative. So for example, concrete on the stone would still look quite nicely. We can increase the values and whatnot and it still looks pretty good. Actually. This one looks really nice for it. So let's go ahead and make use out of that. I quite liked overall results are going to go back onto UV Editing actually, for this one, I'm going to go on through material takeoff this a new material, coldest stone like so. And then go on to shading. I'm actually going to do the same thing for this one, just going to select the stone material. So grab both of these, going to go on to the shading, going to start setting up an image like so, image texture. Let's put it up. Open this up. Oh sorry not opening up. Let's use this button over here. Concrete crack. What up, the base color like so and it's going to give us this result. So for starters, let's go ahead and select this. I'm actually just going to click. And because this was all waste in no way, going to select both of these stones, going to go into edit mode, going to click a to select them both up, scaled up to the point where I liked the overall design. Something like this. Maybe it's a little bit too little or too much. Go something like this. This looks like nice cracked stone. Like so. Then what are we going to do is we're going to go back to the shading. And now let's talk about in regards to not only the color which we were able to just using the curve, which I think I'm going to actually do the same thing as well over here. So with darker. Yeah, there you go. I'm also going to lower down the top piece as well, just to make sure that I don't get such white pieces as we saw before. So as you can see, there are a lot of white pieces and I'm actually going to lower down this one as well because the darkness, I thought it looked a little bit too dark overall. So I'm just going to take off the overall values from the lightest and darkness and to get more of this type of result, right now, it looks like just a note reading material. It doesn't look anything special. So we need to transform them to PBR values. There is an add-on automatically sets up the dream AI textures to PBR textures, but a little bit limited in regards to what kind of problems we can set it up. You can set up custom. Once the add-on I was talking about is going to be called d, d t two dB bridge. And you can grab it free on this gum road page over here. And it's very nice. So make sure to also if you're getting grab it. I'm not affiliated with this in any way, shape, or form. But it's a really nice type of setup. But instead of using it, I'll show you how to do it from scratch instead. So it would be easier to set it up with this add-on since it gets updates more frequently and whatnot, I prefer to just use this type of an add-on instead. Anyways, I'll show you how to do that. But for now, we've got some nice seamless textures. We need to convert them into BBR values and maybe grab a couple of additional objects for this type of a scene. Though. Yeah, we're going to continue on with this in the next lesson. Thank you so much for watching and I'll be seeing you in a bit. 27. Setting up PBR out of Seamless to get Texture Detail: Hello and welcome back everyone to ai and 3D art, a course pre-digital artists. In the last lesson, we left ourselves off by creating a nice, seamless textures for a setup. But as you can see right now, everything is just plain. It just doesn't look quite right. The reason being is that it just generates images. It doesn't create any author roughness values, any of the sort of like no normal maps, no bump, police know nothing of that. So we gotta make sure recreate something of our own. And the easiest way for us to do that, we're just going to select the stone, the seamless section that we had. And we're going to start setting ourselves up if I'm beginning with the roughness value. So the way we're going to do it is we're just going to drag this out. We're going to grab ourselves a curvature. For this is quite a ride. Or actually instead of doing that, we're going to grab ourselves. We are going to search for color ramp. Ramp, Colorado. There goes one word. So let's go ahead and just connect it like so. And what we're going to do is we're going to hold Control and Shift tap on color ramp like so. So we can see exactly how it looks like in regards to overall setup. First things first, the darkest areas, they're going to be very shiny. We need to make sure we take the down. The rock does not need to have such shiny areas. So we're just going to take this to the other end or Lego. Let me just go ahead and actually zoom in a little bit so we can see what we're doing with this. And we're going to drag it down like so. And instead of doing that, I'm actually just going to click on this over here and just kind of increase the value like so. And here we go, we're getting ourselves much, much nicer type of a setup like so going to take down the other end like so. So we get a nice contrast between, and I'd say that looks alright, actually might even, I might even consider just switching them over. So I'm just going to flip them, these arrows over the area where they were crevices, where they were darker areas. They're going to actually be having more of a roughness values. It's going to be looking something like this. We've got something like this. We're going to attach this color onto our roughness area. So let's go ahead and find that like so. Now we're going to hold Control and Shift, tap on the principal BDSM and see how this looks like. And there we go, we're going to get this result which looks less shiny, less glossy ideal for Iraq. Of course, right now, we still need some pixels, so let's go ahead and do that. We're now going to create a sort of a bump value. In our previous lesson when we were doing the major any part, we were using displacement. Now in this case, we're going to set it up as a normal map. And on one end it's a little bit easier on our end. It might be a bit harder when setting it up. But all in all, when generally using PBR, we don't often use displacement, we use a normal maps. So that is why it might be better. I'm going to go ahead and just drag it down. Use curvature like so. Going to straightaway, attach it to, actually instead of attaching to normal, we need to get ourselves a bump. Normal, like so. There you go. And we're going to attach this to the normal. And actually sorry, we don't need to attach this RGB curves to normal. We need to hold control and reattach it to the height, just like that. Now we're going to go ahead and actually hold Control Shift, tap on this, and start playing around with the values to get the right type of a result. So let's go ahead and see what is that. It's not saying it doesn't seem to be doing much. I'm trying to figure out why that is the case. Like the texture itself is not being affected by it. Just trying to figure out why that is happening doesn't seem to want to work. I'm going to real quick check if it's saved, going to texture paint, going to click Save all images which it is. I'm not sure what is going on with the shading mode. Change the fractal to color. Just go ahead and do that. And there we go. It's now doing it. I'm not sure why it was flipped over. But anyway, so once we have the RGB curves set up, all we gotta do is just play around with the values a little bit. In this particular case, if we were to just attach this right away to the height and see how it looks like. I'm just going to hold Control Shift and click on this. I'm going to see that it is quite strong in regards to the world's setup. We can take down the strength overall in regards to this area over here. By just playing around, I can see that in this particular case, we need to cut off a little bit in regards to the overall bumpiness. But the other thing I can add as well to the RGB curves is going to be if I were to click Shift and I can add Cloud, but clamp will do is basically it'll limit off the max value. So for this case is going to be the value of one. So the value of one, I'm just going to let you know that the y value of one represents the white colors and this is what controls the Bump Value going outwards. So what we can do is we can simply take down the max value of one, a value of say, 0.3, 0.4, something like that. And it's going to just cut it off, make it look like the Rock is a little bit more chiseled or fan? I think that looks a little bit better in regards to that, we will need to take off the roughness or the Bump Value strength a little bit more around with it a little bit like so. And it's going to look quite right. Okay, so the next thing that we can do is also not only set it up like so we can also get some help to grab additional information detailed for the HR architecture. What I mean by that is we can go onto our PVR material and set everything up with not only just one image. I will show you how to do that though in the next lesson since we're running out of time. So thank you so much for watching. And I will be seeing in a bit 28. Overlaying Roughness Values: Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we left ourselves off by setting up a rock PVR material that's seamless and we just used it on this rock over here. And we're going to continue on with it and make sure we set it up with a better one extra information in regards to the overall setup. Because as you can see, if we were to go to rendered view, we're going to get this result and it might not be the best. I might change it to cycle is actually the different renderer. I'm just going to move the light a little bit to the side so I can see what I'm doing. And I will actually take down before doing that, I will take down the rough bump value, shrink to us a little bit bored. So a value of 0.4, that's a little bit better. There you go. Even 0.3, actually, it doesn't need to be. So bumpy exam. Alright, so the way I was talking about is if we look at the overall roughness value by click on a color ramp, we can see that this is the only thing that we're having. It's not enough detail. It's not going to look quite as nice. What do we can do is we can go to one of our 2D views. I'm just going to open up the 2D workspace that we created. Holidays is basically, again, just an image editors simple setup. So there is that and then dream. I'm going to go ahead and click End to open this up on the side. Going to go ahead and then make sure that the model is set to 2.1, just the default one. Then afterwards we can just type in dirt, roughness, like so. We're going to make sure that the seamless access, I said both. And then afterwards we're going to start generating or iterating this overall setup. So let's go ahead and do that. Actually. But that's seems to be a scalar. Sorry about that. There you go. We just need to click on Generate. And it's going to start in reading ourselves a roughness value. There we go. Now let's have a look at what this gives us. And we're going to get something like that, which is really nice, but it's a little bit too noisy. So let me just go ahead and do it again. Like so. This will give us solo open up the Advanced. Hey, so I want to increase this tab. Sometimes I do want to increase the step size, usually Christy, something like 42. It gives a better, slightly better results in regards to the iterations. Let's just go ahead and try doing this again. And maybe something like this. Notice one is not even good. But even if you get ourselves not a black and white type of an image, it's still okay to make use out of it. In regards to the roughness value, you just got to make sure that the darkest parts and lightest parts in regards to the noise itself, looks quite nice. And it might not give us the right result. So I might just change up to something like mud or something of the sort. And it might be a little bit better in regards to that. Yeah, I'm just going to change to mud. So I'm actually going to take off the roughness in this particular case. Sometimes it doesn't seem to work, sometimes it's really hard to say when it does, the AI sometimes is hard to make use out of in regards to when we want like some predictable results. But in this particular case, we just want some noise. So let's go ahead and just use a subject as noise. Let's see what this would give us. Navy go getting some interesting patterns right here. That's quite nice. And I will say noise third, that would be a bit better. And I think this is giving us a better result, although it's hard to see at the moment, but we are getting there and that's what matters. Alright, so it looks, it looks quite nice actually, this one, it's a basic type of setup. Let's go ahead and make use out of it. It's a bit blurry, but I think that's okay for this particular case. Let's go ahead and try it out. We're going to click and hold Shift and a search for image and add it onto the side of the other, eventually going to select the concrete cracks, then we actually can go through multiple wants. What they are. You can select either one of those. And once we have a lot of selection, we can just go scroll through them and I think I'll make use out of this actually one, bigger, quite like this one. Alright, so make use out of it. We're going to make sure we get some space. We're going to use a multiplier node. Or actually I think we're going to use combined. Yeah, I think we're going to use combined. That's a nicer one. Combined color. Not combined. If it's going to be a mix, there you go, mix of them in, going to set it up with a be a value of a going to hold Control Shift happened this one and see how this would look like by default This is the default drop one and this is the one that we're looking for. I'm just going to lower this down until we get some nicer overall setup over here. Might also need to adjust the overall type of a setup on this image. So I'm going to hold Shift and tap on here. It's for curves. So added onto the RGB curves. That's alright. Let's go ahead and just play around with the value going to actually go on to the RGB curves itself just to play around with these values like so, so something like this. I'm going to bring up the darkest parts out just like that. It's already looking quite nice. We need to make sure it looks dirty in regards to the overall setup. Alright, let's go ahead and see how this would look like. And there we go. It looks actually quite nice. Let's go ahead and add this to our roughness value, which is going to be over here. And let's go ahead and see how this would look like. And there we go. It might still be a little bit too bumpy for the overall setup. I think, of these areas, but all in all, I think it looks quite right. Actually, I'm going to leave it as a quiet like this type of a setup for the grass. We can do the same thing as we did for the rocks. I'm going to go ahead and select this and then I'm going to go back onto rocks. I'm going to copy this entire setup like I had over here. But the easiest way to reuse it would be to just simply make a copy out of it. Let me just go ahead and see that. Let's go ahead and just copy this entire thing and take it to the grass. So let's go ahead and do that. Like so. And then afterwards we're just going to replace this image with this one over here. Go ahead and do that. And I'm going to just go ahead and replace it like so. Delete this one over here at the normal, normal, like so. I'm going to give us this sort of look. Then we need to make sure we add the roughness. Then you might be wondering, Well, we're using the ROCC roughness right now. Is that actually a good idea? Well, the thing is we can go on to this image right now after we pasted it in. And we can change this up to whichever one we want. So I'm going to click and hold Control and Shift. Just play around with these, whichever one I want. I might even make you sad of concrete in this particular case. Maybe not. I'm not sure which one to use, to be honest in this particular case, because I am trying to get some variation, but at same time I don't want to overdo it. So I think I'm going to use this one as like a nice public type of look. So that's going to be quite nice. We just need to go click and hold Control Shift and go onto here and just lower down the dark parts almost entirely. Like so. Then we just need to blend it in just like that. So what I'm looking for is just make sure that these gaps aren't actually in our way. Something like this. Like this, a go, I quite like this one. Alright, let's go on to the mix shader and see how this would look like. Just mixing some of that in like so. And let's go ahead and see how this looks like. The grass price itself might be a little bit too, too intense. So let's go ahead and go on to the normal settings over here. Going to click and hold Control and Shift. Tap on this one. And it's not. I'm not I'm not quite liking this. Pink. The intensity for the dark parts are a little bit too heavy, so I'm just going to drag this first dot over like so. And let's see how this looks like in regards to the normals. We might need to play around with the values for clamp. Go, making sure it's not too intense in regards to that. Okay, I quite like this one. Actually, no, 0.3 was quite nice. And then we can play around with the strength itself. Just a little bit, not overdoing it, making sure that there's not just complete noise. But you can see the difference. It's pretty good in regards to the light bounces and whatnot. So that's quite nice. I'm quite liking that. Alright, so now that we're done with that, we can go ahead and just continue on with the process. We have ourselves a nice basic PBR setup. We have ourselves the seamless textures and whatnot. Let's go ahead and add couple of Albert objects. But we're going to do that in the next lesson. And so thanks so much for watching and I'll be seeing you in a bit. 29. Setting up Matress Texture Using AI: Hello, welcome back and brown to ai and pretty art, of course, for digital artists. In the last lesson, we left ourselves off by getting some nice PPR value overlays with the roughness values and whatnot for the grass, for the rock. And now we're going to continue on with the process and actually gets couple of extra objects. Then we'll show you how to actually grab some nicer overall textures and just overall setup, how to play around with all of that. I'm going to go ahead and just simply grab a cube, for example, let's just go ahead and grab it upwards. This S y as x. And this time I want to actually, I'm going to go back to the default shading. I will go back onto modeling actually, and I'll play around over here this time. What I wanna do is actually set like maybe, I'm not sure what maybe like a mattress or a bed or something of the sort on the side. When I experiment basically with ideas, I want to keep the flow going in regards to their overall condition. So maybe I'll just put it over here. I'll grab this entire thing and click Control V. And actually before doing that, I need to select this control, a rosette, rotation and scale to make sure that my levels are actually being properly used up. So they go in to add a couple of segments like so. It looks quite alright. Let me just go now and grab a nice texture for it. Going to zoom in with my camera, that is. So I'm going to click zero, go onto the camera, make sure it's locked to my view. Now we can go ahead and get closer to this mattress, going to click Delete to make sure not delete the button, Delete on numpad to make sure I refocus my camera. There we go. Something like this is going to be quite alright. Going to now go back onto Dream tab, like so. This time I can just go ahead and type in a mattress. So let me just go ahead and see how this would turn out. Let's see the type of texture it's going to get. It seems to be doing its thing. There we go. It's going to give me this type of texture. I'm going to go ahead and redo it and not worry too much in regards to the overall setup. It's giving me the type of mattress that I want, but it's not the right angle. So I'm going to adjust that a little bit. Like so, something like that. Let's go ahead and see if we can do something with it. I'm going to go ahead and first of all, upscale this actually, I'm going to go ahead and upscaled is going to go back onto the view, going to go on to the mattress that I just created, which B over here? These are the things that we just created. So some of them are quite interesting. Some of them are not really that high up. And I'm just wondering what's going on with this because as I can see over here, it's not actually going along with the camera itself. I'm just trying to figure out why that is the case. And it seems to be, as you can see over here, very zoomed out. So I'm just trying to I'm just wondering why that is the case. I'm going to go on through UV Editing, going to see what this looks like. N, yeah, it seems like it's giving me the wrong type of detail. So I'm just wondering why that is. I went to check the resolution in regards to that, making sure it's the same resolution. This which it should be. I'm going to try doing again project being texture. There we go. That's going to give me this. I'm going to zoom in a little bit more like so there you go. Now it's filling up the space properly. There you go now it's giving us a nice texture that we can use a quiet life. So I'm actually going to go ahead and make use out of that. And I don't even need to do much in regards to this. I'm going to need to just basically go on to the texture itself and I'll need to upscale it. So let me just go ahead and try doing that. Hopefully it'll startup to work, so I'm just canceled it and it seems like a chain and haven't changed the model. So let me just go ahead and change the model. Now I'm going to go ahead and upscale this one. Like so. Let's go ahead and wait it out a little bit. And in this case, it doesn't seem to want to work without the video for a bit. And that might be an issue with, in regards to that. I'm going to go ahead and go on the texture paint. Make sure that all the images are saved out and I'm going to restart. The project itself. Might've been an issue in regards to my recording software and AI generated. So I'm going to also try to restart my computer and I'll come back in a bit. Now, I've restarted the project. Let me just go ahead and try doing this again. So I'm making sure it's set you up scalar. Going to go to where is it upscaling? A Absolutely, There we go. And just scale it to 2048. Alright, so after playing around with it a little bit, I realized that the tile size brush just a little bit too big in order for us to start up the project. But now that I'm done with it, It's going to give us a nice results. I'm just going to give it away Alright, so we're done with that. Let's go ahead and see how it looked like before. And now, I'm going to click on the previous one. And it seems to be adding a lot of unnecessary detail. Though. Yeah, we'll definitely need to fix that. I'll just add in a subject saying a mattress blue. And this should help out with the upscaling. So I'm just going to go back to the original one, like so. In regards to the blend, if I just take that down a little bit too, eight. And yeah, that seems to be a right now. And there we go. We gotta sell us a nice type of setup this time it's not a hallucinating and just adding extra detail. It's giving us somewhat of a nice one actually. But let's go ahead and make use out of it. So we're going to make you sad of it within this mattress over here. And you just click zero to go out of the camera view. And let's go on to shading. Let's change these to be upscale version. Just go ahead and just grab this like so. Alright, so the upscale version, I'm going to go ahead and do that upscaled search for one, like so. And this should be the one, right? Yep. Alright. Next thing that we need to do is just right-click Shade Smooth, and we can just start playing around with overall settings. So first of all, what I'm going to do is I'm going to probably help it out in regards to the other side as well because it's not doing quite as well. Let's go ahead and fix up the UVs. Let's go on to this, the row. Make sure we are in material view. And let's grab this entire section going to click Control plus a couple of times to expand the selection. Going to just click on Wrap. Actually might be quite alright to just keep it as is. I'm going to just click N to hide this out of the way. And just move this to the other side like so. Click S down, just kinda bring it up to the side like so. Maybe we can just grab this a little bit as well. Just like that, something like so. Then if we go, we're going to get ourselves a nice back for this area over here. We're going to do something similar. Going to grab this all, going to click U-turn, wrap, rotate this around though. And I think that's going to be quite alright. I need to overdo it. In this particular case, it's quite a dark area, so it's not going to be as visible. This is looking quite alright, so now we can play around with the shape itself. We're going to just add a bit of a inflation like this on the side. Looking quite nice. Then we can add couple of maybe some bit of a thickness in regards to the mattress itself. I'm just going to go ahead and do that though. It's looking better now. Alright, so yeah, we can go ahead and leave it as is now, we just need to make sure we set it up with some nice extra. So let me just go ahead and grab the grass setup like so. It's going to select everything control C, Go back onto the mattress, Control V. And it seems that the mattress decided to just grab the previous setup. Just making sure that it's actually setup with the upscale version. Not sure why it went back. There you go. Heel version, just making sure it's that are harder to see. And we're like that. There you go. We can just name it like that. Alright, so what we need to do now is just we need to make sure we have this replaced with this part over here. So let's go ahead and do that. Great hold Control, right, color onto here. And then we're going to grab the roughness value that's attached to the roughness over here. Bump Value, which is going to be normal. Let's attach it over here and see how this looks like by default. And it might look interesting going to go ahead and check the roughness value first and see how this would look like. I want more of a noise texture for this one. So I'm going to change this out to be more of a noise. Image search for noise because I remember it's setting the sum of those up. Like so. The noise is quite alright. I might need to, which up the UV in regards to how well tiled it is. But I'd rather keep it simple. I'm going to go ahead and just grab another texture. I'm going to search for noise again. The actual dirt. Some of them had some real nice patterns, something like that. I think that's going to be pretty good actually. Let's go ahead and try seeing how this looks like over here. Here we go. Something like this. Something like this. I quite like this. It's the highest value, so it's going to be very rough. And then we need to check out. It's going to blend in with the rest, which doesn't seem to blend in. So I'm wondering why that is the case and this might need some adjustments, so let's go ahead and do that. I'm going to go ahead and make one dark like so. And just trying to figure out why that is the case, why it's not doing anything in regards to that. Maybe flip them over. There you go. And to give us this sort of a result, now we can work with this and just overlay it a little bit like so. And I'm even going to just bring out the pillow little bit more. I'm going to I'm going to leave it as is. Okay. So let's not overstressed ourselves too much. We're going to get this sort of a look. And I would just need to bring down the factor a little bit just like that. And it's going to give us this sort of a value. Not the only thing that we need to do is just bring this. Sir. We need to make this basically a little bit brighter up and get a nicer, not as glossy type of a result. Why is now it looks quite a bit glossy. And I'm wondering if we should also increase this a little bit by quite a bit like so. Here we go. We're going to get ourselves a nicer. Then you go a nice a type of a mattress. And I quite like this one. Let's go ahead and keep it as is, might need to increase the mattress overall a little bit even more. Actually, they go something like this. Look great. So we've got ourselves a mattress. I'm not sure why next to the postbox, but we can always experiment with that. I can also just grab a nicer type of a base for the bottom. So let me just go ahead and grab a circle. I'm going to just put it up to the side. Like so. Go into edit mode, click F, just expand it a little bit like so. Have a nice podium or something of the sort. And for this one, I think I'll make use out of a previous textures that I've already created. I'm not going to bother with a rendering them out. Again. I already have a lot of texture is actually whilst experimenting, what are the nice things about experimentation with AI when you are working on different textures and whatnot is that all of these images get stayed over. So we can always go back onto them and grab them. So I'm now going to search for image. I'm going to go ahead and search for something like dirt or something of the sort. Let's go ahead and see what we have. So I'm going to get some dirt, roughness, something like that, and that's attached to the base color. Let's see how this would look like. Of course, we need to unwrap it first. I'm going to select it in edit mode. Click you, unwrap. There we go. We've got to sell something like this. So this looks kind of interesting. I actually like this one. I might need to change the color. So for us to change the color, what we need to do is just we need to add a ramp. Ramp. There we go. Add it in and then we can go ahead and make this a little bit brownish like so. And the white part is also going to be somewhat brownish like that. Much though. Something like so. Alright, This might need to be up-scaled, so let's go ahead and do that. It might be a bit harder to upscale it, right? Like so because we need to find the exact same name. Luckily they have ID. So what we can do, we can grab the name over here, click Control C. Go on to the, to the part where we have our upscale or setup. And now we're going to go ahead and click on this button over here in the search bar. I'm just going to paste in the name, grabbed his name, and it's going to be the same one that we're using. So that's how we overcome that. And I'm just wondering if this is the right that I'm because it looks like we can just type in something like stone or something like that. And I'm quite happy with the scaling over here. So I'm just going to go ahead and just click upscale. We're done with that. Let's go ahead and see how it looks like. We're going to go back on to shading. We're going to make sure that this set is set up with upscale version. So I'm just going to actually search up the same type of ID and it's going to have a upscale next to it. Let's go ahead and select it. And for this particular case, it might need a bit of an extra work. I don't want these lines to be visible. So what we can do is we can grab another one. I'm going to go ahead and add an image to texture. Grab myself a simple dirt. Like so going to see how this looks like. It actually the same one that we had previously or doesn't seem to be the case. Let me just go ahead and see how it looks like for the base color like so, and something like that. Alright, let's go ahead and grab this one. I quite like this one. And now we're going to mix it up with the previous one. And we had before us today, we're going to just be Control Shift and we're going to search for mix. We're going to just add it up. Like so. Instead of a float, we're going to select color for status. It took off the items, so let's go ahead and put them back in like so. And we're going to change the mix to be a bit of a different one. So let me just go ahead and add the base color. Let's show what it looks like. I prefer to use overlay or multiply. Multiply will basically, whenever there is a wide of a patch, it's going to darken it and never will affect the parts that are darkest already. Where there is the opposite of that would use overlay or actually screen as well. Screen is pretty good. Let me just show you what overlay is first though. So if I were to take this all the way up, it just adds extra detail for the mid values and tries to avoid touching the darkest and lightest patches. But it's pretty good for adding additional details like so. And screen is going to basically lighten everything up in regards to those areas and we're here. So that's pretty good. I'm going to use beforehand though. Factor actually, the factor is okay, I'll need to shift in a and add a curvature. Like so. And just kinda drag it down a little bit, just like that. So something like so I think it's going to be working quite well. We don't need the latest patches to be seen as much. I'm just going to drag this down and Every go, something like so. That's going to work as, work out quite as well for a base. Going to select this entire thing, just drag it downwards like so. And I am going to actually set it up a little bit of a nicer foundationally. So selecting it all, clicking on rap, like so. And it should give me a nicer setup, but it's not, doesn't seem to want to do it for the edges. Just wondering why that is the case. I'm going to go to the UV editor seeing how this would look like. I still have the copied version of the dirt. So I'm just going to see how this would look like and it looks quite alright. So I'm just wondering why that is the case for this one. Seems to be in quite okay. Of a job over here as well. I'm just wondering why that is the case. I'm going to go ahead and see that if it works quite well, it might be because the scaling is off. So I'm going to reset rotation and scale, select this entire thing and rapid again. And it doesn't want to do it on the sides. I'm just going to grab the oversize as well. Look smart UV unwrap. There we go. Now we fixed them. Let me just go ahead and lower this down underneath the mattress like so grab the mattress a little bit higher. And we got ourselves a platform for a mattress just like that. And we can just bash up whatever we want to this section. We can create very nice type of retro scenes. And for example, if you want some rocks, additional rocks over here, we can just do some rotation and fixing up, like so. We might need to do that as well. Anyways, that's pretty much it when it comes to the setup of AI. It's not really good with when it comes to hyper realism, this type of a method. But if you're making sort of retrosynthesis or whatnot, we can make use of this method to grab a hold of a nice scene, of a nice layout and just make use out of this overall type of a workflow. So, yeah, I really hope you enjoyed the video. Thank you so much for watching. I'll see you in a bit. 30. Tweaking AI Assisted Scene in Blender: Hello and welcome back everyone to AI and pretty art, a course for digital artists. In the last lesson, we left ourselves off by setting ourselves up with a nice mattress and a background, getting ourselves a bit about Platform as well, which I don't think we set ourselves up with a nice type of PBR materials for it. Let's just go ahead and have a look. Is we don't have any of these setup just yet, but that's alright. We can go ahead and just grab it from one of the other assets and then we can work a little bit on in regards to the polishing everything up a little bit and adding some extra objects afterwards. So let's go ahead and do that right away. So first things first, I'm just going to grab a rock since I know that it has a nice setup for roughness and the rest. Good to go ahead and click control C to copy all of this shaders. Just going to click Control V to paste it in all the way over here. And then I'm just going to just have a quick look in regards to what this is. The way I'm going to do it is I'm just going to, because this is already mixed up with a, an overlay, a certain overlay with using screen type of a node. I'm just going to drag it out and treat this screen anode as an image type of a node as in, I'm just going to drag everything from this image to this green node. Just like so. This way, we're going to have the same data that we had from mixing up in here. So the rest should be quite alright. And at the top, as you know, as you remember, we're going to have it as a roughness value. Let me just go ahead and do that. There you go, the roughness value, then we're going to go ahead and set up with a normal map like so. And now let's go ahead and play around with the values. So first of all, click Control and Shift tap on this mix over here and see what this looks like. And this might need to have a bit of an increase in regards to how rough it is. I don't want it to be too glossy, but maybe going to play around with the values a little bit like so I'm just going to decrease the first line so we'll have darker patches and then it should give us a sort of a puddle look. Which if we have a look at it right now, actually I'm going to go ahead and hold Control Shift tap on here. Though we should get ourselves this sort of results. So it's looking quite nice. We might need to work in regards to this overall setup for the bump going to increase a little bit like so, age up to max 0.8, like that. And then just play around with the values. Something like that will work just fine. Alright, now we need to go ahead and fix up the lighting a little bit as well. Let's go ahead and do that. We're going to go on to our render engine. So our Render tab, we're going to change this to cycles and we're going to enable a noise or so in sampling, if we enable the noise, which is going to help us out to get a nicer result overall. And I'm going to leave the rest as is. We don't need to worry about anything else in that regard. So now we can go ahead and fix up the lighting and whatnot because the lighting that we have right now is not the best. So let's go ahead and look at lighting. I'm just going to go ahead and click Delete to delete this out of the way. Then I'm gonna go ahead and add our own lighting. So shift a, we'll start off with a light source port sun, like so. And now we're going to add this looks like It's okay over here going to also grab both of these, this entire box like so. The mailbox going to click Control J to join up, like ours. Just rotate it around a little bit. But it off to the side. That'll look quite nice and maybe scale it down a little bit like, Hey go that looks nicer. Alright, so now we can go ahead and grab another light source a little bit. In regards to that, shift, a light source this time an area light source. This is going to look quite nice overall. Want to just put it off to this area over here. This expanded like so like our rotated to the side. It is something a little bit like so to get nice shadows, what I'm doing right now is simply playing around with the scale. So just lighting. You can see the parameters over here on the right-hand side, bottom right-hand side. And I'm just going to increase the power of it. Just go ahead and do that. You go. Alright. So this is going to look much, much nicer in regards to the overall light. Maybe something like so. This is looking a little bit better end. Finally, I'm going to duplicate this one more time and put it off to the other side as well. A go. So something like this is a nice setup. I think with this kind of a lighting, we can now experiment a little bit in regards to the overall setup. So let's go ahead and do that. I'm going to expand this grass a little bit more so we don't get to see any of the area outside. And I'm going to play around with the visa as well because I think even by default, even if we were to click Control Z, to go back to this, It's a little bit too large actually, so I'm going to go ahead and select this, go to the movies space, select this entire thing, and just upscale it even more. Until we get the desired results. So I'm just going to go ahead and do it. Even like so too much, I reckon. Hey, go something like this. I think that looks pretty good. All right, now let's go ahead and fix ourselves up with these rocks. And we can do so. I simply grabbing these rocks over here. And I think what it needs is it needs a little bit of an extra geometry. So what I'm gonna do is I'm just going to go ahead and add a simple displacement modifier like so. I'm going to go ahead and make use of a new texture actually are. I'm wondering if I should set up a noise texture. I'm just going to go ahead and set up displacement texture. E. Though, going to go into detection tab itself. It's already set up with displacement, texture. Then I'm going to go ahead and grab instead of image or movie, I'm just going to grab a pink clouds will do quite well for this case. Let me just go ahead and do that. And I'm going to lower the size by quite a bit, or actually, sorry, increase the size. There you go. We're getting a bit of a better result, something of that sort like so this is a nice result. Alright, now we just need to go back and make sure that the strength is a little bit lower down overall. Now, I still don't like it. The in regards to the size. Sorry about that. Let me just go back. Increase size even more like so. There you go. Now it's looking much, much better. Going to go back onto the strength and change up the strength a little bit. So it's going to be a little bit better in regards to that. We might need to add extra topology or whatnot using a, if I were to add it using a subdivision surface and setting it to simple, I don t think I needed at this point. I'll add it just in case though, and I'll need to make sure that this is set at the very top. And that the simple, There you go. And to make sure that both of them are selling the same resolution. And that looks quite right for me. I quite like it. Let me just go ahead and just copy this to the other parts. We'll just go ahead and do that. And we're going to copy them to the rest. I'm going to turn off this for a bit though. Let me just grab them up real quick. So just grabbing the rest of the rocks, making sure that this rock has the main selection, which is orange outline. Going to click Control L and copy modifiers. They go. And there we go. We've got to sell some nicer, a bit of a nicer rocks, I think on the side, they're going to look much, much better. Now we can play around with the lighting itself, with the overall setup. Let's go ahead and do that. This mattress, for example, is a little bit too dark for me. So for me to fix that, what I will do is I'll just go onto the mattress, go to the shading, and let's go ahead and see what we have. We're going to select this, going to see what this looks like in regards to the shade tab over here. And did it, did it do? I'm going to find the points we're looking for. Right. Okay. So in the has nothing in regards to the attachment, just remember that. So we need to grab a curvature curve, node, RGB curves. They go, Let's go ahead and attach it right off the bat. We can just increase this to grab ourselves. A nice type of a look in mattress like so. Alright, so pretty much done with that. I might need to adjust some rock intensity as well. Now that we have those kinda stronger, it looks I might need to increase the strength a little bit, just tweaking the values bit in and out. And it's going to look much, much better in regards to the overall setup. Alright, so we are ready with the scene now. It looks much better overall. We now need to set ourselves up with angle there so we can just simply grab ourselves a different camera. Actually prefer doing that instead of just grabbing the one that we have, which is set as a square. By the way. The reason being, again, is because we are going to be using this square to project our stuff. So usually when we have another composition, we'd have another camera for that. Let's go ahead and set that up. Going to click Shift and go ahead and set up the camera this time in order to make use out of this camera duplicate. So I'm just going to call this Main Camera. Hey, can we need to basically click on this button over here, which once we click it, we're setting it up as a main camera. Now we can click, click zero and it's going to give us that camera. I'm going to click n to go to the View mode to lock the camera to the view like so. Then I'm going to change the composition overall. So resolution, instead of just having it that the default YouTube or thumbnail or just in general, 16 by nine resolution ratio is going to be 19 by 20, 1920 by 1080. That's the usual HD type of a format that you get with most of the stuff in videos or images for thumbnails. Alright, so we got ourselves, Sarah, with that, I'm going to just zoom in a little bit, unlocking the camera like so. And now we got ourselves a nice setup. Now can click zero and just look around and then go back if you want to. And yeah, that's pretty much it. I'm going to go back onto the default view. Weren't as performance savvy. I'm going to also now just click back onto the camera. If I want to use the previous camera, I could click on it, click zero and then we can make use out of it. And it's actually going to go back to the default resolution, which is just realized. Reason being is by default, the resolution can only be kept at one format within Blender there. To help you out with that. For example, a photograph or an adult called photograph or would help you out with that. But currently, we're just using the default Blender with the AI add-on. So it's not going to be simple as that. It's a right though, even if we were to use a different resolution, is still going to project the view. The only difference is that the ratio is going to be slightly different setup. But anyways enough of that, we're going to leave this lesson is we're going to continue on in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 31. Creating Collumn: Hello and welcome back everyone to ai and freely art a course for digital artists. In the last lesson, we left ourselves by highly adjusting and pick it up the rest of the values. So we'd get a bit of a bender, better render, especially with the main camera and now it's set up is slightly rushed for the lesson. The reason being is that we need to get back on to the ai. And I got so much to show you as an extra. There's so much to cover that I just wanted to get back onto it. We're just going to go ahead and click zero to go out of the camera now. Alright, so the next thing, what do we want to do? Well, what can I pick experiment, for example, with the rest of the setup, I could create a sort of a fence around it. So let's go ahead and experiment with that idea. For us to do that, we're going to go ahead and just go on through modeling. We're going to start by creating a simple cylinder leg. So it's going to drag it out, going to click defocus the dot on the numpad. And I'm just going to, I'm just going to make use out of this entire thing. Going to go into edit mode as slight tweak, slight adjustments and whatnot. And I'm going to make this smaller. This our control, our add a bit of a loop cut. I'm not going to focus too much in regards to the modeling in this particular course, since I would just want to show off what the AI escapable off. So yeah, I'm going to get a shape like that. For example, going to grab some extra at the top or bottom. Actually gonna do that with an edit mode. So we wouldn't create some bizarre stuff actually, I need to set it up with the cursor to select it a go first. Now can just go ahead and do that. Something like this. Something like so. And, and that's gonna be alright, actually bevel this off. Now. There you go. That looks quite alright. Okay, so now I'm just going to go ahead and duplicate this. Our side, our X1 AT. This is all done within the modeling mode by the way. So I'm just getting something nice like so. That looks quite alright. Actually, let's go ahead and make use out of it. I'm going to just set up the angle like so we're actually should I set it up like so. I'll set it up like this instead, the front view, I'll show you how we can also make use of that as well. The reason I want to make use out of this is simply because we can get nicer angle for the shot. It'll cover the less distorted off an area. And we won't be able to get, for example, these bits at the top or whatnot. But that's okay, we can make use out of the rest of what we have. So let's go ahead and learn how to do that. I'm gonna go ahead and choose the camera for the one that I have just freely floating around the thing that's the one instead of just the main one. And that's not the main one. Alright. Now, let me just go ahead and set it up with a nice side shot, like so. Alright, that looks quite okay. And yeah, let's just go ahead and go to the UV Editing since we have that, that UP. Going to make sure that I'm not within the render view, since that slows down the performance. Right-click. And then I'm going to make sure I just type in like a column or something. Don't call them clay column, something like that. Don't call them or Greek column. There you go. The reason I'm saying that, I'm writing it like that. So I'd get a bit of an extra type of decoration out of this. And we're going to get the same result. That pink color. I'm only going to use color for this one, although I might, Yeah, I will use just this and I will actually make sure retro forgot to do. I will make sure to just grab this out of the way so we wouldn't see any of the grass or anything or Salt Lake. So the reason I'm doing this is because I don't want any of grass or anything of the sort to be affecting this type of setup. Then I'm gonna go onto material. I'm going to change this to be a bit of a brownish type of color like so. I'm going to go back onto N and actually I will make use of the color this way. There's no other information out of it except for this, the type of setup for this column. But that's quite alright. Actually, going to go ahead and go and start projecting the staff will need to make sure we are within the edit mode, by the way, otherwise it doesn't work. We'll need to select everything and then we can go ahead and do the projection. Let's go ahead and do that. So we're going to do like so I'm going to make sure we just wait it out a little bit in regards to the setup and it's not popping up. So I'm just wondering why that is and it's still starting up. So just take some time. There we go. And let's make sure that we have the right Rejected UV set up selected. I'm also wondering why it didn't select the column over here. So I'm just going to write a search that up and see how the image turned out. Sorry about that. Wrote in Greek Roman instead of Greek column. And that's okay. It's actually gives me a nice results, but it's not what I'm looking for. So I'm going to go ahead and type in a different object. You go Greek column. Let's go ahead and make use out of the setup. Like so. And we're going to get a cell, something like this, which is pretty nice actually. But I might want to have a realism or something. Realism. Go ahead and try it now again. In edit mode. Let's see how this would look. And we can have, we don't need to worry about variations and whatnot. We can just continue on doing it until we get the right type of result. This might look, for example, quite nice overall. And, um, yeah, if I were to, for example, want to bash them in because this already has a color, which is taking it from right here. I could just take off the noise strength and best make use out of this. And that's going to kinda bashing the ideas together not as close to one another if we were to have this increased when I'm having depth and color, it's going to just keep it as close as possible to the previous results. So that's what we're having right now. Just wondering what's going on with this. It seems like I need to zoom in way more in order to get a nicer result. Let me just go ahead and do that. And I'll just wait it out until it's a little bit still not enough. I'm going to go ahead and use my camera like so. There we go, more or less what I'm looking for, let me just go ahead and say, nope, that's not what I'm looking for. Limit assuming once more. And this is now too far off, zooming out a little bit and again, go into click. So there's a lot of stuff like that, experimentation wise and whatnot. We got to make sure we set that up properly. That's not looking quite as nice. The reason being is it's not picking up that same color information that we had before. I'm going to click Control Z a couple of times in order to get that previous type of a look. So for example, this one I quite like this one. I'm going to zoom in like so. I'm going to now try it out with a stronger noise strength. Let's see how this will turn out. And there we go. We're going to get ourselves to this sort of look, which is not what I'm looking for. I'm going to click Control Z and take down the strength by quite a bit. Let's try it out again. Alright. Maybe something like that. And yes, this is something I'm quite liking overall. We just need to now work in regards to the overall setup. So let's go ahead and see how this would look like on an image itself. So we have the type of image that we're looking for. Actually, we have a bunch of ones setup for here. So I'm just trying to figure out which one we set it up and that's going to be four or five since it's the last one made. I'm going to go ahead and make use that. So we can just copy the name from here as well and search it up over here and see how this looks like. And this is what we're getting right now. It's not too bad. Actually. Might need some different information over here, but all in all, I think it's looking quite nice. Let's go ahead and fix the rest though, because it's not looking quite as nice on the sides. I'm just going to grab all the sides like so we need to check the back as well. Actually, it looks nice and it does not look quite as nice. So yeah, the best way for us to do that right now would be to simply unwrap it properly. For us to do that. I'll personally grab this entire section like so. I will adjust it a little bit so it will be more in reverse. It is something like so. Alright, so, but he's sites, I will just go ahead and grab the sides like so. We've got to worry too much about them in this regard. Just going to go ahead and project based on View. So I'm just going to go ahead and do it something like this. You and project from you, like so going to upscale it then, afterwards, get something like this. And that's going to be quite right, right way to put them off to the side and just grabbed them off, manually. Realign them one way for an hour. Like so. The other side as well. Just like that. Just keep it a rough rough, not worrying about it too much in regards to the overall setup. It's making sure it just looks nice on the model itself, which in this case, I think it looks quite alright for the setup. Let's go ahead and now make use out of this. So far as to make use out of it, we're going to make nice fence around it. So what I'm gonna do is I'm going to grab it off to the side. I'm going to put it off like so I get all the way down, but it off to the side. And let's see how this would look like. So I'm going to just put one like this to see how this would look like. Like so. And now we can go ahead and make use out of this. So the way we're going to make use out of it is probably by using a ray from the center point over here. Let's go ahead and do that. I'm going to select the cursor. To select it, we need to make sure we have a different origin for this one. Now, let's go ahead and do that. Going to change the origin out to the arrow, to the center point. So let me just go ahead and do that. Origin to 3D cursor. And of course now we're going to make use out of the array to do a couple of times, going to change the offset. And instead, we're going to do not offset, not this, not this. Actually, I'm going to grab the object itself. So let me just grab the platform to set it up as an offset. Like so. Now we're going to go ahead and actually grab this object, reset the transformation scale and whatnot, going to rotate around. There we go. Now we're getting what we're looking for that we need to maybe offset it a little bit in regards to the overall setup. Let's go ahead and do that. I'm going to take off the relative offset. And there we go. That's where we're getting that what really needed to see you go. Something like that, perhaps. Quite nice. Just going to make sure it fills in nicely the gaps. Something like that. Maybe it's an extra missing, so let me just add one up, extra. There we go. Something like that. We'll do retract way to make the mattress just a little bit smaller, like so. But it off to the side. Like so. And now we're getting something, we're getting something out of it. We're going to go ahead and select this control a, we're going to remove couple of different ones. Reason being is that we don't need them. And I will show you that we're going to have a nice entrance of a year. So when working with the AI, I'm not too worried about the final result. I'm just focusing on shapes and whatnot and just trying to see where I'm going to be able to get. So it's a bizarre process in regards to that. But when it comes to environments and set up, It's a really nice way of doing. And one of the things that we need to do is for the top of the columns, we need to set it up with a nice railing. And that's going to look quite right. But we're going to continue on with this in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 32. Matching Projected Texture to Seamless Texture Color: Hello and welcome back everyone to ai and 3D art, a course for digital artists. At last lesson, we left ourselves off by setting ourselves up with some nice columns. And they do look quite interesting. But we might need to do a bit of an extra touch in regards to the overall setup. We will see that though. For now though, let's go ahead and add a bit of a railing on the top. I'm actually just gonna go ahead and go to the top to the modeling view. That is, if you click zeros, since there was a camera setup that going to go ahead and just add a simple railing. And the way I'm going to do it is actually by making use of a circle match. There you go. Going to grab this up, expand this overall setup like so. Something like this. I'm going to click seven to make sure it's a little bit like so. That looks quite alright. Going to go into edit mode. Pick E S, E enter than S, which is not going to do anything. I'm wondering why. I'm just going to go back into edit mode and see what is up. And actually I'm just going to fill it in. I'm not sure what's going on with that. I'm just going to do it like this instead. There we go. Now I'm going to go ahead and delete it. I'm going to select them all, grab them up like so, and just grab overall setting. How this would look like. Something like this perhaps would look quite nice. Except we of course need to make sure that we leave a bit of a gap over here. What I'm gonna do is I'm just gonna go ahead and click on Alt and Z to go into wireframe mode. And then I'm just going to grab a couple of extras from here. Just like that. And that looks all right. Let me just go ahead and delete it. Like so. Madam needed to leave the extra one out. Probably been a wise idea. I will take off this one though. Let's not spend too much time. Let's just focus on the pacing and getting ourselves out with a nice peace. As sometimes with AI, you just need to make sure that you make use out of its best way of doing. And sometimes in this particular case is best to keep up the pace, to just keep the idea flowing and you don't stutter yourself in regards to that. So I'm just making sure I do that. I'm just going to click a bit of an extra detail over here. There you go. Something like this. And I'm also going to just wrap some extra parts over here. Just like that. You go. All right. Alright. Going to maybe do something like this that looks interesting. Yeah, alright, I like this. Okay, so how do we set it up to be a similar type of style to this? Well, we don't really have to be, just need to set ourselves up with a nice texture. I'm going to go ahead and get into this area. We're going to just grab a nice texture out of it. And yeah, let me just go ahead and actually leave this out. And I'm going to go on UV Editing, going to just generate a texture from here. Don't want to touch the up scalar itself from that Judy of a work workspace. And I'm going to just type in concrete play and being able to sort. And that should be, alright. I just realized now that one of the reasons why we weren't able to get the column before was because the seamless access to both and that particular case, it didn't matter as much, but sometimes it would ruin the overall details. So if you're not able to get any of the proper detail out of certain particular predictions. Just make sure you don't have the seamless access on. Now, we're going to go ahead and see how this would look like in regards to, well, once it starts doing its thing, we're going to see how it looks like. We're needing to have a nice protection of a texture. And it seems like I've been waiting for half a minute. I'll just take it off for now and do it again. That's what this would look like. Also, I'm making sure that the texture is set as on. And I'll show you how to make use out of another piece, especially photography. It's really good for making smaller props and details to the bottom, like rubbish or some sort. And we'll do that in a bit for now though. Let's just give it a second for it to load with. Our nice texture over here. Doesn't seem to want to load at this point. I'm not sure why I might need to restart my project again. But that's alright though. I'm going to actually make use out of one of the already created once. We'll make use out of like the, like the lecture actually I will make use out of this and I'll show you how to set it up properly within your texture to make sure it looks similar to that. Let's go ahead and create a texture for this. I'm going to create a call this one column. Extra cumulus I think I would sort it doesn't matter for naming because we're just keeping up with the flow. We're going to go ahead and oh, sorry about that. We're going to go ahead and add ourselves with an image texture, add a base color onto it. We're now going to go ahead and use that concrete that we had, which should be I'm just going to zoom in to see which one it was this one. This is the one going to go ahead and just unwrap this entire thing using a mark UP project. Here we go. We're going to get ourselves this sort of a look which is already looking very nice. We just need to make sure we add certain color. So I'm going to use a ramp, color ramp, usually a very nice type of a setup for a color. Select the white piece and add a bit of a brown. There we go. And we can see that it's already looking quite nice. We might need to lower down the darkness for this piece. I'm just going to increase this a little bit and add a bit of an extra green. Perhaps they go something like this. And just to make sure it doesn't have that large amount of contrast, will actually add another piece which is going to be called curvature. And very simple, very basic type of a result. They need to drag it over here. It goes something like this. After, just need to wash it off. Like sub. Something like this will look quite nice, although not quite liking the overall setup. Let me just go ahead and take this downwards, like so a little bit. And I will take this off as well. Really doesn't. I will add more saturation, make it a little bit more greenish a go. Something like this. Looks quite nice. But we need to perhaps increase the overall curvature. There you go. Alright, I'm quite liking this one. Needs a bit of this darker patches to be removed. So I'm just going to go ahead and do just that. Something like this. Alright. So we're done with that. We're going to go ahead and just grab the same usual setup that we had from one of the other pieces. I'm going to grab from the grass, since this is simply one. I'm going to paste this in, replace the x with what we had. I excel and lead this piece at ourselves. Nice. Normal maps, roughness values and whatnot. They would go. Roughness and normal. Just like we did previously. We're going to sell us this sort of result. Let's see how it looks like in RenderView. That's looking quite alright. Let's go ahead and keep it. We might need to lower down the overall bump value. This is way too much or this type of a look. And there you go. That looks quite nice. Let me just go ahead and bevel everything off. Actually just wanted to keep it somewhat of a smooth shaded. Actually, I'm going to click Control Z and do it. Evaulate and makes sure that, Oh, there we go. There a bit of a bevel like so add a bit of an extra one. And that's going to look quite nice overall with the shades. Move. It move can be increased at it looks alright, Okay, so we're done with that. Let's go ahead now and set ourselves up with some smaller prompts. I'd like to ideally add some couple of rubbish Visa Center whatnot in this area is going to look very nice, a very detailed overall sorts coming together. Finally, in regards to the piece itself, as you can see over here. So let's continue on with the project in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 33. AI Generation of Small Prop Textures: Hello, Welcome back everyone to ai and 3D art, a course for digital artists. In the last lesson, we left ourselves off with a nice setup for the columns. We got some extra detail out on our scene. And now we're going to continue on working with this and set ourselves up with a better one extra prompts. This time we're going to learn how to make use out of our own type of setup within UV editing, we're just going to create our own small prompts on the ground. Let's go ahead and get right into it on that table. Diffusion, diffusion 2.1. This time, we're not going to set it up by its texture. I find it that photography or concept art works best when coming to these setups, let's go ahead and make use of them. And because we're using a more of a stylized type of scene, I'm going to keep it with a concept art. For this particular case. We're going to keep it as, let's say, Cyberpunk, like so. And we're going to get the environment or actually just type selectors custom. I think we can just leave it as blank. There you go. Seamless. We don't need seamless. Let's go ahead and turn it off and we can just type in trash or paper pieces or something of the sort. Let's go ahead and do that. And, um, yeah, that looks all right. Let's go ahead and click Generate to see how this would look like. And I'm keeping iterations as one for now. They'll give us the nice results. Sometimes I like to crank them up depending on amount of detail I'm trying to get. Let's just give it a second for doing that. I totally forgot. I went back to the Advanced Settings. And I just made sure that the CPU only is not act on the CPU of load is at the model. This way, it makes sure that it speeds up the process and also it doesn't overload the overall system. And there we go. That's where we're getting. It's not what I was hoping for. So let me just go ahead and go back onto this and we'll just try setting it up a little bit more in regards to what we're getting. And I would actually like to get is going to be a little bit different in regards to this. I'm just going to make sure top view of props, something of the sort. I just added a bit of an extra keywords. Let's go ahead and see how this would do now. I will also try to add extra specification, so black background. So let's try doing it now. Alright, that's a little bit better. It's a side view, but it's still better. In regards to that. Let me just make sure it's sort of a top view, top-down view. I'll write that down, up, down, you like. So let's a little bit better now. He's getting better. I'm also wondering if I should take off the Cyberpunk completely and just keep the concept art. I think that's what I'll do. Let's go ahead and see what this will give us. Alright, that's not giving us a better result to be honest, instead of trash, I'll type in like paper for example, paper aisle or something and sort. I'll just keep it as paper. Let's go ahead and see what this will do. All right, We're going wrong direction now. Going to type in paper brush. Let's go ahead and see that. Yeah, that's actually a little bit better in regards to the overall setup. We can actually definitely make use out of all of these. And I think that's what we're going to do. I will make another version though, just generating it again. Just to make sure that we get a bit of an extra detail if we want to set up different types of items. But let's go ahead and give it a try. And actually coming out way better as well. Let's go ahead and make use out of that. So the way we're going to make use of it is simply if we were to just grab ourselves a simple mesh like so. I'm going to go back onto modelling. And actually instead of doing that, I make sure I grab this overall texts. Then go back on to modelling this up this type of plane with the overall material, with a new material or trash. Like so. Then I'm gonna go on to shading. And of course, this trash needs to have the trash texture. So let's go ahead and do that. I'm going to actually, sorry, let me just go ahead and click Shift and the a and then add an image. Like so. The image itself is going to be the one we had before, like so. And we're going to add it onto base color. Let's see how this will look like. And there we go. Alright, so this is looking pretty good. Now we can ever a, if I were to just go down to top-down view, like so. So we can either use a cutout and just cut out specific ones. For example, if we were to go into edit mode, we can just cut them out individually, like so, which would be time-consuming? And or B, we can alternatively try making use of the Black in order to get rid of most of the arts. And I think now I think it is particular part. I will use the cut-out type of a method. The reason being I just want to be sharp and a bit more controlled. I also am worried a bit in regards to the edges to creases around the parts. So let me just go ahead and do that. I'm going to take off the render view just to speed up the overall process. Let's go ahead and start with the process itself. So for a surgery that will actually make a duplicate of this, the reason being is that when we set it up individually, the parts outside of the cut-out piece gets lines, gets edges. In regards to the vertices being connected and whatnot, and that causes certain issues. So now I'm just going to go ahead and just quickly go over, trace this over like so. I'm worried about too much in regards to the shape or size. I'm just focusing on tracing this the best of my ability or the amount of time I'm spending, which I don't want to spend too much. I want to experiment a little bit in regards to the rest of the items. Let me just go ahead and do that, something like that. I'm going to click Enter now, going to go into edit mode, face selection, select this, select this face, click Control and I invert, delete. And oh, by the way, I'm just going to click Control Z. What I meant with the edges, those edges over here, as you can see, there are going around, not around the objects are actually crossing them. And I would complicate certain offer issues, though. Yeah. That's why I prefer to just do them individually like so that right-click set origin to geometry. And there we go. We've got ourselves a nice piece set up, usually three pieces, something like that. And it'll be alright for the setup. And I can just use it to make sure that we have ourselves a nice type of a look within here. So something like this. Maybe just another duplicate over here. I'm thinking like so. It looks quite alright. Yeah, we definitely need a bit of an extra. In regards to that. I'm going to also squish it some of them and stuff. We just need to make sure we get enough variation in regards to when we're using that. Or we can again, do the same kind of process to get more variation. Make sure it more unique and whatnot, but we don't need to worry about it too much in regards to that, we need to go back onto the trash pile. Reason why, by the way, I'm doing it above this entire setup is there's actually no reason at all. In regards to the setup. I just prefer doing it that way, apparently because I think it's nicer to see what kind of proxy have underneath and whatnot, as you can see over here. That's quite nice. So you might wonder like, Oh, I need resemble this piece right now, or I need this piece over here in regards to the rest of the prompts. That's why I ended up doing it like so I'm going to duplicate it just in case for now. And I'm going to go ahead and just make a nice cut out of this as well. Let me just go over them like so. I'm worried about the overall shape too much. Just keeping up with the pace. There we go. And just like that. And also just letting you know if where we don't have, for example, enough resolution or whatnot, we could use the app scalar as well. You get ourselves extra detail, just like we did before with the mattress for example. There is that go ahead and select this control. I delete faces like so. And there we go. Alright, so I can now bring this all the way back down like so. But went underneath the ground. Let's make sure it doesn't do that. That's like that. Alright. And I don't know if I should use DVR set up like I did before for this. Sometimes I do, sometimes I don't. It really depends on object itself. In this particular case, I don t think I will do that. I'll just grab some extra leg. So make sure I expanded a little bit. I'm going to make sure I ended up nicely over like so maybe something like this and rotate around. That's like that. Maybe a little bit bigger even like so. And yeah, we can just play around with them all and see how this would look like and just like that. And we're getting a seller, some extra trash, extra rubbish. And I think I saw another way of doing in regards to these actually not this one, the previous one. So I'm just gonna go ahead and add another one. Take this old one out. It doesn't matter anymore for me. So I'm just going to go ahead and pull the trash two. And this one is going to be attached with an image or trash. So let's go ahead and find the stretch. And I'm going to zoom in actually first There you go. We could see this small icons. The one I'm looking for, I think it's gonna be this one and let me just go ahead and see if that's the case. I'm not seeing anything because I have not connected to the base color. There you go. Alright. So yeah, that's the one I'm looking for and I will show you why. Alright, so what I'm gonna do now is I'm going to actually grab yourself a cube like so, which is going to be all the way at the bottom. I'm actually just going to go ahead and delete it. This reset, my cursor, grab myself a cube like so, and just use Edit Mode is expanded. As you can see this part over here, this looks like a nice actual brick to make use arrow. So that's what I'm gonna do. I'm gonna set it up as a sort of a break over here. So the way we can do it is simply if we were to just grab trash material like so. We can go ahead and reapply the UVs, similar to what we did before onto our section. So this one is using, I'm actually just going to go back to this. Just copy the name over here, go into UV Editing like so, and paste the name in. And it should give me right one or actually, sorry, I need to paste it in search bar. There you go. Alright, so now we're going to go ahead and grab all of these faces and start setting them up properly. And I'm going to just smart TV project first to make sure that the proportions of the break is properly set up. Then I'm gonna go ahead and just grab one by one and start adding in the parts. So just like that, I'm actually just going to tick, tick them up like so. And I'm just wondering what's up with this because as I can see, it's not properly setting me up with the overall setup. When I'm grabbing one of the vertices is grabbing all of them. So let me just go ahead and see if this enabled. And I'm just going to grab this one, makes sure that this is ticked off. And there we go. Going to go ahead and do that. Alright, so going to make use of that. I'm going to grab all of them and select this one. And now I should be able to go, should be able to know. Same thing as I did before. And there we go. It's a very interesting type of a setup. But sometimes when we want to make use out of them type of objects and whatnot, we can always do this kind of way. Alright, so these are going to be here, going to preset myself with so, and then start setting them up. So not only can you just cut out shapes, but you can also trace over those smaller problems as well, just like we did with the mattress, for example. And will work quite nicely in, zoom in and out and whatnot of the setup and see how this would look like, for example, to get more of an accuracy. But all in all, we don't need to worry about that in regards to our overall setup. Going to go ahead and grab this bottom up to the side. Like so. Let's start setting them up as well. Just like that one, this edge. This is actually a different part. There you go. Alright, so final piece, couple of bricks, just like that. Alright. We got ourselves an interesting looking break to say. Alright, so we're going to actually make use out of that, making a little bit larger like so. And bring it all the way down up to this part, like so. I'm going to check with the camera that looks a little bit too big, make it smaller. Maybe pile them up on the side over here and have them nicely set up, like so. So we need to bring them downwards just like that. That's looking quite nice. Maybe I'll put up another brick legs next to the beggar. There's something in case the person who's sleeping there needs to make use out of it. So yeah, there you go. That's pretty much it when it comes to overall setup. We're going to sell us some nice props and whatnot. And it's all coming nicely together now so we can now click the Render View and see how this would look like. And that's going to be from this video. So thanks so much for watching and I'll be seeing you in a bit. 34. Barbed Wire Using Blender Dream AI: Hello and welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we left ourselves of wave setting up some nice type of trash and our small problems within the area. And now we're going to continue on with the setup. We're going to go back on to the usual view. So I'm just going to click zero to go out of the camera view, going to also take off the render view for now, let's just work with this simple type of a setup. Alright, so the first thing that we wanna do is perhaps add a bit of an extra, let's say, semi-transparent type of a, an asset or a barbed wire, perhaps that would look quite nice in this kind of a scene setup. It would look like a protective kind of a sleeping area. So we can actually do that. We can go ahead and click if they are actually, we're going to start with go into the UV Editing and setting ourselves up with a new texture porosity that we're going to go all the way up to the top. We're going to start by setting it up with, let's say we can keep it as a concept art. We don't need to be set as texture, but let's go ahead and keep it as that. And we can type in barbed wire. All go all the way down. Or actually, we also want to make sure we use seamless axis. So this time we're going to set it up as seamless access x. So it's going to basically loop over and we'll be able to reuse this texture. So let's go ahead and do that. And this is what's going to give us nice result, hopefully. Yes, this actually giving us somewhat of a nice result. I'm just worried about the background not being in a nice look in regards to their overall setup. It's actually, I think it actually turned out quite alright. I might just add a like white background. So and try it once more. Although I quite like this overall setup already. Let's go ahead and see what else we can do with it. I'm not quite liking this one. It looks more like a fence, so let's go ahead and try it right off the bat, the upper one. And we're going to go ahead and click Generate again. Let's see what this will give us. This one is not giving us any upper better of an option. We're going to maybe try another way then let, yeah, let's go ahead and write black background. Let's see if this will give us a better type of an option. Alright? And that's actually giving us a bit of a nicer option in regards to the setup. I'm quite liking this and we might be able to make use out of it. Actually, I think that's what we're going to do right now. Yeah, let's go ahead and make use out of it. Alright, so you may use out of this, what we're going to do is we're going to grab ourselves a plane. We're going to just go to the plane. And that's not the right plane I'm looking at. I think I'll just go ahead and actually delete these displaying. And there you go. That's the plane we're looking at. Let's go ahead and start setting it up. But with, in regards to the shader, Let's go on to the shader itself. And actually I'll go back on to the UV editor, copy the name of this barbed wire, go on to shading as well. Set up with a new material like so, barbed wire. Just like that. Go ahead and add an image, which is going to be that said, barbed wire. So just like we did previously, we're going to click on this button over here. Therefore, the barbed wire added on and see how it looks like with the color like so. Alright, so the first thing that we need to do is probably going to be making sure that we remove the background. How can we do that? Well, we could probably make use out of the yeah, we're going to make use of the ramp. The ramp. Here we go. I'm just going to put it off to the side. We're going to drag it directly into it, going to hold Control Shift and tap on it. And then we're going to play around with the values. The y value, when it comes to the alpha, is usually, is always actually the one that's visible. So we just need to flip it over and make sure that this black type of a frame is actually going to be the one that's white. Then we're just going to drag this entire section all the way to the end like so until we get this sort of result and it's actually looking quite nice already. As you can see. We're going to just put this into alpha. We're going to go down onto the material setting itself bottom right-hand corner. And we're going to select the settings to Viewport Display. You go blend mode. We're going to set it as either a clip of a clip or alpha blend. In this case, it might not matter as much. But I think I'm picking Alpha blend. The reason being is that it allows you to have nicer transition or wherever the when the other one would only keep alpha clip when will only keep a setup only for whether it's visible or not. So it will warn or zero in regards to the alpha Okay, So this is looking quite nice. We're just going to make sure it's set to metallic like so. And we're going to probably turn down the roughness a little bit, is going to give us this look. I think that's looking quite align. Quite alright. We might also increase a little bit of the color itself. I think we're going to go ahead and do that. I'm going to go on to adding a curvature, RGB curve. There you go. Just adding onto the color and just kinda playing around with it overall setup, like so, maybe not this extreme. Maybe in the other way around, just going to play around a little bit. There you go. Like this slight bit of an outline that looks quite nice. I'm going to go into edit mode, just carry it around these parts like so. Using simple type of an edge loop, going to click Free, delete the unneeded areas like so. Now what we're going to do is basically, we're going to extend this entire section. We're going to select it. We're going to click E and we're going to start extending it. We're also going to click X to make sure drags out nicely around it. And it's going to extend it all the way like so. Right is all the way outwards like so. Not worried about an overall stuff getting a nice length just like that. I'm going to see and check the overall UVs. Going to actually select this click you and unwrap. This should give me something like this, which is not something that we want. We actually just want to make sure it has a nice amount of area. So I'm gonna go ahead and go on to UV Editing. Select this entire thing. And then just simply click Sx and just start dragging outwards until we get the desired results or something like that. We'll do as quite nicely. Alright, so now we have something like this. Let's go ahead and actually make use out of it. We're going to go back to modeling actually, so we could see a proper view. Here we go. Alright, I'm not actually able to see the overall setup where it is. There you go. I'm seeing it now. It was a bit harder to see, but it is here. So that's good. So I actually had this disabled, so sorry about that. Okay, so now I'm gonna go ahead and lower this down all the way through ground, bringing it closer to us. And now we can go ahead and just play around a little bit with the overall rotation. So I'm going to go actually into edit mode, going to rotate it over here, our x 90. The reason being is that we don't have to re-adjust anything else in regards to the proportion scaling. But just in case, I'll just reset rotation and scale, going to go back into edit mode, click Control R, then do a bunch of vertices in between them, like so. Left-click, right-click. In order to get this nice look. Then I'm gonna go ahead. And actually I'll start by simply doing a simple deform, going into the modifier, going to go ahead and use a deformed. And that is going to be simple deform. There you go. That's the one. We're going to start bending this overall section, not twisting it but pending it. I think. Is it going to be bending? It's not actually bending in the right direction. So I'm going to play around Diego. The zed value is what we're looking for. And then we're going to go ahead and use a free 60. There we go. We're going to get ourselves a nice connection at the back. And yeah, we're going to get ourselves a very nice type of a line. Let's just go ahead and disconnect it. To the area over here. We're going to sell us a very nice of a there you go. Alright. Going to make it a little bit bigger. Something like that. It's going to look pretty good overall. Alright, so, yeah, I'm quite liking this. We might need to readjust it just a little bit more. I'm going to select the top, hide it over, and just kinda play around a little bit with this setup again, I'm not seeing it from that angle. Sum is going to go ahead and do this and you go, alright. Though, we might need to make it just a little bit bigger overall. Going to click S, z, extended a little bit. Not too worried about stretching it over or anything of the sort. And I'm just going to actually put it over something like this in that regard. Alright, so I think that's looking pretty good actually. Yeah, it's looking very nice. Actually. Not worried about the back a little bit. I might be worried about that, but I'm not worried at this point. The reason being is that I actually I will set it up properly. I'm going to go ahead and apply the modifier that I'm gonna go ahead and just select this barbed wire, going to just right-click set origin to geometry, and then select the bottom piece. Click Shift S, select cursor to select it. There you go. Select back on the barb wire, then Shift S and selection to active, selection to cursor, then g, z. And here we go, We got to sell us everything right in the center. Just like that, we're able to get ourselves a nice type of setup and we might need to even like maybe make it a little bit smaller. There we go. We've got ourselves a nice type of a setup. I'm going to go into shading actually real quick. I don't like how dark this barbed wires are. So we'll make use out of just a simple ramp in order to brighten them up. They are set as metallic, so that's pretty good. So yeah, let's go actually, I will go into RenderView just to see how they look like. And yeah, I think they need to be bright enough, so let's go ahead and do that. Ramp. Like so. Adding it up to the side, just increasing the brightness over here. Something like that. Maybe. Yeah, I like this but I don't like how rough it is, so I'm just going to take that down. Like so. And probably I'm going to also decrease the brightness over like so. Alright, I quite liked this overall design and let's go ahead and keep it as is. And I think we also need to make sure that it's not. It has a bit of an entrance. That is, we we left this as just a simple type of an overlay. Let's go ahead and just remove all of these. Go ahead and do that. I'm just simply going the wrong way. I'm not sure why it's going the wrong way. It's probably because we have a gap over here. So let me just go ahead and do that. Something of that sort. I'm gonna go ahead and just click, Delete. There we go. We've got ourselves a nice type of a setup. Alright, so that's looking pretty good overall. Alright? Yeah, that's pretty much it all we need to click Alt and H to make sure to be reapplied the top section. And now in the next lesson we're going to continue on with this. I'm going to show you how we can mix up the textures and make sure we have some variation within the AI overall in regards to the texture painting itself. So thank you so much for watching and I will be seeing you in a bit. 35. Setting up Texture Opacity: Welcome back everyone to ai and pretty art, a course for digital artists. In the last lesson, we left ourselves off by getting some nice barbed wire going all the way around. And it has a nitrogens parents and we set everything up in regards to that. Now we're going to continue on with this and actually get some extra variation out of this entire setup. So the way we're going to do it is simply we're just going to make use architecture painting real quick. I'm going to show you how we can make use out of dream AI in order to kind of blend in the textures in regards to making just using custom type of paintings. So firstly, do that. We're just going to go ahead and simply go on to UV editing. We're going to get ourselves the usual dream texture setup. We're going to make sure that it's set as 2.1. And we're going to get back to the texture setup. Then we're going to make sure that both of them are seamless like so we're going to make use out of something like a dirt type of a texture. But I think the rest is going to be okay for us. Let's go ahead and test it out. If that will work out, I will close down advanced since it was a little bit bigger in regards to tab itself. And let's just wait it out until we get the right result. And there we go, That's what we're going to get. This doesn't look quite as nice. Let's go ahead and try again. Let's see if this hill, well, if this will help us out a little bit. And I'm going to go out of the object, out of the edit mode since it was affecting the way the lighting was set up. I'm going to add something like dirt simple like so. Let's go ahead and try it out now. Let's see how this will turn out. I think this is looking a little bit better overall, it's looking quite nice. We're going to make use out of this. This is looking quite nice actually. Just in case though, I will actually upscale this as well. I'll just go ahead and I'll need to cancel that first. I need to change it up to up scalar. I don't need to change this to a dirt. So now I'm going to go ahead and do that. So I will make sure that I get back to the usual dirt. So now I can go ahead and do that. Let's just wait it out a little bit. Anyway, since seems alright, let's go ahead and copy the name of it. We're going to go back on to shading, select the grass actually. Or even I'm going to go on to the material itself, going to start making new material, create a new material like so. And then I'll simply call this one like that. But I'll go ahead and add an image. What a material image. And add the name of that dirt, a go. And I'll add it in. And also I'll make sure that I assign this material to revert itself. Alright, so what I want you to do now is first of all, I want to make sure it's set up in a similar way as the this material. Let's go ahead and just do that. And I'll make sure I had myself a real nice type of a basic setup for this type of a material. I'm going to go ahead and do that to make sure that this roughness is set up, the normal setup and everything of that like so. Normal, like so. And now let's make sure that the overall material is looking quite nice. I'm gonna go ahead and see how this looks like. And I will take off the clamp overall. Minimum, maximum, set it to a proper values, darkest values over like so. And maybe I'll just play around with it a little bit link. So I'll go ahead and check out this looks like, this looks quite alright. And I think this is okay. Let's go ahead and actually make use out of this. Maybe we'll set it up with a bit more of a roughness value. Let me just go ahead and check that out real quick. I'll just looks like I'll make sure we make it a little bit. There you go, something like that. And turn this to white. And yeah, this looks good. What I'm doing right now is just simply adjusting the roughness value, making sure that the overall values are quite nice in regards to the setup. Like so. This is looking much better. And all in all this is looking good. Let's go back and see how this looks like. And it might not be completely tiling. But that's okay because the reason being is that we're going to make use out of this to get a bit of a higher UV setup. Let's go ahead and do that. I need to make sure that we control this overall scaling. The reason being is that if we want to overlay other textures with this one, we need to make sure that we have certain control over the overall scale of this. So let's go ahead and do that. We're going to find ourselves somebody called mapping, like so. Then we're going to go ahead and attach this to the vector. And afterwards, we need to find ourselves texture coordinates. So let's go ahead and do that. Texture coordinates like so. Going to get ourselves this, we're going to attach the UV stood a vector just like that. And we're going to get ourselves back to the usual setup. The only thing now is that we can make use out of the scale. And we're going to set it up this to be 0.5 on both ends. And you can see it's giving us this result, so it's adjusting the UVs. We can grab ourselves this type of a look. Okay, so nice, good setup. Now we can go ahead and play around with the upper parameters. So what we need to do now is first of all, play around with this overall setup over here. After the clamp. The reason being is that we also need to set ourselves up with a certain Alpha. And I'll show you the reason why in a bit. Now though, I'm just going to go ahead and drag it out and search for curvature again. Like so. I'm going to hit Control Shift, tap on, uh, on this area and we should get ourselves a nice actually, this is attached to fracture, which is not what we want. Let's go ahead and make sure we have it attached to color. Like so. And it's going to be much, much better in regards to that. Need to make sure we get ourselves something like this, a go. But basically we have some variation overall in regards to the setup. Like so I want to do too much, just a little bit. Cut off where the darkest parts are and whatnot. Just want this kind of a noise looking texture, which is going to be great for what we're going to do. For now though, let's go back onto this click Control. Shift on to the material. And now we're able to finally make use out of this overall setup. So let's go ahead and do that. The way we're going to actually do it now is going to be by first of all, a painting, the areas where we want this to be. For us to do that, we're going to, first of all, I'll actually just go back onto the grass raking. That's the best way to do that. I'm going to go back into edit mode and assign this back onto texture like some. Alright, so the next step that we need to do is go on to the texture paint like so. We're going to make sure we create ourselves a new texture. So let's go ahead and do that single image. Create a new like so. And we can call this third opacity. Just like that. Click, Okay, and we should get a cell, something like this. Make sure it paints. If it doesn't paint, make sure it's not set to the upper end. So right now it's not painting. And the reason being is because I don't have the white color selected. So let me just go ahead and basically reset the color, saturation and white. And here we go. Okay, Now it should be done on the top. Actually froze my overall setup. So I'm just wondering why that happened. Even a second until and unloads itself. There we go. Alright, so let's see what's going on here. Well, for starters, this UV is actually a little bit messed up in regards to the overall setup. The reason being is that we were playing around with the V stem cells. So let's go ahead and actually grab this entire setup. Click back to the UV, unwrap like so. And now we can paint it over just like that. And it should give us, I'm just going to click Smart UV unwrap. And it should allow us to paint it over. From the other end. Doesn't seem to want to go over this part, which I'm wondering why that is the case. And go back onto UV Editing real quick. See what's up with that. Simply doing, alright, I'm just not sure why that was happening. I might need to go back now onto Detection pane and see if it works and now it works perfectly fine. Alright, so first things first, let's go ahead and there is a fill brush. If we want to reset it, we can do so. I'm going to change it by clicking X to change it to black, which is the secondary color on the bottom-right. Use this as a black starting point. Go back onto the Draw mode, click X, go back to the white color and just fill in the areas where we think the white would be. And I'm wondering why it's not working again for me. In regards to the setup, it washes working fine just a second ago. Now it's not working. Again. I'm going to take it off and makes sure that maybe there is a mask on, which might be the case, making sure that it's not on you. I'm not sure. It might be just too close or I think I was in trying to paint over where yeah. The lighting we're causing issues. The square box is the ones that we set up pretty easily. I'm just going to click on this button over here and take off the lighting. There you go. Now it's going to be allowing us to do that. And we're just going to go ahead and paint over our mask. Like so. Okay, so now that it works, I'm just going to go ahead and just it's a variations over here. A nice area, alright, type of setup. Something like that. Let's say that is what we want. We might also need some bits in the background as well. So I'm just going to add some better one extra noise like so. Something like that perhaps. Alright, this looks alright. Let's go ahead and make use out of this. Make use out of it. All we gotta do is just set it up as a material and will also need to fix up this overall setup over here. Since right now, but we don't have is an actual setup for the scale since we made use out of that. So we're actually going to change up the dirt real quick and we're going to come back to this. So yeah, I'll see you in a bit. 36. Overlaying Dirt Generated Dirt: Hello and welcome back to Brown to ai and pretty art, a course for digital artists. In the last lesson, we left ourselves off with an opacity mask using the texture paint we just added bit of an extra and just a quick thing. I tried doing it closer bit to the rock so we'd have a nicer transition and maybe some bits over here as well, something of that sort. We don't need to worry about that because we're going to come back to that in a bit. Now let's go back onto the UV Editing. And I'm actually just going to set it up similar to what we had. So we're going to go to the shading and we're going to set it up similar to what we have with dirt over here, which going to copy these two nodes. We're going to go back onto the grass and we're going to paste it in and added to the vector over here. So basically we have the same setup. Now we're going to add 16 by 16, something like that. Let's see how this would look like. Even more actual 24 by 24, maybe even more for the two-by-fours into something like that. We can always adjust that later on. Now, we need to set ourselves up with some dirt. So the way we're going to do is actually we're just going to drag the dirt material onto this area. We're going to select the material itself. We're just going to select everything up until this green one and not material output. We're going to hit Control C to copy. Go back to the grass and hit Control V over here. And that's this way we have ourselves a material graph within a material graph basically. And now we're going to set it up oh, for them to be used for the material output. So the way we're going to do it is we're going to hold tap shift and a, we're going to serve search for a mix shader. And we have two shaders now, we're going to basically place both with them in like so. And that can one shader and the final output shader is going to go on to resurface. And you'll see what will happen is going to give us some bizarre results. And we can see that fraction is going to control the dirt mount. And I just realized that the dirt now needs to be fixed up as well. Actually, the reason being is that we changed the UV. So let me just go ahead and do that. I'm going to set it up something to 16 by 16, maybe by 20 to 2022, 22. Excel. Alright, this looks much better in regards to the scale. Let's go back to this real quick. We have ourselves the mix shader. So On a zero is going to be a pure grass. On one is going to be dirt. We want to make use out of the mask that we set it up and then we can control it to come back to it and make use of it. For us to do that. We're going to hold Shift Tab Shift a. We're going to search for an image. The image that we're going to use is going to be opacity. Opacity, the one that we just set it up. And we're going to add this to the color of the fraction and see how this looks like. So there you go. We're going to get ourselves this. If you're seeing the opposite, just flip the shaders over basically and you'll get the result where dirt is being used on the white opacity of the color. So there you go. Now the other thing that we need to talk about is going to be how we can make use out of the additional information to blend in the values better. The way we're going to do it is we're going to make use out of the Alpha that we set it up previously. So this is the one that we set it up. We're going to make use out of this. And we're going to mix it up as an overlay. So let's go ahead and do that. We're going to now go ahead and hold Shift and a tap on the thing. We're going to search for a mix. So just put it over here. Oh, sorry. I added it onto the wrong line. Let me just make sure I added onto the right light like so I'm mixing it up and I'm setting it up as a color. Like so actually we need to reattach term like so. Just like that, I'm also attaching it by just dragging it outwards onto the end and making sure it's added onto the fracture like soap onto this connection. Now, let's go ahead and talk about what we just did it. So basically, we're mixing this type of a texture together with the Alpha that we had over here. If I were to click Shift and Control, we can see where we need to basically mix them up. And right now, it's only mixing it up by default, so it's not looking quite good. We need to mix it up using a different mode. So we're going to mix it up using an overlay. So let's go ahead and do that. It's a real nice type of functionality which you can see how it works. It basically gets those middle points to add more detail in regards to that. And we can just control the way it works. And then we can just make use out of it in order for it to be added to the fracture. And then we can finally connected. I'm just going to tap shift and control and tap it on material output. And we're going to get ourselves this type of a result, which is pretty nice. Let's go ahead now and go on to the modeling tab. And let's see how this would look like with our settings also, let's not forget to turn on the lights in case we had them off. The selection. Just making sure that the object types of disabilities are all on. Clicking zero go into the render view. And let's see how this looks like. Of course, Let's go ahead and take this off as well. And there we go. We got ourselves a real nice type of a setup. Grow quite like the barbed wire, to be honest. So just a quick tweak in regards to the setup going to click zero and going to add some bit of a barbed wire at the bottom as well. Let me just go ahead and do that. I'm going to take the two icons over here. So Shift D, G is just going to put them a little bit on the edge as well. And I might need to flip them over. So I'm going to do a quick way of fixing it to make sure that there's no symmetry. I'm going to do S y minus one and our z just going to rotate them back in like so. Now they're going to be nicely flipped that are not going to be in the same position in regards to that. And they're going to be married and everything is going to be nice if we go. Alright, so now let's go ahead and see how this looks like. So zero, take this off, go to rendered view and see how this would look like. Right? And of course you can go back onto the texture paint, go back onto its draw tool over here. Yeah, it's probably because I need to select this type of mesh. First day go. Let's try it out now. Going back to the texture paint mode over here and we're now able to take she painted. We can go on to the texture, viewport shading is itself, and then you can start painting over the texture and you can see that it will actually go, we'll start working. So let's go ahead and just do that. And African just go ahead and just add a bit of an extra in regards to the dirt itself for the back. And actually we're going to continue on with this in the next lesson. So thank you so much for watching and I'll be seeing in a bit 37. Readjusting the Blender Render Layout: Hello, Welcome back everyone to ai and pretty art, a course for digital artists. We're almost done with the overall project. I just want to ideally set up a nicer shape around this overall setup. So I'll just go back to modelling and I will actually check this is within the edit mode. I'll just go to the object mode like so, and see how this looks like. It actually move my camera. So let me just go ahead and click zero to go out of it. And let's see what we can do a fit with the overall terrain itself. And yeah, the way I'm going to fix it real quick is I'm just going to go on to tab. I'm going to click Control R at couple of edge loops. Legs are a lot of edge loops actually, but before. So I'm going to do something similar on this end as well. Now what I will do is just, I'll go on to the top-down view. I'll go to the face view. Let's see to go to my circle selection and I'll just grab some of those edges. Like so. Just like that, something of the sort going to hold Shift and just de-select couple of them. And actually did a little bit too much in regards to the selection. Something like this. Alright, so now I'll go ahead and just click back onto my move tool. Alright, This looks okay. I'm going to click Control and I to invert it is said to drag it a little bit downwards like so. I will actually make use of proportional editing. So it's going to be here. So I'm going to drag them outside like so. And this looks a little bit better. I'm going to click zero to see how this looks like. And we might even grab a couple of other ones, a couple of our edges as well. I will go ahead and do that. I'm going to click Control Z to undo that. I'm going to go out of my camera and actually went to positioning to be something of that sort. Want the edges to be from here. So I'm going to select the bits that I definitely want to have inside. Like so. Something like this. Alright. Like this. Integral is zero. Select the top again, like so. Maybe deselect this one. And then just going to go ahead and click Control. I like it did before. Over everything down and it seems like I had a selection underneath. So let me just go ahead and actually the isolation button, which is next to enter right away to deselect everything inside like so. Now I'm going to go ahead and go out of isolation mode. He said, Love it is down a little bit like so. And actually I'm just going to go ahead and delete it, going to then select it all. And I will go to Edit Mode, select it all up, divide it like so. Then I'll grab all the edges going all the way around like so. Actually, just like that. I'll just go ahead and make sure everything is selected. Now we're just going to simply relax the vertices. Let's right-click and go into, there you go, smooth vertices, which is going to make sure we repeat that little bit extra. Just like that. It's quite alright. Something like this. I'm going to click also part of proportional editing and scale them out a little bit outwards, like so. Like this, it looks quite okay. Is that a little bit of an extra just a little bit more? Something like this. Yeah, quite like this overall setup. Let's go back onto the camera view and see how this looks like. Yeah, this looks much, much nicer overall. We can also scatter a couple of prompts that we had before. So I'll actually do that a little bit outside just to make sure I fill in the overall scene. And I will just duplicate, grab all of them as they are. Though. Top-down view Control D. If you drag it somewhere like so. Bring them around and whatnot. I'm played overall with the values and I just realized that I'm not actually move them downward. So let me just go ahead and grab them again. Perhaps this de-selected and G said, pulling them downwards, like so. That's what a right is a floating a little bit. So let me just go ahead and just lower them down like so. Just playing around with the shapes, making sure we have some nice clusters and whatnot. Overall So that's going to be quite alright. Final thing that I'd like to do is ideally just to grab ourselves a nice render out of this. So let's go ahead and do that real quick. After I'm done with these couple of pieces of paper like so. Alright, let's see how this looks like. Yeah, this looks quite nice. Where all the lighting is already set up. All we need to do is just make sure we have ourselves a nice camera setups or Resolution. 1920 by 1080 seems to be quite alright. We're going to do maybe tweak couple of extra settings actually disposal box, I'm going to make it just a little bit smaller. Rotate it around a little bit like so just smile. Small repositioning. Like that. Yep. Okay, so the final thing is going to be a couple of world setting. Setup right now is just set up as a basic type of a color. If we were to render this by going onto the top button and clicking render still image. But we're going to get something of this sort, which is looking alright, but again, the background might not be quite there overall. So let me just go ahead and fix that real quick. I'm going to go ahead and simply go onto the world settings and just change the background to something more manageable. So maybe a blue tint like this would be quite, quite nice. Overall. It'd be even brighter a little bit like so. Go ahead and see how it looks like. By the way, we can click F2 for an image or render. But let's see how this looks like. A little bit too bright for me. I'm going to go ahead and lower this down. Actually. Just lower down the color. Pick off the saturation even a little bit like so. Playing around with overall settings. And let's see how this would look like. Again. Now, I'm not quite feeling it. I feel like there's a piece missing over here. The reason why it's set up like that and whatnot. But what I will do is real quick, I will go actually and generate myself a texture out of this. Go to the two 2D view and just grab something nice out of this. So let me just go ahead and do that. I'm going to change disabled diffusion. Get the subject, makes sure it's set up as a consultant. I think that's going to be quite alright. Family photo, Emily, or something like that would be quite nice. And let's just go ahead and right away, just render this out. Something like that. Perhaps I'll make use out of another generation. Want just fewer members a little bit. The image should be a little bit larger. So I think what we're going to do is we're going to spend one more lesson on this in regards to the setup, just getting some extra final touches, and then we're going to finally present the work. So thank you so much for watching and I'll be seeing you in a bit. 38. Creating 3D Picture Frame Prop Using AI: Hello, Welcome back everyone to ai and 3D art, of course, for digital artists. In the last lesson, we left ourselves off by trying to get ourselves a nice render out of the frame. And by getting ourselves an overall setup out of the render already. Shaping out to be nicely, but we're still not quite done with the overall settings since I feel like overall, this piece over here is a little bit too empty, so we're going to go ahead and fix that up real quick. Yeah, going back to the two dv, I'm just going to re-render the setup that I had families photo. And we'll just go ahead and see how this would look like. And maybe more specific overall, not giving us the right basis with the AI. So I'm not quite keen on this. I'll try to render it again and see how this would look like. And it's just checking it out, making sure that maybe we have different types of settings or the overall prompts that we're adding. And yeah, this is a bit better from a distance is going to look alright, I'm worried a bit from the close-up. Since this AI, as you can see, it has like extra hands and whatnot. I'm not quite keen on that. And I might use out of the first photos since I was quite happy with that one. First. This looks quite alright. I reckon we can make use out of this one. Okay, so what I want to do is real quick just add a picture frame into this scene. I'm going to click zero to go out of my camera view. And just going to go out of the render view or completely going to add a plane, which should be added over here. There you go. Alright? And then within this plane, I will add a material. Within the material, I will make sure to add a nice photo of family photos. Let me just go ahead and do that. We'll click zero for this one as well. Reposition the camera. And now let's go ahead and just simply add an image. Let's go ahead and do that. Texture. Grab the first one that we had that add in, and that's not the one. So let me just go ahead and just grab the image name out of this one and go back to shading and just real quick, just find it over. Here. You go. Alright, it's looking quite nice. I will cut down the edges a little bit. Photo. Inside. Don't want to have a completely square type of a frame. And I will go back actually real quick and I'm just going to type in photo frame. So to see what we get. And while we're waiting, I'm actually going to go back real quick and then readjust this. I'm going to make this quite a bit rougher, though. This would look like this. I wanted to make it look a bit shiny overall. You go from sort of a glass on top of it. And I will add a Metallica little bit thing that's going to give us a nicer result. When I'm working with glass, sometimes I like to add a bit of that. As it makes it look like there's a bit of an extra eye of a glassy look on top of it, which I think looks quite alright right now. Okay. Let's see what's this? It's not giving me the right results. Let me just go ahead and ask for a photo frame. Metal. Let me just go ahead and I will need to change it from a concept art photography or although this is looking quite nice, just go ahead and lay it out. It's not quite there though. Let me just rabbit a new one. And this one is going to be photography. So it should be giving us more realism, which doesn't seem to give us anything. So I'm just going to leave it as a custom images. Go ahead and grab a custom photo frame. This time I will turn off the metal. Let's see how this would look like. Here you go. We're getting ourselves a real nice type of a setup. That's quite alright. We just need to cut out the frame. Let's go ahead and do that. I'm going to go on to modeling actual, real quick, going to set up a frame based on this section. So election to cursor, going to put it back in here, like so. And a simple plane that's going to be a little bit above. And this add a new material on this one frame doesn't really matter at this point. And we can go ahead now and add the image onto this. So let's go ahead and do that. We're going to simply search for image. So here, grab or Celsius photo. So let's go ahead and do that. Back to shading with the name in like so. And actually I will want to have this specific one that's PBR. I don't do I didn't do it for the photo itself. But for this one I will want it to be a little bit more like that. Let me just go ahead and do that. We'll grab this shader over here, go back onto the setup base, this n basis in like so. And a whale This one's a little bit, we'll put this basically all the way at the back, like so take this off. We don't need them going to hold Control and just reposition them like so. And now we should get ourselves a nice setup for this material. Let me just go ahead and have a quick look at seems like the nice setup. They'll, I'm going to go ahead and add the roughness value like so. And of course the normal value as well. Just like that. And there you go. Alright, so the next thing that we need to do is just make sure that we have ourselves a nice type of a frame. Let's go ahead and do that. Actually, we will do it is real quick. I will simply go through top-down view. I'm going to go from the render view like so. And just simply a cut ourselves out with this type of setup. So I think the best way for us to do that would be if we were to just simply cut out made part like so. Then I'm going to also know the way I will do it. Actually, I will cut out the outside part is the reason being is because I want to use insert mode. I think that would be the best way of doing so. Let me just go ahead and do that. Now after this, I can click Enter. I can select this link I to insert it like so, all the way to like this. And then to this. Alright, Now, what do we need to do is just move these vertices. So the way I'm going to do it is I'm going to click G1 and then I'm going to click G again to make sure we are in the move or in a slide tool, in a slide selection. This way we're able to slide the vertices without affecting the UVs themselves. Or alternatively, instead of doing that if were to just move it, it's going to give us this kind of a setup. The other way of doing it is if we were to go on to our tool, there is options and there is something called Correct face attributes. So by selecting this, we're now can move this around and you can see that it's not going to affect the UVs itself is not going to warp anything. So that's quite nice. Full interactive. Select the backside, delete it. So I select the middle piece and probably insert another one like this and delete the image itself. Like so. Or actually I will leave this in and I will just extrude it in words like sono, replace it afterwards. This, I'd like to ideally the outside just to click G and just kinda bring it in words. This way we actually have ourselves the texture on the side as you can see like so. And I'm just wondering if that's alright. There is an image on the inside. So that's why I think this kind of result. Let me just go ahead and put this in words like so. And there we go. We've got ourselves a nice photo. Going to make sure that back is filled in as well. Maybe not to this point, I'm just going to go ahead and now grab this go to UV, perhaps. It's not really important. The backside, I just don't want it to picture the other side as well. I'm just going to go ahead and just banded leg. So put it on the side just like that. As you can see, I'm just changing it would have this sort of look. I think that's quite alright. Maybe even more really worried about the backside exam. Alright, going back to shading, let me just go ahead and see how this looks like. I'm just going to go ahead and just join them in like so. And this is a nice photo to have. Alright, so now we can go ahead and just put it up on the side of this setting. Like so we want to look to straight, but at same time, I want to make sure they're of a nice, tidy type of a setup. Like so something like this. It'll look quite nice. I don't like the metallic value at this point actually. I will take that off from the picture. Let me just go ahead and do that real quick. Sometimes it works, sometimes it doesn't. In this particular case, I don't think it would work out as much because in regards to the frame itself, it would just look to do Shiny to glossy and whatnot. But for this type of a setting, that's quite alright to have it like so. Now we can click zero. And actually I will go back to the modeling mode, click zero onto the setup and see how this would look like. There we go. We've got ourselves a nice setup. And one more final thing that I'd like to do is just quickly add maybe a couple of rocks in the background, like so. Let's go ahead and do that real quick. So grabbing these rocks, like adding them in the background. Just a couple of extra detail basically just to help us break down the overall edges a little bit. Maybe like so. Something like this. That's whenever we're seeing it, you can see that it helps us to break down this edge. And I'm not going to worry about the overall setup too much. A little bit like so. Maybe grab these, put it on the other side as well. This would look like, oh, it seems like a move the camera, so let me just go ahead and reposition it real quick. Just like that. All right. One more final touch. One more final look at how this looks like. Yeah, I think that looks quite nice. I think it looks quite alright overall. So let's go ahead and keep that as is. And maybe Cameron is simply move to the side a little bit. There we go. That concludes our journey through the course. We have explored a range of AI tools designed to enhance greater workflow, particularly within blender. We began by delving into text-based AI, discovering its applications in a problem-solving research and artwork publishing. Moving forward, we delve into image-based AI, where we learn how to leverage generated concept starting point. Next, we delved into blender base, pretty AI. So all in all, I think that these skills will be useful for you in the future. I sincerely hope you enjoy the course and I look forward to the possibility of welcoming you back in the near future. My name is Luke happy modeling everyone